《动画设计电视广告论文中英文外文翻译文献.docx》由会员分享，可在线阅读，更多相关《动画设计电视广告论文中英文外文翻译文献.docx（12页珍藏版）》请在三一办公上搜索。
1、动画设计电视广告论文中英文外文翻译文献中英文外文翻译文献 原文： Ads and PSAs Copywriting for Visual Media Before television, there was radio advertising and film advertising in movie houses.You still see local ads in some movie theatres before the program starts. So the principle of selling time between programming for commercial
2、 messages grew up with the visual media. A format that is probably unique to television was developed to deliver short visual commercial messages very efficiently and effectively in breaks between programs. The air time was sold to advertisers to generate the operating revenue and profit for the tel
3、evision companies. Television provides access to the majority of homes and, therefore, to the largest audience. Before television, few people had dealt with the pressure to communicate product or commercial information in a rapid, attention-getting way that television needs. It was, and still is, ve
4、ry expensive to buy air time. Because television is the most expensive advertising medium, it has driven the writers and producers of commercials to refine their techniques so as to deliver a complete message in a small amount of time. The cost of this time far exceeds the production cost of making
5、the message itself. The short ad has become a kind of twentieth-century art form with a constantly evolving style. It has attracted much writing and directing talent from around the world, drawn partly by the money they can make and partly by the opportunity to graduate to longer forms. Ads are spec
6、ial because they are so shortusually under a minute. Everyone has seen them, which is not so true for some other formats. Almost all television viewers have seen public service announcements (PSAs),which are messages that are broadcast for the public good. PSAs are sometimes paid for by sponsoring o
7、rganizations, but they are usually furnished to broadcasters to fill any empty spots in the commercial break. This is one way in which television stations help the community to which they broadcast and fulfill an obligation of their FCC license to broadcast over public air waves. Of course, PSAs usu
8、ally run late at night or in other less commercially desirable time slots. Not everyone can write a feature film script, but anyone can write a 30- or 60-second PSA, so it is a good place to start. Copywriting Versus Scriptwriting Let us distinguish between copywriting and scriptwriting. Copywriting
9、 includes print and media writing. National advertising campaigns on television are devised and produced by advertising agencies retained by the client company. Learning about this kind of writing and the business of advertising and public relations usually takes place in a specific track and specia
10、lized courses in communications studies.Although visual writing is involved in some kinds of copywriting, there are so many other issues involved in copywriting that it is better to leave those dedicated issues aside and deal with visual writing that happens to be part of copywriting. However, small
11、 markets in the broadcasting world serve local clients who cannot afford an advertising agency. Somebody has to write these ads for the stations clients. It could be a staff member, part of a unit that sells the stations time, or it could be a freelance writer paid by the station to do this writing
12、work when needed, or a local ad agency. We need to keep in mind that these kinds of local ads are made on small budgets, sometimes at cost, by the station selling the air time because their profit comes from selling that air time. They often have spare production capacitya studio, cameras, a camera
13、crew, and an editing facility. This means that the ad must be written for that budget range without slick effects or expensive graphics, without travel to expensive locations, and without expensive talent. It brings us back to the perennial challenge that every scriptwriter faces:to write creatively
14、 and invent original visuals within a tight budget framework. The same holds true for local PSAs, sponsored by organizations with no budget to spend on production. PSAs are an excellent training ground for student scriptwriters. They are short and complete TV playlets. They require all the disciplin
15、es of scriptwriting. You can easily settle on a public service issue such as smoking, domestic violence, education,drugs, or racism. You know the issues. You can test your creative imagination. If you have a related production course going on, you might be able to produce your PSA. You can also take
16、 a familiar product and try to devise a TV spot for it.However, a lot of ads rely on specialized production companies to get pack shots or create computer-generated effects that might be difficult to duplicate in a college production setup. Client Needs and Priorities The PSA and the TV ad are works
17、 commissioned by a client. The client needs a solution to a communication problem that the writer must provide. We alluded to this discipline of the professional writer in Chapters 3 and 4. You write for someone or rather someone who represents the interests of an organization or a corporation. Late
18、r we will look more closely at another kind of writing for a producer of entertainment films or programs. The entertainment script is different from commissioned works because neither the producer nor the writer can know for sure what a good script is until it is produced, shown to an audience, and
19、validated by box office or audience ratings. Commissioned programming doesnt have an audience measurement expressed in terms of box office revenue. Successful communication can only be measured by quantifying audience responses as changes in sales or behavior. Advertisers expect to measure the effec
20、t of an ad in increased sales. Otherwise,there is no business sense in spending money on it. A PSA often aims to change peoples behavior. It is much more difficult to garner information that positively proves the effectiveness of the PSA. Changes in behavior are much more difficult to achieve than c
21、hanges in the buying choices of the public. Writing for clients is often challenging and exciting precisely because you have a problem, know the desired result, and have to devise a solution. The seven-step method of Chapter 4 is an excellent way to approach these assignments. The process of analysi
22、s is really important for writing PSAs. Although you do not now have a client, you must practice writing as if you had a client to satisfy. Your creative ideas must do the job. One of the constraints of this kind of writing is that the length is fixed by the client. Because the resulting product is
23、transmitted in commercial breaks, its length must be exact to the second, as that is how airtime is bought and sold. The 20-, 30-, and 60-Second Playlets Ads in the form of 20- or 30-second playlets are almost a new art form. They are a popular art form born of the television age and the need to com
24、press visual messages into very short, very expensive time slots. The style and tempo of these ads continues to evolve at a furious rate. The style of camera work, directing, and editing is quite specialized. Some companies produce nothing but TV commercials just as some directors spend their whole
25、careers making these mini-movies. From their ranks have come a number of feature film directors such as Ridley Scott, Hugh Hudson, and Alan Parker. Some TV commercials for national campaigns of major brands, based on millions of dollars worth of air time, have very high budgets. With bigger budgets
26、than half-hour documentaries and budgets as big as a television half-hour episode, these productions are made on 35mm film with production crews that sometimes rival those for a feature film. The local market spot for a car dealer or furniture store,however, is often cheap, down and dirty. Clearly t
27、he national campaigns are developed by advertising agencies whose copywriters develop the ads in collaboration with creative directors, art directors, and account executives. The copywriter is not a full range scriptwriter and also usually has to write print media ads. Although this book primarily s
28、erves the interests of scriptwriters, the visual thinking that underlies billboards and transport ads relates to both copywriting and scriptwriting. Devices to Capture Audience Attention Most of you have engaged in the subtle war between the viewer and the television advertiser. Hands up everyone wh
29、o has hit the mute button during the ads, or gone to the bathroom, or gone to the fridge, or made a telephone call during the commercial break! This nullifies the advertisers effort and expense. Sometimes,either by accident or by choice, we find TV commercials entertaining or fun to watch. The chall
30、enge is clear. The advertiser has a lot of resistance to overcome.Now you are on the other side of the box. You have to be creative and capture the audiences attention in spite of itself so that it pays attention to your message.Your device has to work for others. Measured by your own viewing behavi
31、or, no audience will give you any quarter. You live or die in seconds. What are some of the ways you have noticed writers of these mini-scripts hooking the audience so that it will pay attention to the message? You can recognize definite strategies such as humor, shock, suspense, mini-dramas, testim
32、onials, special graphi c effects, music, and, of course, sexuality. These strategies are more elaborately developed in commercial advertising because for-profit companies have the dollars to spend on high-end production values. PSAs cannot command the same resources. They are made on lower budgets o
33、r created through the pro bono work of advertising agencies and production personnel. Working with a low budget is a creative challenge. Production dollars dont automatically buy creative and effective communication. Some of the most ingenious PSAs are cheap but effective. Consider how a PSA about a
34、 public issue such as gambling works. In this case, the Massachusetts Council on Compulsive Gambling needs to communicate to a population that suffers the destructive consequences of this kind of addictive behavior.How do you solve the communication problem? Lets apply the seven-step method we learn
35、ed in Chapter 4. Anthony Friedmann Acquisitions Editor: Amy Jollymore Project Manager: Andrew Therriault Assistant Editor: Cara Anderson Marketing Manager: Christine Degon-Veroulis Cover Designer: Cate Barr Focal Press is an imprint of Elsevier 英文翻译： 广告和公益广告 文案的视觉媒体 在电视出现以前，我们可以在收音机里听到广播形式的广告和在电影院里观
36、看电影时在影片开始播放之前一些广告。 因此，随着视觉媒体对商业信息影响的扩大，它开始被拿来销售。电视产生以后，在电视播放的时候被插入了很多有商业信息的广告。通过经营和销售这些带有商业信息的广告时间，广告公司和电视台都得到了一笔价值可观的收入。 大部分家庭都拥有电视，因此，它得到了最多的观众。电视广告在传递产品或者商业信息时不会让人产生压力。因此，电视广告的时间在过去和未来都是非常昂贵的。因为，电视广告带动了广告作者和广告公司改进技术，以提供尽量紧凑和简短的广告，广告所带来的价值远远超过了制作广告本身的成本。 在二十世纪，简短广告已经成为了一门有独特风格的艺术。它吸引了很多来自世界各地的编剧，导
37、演和人才，因为，它可以带来相当可观的金钱。大家都看过广告，虽然很短，但他却能表达一连串完成的信息。 几乎所有的电视观众都看到公益广告，这是，这对于公共利益的广播消息。公益广告所有的费用由主办单位承担，但它们通常在广播电台播放，以填补未被商业利用的空白时间。这是一种形式，电视台帮助社区广播和履行他们的义务，其联邦通信委员会许可在公共广播的无线电波。当然，管理公司通常运行在深夜或其他较商业利益的时段。不是每个人都可以写一个专题片脚本，但任何人都可以写一个30 - 或60秒的公益广告，因此它是一个良好的开端。 版权与编剧 让我们区分版权和编剧。版权问题包括出版和媒体写作。在电视上国家的广告活动都是设
38、计和生产中保留的广告机构客户的公司。学习这种写作的经营和广告和公关通常发生在一个特定的跟踪和专业课程在通信方面的研究。虽然视觉写作涉及一些种类的版权问题,还有很多其他的问题涉及版权问题,最好离开那些奉献问题放在一边,处理视觉写作,而且恰好是版权问题的一部分。 然而,小市场为当地客户的广播世界那些承担不起一家广告代理公司。有人来写,这些广告为电台的客户。它可能是一个工作人员,部分单位出售该电台的时间,也可能是一名自由撰稿人支付的写作素材站来做这事,如有需要,或当地的广告代理公司。我们需要记住这些类型的当地广告了,有时微小预算成本,按车站的销售空气时间,因为这些金融机构的利润来自向销售,空气的时间
39、。他们往往拥有闲置生产capacity-a工作室、照相机、摄像机船员队伍,同时一种编辑设施。这意味着广告必须写的,不影响预算范围内的光滑,没有旅行或昂贵的图形昂贵的地点,和没有昂贵的人才。它让我们回到多年生的挑战,每一个编剧的面貌:创造性和发明原来写的视觉在预算吃紧的框架。这同样适用于当地的压敏胶制造而成,由组织没有预算花费在生产。 psa是一名优秀的训练场地为学生的编导。他们很短和完整的电视playlets。他们要求所有的学科的戏剧。你可以很容易地在一个公共服务问题解决诸如吸烟、家庭暴力、教育、毒品或种族主义。你知道这些问题。你可以测试你的创造性的想象力。如果你有一个相关的生产过程进行的时候
40、,你可能会产生你的PSA。你也可以将一个熟悉产品,试图想出一个电视广告。然而,很多广告凭借专业的生产企业把包球或创造的电脑效果很难复制,在一所大学生产的设置。 客户需求和优先事项 电视广告作品可以委托一个客户。业主需要解决沟通问题,作者必须提供。我们提到这门学科的职业作家在第3、4章。你写的人代表某人或更确切地说,一个组织的利益或公司。之后我们会更近一步来看另一种写一个电影制片人的工作或娱乐节目。不同于娱乐电影剧本是生产者委托作品也因为没有一个作家能确切知道什么好的剧本是直到它正在制作、展示给观众,并用实例验证了票房或观众收视率。委托编程没有观众的测量来表达的票房收入。衡量成功的交流只能通过量
41、化观众反应变更销售或行为。 广告商希望衡量的影响上刊登广告销售额的增长。否则,就没有商业头脑花钱大手大脚的。PSA经常旨在改变人们的行为。它要困难得多,获得信息的有效性,积极地证明了压敏胶带。行为的改变更难以达到的比买的变化选择公众舆论的。 为客户往往是写作挑战性又令人兴奋,正是因为你有问题时,知道想要的结果,而不得不想出解决方法。第4章的步法的方法是一种很好的方法来解决这些作业。分析的过程是非常重要的因为写作压敏胶制造而成。虽然你现在不要有一个客户,你应该进行练习写作当如果你遇到这样一位客户满足。自己创造性的想法必须做那份工作。为约束条件之一是,这种写作的长度是固定的客户。因为产生的产品传播
42、时,其长度插播商业广告必须准确的第二,那是怎样的网络连接时间购买和出售。 20 - 30 - 60秒的简短广告 广告的形式在20 - 30秒秒的简短广告是一种新的艺术形式。他们是一个受欢迎的艺术形式的电视时代出生的需要和压缩的视觉信息进入非常短,非常昂贵的时段。的风格和节奏,这些广告的持续发展在狂暴速度。相机工作的风格,指导,和编辑是相当专业。从他们的队伍已经来了一个数字电影导演的特征等,休哈德森,雷利史考特和阿兰帕克。 一些电视广告的主要品牌为国家的战役,基于价值数百万美元的空气,有很高的预算。与其它大预算比半小时的纪录片和预算大如电视半小时的小插曲,这些产品都是在35毫米电影与生产的宇航员
43、们有时对手的长篇电影。本地市场的斑点为一名汽车经销商或家具店里,然而,经常是便宜,一些脏活累活。显然全国运动是由广告公司的广告文编写人发展在协作与创造性的董事,艺术导演,帐号行政官。这个广告文编写人不是全方位的编剧,而且通常必须写印刷媒体广告。虽然这本书主要利益的编导、视觉思维,是关系到广告看板以及运输广告和戏剧既版权问题。 吸引观众注意的设备 你们中的大多数都参与了观众与登电视广告的人之间的微妙的战争。在广告时间按静音按钮的，或去洗手间的，或去开冰箱的，或在广告时间打一个电话的人，请举起手来！这否定了广告客户的精力和花费。有时，无论是偶然的还是选择的，我们发现电视广告很娱乐化或很有乐趣去观赏
44、。目前的挑战是显而易见的。广告客户有很多阻力需要去克服。现在从另一面讲，你必须要勇于创新去吸引观众的注意力，以致他们注重你的信息。你的设备得为他人工作。通过自己的收视行为来衡量，没有观众会给你任何一刻钟的机会。在几秒钟之内就能定夺你是成功还是失败。 你已经注意到的这些小脚本作家钩住观众以致他们会注重信息的一些方法是什么呢？你能知道明确的战略，如幽默，休克，悬念，迷你剧集，推荐，特殊图形效果，音乐，当然，还有性倾向。这些战略是在商业广告上更为精心的开发的，因为为了营利的公司有美元用来花费在高端产品的价值上。公益广告不能指挥相同的资源。它们是用较低的预算或通过无偿广告公司和生产人员的工作创造。 用低预算工作是一个创造性的挑战。美元不会自动生产购买创意和有效的沟通。 最巧妙的公益广告是便宜而且有效的。 试想关于公众议题例如赌博，公益广告是怎么样奏效的。在这种情况下，争对强迫性赌博，马萨诸塞安理会需要与会遭受毁灭性结果的有上瘾行为的人沟通。你是怎么解决这个沟通问题的呢？让我们套用我们在第四章学的七步法吧。
