讲故事与叙事2016polygraph.cool编辑精选
2000 部电影剧本中的对白：按性别与年龄拆解
Film Dialogue from 2,000 screenplays, broken down by gender and age
导读
这篇分析统计了2000部电影剧本的对白，按角色性别和年龄拆解，发现男性角色台词占比明显更高、女性角色更集中于年轻年龄段。对写作者来说，它不只是性别议题数据，也提醒我们：对白分配、角色年龄和类型惯例会共同决定谁在故事里“有声音”。
可以直接用的写作要点
- 01
统计“台词条数”不等于统计“字数”：动作场景可能台词短促，按条数算会放大某些角色的对白占比。
- 02
角色性别和年龄分布受类型影响很大，战争、犯罪、西部片天然偏向年轻男性；写作时要先判断类型与故事世界需要什么角色，而不是机械追求比例。
- 03
数据能揭示行业模式，但不能自动证明因果；借鉴时要区分“行业偏见”“类型需求”和“代际变化”。
- 04
对白量是塑造人物存在感的重要资源；配角或女性角色若台词少，容易被边缘化，写作者可以有意识地分配关键台词。
HN 评论精选
方法论提醒：台词条数、演员映射和跨年份聚合都会影响结论，读数据时要先看口径。
我很喜欢人们拿出数据，而不是只凭“直觉”！不过有几个问题可能影响分析和结论的可靠性：1. 台词到性别的映射要经过演员，反串角色（尤其在动画片里）可能让统计失真；2. 分析按“台词条数”而不是“字数”，以男性为主的动作场景可能每句字数更少，从而影响结果；3. 年龄分析把所有年份的剧本汇总，无法区分“偏好年轻女演员”和“偏好某日期之后出生的女演员”，而31岁前性别差距很小——如果是后者，问题会随代际更替自行缓解。
cperciva查看英文原文
I love it when people actually provide data rather than merely working based on "gut feelings"! I have a few questions jump out at me as potentially affecting the reliability of the analysis and conclusions, though: 1. Since the mapping from lines to gender goes through the actor/actress involved, it seems that "trouser roles" (particularly in animated features) may skew the statistics. I don't know if the effect is large enough to matter, though. 2. The analysis seems to be conducted on the basis of "lines" rather than "words". Does this skew the results? I wouldn't be surprised if predominantly-male "action" scenes had fewer words per line (or, put another way, more lines per word) than other scenes. 3. The analysis of actor/actress ages aggregates screenplays over all years of publication. This makes it impossible to distinguish between a bias towards young actresses and a bias towards actresses born after a particular date. This is a very important distinction in terms of policy response, since there is little gap between genders up to age 31: If the problem is "older actresses don't get many roles" then it needs a response, but if the problem was "actresses born before 1985 don't get many roles" then the problem will self-correct as the older generations are replaced by more egalitarian ones.
台词性别比例不能简单等同于不公平，更要看是否有人群缺少自己想看的故事。
看男性台词超过60%的电影，很多是动作片或战争片。我不认为战争和动作片没有50%女性主角就不公平，因为男性更可能参战或从事危险工作（原因不是流行娱乐缺少榜样）。这种分析不太有用。重要的是各群体都能看到自己喜欢的电影；一个群体的电影更多，不会伤害另一个群体。女性杂志很多会伤害男性吗？不会。如果能证明有大量人群看不到想看的电影，那样的分析会更有说服力。
facepalm查看英文原文
Looking at the movies with > 60% male lines, a lot of them seem to be action or war movies. I don't think it is unfair if not 50% of war and action movies have a female heroine, because there are reasons men are more likely to go to war or do dangerous jobs (and no, that reason is not lack of role models in popular entertainment). I don't think an analysis like this is very useful at all. What matters is that all demographics get to see the films they like. It doesn't hurt one demographic if another demographic has more films made for. Take women's magazines for example - while I haven't counted, it seems there seem to be an awful lot of them. Would it hurt men if there were more women's magazines than men's magazines? I'd argue it wouldn't hurt men at all. So if you can show that there is a significant population that doesn't get to see the movies they want, I think you could get a better response.
角色人口统计受类型惯例影响，分析应按类型拆分，写作也要理解类型期待。
大量电影是犯罪故事。多数警察和罪犯年轻且是男性（现在如此，过去更甚）。同理，战争片也常由年轻男性主导；西部片里女性角色的任务不是拿枪，而枪才是吸引观众的东西。鉴于观众爱看这类内容，屏幕上年轻男性偏多并不奇怪。分析应该按类型拆分；喜剧、爱情片或剧情片应该不会那么失衡。
cm2187查看英文原文
A disproportionate amount of movies are about crime stories. Most policemen and criminals are young and men (today, and even more in the past). For the same reason most war movies will also be dominated by young men. Same thing for western movies, the role of women at the XIX wasn't to hold the gun, and guns is what keeps the audience entertained. Why would it be surprising to have a disproportionate amount of young males on screen given the sort of stuff the audience watches? For the same reason I would expect to see a disproportionate amount of policemen, soldiers and criminals. They should do that by genre. I would be surprised if comedies, romance, or drama would be much imbalanced.
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