Question

英语短文翻译！急！

Back on the big screen the medium faced a different set of problems. Since the advent of television people were no longer spending all day at the movies, and short subjects were gradually dropped from the billings. While animation never completely disappeared from theaters, by the 1960s most studios had closed down; the ones that didn't suffered from severe declines in quality. Only Disney retained it's level of excellence, but Disney had ceased full-time production of short subjects by the mid-50s, earlier than anyone else. While there was the occasional Non-Disney animated feature, no other studio was producing them on a regular basis. By the 1980s no studio was producing shorts full-time, and even the Disney movies had lost their appeal.

The new generation of Disney artists breathed life back into animation with films like "Who Framed Roger Rabbit?" (1988) and "The Little Mermaid" (1989). These well-crafted cartoons were celebrations of animation's glory days, and the public proved just as nostalgic as the artists themselves. The new Disney crew proved that the studio system was still capable of turning out great art. In fact, the major flaw of the studio system, lack of artist recognition, dissipated. Gone were the producer-moguls of old, and with no Walt Disney public attention finally shifted to the artists themselves. While not exactly household names, directors John Musker and Ron Clements and animators like Glen Keane and Andreas Deja certainly received more press than Disney vets like Milt Kahl or Wolfgang Reitherman did in their heyday.

It was inevitable, in spite of Winsor McCay's warnings, that animation would become a "trade" in the form of the studio system. The complexities of bringing moving drawings to life on the screen are too time-consuming and too expensive for it to have developed otherwise. Fortunately, through the years there have been many individuals working in the field who have been careful not to let business logistics overwhelm the artistic potential of the medium. The collective nature of the studio may prevent the artists from receiving the amount of praise an artist working solo garners, but the art attained is no less great. As long as there are creative men and women behind the drawing desk, the animated cartoon will continue to be the best of both worlds: a trade and an art.
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Answer 1

Back on the big screen the medium faced a different set of problems. Since the advent of television people were no longer spending all day at the movies, and short subjects were gradually dropped from the billings. While animation never completely disappeared from theaters, by the 1960s most studios had closed down; the ones that didn't suffered from severe declines in quality. Only Disney retained it's level of excellence, but Disney had ceased full-time production of short subjects by the mid-50s, earlier than anyone else. While there was the occasional Non-Disney animated feature, no other studio was producing them on a regular basis. By the 1980s no studio was producing shorts full-time, and even the Disney movies had lost their appeal.

借助于大屏幕，制作手法面临过一系列的不同难题。自从电视问世以来，人们就不再整天把时间花费在电影院，与正片同场放映的短片逐步从促销列表中退出。就在动画片绝不会彻底从电影院消失的时候，多数摄影棚，即那些在制作质量上并没有遭受严重下滑的企业，到二十世纪六十年代为止已经停产。只有迪斯尼还保持着自己的上乘水准，但是迪斯尼截止到五十年代中期已经早于任何一家公司停止了全天候的电影短片制作。也曾有过偶尔出现的非迪斯尼卡通形象，与此同时，再没有其他摄影棚把卡通短片作为常规进行生产。到二十世纪八十年代为止，任何一家摄影棚都不专门生产短片，甚至迪斯尼电影也已经引不起人们的兴趣。

The new generation of Disney artists breathed life back into animation with films like "Who Framed Roger Rabbit?" (1988) and "The Little Mermaid" (1989). These well-crafted cartoons were celebrations of animation's glory days, and the public proved just as nostalgic as the artists themselves. The new Disney crew proved that the studio system was still capable of turning out great art. In fact, the major flaw of the studio system, lack of artist recognition, dissipated. Gone were the producer-moguls of old, and with no Walt Disney public attention finally shifted to the artists themselves. While not exactly household names, directors John Musker and Ron Clements and animators like Glen Keane and Andreas Deja certainly received more press than Disney vets like Milt Kahl or Wolfgang Reitherman did in their heyday.

新一代的迪斯尼艺术家给以像《谁陷害了兔子罗杰？》（1988）和《小美人鱼》（1989） 那样的动画片富于活力。这些构思精良的卡通曾是动画光荣时代的庆典，公众原来正像画家本人一样是怀旧的。新迪斯尼团队证明摄影棚体制仍然能够生产出伟大的艺术。事实上，在缺乏艺术家认同的情况下，摄影棚体制的主要缺憾是沉溺于无节制的追求。老一代的制作显要人物已经作古，他们没有受到最终被艺术家自己接替的沃尔特•迪斯尼公众的注意。虽然导演约翰•马斯克和伦•克莱门特与漫画家像格林•凯和安德里亚•德加等人不是完全的家喻户晓，他们的确比迪斯尼老兵们像米尔特•卡尔或沃尔夫冈•里瑟门等人曾经在他们鼎盛时期做的那样得到更多的新闻报道。

It was inevitable, in spite of Winsor McCay's warnings, that animation would become a "trade" in the form of the studio system. The complexities of bringing moving drawings to life on the screen are too time-consuming and too expensive for it to have developed otherwise. Fortunately, through the years there have been many individuals working in the field who have been careful not to let business logistics overwhelm the artistic potential of the medium. The collective nature of the studio may prevent the artists from receiving the amount of praise an artist working solo garners, but the art attained is no less great. As long as there are creative men and women behind the drawing desk, the animated cartoon will continue to be the best of both worlds: a trade and an art.

尽管有温瑟•麦克凯的告诫，动画片会在摄影棚体制下变成“商业”是不可避免的。让银幕上移动的图画变得活灵活现的合成耗时太多而且费用昂贵，以至于动画不可能以别的方式发展。幸运的是迄今为止多年来在全体制作人员中已经有了许多一个个的作品，他们一直小心谨慎不让经营逻辑淹没制作手法的艺术潜力。在艺术家精心制作一幅幅构想时，摄影棚的合成特点会妨碍艺术家得到应有的称赞，但是他们达到的艺术仍然是伟大的。只要在画桌后坐着具有创造力的男女画师，活灵活现的卡通就会在商业社会和艺术殿堂继续取得双赢。

Answer 2

回到了大屏幕中面临一系列不同的问题。自从电视出现以来,人们已不再是一整天呆在电影里,和短电影片逐渐被排除在帐目。而动画从来不会完全消失从剧院,到1960年代最工作室已经倒闭了,那些没有患有严重的下跌的品质。只有迪斯尼保留水平的优秀,但迪斯尼停止全职的生产mid-50s短电影片的,早前比其他任何人都多。尽管有偶尔非迪斯尼的动画片,没有其它制片厂正在制造它们的辱骂。到了1980年代没有制片厂正在生产的短裤全职,甚至迪斯尼电影已经失去吸引力。
新一代的迪斯尼艺术家的生命注入回和动画电影像“谁陷害了兔子罗杰?》(1988)和《小美人鱼》(1989年)。这些精巧的漫画是动画的日子庆祝的荣耀,公众证明正如怀旧作为艺术家们自身。新的迪斯尼船员证明,演播室系统还能制造出伟大的艺术。事实上,大缺点演播室系统,缺乏艺术家识别、降温。一去不复返的重温显要人物,并没有迪斯尼公众的注意最后转移到艺术家们自身。虽然不完全是家喻户晓的名字,导演约翰Musker和罗恩克和动画家像基恩和格伦·德嘉当然得到更多的新闻比迪斯尼兽医像米特,不单是在他们Reitherman或沃尔夫鼎盛时期。
不可避免的是,尽管温莎·麦科伊的警告,动画会变成一个“交易”的形式相去甚远。复杂的生命带来移动屏幕上画太耗时又太贵了,否则它。幸运的是,通过几年已经有许多人在地里干活的人已小心谨慎,不让商业物流压倒了艺术潜力的介质。集体性质的艺术家工作室可能防止接受赞美的数量garners单独工作的艺术家,但伟大艺术达到也好不到哪里去。只要有创造性的男性和女性在绘画的桌子,这个动画将继续是两个世界的好处:一个贸易和艺术。

Answer 3

回到了大屏幕中面临一系列不同的问题。自从电视出现以来,人们已不再是一整天呆在电影里,和短电影片逐渐被排除在帐目。而动画从来不会完全消失从剧院,到1960年代最工作室已经倒闭了,那些没有患有严重的下跌的品质。只有迪斯尼保留水平的优秀,但迪斯尼停止全职的生产mid-50s短电影片的,早前比其他任何人都多。尽管有偶尔Non-Disney动画片,没有其它制片厂正在制造它们的辱骂。到了1980年代没有制片厂正在生产的短裤全职,甚至迪斯尼电影已经失去吸引力。

新一代的迪斯尼艺术家的生命注入回和动画电影像“谁陷害了兔子罗杰?》(1988)和《小美人鱼》(1989年)。这些精巧的漫画是动画的日子庆祝的荣耀,公众证明正如怀旧作为艺术家们自身。新的迪斯尼船员证明,演播室系统还能制造出伟大的艺术。事实上,大缺点演播室系统,缺乏艺术家识别、降温。一去不复返了producer-moguls的旧的,并没有迪斯尼公众的注意最后转移到艺术家们自身。虽然不完全是家喻户晓的名字,导演约翰Musker和罗恩克和动画家像基恩和格伦·德嘉当然得到更多的新闻比迪斯尼兽医像米特,不单是在他们Reitherman或沃尔夫鼎盛时期。

它是不可避免的,尽管Winsor·麦科伊的警告,动画会变成一个“交易”的形式相去甚远。复杂的生命带来移动屏幕上画太耗时又太贵了,否则它。幸运的是,通过几年已经有许多人在地里干活的人已小心谨慎,不让商业物流压倒了

追问

明显是工具翻译的，和另外那俩人的还一模一样。。

Answer 4

都是机器人？？？？
译成这个样子？？？几个人的译法在某个错误之处都是相同的，纯属巧合？？

Answer 5

大意就是：
回到了大屏幕中面临一系列不同的问题。自从电视出现以来,人们已不再是一整天呆在电影里,和短电影片逐渐被排除在帐目。而动画从来不会完全消失从剧院,到1960年代最工作室已经倒闭了,那些没有患有严重的下跌的品质。只有迪斯尼保留水平的优秀,但迪斯尼停止全职的生产mid-50s短电影片的,早前比其他任何人都多。尽管有偶尔Non-Disney动画片,没有其它制片厂正在制造它们的辱骂。到了1980年代没有制片厂正在生产的短裤全职,甚至迪斯尼电影已经失去吸引力。
新一代的迪斯尼艺术家的生命注入回和动画电影像“谁陷害了兔子罗杰?》(1988)和《小美人鱼》(1989年)。这些精巧的漫画是动画的日子庆祝的荣耀,公众证明正如怀旧作为艺术家们自身。新的迪斯尼船员证明,演播室系统还能制造出伟大的艺术。事实上,大缺点演播室系统,缺乏艺术家识别、降温。一去不复返了producer-moguls的旧的,并没有迪斯尼公众的注意最后转移到艺术家们自身。虽然不完全是家喻户晓的名字,导演约翰Musker和罗恩克和动画家像基恩和格伦·德嘉当然得到更多的新闻比迪斯尼兽医像米特,不单是在他们Reitherman或沃尔夫鼎盛时期。
它是不可避免的,尽管Winsor·麦科伊的警告,动画会变成一个“交易”的形式相去甚远。复杂的生命带来移动屏幕上画太耗时又太贵了,否则它。幸运的是,通过几年已经有许多人在地里干活的人已小心谨慎,不让商业物流压倒了艺术潜力的介质。集体性质的艺术家工作室可能防止接受赞美的数量garners单独工作的艺术家,但伟大艺术达到也好不到哪里去。只要有创造性的男性和女性在绘画的桌子,这个动画将继续是两个世界的好处:一个贸易和艺术。

Answer 6

不短了！！！