英语翻译请不要用谷歌翻译In the years immediately following the Second Wo

英语翻译
请不要用谷歌翻译
In the years immediately following the Second World War,the flirtation of Hollywood executives with mass production was brought sharply to an end.The system now started to evolve in a different direction altogether,prefiguring as it did some of the essential features of today's so-called new economy.This turn of events followed on the heels of a number of crises that are described in detail in later chapters.The important point for now is that over the 1950s and 1960s,and even though fordism was still in full swing in the United States at large,the entire Hollywood motion picture industry restructured in ways that made it vastly less concentrated in functional terms than it had been before the war.The large studios (or majors) themselves never actually disappeared in this process,though they were subject to considerable downsizing as many of the activities that they had previously carried on in-house were steadily externalized.As a corollary,the production system was significantly reconstituted as a congeries of many small and medium-sized firms linked together in shifting coalitions by flexible production networks.The majors,for their part,took on a variety of new roles,one of the more important of which was to provide central coordinating services to the vertically disintegrated networks proliferating around them.
As these events were occurring,and as part of their inner logic,local labor markets in Hollywood were also being reorganized,above all,by the elimination of many types of workers from permanent studio payrolls.These workers were in some instances reemployed in smaller firms; in other instances (eg,elite creative workers) they became freelance contractors of their own labor.In any case,long-term employment security in Hollywood was severely curtailed by these events,though it should be added that in contrast to certain other cultural-products industries,such as clothing or jewelry,Hollywood has never had much of a tendency to generate low-wage,low-skill jobs,in large measure because the long-standing guilds and unions have been notably successful in erecting institutional barriers to wage-cutting by employers.The basic labor of making a film was now,too,significantly reorganized on a project-oriented basis (Grabher 2001),with shifting,temporary teams of creative workers and associated technical workers engaging with one another in personalized,open-ended systems of interaction.

第二次世界大战以后,好莱坞多个产品执行团队的好戏迅速终结了.这个制度现在开始卷入到另一种方向,预示着它将开启一种今天所谓的新经济的基本特性.这个转变紧随一系列在后续章节所具体描述的危机之后.这里重要的一点是,在1950年代和60年代,尽管福特制还在美国大范围运行,好莱坞制片工业开始不像战争之前那么集中.在处理过程中,大作品自己从未消失过,但他们都被考虑减小尺寸,因为其中很多只需要室内完成的动作 都被持续不断的带到了室外处理.作为推论,制片系统已经明显的重组为一系列很多的中小制片厂联盟而成的灵活制片网络.他们中的大部分,承担了新的角色,其中重要的一个角色是为他们周围的垂直分解网络提供中央协调服务.
当这些事件发生的时候,作为时间内部逻辑之一,好莱坞本地劳工市场也得到了认可,尤其是,减少了享用永久工资的多种工人.这些工人一部分重新被小工厂聘用;另一部分成为自由职业者.在任何一种情况下,好莱坞长期聘用安全性被这些事件大量缩减了.尽管这应该被加到其他文化产品工业的去,比如服装,或珠宝.好莱坞从来没有企图提供低工资,低技能的工作,那些工作在长期行业和工会曾经获得了显著为减工资的雇主成功树立了行业障碍.现在制作一部电影需要的基本劳力,也在以项目为导向 (Grabher 2001)的基底中获得了认可,他们有创意,懂技术个性化,在终端开放的交互体系中结合在一起组成换班或临时团队.