替声Sound-bite
News media in particular cherish sound-bites.Reporters agree that the best news footage contains at least one sound-bite.
——Source：www.yahoo.com
Sound-bite is a very important element for a piece of broadcast news.It can make the broadcast news have a life.Put it in another way，the sound-bite can make audience feel the fesh feeling and a living sense.Most important，it can lead the audience to touch upon the nerve of the reported news，because the soud-bite can reveal the news personal reaction partly at least.
（一）替声的定义Definition of Sound-bite
Sound-bite：a brief recorded statement（as by a public figure）broadcast especially on a television news program；also：a brief catchy comment or saying.
Sound-bite
Definition from Wiktionary，the free dictionary（UK）IPA：/'saʊndbAɪt/
Noun sound-bite（plural Sound-bites）
1.（journalism，television）An extract from a speech or interview used as edited into the news or other broadcast；an interview clip，especially seen as particularly expressive or pithy.
2.（often pejorative）A one-liner deliberately produced for this purpose；a statement specifically intended to be punchy and memorable.
Sound-bite：a brief，quotable remark，or excerpt from a speech，made as by a politician and suitable for use on TV or radio newscasts：often a dismissive term implying superficiality.
Sound-bite（plural sound-bites）
noun Definition：brief broadcast remark：a short comment intended or suitable for broadcasting in a news programme，especially one made by a politician.Their use is often regarded as manipulative.
Sound-bite noun
A brief statement，as by a politician，taken from an audiotape or videotape and broadcast especially during a news report：“The box has been spitting forth maddening nine-second sound-bites.”（Mary McGrory）
A sound-bite is an audiolinguistic and social communications phenomenon whose nature becomes realized in the late 20th century，helped by people such as Marshall McLuhan.It is characterized by a short phrase or sentence that deftly captures the essence of what the speaker is trying to say.Such key moments in dialogue（or monologue）stand out better in the audience's memory and thus become the“taste”that best represents the entire“meal”of the larger message or conversation.Sound-bites are a natural consequence of people placing ever greater emphasis on summarizing ever-increasing amounts of information in their lives.
［Source：The American Heritage®Dictionary of the English Language，4th edition Copyright©2010 by Houghton Mifflin Harcourt Publishing Company.Published by Houghton Mifflin Harcourt Publishing Company.All rights reserved.］
（二）新闻播报中的替声Sound-bite for Broadcast News Reporting
In broadcasting，a sound-bite is a very short piece of footage taken from a longer speech or an interview in which someone with authority says something which is considered by those who edit the speech or interview to be a most important point.As the context of what is being said is missing，the insertion of sound-bites into news broadcasts or documentaries is open to manipulation and thus requires a very high degree of journalistic ethics.Politicians of the new generation are carefully coached by their spin doctors to produce on demand sound-bites which are clear and to the point.
A sound-bite is designed to catch the attention of our audiences and interested in hearing or watching more about our reports.A sound-bite is a 30 second or shorter introduction for our reports.It should explain the who，what and why of our reports.Writing our own sound-bite is a simple process if we keep these simple steps in mind.
Politicians in turn have learned（along with their speechwriters）to put greater effort into delivering the perfect sound-bite.Originality is not necessary but highly valued.Sound-bites are useful to help guide footage editors focus on parts of dialogue that help advance the overall message.
Not everyone enjoys hearing sound-bites.They tend to sound best when delivered unplanned，and the reverse is often true—the planned sound-bite can easily ring forced and cast doubt as to the speaker's integrity.
Classic examples of sound-bites include Ronald Reagan's demand that“Mr.Gorbachev，tear down this wall！”in reference to the increasing social pressure to remove the Berlin Wall.In this context，the well-delivered sound-bite serves as a cultural icon that others are likely to know about.Another memorable one is“Houston，Tranquility Base here.The Eagle has landed.”In one succinct phrase，the entire Apollo Moon program was culminated and everything the US had worked so hard for was suddenly made real.The quality of the best sound-bite is that“the message hits home”.
1.替声不是配音Sound-bite Is Not Dubbing
Many TV staff still use Dubbing to replace the concept of narrating，so it is easy to generate confusion.Based on Hassanpour's research，the difference between the two can be clarified obviously.Here，I would like to share the paper with the readers.
Dubbing has two meanings in the process of television production.It is used to describe the replacement of one sound track（music，sound effects，dialogue，natural sound，etc.）by another.The technique is used in the production of both audio and audiovisual media.It is a post-production activity which allows considerable flexibility in“editing”the audio component of the visual.Dubbing includes activities such as the addition of music and sound effects to the original dialogue，the omission or replacement of unwanted or poorly recorded audio，or the re-recording of the entire dialogue，narration and music.Much like literary editing，dubbing allows considerable freedom to recreate the product.Synonymous terms include postsynchronizing，looping，re-recording，and electronic line replacement.
Dubbing is also one of the two major forms of“language transfer，”i.e.translation of audiovisual works.Dubbing，in this sense，is the replacement of the dialogue and narration of the foreign or source language（SL）into the language of the viewing audience，the target language（TL）.
Inherited from cinema，dubbing is extensively used for translating otherlanguage television programs.Some countries and cultures prefer dubbing to subtitling and voice-over.In Europe，for example，the“dubbing countries”include Austria，France，Germany，Italy，Spain and Switzerland.
Dubbing，unlike subtitling，which involves a translation of speech into writing，is the oral translation of oral language.However，unlike“interpretation”in which the SL speaker and the TL interpreter are separate persons talking in their own distinct voices，dubbing requires the substitution of the voice of each character on the screen by the voice of one actor.It is，thus，a form of voice-over or revoicing.
As the transnationalization of television and film increases the demand for language transfer，the controversy about the aesthetics，politics and economics of dubbing and subtitling continues in exporting and importing markets，and in multilingual countries where language transfer is a feature of indigenous audiovisual culture.
The polarized views on dubbing/subtitling highlight the centrality and complexity of language in a medium which privileges its visuality.Audience sensitivity to language can even be seen in the considerable volume of intralanguage dubbing.The miniseries Les filles de Caleb，for example，produced in the French language of Quebec，was dubbed into the French standard for audiences in France.And Latin American producers and exporters of telenovelas have generally adopted a Mexican form of Spanish as their standard，following the lead of the earliest successful programs.
Thus，dialect also acts as a barrier in the transnationalization of television within the same language community，and highlights the complex issues surrounding this apparently simple industrial process.
［Source：Amir Hassanpour，Dubbing，The Museum of Broadcast Communications at http://www.museum.tv/eotvsection.］
2.替声与对口型Sound-bite VS Match Lip-synchronization
Dubbing is，however，distinguished from voice-over and sound-bite by its strict adherence to lip-synchronization.In order to seem“natural”or authentic，the performed translation must match，as closely as possible，the lip movements of the speaker on the screen.In contrast，it is much easier to complete a sound-bite，for it just demands the translated vocal expression to be recorded following the speaker's vocal speed on the screen.
Another requirement of successful dubbing is the compatibility of the dubber's voice with the facial and body expressions visible on the screen.
Lip-synchronization is usually seen as the strongest constraint on accurate translation.The script editor modifies the“raw translation”of each utterance in order to match it with the lip movements of the person seen on the screen.Given the enormous differences between even closely related languages such as English and German，it is difficult to find TL words that match the SL lip movements；this is especially the case when speakers are shown in close-up.
It has been argued，however，that a word by word or sentence by sentence translation is not needed，especially in entertainment genres such as soap operas.Lip-synchronization can be better performed with a more pragmatic“plot-oriented translation.”If translation aims at conveying the general tone of each scene rather than locating meaning in each sentence，there will be more freedom to find appropriate words for Lip-synchronization.
Moreover，it is important to seek the equivalence of not only word and sentence meanings but also genres，text quality，character and cultural context.This approach is consistent with the claims of pragmatics，a new field of study which examines language use in social interaction（Luyken 1991，p.162-65）.In either case，it would be more realistic to view dubbing，like other forms of language transfer，as an activity involving a recreation of the original text.
In addition，for dubbing there should be a strict，though easy to achieve，equivalence of extra-linguistic features of voice，especially gender and age.The matching of other markers of speech such as personality，class，and ethnicity is most difficult because these features are not universally available or comparable.For sound-bite，it is the same as dubbing that male speaker with male sound-bite and female speaker with female sound-bite.But，sound-bite does not demand the equivalence of the linguistic features of voice for age，personality，class and ethnicity.
［Source above：Collins English Dictionary-Complete and Unabridged©Harper Collins Publishers 1991，1994，1998，2000，2003］
【笔者论述】
在英语“硬新闻”的条目中，“替声-Sound-bite”所占的分量是至关重要的，尤其对于我们使用非母语英语进行新闻的采集、编辑时，“替声”更是不可缺少的成分。毕竟，在所采集的新闻内容中，有大部分的受访者是不说英语的，这样，就需要使用“替声”了。即便是涉及英语为非母语国家的新闻采集，也是需要将外语以“替声”为英语的声轨来完成。再者，在一条尽管是1分钟以内时长的新闻条目里，如果没有“替声”的出现，新闻要素的完整度就有了缺失，新闻事件发生地的“彼处彼时”的“目击者”或“当事人”的反馈与感受就得不到体现，新闻的时空冲击力削弱到“失真”的程度。
可见，“替声”之所以被解释为绝大部分“硬新闻”条目的必不可少的内容之解释所在了。
然而，触及对新闻条目“替声”的驾驭，就必须要将“配音-Dubbing”联系起来。这主要是由于有相当一部分的电视新闻编辑，在对其第一次所负责的条目完成编辑后，需要自己或邀请同事来完成“替声”部分时，就会产生是否将新闻条目里出现在画面上的受访者的话语以“配音”的方式完成的困惑。在笔者对“英播”的新闻播读训练过程中，也会出现因为新闻条目里的受访者是阿拉伯人，而将其所说以带有夸张语调的所谓“阿拉伯英语”来完成。虽然这种处理显示出输以声音的人的语言才华，也的确比完成“替声”要具有挑战性和技巧性。但是，如此的处理，是不符合对新闻条目内容呈现的。这也是为何笔者在此将两者进行比较的理由。
如在以上英文段落里的介绍一般，“配音”是对影视剧作品中的人物的对话语言置换为另一语言表现的方法，要与角色的口型、性格、气质等达到近乎百分之百的融合。两者间的区别，笔者不再用中文展开，英文段落里已经很详细地介绍。目前，我们在很多的中文电视节目里，还会看到因对两者的混淆，而出现的将“替声-Soundbite”、“旁白-Voiceover”打成“配音-Dubbing”的字幕。
总之，英语“硬新闻”条目在以电视方式呈现时，“旁白-Voiceover”、“替声-Soundbite”及“播报-Reporting”是组成一条鲜活、生动的新闻条目的要素。对于这些要素声音呈现效果的把握，是衡量一位新闻主播职业素质的关键点。