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| In 2018, as a celebrated Chinese director prepared to film a movie, his team sent the novelist Geling Yan a 33-page script with her name printed on each page. Ms. Yan said that made sense to her because she had written the Chinese-language novel that inspired the film. | 2018年，一位著名中国导演准备拍摄一部电影，他的团队给小说家严歌苓寄去一份33页的剧本，每一页上都印着她的名字。严歌苓说，这对她来说很有意义，因为电影的灵感来自她的中文小说。 |
| But when the film, “One Second,” was released in China and elsewhere two years later, her name did not appear in the credits. It was directed by Zhang Yimou, an Oscar-nominated filmmaker whose works include “Raise the Red Lantern” and “House of Flying Daggers.” | 但是，两年后，《一秒钟》在中国和其他地方上映时，她的名字没有出现在演职员表上。该片导演是曾获得奥斯卡提名的张艺谋，作品包括《大红灯笼高高挂》和《十面埋伏》。 |
| Ms. Yan, who has publicly criticized the Chinese government’s response to the coronavirus pandemic, said she was not surprised to see her name removed from a film produced in the country. Still, she said, she thought that the companies distributing and promoting it outside China could perhaps agree to credit her in some way. | 严歌苓曾公开批评中国政府对新冠病毒大流行的应对措施。她说，看到一部中国制作的电影中删去了自己的名字，她并不感到惊讶。但她说，她认为在中国境外发行和推广这部电影的公司或许会同意以某种方式署上她的名字。 |
| Ever since, Ms. Yan and her husband, Lawrence Walker, who is also her manager, have been asking companies in Asia, Europe and North America to do just that, either in the film itself or in their promotional materials. | 自那以后，严歌苓和她的丈夫、同时也是她的经纪人王乐仁(Lawrence Walker)一直要求亚洲、欧洲和北美的公司在电影和宣传材料中署上她的名字。 |
| “I don’t think they should acquiesce to this kind of infringement,” said Ms. Yan, an established Chinese American novelist who lives in Berlin. | “我认为他们不应该默许这种侵权行为，”居住在柏林的知名华裔美国小说家严歌苓说。 |
| But they have mostly stayed silent. Ms. Yan’s campaign, and the muted response, highlights how an apparent censorship decision in China can quietly ripple through the art-house film world. | 但他们大多保持沉默。严歌苓的行动以及随后沉默的反应让人们注意到，中国一个明显出于审查原因的决定可以在艺术电影世界悄然产生涟漪。 |
| “It is not the first time that we are involved in an issue like this with Chinese cinema,” José Luis Rebordinos, the director of the San Sebastián Film Festival in Spain, told Mr. Walker in an email last year. Mr. Rebordinos added that, despite his best efforts to help, “sometimes we can’t do anything.” | “这不是我们第一次卷入与中国电影有关的这种问题，”去年，西班牙圣塞巴斯蒂安电影节负责人何塞·路易斯·雷波迪诺斯通过电子邮件告诉王乐仁。雷波迪诺斯还说，尽管他尽最大努力提供帮助，“有时我们什么也做不了。” |
| The vanishing credit | 消失的署名 |
| “One Second,” released in 2020, is set during the Cultural Revolution in China. It follows a prisoner who escapes from a labor camp to see a newsreel, hoping to catch a glimpse of his daughter. | 2020年上映的《一秒钟》以中国文化大革命时期为背景，讲述了一名囚犯从劳改营逃出，就为了看一部新闻纪录片，希望能看一眼片中出现的女儿。 |
| Ms. Yan, 63, has said the movie’s plotline mirrors one from “The Criminal Lu Yanshi,” her 2011 novel about a Chinese intellectual who is sent to a labor camp in the 1950s. | 63岁的严歌苓说，这部电影的情节与她2011年的小说《陆犯焉识》中的情节相似，这部小说讲的是上世纪50年代一个中国知识分子被送去劳改的故事。 |
| The film was “definitely influenced” by the book, even though it diverged in other ways, said Huang Yi-Kuan, a literature professor at National Changhua University of Education in Taiwan. “I think it should at least be mentioned that the inspiration for this movie was extracted from Yan Geling’s novel,” she said. | 台湾彰化师范大学文学教授黄仪冠说，尽管这部电影在其他方面跟这本书有所不同，但“肯定”受到了它的影响。她说：“我认为至少应该提一下，这部电影的灵感来自严歌苓的小说。” |
| Ms. Yan sold the film rights for the novel to Mr. Zhang in 2011, according to a contract reviewed by The New York Times. Three years later, he released “Coming Home,” a movie based on “The Criminal Lu Yanshi” about a political prisoner during the Cultural Revolution. The contract did not explicitly prohibit Mr. Zhang from making another movie based on the same book. | 根据《纽约时报》看到的一份合同，2011年，严歌苓将该小说的电影版权卖给了张艺谋。三年后，他推出了根据《陆犯焉识》改编的电影《归来》，讲述“文化大革命”期间一名政治犯的故事。合同并未明确禁止张艺谋根据同一本书再拍一部电影。 |
| In the fall of 2018, a literary adviser to Mr. Zhang told Ms. Yan over WeChat, a Chinese messaging platform, that “One Second” could not credit “The Criminal Lu Yanshi,” according to screenshots of their correspondence that Ms. Yan’s husband provided to The Times. The adviser said doing so could create a legal problem for the director because he had been having an unrelated copyright dispute with a Chinese production company. | 根据严歌苓的丈夫向时报提供的微信对话截图显示，2018年秋天，张艺谋的一名文学顾问通过微信告诉严歌苓，不能说《一秒钟》改编自《陆犯焉识》。该顾问称，这样做可能会给导演带来法律问题，因为他一直与一家中国制作公司有一场与此无关的版权纠纷。 |
| As a compromise, the adviser offered to add a line at the end of the film thanking Ms. Yan for her contribution without mentioning her novel, the correspondence shows. Ms. Yan agreed to that, she said in a recent interview, because she trusted Mr. Zhang. | 对话显示，作为妥协，这位顾问提出在电影结尾加上一句话，感谢严歌苓的贡献，但不提及她的小说。严歌苓在最近的一次采访中说，她同意这样做，因为她信任张艺谋。 |
| “We had worked together for so many years,” Ms. Yan said. In addition to “The Criminal Lu Yanshi,” one of her other novels became the basis for Mr. Zhang’s film “The Flowers of War,” which came out in 2011 and stars Christian Bale. | “我们在一起合作了这么多年，”严歌苓说。除了《陆犯焉识》，她的另一部小说是张艺谋2011年上映的电影《金陵十三钗》的原型，该片由克里斯蒂安·贝尔主演。 |
| But just before “One Second” was released, she said, the literary adviser called to say that the Chinese government had ordered for her name to be removed from the credits. | 但就在《一秒钟》上映前，她说，这位文学顾问打来电话，说中国政府下令将她的名字从演职人员名单上删除。 |
| Muted response | 沉默的回应 |
| Neither Mr. Zhang nor the literary adviser who spoke with Ms. Yan responded to interview requests. Neither did the China Film Administration, a state agency overseeing the country’s film industry. | 张艺谋和那位曾与严歌苓交谈的文学顾问都没有回应采访请求。国家电影局也没有回应。 |
| Huanxi Media, one of the production companies behind “One Second,” said in an email that the film “has nothing to do with” Ms. Yan’s novels. And mainland Chinese films cannot be changed after they receive public release permits, the company added. | 《一秒钟》的制作公司之一欢喜传媒在电子邮件中说，这部电影与严歌苓的小说“无关”。该公司还说，中国大陆的电影在获得公开发行许可后不能更改。 |
| In 2019, “One Second” was unexpectedly withdrawn from the Berlin Film Festival, a move that the film’s official account on Weibo, a Chinese social media platform, attributed to “technical reasons” — a euphemism in China for government censorship. | 2019年，《一秒钟》意外退出柏林电影节，该片的官方微博将此举归咎于“技术原因”——这在中国是政府审查的委婉说法。 |
| Mr. Walker said he and his wife understood the realities of the Chinese market. What they can’t accept, he said, is that most of the companies and festivals distributing or promoting the film overseas have not been willing to credit her in any way. | 王乐仁说，他和妻子了解中国市场的现实。他说，他们不能接受的是，大多数在海外发行或宣传这部电影的公司和电影节都不愿意以任何方式为她署名。 |
| “This isn’t something happening to some poor soul in some far-off part of China,” Mr. Walker said. “This is happening to a professional scriptwriter and a U.S. citizen — now, in the United States and other countries — as a result of Chinese censorship.” | “这不是发生在中国偏远地区的某个可怜人身上的事情，”王乐仁说。“由于中国的审查制度，这正在发生在美国和其他国家，发生在一名专业编剧和一名美国公民身上。” |
| There are two notable exceptions. | 但有两个值得注意的例外。 |
| One of the companies Mr. Walker wrote to, Mubi, a streaming service based in London that caters to art-house cinephiles, now lists Ms. Yan on a page of its website that promotes “One Second.” | 其中一家是位于伦敦的流媒体服务公司Mubi，专门为艺术片爱好者提供服务，现在它将严歌苓列在网站宣传《一秒钟》的页面上。王乐仁曾写信联系这些公司。 |
| And this month, Yorck, a cinema group in Berlin, began showing what it called an “introductory note” before its screenings of “One Second” that credits Ms. Yan’s novel as the inspiration for the film. Marvin Wiechert, a spokesman for Yorck, said in an email that the company learned of her claims about a missing credit from her lawyers and people who attended a recent preview screening of the film in Berlin. | 另一家是柏林电影集团Yorck，本月，它在放映《一秒钟》之前播放了一段所谓的“介绍性说明“，称这部电影的灵感来源来自严歌苓的小说。Yorck的发言人马文·维切特在一封电子邮件中说，该公司从严歌苓的律师和最近在柏林参加电影首映式的人那里得知了她未被署名的说法。 |
| “We felt it would be a fitting response as an arthouse exhibitor who cares deeply about artistic expression and ownership,” he said of the decision to add the note. | “作为一个非常关心艺术表现和所有权的艺术展参展商，我们认为这样的回应会很恰当，”他谈到添加说明的决定时说。 |
| But Mr. Walker said he had not heard from Mubi, Yorck or other companies involved in the film’s international distribution. The list includes companies in Hong Kong and the United States, as well as film festivals in Boston and in two Canadian cities. None of them responded to inquiries from The Times except a spokeswoman for the Toronto International Film Festival who said that the festival’s director was too busy for an interview. | 但王乐仁说，他没有从Mubi、Yorck或其他参与这部电影国际发行的公司收到消息。这些公司包括香港和美国的公司，以及波士顿和加拿大两个城市的电影节。除了多伦多国际电影节的一位发言人说电影节的导演太忙，没有时间接受采访外，其他人都没有回应时报的询问。 |
| Ms. Yan has not filed any lawsuits over her claim. For now, Mr. Walker said, her legal team is seeking a settlement in France or the United States. | 严歌苓没有就她的索赔提起任何诉讼。王乐仁说，目前，她的法律团队正在法国或美国寻求和解。 |
| Isabelle Denis, the head of legal and business affairs for Wild Bunch International, the film’s international distributor in Paris, told The Times in an email that the company did not produce “One Second” and therefore had no authority to either judge Ms. Yan’s claim about a missing screen credit or act as an intermediary between her and the filmmaker. | 该电影在巴黎的国际发行商Wild Bunch国际公司的法律和商业事务主管伊莎贝尔·丹尼斯在一封电子邮件中告诉《纽约时报》，该公司不是《一秒钟》的制作公司，因此无权判断严歌苓的关于未被署名的说法，也不能充当她和电影制片人之间的中间人。 |
| Big picture | 大背景 |
| Ms. Yan’s case echoes previous instances of movie censorship in China, a country that is a huge source of income for Hollywood. This year, for example, the ending of “Fight Club,” the 1999 cult movie starring Brad Pitt, was cut from its Chinese edition. It was restored only after the changes drew international attention. | 中国是好莱坞的巨大收入来源，严歌苓的情况与之前的中国电影审查事件相呼应。例如，1999年布拉德·皮特主演的邪典电影《搏击俱乐部》在中国播出的版本今年删掉了结局。仅在引起国际关注后，这一修改才被复原。 |
| In Ms. Yan’s case, her lawyers would probably not be able to make a strong legal case for giving her a credit in “One Second” because Mr. Zhang never agreed in writing to do so, said Victoria L. Schwartz, a law professor at Pepperdine University in Malibu, Calif. | 位于加利福尼亚州马里布的佩珀代因大学的法学教授维多利亚·施瓦茨说，在严歌苓的案例中，她的律师可能无法为在《一秒钟》中就她应被署名的问题提出强有力的法律依据，因为张艺谋从未书面同意这样做。 |
| However, legal exposure is not the same as reputational risk, said Professor Schwartz, who specializes in entertainment law and intellectual property disputes. Ms. Yan’s campaign, she said, raises the question of whether the film industry in the United States, including labor unions that represent writers, should develop better standards for evaluating international films from “censor-heavy markets.” | 然而，专门研究娱乐法和知识产权纠纷的施瓦茨教授说，法律风险与声誉风险不同。她说，严歌苓的行动提出了一个问题，即美国的电影业——包括代表作家的工会——是否应该制定更好的标准来评估来自“受到严格审查的市场”的国际电影。 |
| “Should there be norms in place?” Professor Schwartz said. “Should these companies do better not because they have to legally, but because it’s the right thing to do?” | “是否应该有适当的规范？”施瓦茨教授说。“这些公司是否应该做出更好的选择——不是因为法律的缘故，而是因为这是正确的做法呢？” |
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