目的论在英文电影名称翻译中的应用

1. Introduction

The film is a form of art loved by people. It is an acknowledge which tells different kinds of stories, create vividly image and express deep emotions which may attract clients. It’s a combination of color sound and moving pictures. The history, philosophy, social life and demonstrate different cultures are respected by it. I t tell us what’s the true love and how to achieve your dream.

There more and more foreign movies, especially English movie get in Chinese film market, Chinese translation of the film products is becoming more and more important for translation scholars. The translation of movie products has become an important part of international cultural exchange. And as the indispensable part of the movie, the translation of film titles has become a top priority. Film title is at the eye-catching place to audience. The Chinese translation of film titles is very important. The Chinese translation of film titles is not easy though the name of film titles are very short. In fact, film title translation is a purposeful activity. So the research on the translation of film titles must put the special purpose of film title translation and translation theory effectively combined.

2. The Features of English Film Titles

All the film makers want to reflect movie artistry by the movie titles, and also want to reflect the box office commercial value, so the movie titles have some unique features.

2.1. Concise and easy to remember

Movie titles concentrated film content, objective asking on succinct, neat, but even a word, a term has abundant content, making people guess its general meaning through a look.

2.2. Straightaway

The cinema is a public art, which suits the original of the film inside reflecting the original movie theme, helping the audience better understanding the glass, highlight the original film style. Instead, you should use straightaway popular language.

2.3. Attractive

As the cinema is a business practices, we must pay attention to the heavy box office value, or we can’t surv ive and develop. At the box office success, titles must be in good translation and full of humor and wit in order to let the audience sees a thought-provoking attracted attention, thereby,

stimulated desire and scrambled up tickets will go into the groove.

3. English film title translation

Film title is a special kind of language form, it not only has the rich semantic connotations, but also undertake the task of the film publicity and advertising. So the translation of movie title translation is different from general style, in the title translation process, translator should fully consider its purpose, will work equivalence theory applied to the translation of film titles; Should not be constrained by corresponding with English title in language form, and should fully understand the original content, style and connotation, on the basis of the translation of the title, to summarise the content of the movie reflect the theme of the movie, can let the audience has a general understanding to the movie plot through the title, so as to attract the audience and the increase the box office.

There are three Methods of English Film Titles Translation. According to the above characteristics film titles, in our translation of the titles, three methods should be adopted.

3.1. Literal translation

It is a method used in the language words when conditions permit and does not conflict with the movie’s contents. It is the most effective method of translation under the precondition of not only keeping the original contents, but also keeping the original simple form. It is the best translation in China’s traditional translation filed. A Million Pounds Bank Note“百万银行.”, Tales of Two cities“双城记.”, Uncle Tom’s Cabin“汤姆叔叔的小屋.”The Science of Lamb “沉默的羔羊.”. No matter it is relevant with classic works or not, the title of a literal translation is inherited the original title’s shortness and conciseness, information, and to arouse the audiences’curiosity.

3.2. Free translation

Free translation means to add some words or to remove a few words for a translation, or to seek for a new name in other ways to generalize the contents of the film or theme. The first method of free translation is adding or removing words.Mostly to add some words in order to adapt to Chinese expression customs, so as to supply the cultural information to make the audiences easy to grasp the contents or the main roles of the film. For instance, Ghost“人鬼情未了.”, as the literal meaning goes to“鬼魂.”, it will not be translated into the generalization of the

film while plusing a letter“人”in front of it, which will make the audience know that the story happened between human-being and demons, then it will point out the theme of the movie if it plus“情未了.”behind

And the second is making another new name. For the classic famous film Waterloo Bridge, we cannot directly translate it into“Waterloo Bridge”, if it is literary translated as“滑铁卢桥.”according to the customs of English, it will not only let people feel insipid and lack of aesthetic and the effects of advertisements, and will make many knowledgeable European historical audiences mistake this as a movie about the war with Napoleon.Actually, the film has nothing to do with that historical event. It has been proved a successful version by translating it into “魂断蓝桥.”. “Waterloo” was translated into“魂断.”, indicating a love story with a sad ending. This may attract the intended audience to watch the movie. “Bridge” was translated into“蓝桥.”, arouses the association with the ancient Chinese folk tale,“鹊桥相会.”. This makes the audience accept it easily.The third one is Transliteration. The so-called transliteration, according to the source linguistic rules of pronunciation, is a method that translates directly to the target language of the same or similar pronunciation. This is the most simple and convenient translation methods.

Jane Eyre 简·爱

Harry Potter 哈利波特

Romeo and Juliet 罗密欧与茱丽叶

Transliteration mainly applies to some English proper nouns such as names, places, historical events and some Chinese word that are generally unable to correspond with or the things that the Chinese audiences are familiar with. These title are very similarity to Chinese people, they can learn the content of film as soon as they see the title.

4. Skopostheorie

Skopos theory was sent by Germany in the 1970 s function of Hans. Wei, have put forward. Hans think any translation behavior is purposeful and the purpose determines the translation strategies. In other words, as long as to achieve the established purpose of translation, any translation strategy is feasible. According to skopos theory, the purpose of film title translation which is the most important is to attract the audience to watch the movie. Considering the

characteristics of film titles and function, the translator should be considered in the film title translation, language element, cultural elements and functions of the title element.

4.1. Skopostheorie’s rules

Translation skopos theory has three important principles: purpose principle, continuity principle and faithful principle. Among them, the objective principle is the first principl of translation skopos theory. Objective principle that, in the process of translation, the translator should consider the receiver's cultural background, translation is looking forward to the aim of communication and translation. Therefore, the translation purpose determines the translation strategies and translation methods. Consistency principle requires a translation should have the readability and acceptability of the translation should be and the readers of the communicative situation and culture background, make the reader easier to accept and understand the result of the translation. Faithful principle requires the translation should be faithful to the original, to fully express the meaning of the original, but the faithful principle is different from the traditional "equivalence principle", the meaning of faithful principle to opposition in strict accordance with the original, but think translation effect can be better than the original

4.2. Contributions of Skopostheorie

Vermeer claimed that skopos theory has three contributions;the first is the theory have often been denied the facts clearly, make people aware of its existence.and the second is that determined by the task to this concept, to expand the possibility of translation, and increased the selection of translation strategies, bound for the translator is loose, let them don't have to be confined to impose on them and thus are often meaningless literal translation.The third said it is the translator's responsibility on the agenda, and expanded its scope of responsibility. Points out that the translation must play the expected functions, so as to achieve the established goals. Vermeer also pointed out that ignoring the purpose of the translation leads to the serious consequences is how a piece of original is best. Is still debated, unable to agree. And have a clear purpose or task, you could at least an agreement on the choice of macro policy. Concerns of the skopos theory to translation from the original, the original author to the readers. No longer in the equivalent theory of literal translation and free translation on the basis of the endless argument, but starting from the function and purpose of translation, emphasize a specific translation purpose requires the corresponding translation strategies and translation methods. The different translation purpose for

different methods, to achieve a certain purpose can take many translation methods, so as to avoid the dilemma such as literal translation and free translation. Skopos theory makes translation focus, main factor of translation is not entirely original, but the purpose of translation, the idea for creating novel translation provides a theoretical basis.

5. Application of Skopostheorie to English film title translation

In chapter 4, we have known how Skopostheorie functions in translation, and this chapter we will focus on application of Skopostheorie to English film title translation. The Skopos of film title translation will be analyzed first.

5.1. Skopos of English film title translation

A clear Skopos of film title translation is to attract the potential audience in the target culture to watch the movie. The Skopos is the key to the whole process of translation and usually refers to the purpose of the target text. Knowing what the film is translated for guides the translator to adopt appropriate strategies and make due adjustments in order to fulfill the Skopos. This is also the essence of Skopos theory, namely, "the end justifies the means". It is certain that a film is both a commercial product and a piece of art. Commercially and artistically, it needs the audience's appreciation. A commodity without consumers and a piece of art without appreciators is just flesh without soul. This nature determines that both the translation act and the translated film title are aimed to call upon domestic audiences to appreciate the film produced in a foreign culture. The ultimate goal of film title is to win the hearts of the audience and get profits.

In Skopos theory, the translator should make sure that the target audience understand the translated movie title and be interested in the movie instantly.

5.2. Translation strategies adopted in English film titles

Under the guidance of the Skopostheorie, there are five translation strategies in translating film titles: transliteration, literal translation, adaptation, addition and combination of literal translation and free translation.

5.2.1. Transliteration

Transliteration is voice translation method on the basis of the translation, the translator use the transliteration directly according to the known characteristics of the film itself. Transliteration is a beautiful scenery in the process of cultural communication, it fill the gaps in the culture. Many

movies’ hero is commonly used in English and Chinese name or the location as the title when the story happened. This translation method can be more intuitive to the audience a kind of value orientation, by title and judgment of its origin and content. But sometimes, a title will also confuse us because of cultural differences and produce the film title . So, in most cases, take transliteration title in both English movie titles at that time, there is also a literal translation or free translation of the name.It’s a good way through the familiarly, intuitive feeling named after the film in different cultures.

For example, Titanic“泰坦尼克号.”, Patton“巴顿将军.”, Chicago“芝加哥.”. Especially, when the film is changed from world famous or classical novel and the novel's name is kept as film title, because such names have been memorized by the audience, and the success of the literary works can have an active effect on the box office of such films. What's more, such titles are already of great cognitive value and having attracted the audience. For instance, Romeo and Juliet“罗密欧与朱丽叶.”, Jane Eyre“简爱.”, Tess“苔丝.”. Transliteration can enable the target audience to know more about original history and culture. By contrast, if they are translated in other ways, the viewers may take them as an ordinary film and may feel no interest in them, which will reduce the box-office value of the film.

5.2.2. Literal translation

Literal translation refers to on the basis of language universals, in accordance with the specifications, according to the characteristics of the source language, target language. Keep both the ideological content of the original in the language of translation . And as far as possible to keep the original language form the corresponding translation.It means the equivalence of information and the function . This way is simple and does not lose the original intention of the translation can also arouse the resonance of the audience which in different cultural backgrounds. Literal translation is more acceptable to most people, the early film titles translation take this way mostly. But as a result it prefer to a straightforward information.On the view of the business point,it can't completely capture the hearts of the audience,result to losing attraction and terror. Such titles can be directly translated into Chinese.

For example:Air Force One“空军一号.”, America’s Sweethearts“美国甜心.”, Gladiator “角斗士.”, Time Code“时间密码.”, City Lights“城市之光.”, T he Age of Innocence“纯真年代.”, Four Weddings and a Funeral“四个婚礼和一个葬礼.”, Human Factors“人性因素.”.

Take Four Weddings And One Funeral“四个婚礼和一个葬礼.”as an example, The title““四个婚礼和一个葬礼.””so interestingly that the movie goers may be eager to watch and check out. Taiwan translator gives the version of, “你是我今生的新娘.”which summarizes the story but is not at the eye-catching place.

5.2.3. Adaptation

When literal translation and translate ration are incapable of conveying comprehensible meanings to the audience, adaptation is used to create new names to inform the audience the theme and content of the film. Adaptation is very creative because it totally abandons the form and content of the original title and makes a fresh impression based on the plot of the movie. That is to say, by using adaptation translators place more emphasis on the content of the original movie than on the title itself. This method intends not only to transfer the informative transmission, but also to reproduce the artistic features of the movie. Above all, the translator must understand the content, and then creatively reproduce it based on his or her comprehension.

In the translated practice, there are many successful examples, such as The Day after Tomorrow which tells a story of the relation between human beings and the natural environment. Global warming melts the polar ice caps, which makes oceans rise and disrupts the Gulf Stream. In“后天.”and“明天过后.”, the real meaning of the title has gone, the panic atmosphere and alarm bell effect have been ignored and the artistic appeal has been reduced to a large extent.

The following are other successful examples such as, Forever Young“天荒情未了.”, Volcano “地火危城.”, Of Mice and Men“芸芸众生.”and The English Patient“别问我是谁.”etc.

5.2.4. Addition

As has been described in5.2.1, the pure "transliteration" of film titles words can retain the exotic flavor and the novelty of the original title. But it may not show the cultural features of the original language. And it cannot meet the foreign audience’s psychology and their values. Successful transliteration of film titles is supposed to not only show the cultural features of the original language but also coincide with the target audience's psychological tendency and their values. That is to say, successful translated versions of film titles have the referential, expressive and vocative functions. How can a translator successfully achieve these functions at one time?,maybe the addition can be regarded as an efficient approach. This method will help the audience understand the content of the film. Let us look some examples.

The film Shrek“怪物史莱克.”is a love story about Shrek which can find no equivalence in English. If we translate it into“史莱克.”can only show the method of "pure" transliteration. Although it may give the target audience an exotic flavor, no one knows what the film is about and cannot offer any helpful information to the audience. But from the version“怪物史莱克.”we know that the Shrek is not an ordinary man. Adding the word “怪物.”will help the audience understand the content of the film, and arouse the audience's interest to see the film. Also take Bambi for example. If translated it into“班比.”, the audience would not know that it is a film to the taste of the children. Once“小鹿.”is added to "班比.", the image of a lovely animal immediately jumps into the audience's mind at the first sight of this version.

Other successful examples are Stuart Little“小老鼠斯图尔特.”, Gandi“甘地传.”, Forrest Gump“阿甘正传.”, Joe Dirt“乔德特历险记.”and Titanic“泰坦尼克号.”etc.

5.2.5. Combination of literal translation and free translation

The advantage of this strategy is that literal translation can convey the basic information, and at the same time free translation expresses the implied meaning of the title in a depth. Such a combination not only transmits the message to the most extent but also adds to the artistic appeal of the title. Most successful translations of English film titles have fully demonstrated this. Such as Who Shall Live and Who Shall Die“生杀大权.”, Moonstruck“月色撩人.”, Shakespeare in Love“莎翁情史.”, The Green Mile“绿色奇迹.”, Shooting First“先发制人.”, Blood and Sand “碧血黄沙.”, First Knight“剑侠风流.”and The Golden Rush“淘金记.”and so on.

For example, Translators translate Speed and Blade into“生死时速.”and“刀锋战士.”, which sound much better than the sheer literal translation. Combined with free translation, the two versions add something mysterious to the titles and therefore are more vocative. If South Pacific is translated directly into“南太平洋.”, the potential audience may regard it as a documentary, while the version“太平洋之恋.” not only makes clear the genera of the film but sounds quite attractive for most film-goers.

In summary, which one is the best translation method. As mentioned above that each one has its merits and demerits. For many versions, it is hard to tell exactly what certain approach is applied. Actually, all the methods are indispensable and supplementary to each other. Furthermore, the most important criterion of film title translation is the audience's reception and the box-office hit. The translator should take the informative, expressive aesthetic and vocative functions of the

film title into consideration. What is more, the translator must have a comprehensive understanding of the whole film including plot, theme, and cultural background and so on. In addition, the translator should have a deep understanding of the essence of each method and make the best use of them in a flexible and appropriate way. This is also the essence of Skopos theory, namely "the end justifies the means" .

6. Conclusion

A film title is very important to the film , especial to the english film .A film title attracts the eyeball and helps the film win an everlasting fame. Film title translation is an interesting, meaningful and challenging activity. However, currently, English film title translation is still full of controversy and not explored enough. This thesis, mainly from a functionalist perspective, explores English movie title translation under the guidance of Skopos theory.

From what has been discussed above, Skopos theory frees people from the traditional disputes on concepts, such as equivalence, “free” vs. “faithful” translat ion, providing them a new way of thinking and sheds light on the translation field as to what aspects the translator should take care in translation. By analyzing the above classical examples, it turns out that the application of Skopos theory to movie title translation is very useful in both practice and theoretical study.

The present thesis is a tentative study of English film title translation in the hope that it can make a small contribution to this field. Although raising some worthy practical ways for English film title translation, this thesis is far from perfect, and it also has some limitations, both in terms of quantitative analysis and specific explanations. As to the limitations, the author hopes that in the future, researchers with more ability could achieve more along the way.

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