浅谈英语电影字幕翻译(一)
英文电影字幕翻译分析
Everything you see exists together in a delicate balance.
世界上所有的生命都在微妙的平衡中生存。（狮子王）
I laugh in the face of danger.
越危险就越合我心意。（狮子王）
God shall wipe away all the tears from their eyes, and there shall be no more death. Neither shall there be sorrow or dying, neither shall there be any more pain, for the former world has passed away.
Minoritizing Translation （异化翻译法）
《功夫》： 洪家铁线拳——Iron Fist from the Hung School 昆仑派的蛤蟆功——The Toad Style of Kwan Lun School 虎行——Tiger style 《功夫熊猫》： 师傅——Master Shifu 乌龟大师——Master Oogway
Is this a slaughter house? 莫非是一家黑店？
Should I show you my heart? 要不要我把心掏出来给你看看啊？
If I can’t be with the one who I love, I won’t be happy even if I were Heaven Emperor. 如果不能跟我喜欢的人在一起，就算让我做玉皇大帝我也 不会开心。
“pigeon”指鸽子，在中文中没有什么不好的意思，但在 英语俚语中有“傻瓜，受骗上当者”的意思。
从目的论角度浅谈电影英语字幕翻译
I. IntroductionFilm production has been developing in leaps and bounds ever since and gradually boom as one of the most profitable industries of the world nowadays. As a dominant role in the world, film industries sell their film products all over the world. The Hollywood film industry----the engine of the world film industry is definitely the best evidence．According to the statistics，in the 1930s and 1940s，Hollywood films produced nearly 75% of the film market share in china. Never before have we seen so many foreign films flooding the domestic market and never before have we seen so many Chinese films going abroad. These films were generally dubbed into Chinese because few Chinese audiences understood English at that time. Therefore, film subtitle translation can not present real meanings to the viewers except for the translation of some inter-titles.The significances of the present research are reflected in the following aspects. Since the thesis attempts to combine both film subtitle translation and skopos theory together, it might be conductive to the enrichment of both fields, beneficial to the practice of film subtitle translation as well as the promotion of our understanding of general translation theory.II. Definition of film subtitlingA. SubtitleAccording to George-Michael Luyken(1991), “subtitles are condensed written translations of original dialogue which appears as line of text, usually positioned towards the foot of the screen, subtitles appear and disappear to coincide in time with corresponding portion of the original dialogue and are almost always added to the screen image at a later date as a post-production activity”(335).B. Definition of film subtitlingFilm subtitle is “a printed statement or fragment of dialogue appearing on the screen between the scenes of a silent motion picture or appearing as a translation at the bottom of the screen during the scenes of a motion picture or television show in a foreign language” (Merriam 1175). In short，film subtitles are supplements，in the sense that they supply information unavailable from the phonetic dialogue and visualpicture.Film subtitles are different from “displays” or “captions”. “Displays” are “fragments of text recorded by the camera-letters, newspapers, headlines, banners etc” (Gottlieb l01-121). “Captions” (or “top titles”) are pieces of “textual information usually inserted by the program maker to identify names，places or dates relevant to the story line”(Luyken). This distinction is maintained here and “subtitles”do not include displays or captions, unless otherwise stated.Film subtitle can be both “intralingual”(and “vertical”), when the target language is the same as the source language, and “intralingual” (or “diagonal”), when the target language is different from the source language (Gottlieb 249-258). “Film subtitle”in this thesis is used to refer to interlingual film subtitle, unless otherwise stated．Film subtitle can be “open”, when the target text constitutes a physical part of the translated film and is transmitted together with the film sound and image，or “closed”, when the target text is stored in a digital/teletext format which is transmitted in as well as accessed via a separately coded channel at the discretion of the viewers(Gottlieb 247). In this thesis, “film subtitle”, refers to open film subtitle, unless otherwise stated.III. A brief introduction to skopostheorieA. The process of skoposSkopos is the Greek word for “aim” or “purpose” and was induced into translation theory in the 1970s by Hans J. Vermeer as a technical term for the purpose of a translation and of the action of translating skopos focuses on the purpose of the translation, which determines the translation methods and strategies that are to be employed in order to produce a functionally adequate result, the target text (TT), called the translatum by Vermeer (20-23). Therefore，in skopos theory，knowing why an source text (ST) is to be translated and what the function of the TT will be are crucial for the translator.In the 1970s there appeared a school in translation studies in Germany functionalism. Katharina Reiss firstly pointed out in his work Translation Criticism (2004). The representatives are Katharina Reiss, Hans J. Vermeer and Christiane Nord. They hold that translation is a kind of action with a purpose. This theory is first presented by Reiss and Vermeer in their book Grundlegung einer allgemeinen Translationstheorie (1984) (General Foundations of Translation Theory).Since 1978, German translation theorist H. J. Venneer, who breaks through thetraditional equivalence-based the theory that centers on source text，creates the skopostheories with the translation purpose or function of a translation as a general principle on the basis of theory of action(23-24). It is generally agreed now that translation is a type of human action. According to Vermeer, human action is intentional and purposeful behavior that takes place in a given situation, which modifies the situation at the same time (205-210). Skopos argues that the shape of target text should above all be determined by the function or “Skopos”that it is intended to fulfill in the target context.Vermeer believes that the purpose of a target text determines the translation strategies. In his opinion, the purpose of a target text, which is so important, is great extent decided by target readers, cultural background. In Hans J Vemeer’s Skopos and Commission in Translational Action(1989),Vemmer puts the Skopostheorie in this way：“Any form of translation action, including therefore translation itself, maybe conceived as an action, as the name implies. Any action has an aim, a purpose. The word Skopos, then, is a technical term for the aim or purpose of a translation.” In her book Translating as a Purposeful Activity: Functionalist Approaches Explained (2001), Christiane Nord defines the skopostheorie that “Skopos is a Greek word for purpose”(13-14). According to skopostheorie (the theory that applies the notion of Skopos to translation), the prime principle determining any translation process is the purpose (skopos) of the overall translational action. This fits in with intentionality being part of the very definition of any action.B. Three rules of the SkopostheorieSkopos theory involves three rules, i. e. skopos rule, coherence rule and fidelity rule, which will be discussed as follows.1. Skopos ruleVermeer postulates that as a general rule it must be the intended purpose of the target text that determines translation methods and strategies. From this postulate, he derives the skopos rule: Human action(and its subcategory：translation) is determined by its purpose(Skopos), and therefore it is a function of its purpose(Baker 236).Vermeer explains the Skopos rule in the following way,“Each text is produced for a given purpose and sho uld serve this purpose. The skopos rule thus reads as follows: translate／interpret／speak／write in a way that enables your text／translation to function in the situation in which it is used and withthe people who want to use it and precisely in the way they want it to function” (29).It is also pointed out that most translational actions allow a variety of skopos, which may be related to each other in a hierarchical order, and the translator should be able to justify their choice of a particular skopos in a given translational situation in translation, ., the skopos must be decided separately in each specific case．Skopos rule helps the translator solve the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, and so on. Nord points out that the skopos of a particular translation task may require a “free” or a “faithful” translation, or anything between these two extremes, depending on the purpose for which the translation is needed. (29).2. The coherence ruleTwo further general rules are the coherence rule and the fidelity rule. The coherence rule stipulates that the target text must be sufficiently coherent to allow the intended users to comprehend it, given their assumed background knowledge and situational circumstances.The coherence rule, or in Vermeer’s terms, the standard of “intra-textual coherence” means “the receiver should be able to understand it: it should make sense in the communicative situation and culture in which it is received”(Nord 32). The coherence rule specifies that “a t ranslation should be acceptable in a sense that it is coherent with the receivers’ situation” (Nord 32).That is to say, the translator’s task is to produce a text that is at least likely to be meaningful to target-culture receivers, namely, to be coherent with the receivers’situation and thus to be understood by the receivers. Only when the receivers understand it as being sufficiently coherent with their situation, can this communicative interaction be regarded as successful.3. The fidelity ruleHowever, just being coherent with the target situation is not enough. A translation is an offer of information about a preceding offer of information; therefore there is a relationship between the translation and the source text. Vermeer calls this relationship “inter-textual coherence or “fidelity”. This is postulated as a further principle, referred to as the “fidelity rule” (Nord 32)“Inter-textual coherence should exist between source and target text, while the form it takes depends both on t he translator’s interpretation of the source text and on the translation skopos” (Nord 1-32). For example, one possible kind of inter-textualcoherence could be a maximally faithful imitation of the source text.We know that the source text is intended for the source culture receivers instead of translation，therefore when it is translated for the different target-culture recipients, maybe the function of the target text or the purpose of the translation is different from that of the source text. In this case，the “fidelity rule” should give way to the skopos rule. However, the translator should aim for any possible compatibility between the skopos and inter-textual coherence.The three basic rules of the skopostheorie are designed to govern the translator’s activities in the whole translation process. In most cases, due to the reason that the skopos of the translation is frequently likely to deviate from the intention of the corresponding source language text, a translation cannot satisfy the three rules at the same time．IV. Film subtitle translation of If You Are the One from the perspective of skopostheorieIn subtitle translation of If You Are the One, in particular, its skopos is determined by the intention of its director as the initiator and the expectation of the English speaking viewers as the receivers of the English subtitles; its shape is determined by its skopos and the subtitler. This part is to analyze how the factors mentioned above determine the skopos and shape of translated subtitles in If You Are the One, and how strategies are employed to fulfill its skopos.A. Brief review of the film If You Are the OneThe film for 2008, If You Are the One, stars Feng’s longtime collaborator, Ge You, as a man in his 40s, newly rich, looking to settle down and start a family. Having made an instant fortune through his sale of the Conflict Resolution Terminal 2008, middle-aged entrepreneur Qin Fen (Ge You) turns his attention to finding a wife. Using all online personals service, he auditions potential spouses, but few make a lasting impression. Qin Fen’s stalwart personality is partly to blame；he’s intent on finding a suitable match，and is willing to walk away from even an absolute goddess if there’s a hint of incompatibility. So it goes with comely flight attendant Smiley Liang (Shu Qi), who Qin Fen initially recognizes as a poor match. Regardless, the two commiserate over drinks, where the melancholy Smiley reveals that she’s dating amarried man (Alex Fong). The two parts intends never to meet again, with each returning to their own pursuit of love.But as fate and the screenwriters would have it, Qin Fen and Smiley meet again on all airline flight，with Smiley working, Qin Fen traveling, and Smiley’s boyfriend and wife also present. The coincidence draws Qin Fen and Smiley back together, propelling them on the road to friendship and perhaps more, with occasional stops at fine luxury entertainment locations, where they sip expensive drinks while verbally sparring over their views on love. Qin Fen aims for a home run with his potential mate, while Smiley seems willing to settle if she can’t have her idealized，unattainable love. In response, Qin Fen tries to convince her otherwise while attempting not to appear as he’s trying to. It’s the story of one man’s tough love, except with a picturesque tour of fabulous locations that only people with money can visit. Somewhere in there, Qin Fen’s loyalty and stalwart affection is supposed to comfort Smiley’s wounded heart or something like that.B. An analysis of subtitle translation of If You Are the One based on skoposIn subtitle translation of If You Are the One, in particular, its skopos is determined by the intention of its director Feng Xiaogang as the initiator and the expectation of the English-speaking viewers as the receivers of the English subtitles; its shape is determined by its skopos and the subtitler. This part is to analyze how the factors mentioned above determine the skopos and shape of translated subtitles in If You Are the One and how the strategies are employed to fulfill its skopos.1. Feng Xiaogang’s intentionFeng never denies his wish to defeat the Hollywood films at the box office by adapting Hollywood’s game rules (Rosen 336).Feng discloses that the Associate President of Columbia Pictures, once said to him, “Your films have never been shown in overseas countries and thus you are not known to the viewers outside your country．Big Shot’s Funeral serves as an advertisement to publicize you and I hope it can provide the foundation for your second and third film in the overseas market” (Feng 187). From Mr. Geris’s wish, we can also find F eng’s ambition to gain the market share in foreign countries. And the film If You Are the One has proved to be well received in the North American market.Feng recalls in his book that on a seminar about the making of Big Shot’s Funeral，some people asked him whether the production strategy of the film should beconsidered as Hollywood’s cultural invasion into Chinese film industry. He replies that “it is a win-win deal and a two-edged sword” and that this kind of cooperation is cost-efficient because it “still makes Chinese films，but faces the global market” (Feng 187). As for Feng Xiaogang, the way to revive domestic market and march into international market is to cooperate with foreign film production companies and internationalize domestic film success.From above，we can see that the director’s intention is to bridge the gap between Chinese and foreign cultures and gain market share in foreign countries，which is the major part of translation brief.2.Skopos analysisTo define the skopos, we should verify the translation brief. Although it is said that a brief should be given by the clients, more often than not, it is not the case. Then a translator should have the ability to verify it by himself. The translation brief of the present case could be specified as follows：a. The intended text functions: the main function of the TT is referential. If You Are the One is more a commercial movie than art，the intended text function is first of all referential, to provide information about what is going on the screen. Then it may come the expressive function to relay the sender’s attitude and feelings. The translator must weigh against different functions and decide on the main one. In the present case，it is the referential function that wins the upper hand. Translator has to make a choice according to the skopos of the translation of film subtitle. Feng’s film subtitle translation aims to win the target market so that translator has to produce clear and concise subtitled film dialogues bridging the cultural gaps and make the narrative easily accessible for the audience.Thus, the target audience will find it easier to accept and understand the translated subtitles. Here are some examples.(1)秦奋：不算老实但天生胆小I'm no angel杀人不犯法我也下不去手Just too cowardly to do wrongThe west and east have different religious beliefs. In Christianity, Angel is a good spirit who is kind, lovely and innocent. Here, Qin Fen describes himself as a man who is not well-behaved．So he is not like an angel.(2)别猫哭耗子了Spare me the alligator tearsIn China, there is a proverb“猫哭耗子假慈悲”. This means the cat pretends to be sympathetic to the death of the mouse because she can have it as a meal. In western culture, people think that while having meals, usually an animal, an alligator will shed tears. So alligator tears implies disguised sympathy.(3)有的人是情人眼里才是西施Beauty is in the eyes of the beholder不过分的说, 仇人眼里你都是西施But no exaggeration, even to a foe，you’d be beautifulThe above underlined words or proverbs are all culture-loaded. Domestication is adopted to make the western audience fully understand the film.b. The addressees:It is self-evident that the TT addressees in subtitle translation are the foreign audience, probably adults, who share a different culture background and who are lay of Chinese. To be specific, they are common people who watch it for entertainment and film festival juries who view it with a discerning eye, eg.秦奋：那咱俩要是结婚了So，if we get married非得倒插门我去你们那儿吗I have to go to live with your family?In China, in most cases，after marriage, the wife lives with the husband’s family. “倒插门”means the husband lives with wife’s family. In this sentence, it is deleted since it expresses the same meaning as “我去你们那儿”.c. The time and place of text reception: The time and space of reception is less controversial，which vary in different cases. In this case, the time is up to now from 2008 when it was released to the public and the place is at the very beginning cinema and later on amounts to a wide range of places thanks to the development of technologies such as DVD.So far, the skopos of the translation can be defined as to supplement the film by providing the optimal information for the audience in written form within a limited time and space.V. Film subtitle translation of Curse of the Golden Flower from the perspective of skopostheorieIn this part, the subtitle translation of Curse of the Golden Flower is analyzedwith the background of the skopos theory.A. Background of Curse of the Golden FlowerCurse of the Golden Flower is derived from the story Thunderstorm, one of the best-known masterpieces by the most famous Chinese playwright Cao Yu. But the adaptation doesn’t stay too faithful to the original. The film is a historical drama directed by Zhang Yimou who also co-wrote the screenplay in Chinese. The screen version is established in the 10th century during the short-1ived Late Tang Dynasty, about a thousand years ago.For today’s viewers，it is a story about court intrigues and deceptions. Moreover there are several pivotal factors within the plot, among which, traditional Chinese medicine is the foremost one since the Emperor in the film is gradually poisoning his wife, the Empress, by adding a deadly fungus to her medicine. Zhang Yimou the director gives his explanation of the arrangement that “as for the Emperor’s personality, well, he’d love to stay in the royal pharmacy all the time. He’s a drug freak. That’s how his character is developed and expanded upon. He’s just so into the drug”.B. An analysis of subtitle translation of Curse of the Golden Flower based onskoposThe title of the movie，which is literally translated as “The Whole City is Clothed in Golden Armor”, is the last line taken from a Tang Dynasty poem---Do not Endow with Chrysanthemum Behind written by Huang Chao who rose in rebellion in 875 and died 9 years later.After changing the title several times, the screenwriters as well as the director finally settle on the poem for the reason that it indicates the rebellion taken by the Prince against the Emperor in the movie. The Chinese audience may easily understand the cultural connotation while the English-speaking audience who are not familiar with the background of the poem, due to the great disparity in terms of cultural background, may not comprehend the implicit aspects of the title without the explanatory message or footnote. Consequently, this kind of culturally loaded expressions will put a lot of processing efforts on the target audience. In addition, with the constraints of time and space, if they focus on the reading of the subtitle, they will lose some of the visual and audio information．To solve this problem, the subtitler discards the Chinese title and adapts a new one with the image of the golden flower taken as a symbol to reveal the palace intrigue and the machination of power play to the target audience. The golden flower is designed to function as the symbol of rebellion, which is the same as the title. Hence its images appearing in the film once and again will, in another form, retrieve the loss of the culturally loaded information caused by the substitution since film is a multidimensional art involving visual images, sound, colors and so on. Let’s see some examples:(1)辰时的药煎好了Your Majesty’s medicine for the hour is ready(2)执令官统领后宫羽林军The Imperial Guards protect our private palacesIt is no easy job to translate cultural elements in subtitle translating. The underlined parts of the source text are omitted in the target text since these cultural elements do not deliver adequate information and there is no time to explain all details. Their function can be retrieved by the image and the subtitler is careful enough not to omit information that could at a later stage be essential for the understanding of the story.According to adequacy and equivalence theory, the translator can not offer the same amount and kind of information as the source-text producer. What the translator does is to offer another kind of information in another form (Reiss & Vermeer 123). Located in a broader ecological culture, the subtitling succeeds in producing a communicative interaction in the target text. We may find another example in this film：(3)当年你只是一个小小的都尉At that time，you were only a lowly captain.“都尉”here refers to the low-ranking officer in Tang Dynasty. If a simple transliteration as “Duwei”is adopted, it is completely meaningless to the English-speaking audience and fails to achieve intra-textual coherence. Whether to translate the complete meaning of “Duwei”, on the other hand, makes no difference to the comprehension of the plot for the source text producer just means that the Emperor mounts the throne from the bottom. Therefore the subtitler, by chunking it up, translates it into “a lowly captain” to establish inter-textual coherence as well as intra-textual coherence in the target text.(4)儿臣为了母后从此不再服药You will never drink the poison again.In the film, what the Empress drinks is a kind of Chinese medicine containing the ingredient that will cause a person to lose his or her entire mental faculty. According to traditional Chinese medicine, any medicine has 30% poison ingredients. Therefore some ingredients are useful as well as poisonous. Their curative value is restricted to certain diseases and certain dosage based on the theory of using poison to cure poison. These ingredients belong to the category of medicine despite of their toxicity. By chunking down the medicine into poison, the subtitler defines the meaning in the narrowest sense and makes the implicit information explicit to accomplish intra-textual coherence in the target text．VI. ConclusionA. ContributionSkopostheorie provides translators with a whole new perspective into translation action. This paper conducts a systematic analysis of crucial factors that influence the strategies of subtitle translation, in which skopostheorie is adopted to guide the descriptive and explanatory analysis.On the basis of the above analysis, this paper gets some enlightenment of skopostheorie on subtitle translation. The enlightenment of “intra-textual coherence”on subtitle translating is that the target receiver should be able to understand the translated version of subtitle. And the translated version should make sense in the communicative situation and culture in which it is received. The subtitler should always keep the target viewers in mind. After exploring the main components of skopostheorie and analyzing the specific constraints in film subtitle translation, the author tries to find out some enlightenment of skopostheorie on subtitle translation. In order to find out the enlightenment, this paper analyzes Feng Xiaogang’s film in light of skopostheorie. The film If You Are the One proves to be successful in its target market. Therefore, this paper tries to find out influencing factors that affect the subtitler’s choice of strategies.The author gives focus to the skopos of subtitle translation, the more influencing role of the film director in subtitle translation and the importance of target audience. With reference to skopostheorie，subtitle translating is a purposeful activity and thepurpose of the whole translational action is the prime principle that determines the translation process. The basic purpose or skopos of subtitle translation is to aid the viewers with a translated film dialogue, to provide them with the most relevant information in the most effective way within its specific constraints，to help them in understanding what’s happening on the screen with ease.B. LimitationsOwing to the limitations of time and space，the source data collected for the thesis is limited. Meanwhile because of the knowledge limitations this paper can not deeply analyzes the translation of Chinese film subtitles into English ones from the perspective of skopostheorie. It is the author’s sincere wish that if possible, in the future, further research can be done on comparative study on Chinese-English translation and English-Chinese translalion of film subtitles.Work CitedBaker, Mona. Routledge Encyclopeata of Translation Studies. Shanghai：Shanghai Foreign Language Education Press(2004)：Baker,Christiane, Nord. Translating as a Purposeful Activity: Functional Approaches Explained.Shanghai: Shanghai Foreign Language Education Press, 2001.Feng, X. G[冯小刚]我把青春献给你武汉：长江文艺出版社2003: 187Gottlieb, H. Teaching Translation and Interpreting. Amsterdam: John Benjamins Publishing Company, 1998Gottlieb, H. Media Translation. Amsterdam／Philadelphia: John Benjamins Publishing Company, 2001Gottlieb, H. Subtitfing: Diagonal translation In C. Dollerup et al. (eds), Perspectives Studies in Translatology. Copenhagen: University of Cpenhagen, 1994 l01-121．Gottlieb, H. Anglicisms and TV Subtitles in an Anglified World: [A] Gambier Yves, 249-258 Gottlieb, H.Subtitling-a new university discipline in Teaching Translating and Interpreting. (eds) Dollerup, Cay＆A. . Amsterdam: John Benjamin. 1998: 247Katharina, Reiss. Translation Criticism: The Potentials＆Limitations. Shanghai: Shanghai Foreign Language Education Press, 2004.Katharina, Reiss and Hans J. Vermeer. Grundlegung einer allgemeinen Translationstheorie.Tubingen：Niemeyer, 1984,Michael. Overcoming Language Barriers in Television. [M] Manchester: European Institute forthe Media 1991.Luyken,George-Michael. Overcoming Language Barriers in Television. [M] Manchester: European Institute for the Media 1991.Merriam-Webster. Merriam Webster's Collegiate Dictionary. 1997：1175Rosen，S．(2002)．狼来了：好莱坞与中国电影市场,. 全球化与中国影视的命运336-360. (S.Y Sun, Trans.). Shanghai: Shanghai Foreign Language Education Press. 1994-2000 Vermeer, Hans J. Skopos and Commission in Translational Action in Chesterman(ed). 1989, 20-233.。
英文电影字幕的翻译方法与技巧
英文电影字幕的翻译方法与技巧英文电影字幕是观众在观看外语电影时非常重要的辅助工具，它能够帮助观众更好地理解电影对白内容，进而享受到更好的观影体验。
对于翻译人员来说，如何准确、流畅地翻译电影字幕显得尤为重要。
本文将从翻译方法与技巧两个方面来探讨英文电影字幕的翻译方法与技巧。
一、翻译方法1. 直译法直译法是最常见的一种翻译方法，它是指将源语言内容直接翻译成目标语言，不做过多的增删改动。
在电影字幕的翻译中，直译法常常用于一些简单、直接的句子。
当原文中出现“I love you” 这样的表达时，翻译人员可以直接翻译为“我爱你”，这样的翻译方法能够保持原文的原汁原味，也更容易被观众理解。
译化法是指在翻译过程中，翻译人员会根据原文内容进行一定程度的适应或改动，使得翻译结果更符合目标语言的口语特点。
在电影字幕的翻译中，译化法常常用于一些口语化的表达或者一些特定场景下的台词。
当原文中出现“I’m gonna kick your ass” 这样的表达时，翻译人员可以译化为“我要揍你了”，这样的翻译方法能够更好地把握原文情感，同时符合目标语言的口语习惯。
二、翻译技巧1. 熟悉背景知识在进行电影字幕翻译时，翻译人员需要对电影的题材、背景、文化等方面有所了解，这样才能更好地理解台词内容，并且做出更准确的翻译。
如果是一部古装电影，翻译人员需要对古代生活、礼仪、风俗等方面有所了解，才能更准确地翻译相关对白。
2. 保持节奏和韵律电影字幕的翻译需要保持原文的节奏和韵律，这样才能更好地呈现出原文的情感和氛围。
在翻译过程中，翻译人员需要注意句子长度和语气，并且尽量保持与原文相似的节奏和韵律。
3. 注意上下文在进行电影字幕翻译时，翻译人员需要在翻译过程中考虑上下文，尽量使得翻译结果更符合原文的意思，并且更好地适应当前情境。
翻译人员在进行翻译时需要考虑上下文的逻辑关系，尽量做到符合语境的翻译。
4. 精准表达情感电影是一个感情表达的艺术形式，因此在电影字幕翻译中，翻译人员需要尽量准确地表达原文中蕴含的情感和情绪。
电影字幕翻译类论文
电影字幕翻译类论文随着电影事业的发展和扩张,影视作品,作为一种大众文化,在跨文化交流中扮演着重要的角色,而影视翻译是进行此交流过程的关键因素。
下文是店铺为大家搜集整理的关于电影字幕翻译类论文的内容，欢迎大家阅读参考!电影字幕翻译类论文篇1浅谈电影字幕翻译的策略电影字幕翻译是一个新兴的翻译领域，不同于其他形式。
它在语言的逻辑性，艺术性，感染力等方面都有更高的要求;较之单纯的文学翻译，电影字幕翻译又有更高的通俗性和广泛性。
因此影视翻译中的真正难点并不在于词汇或是文章的严谨缜密，而往往在于最普通最地道的语言。
然而当前英语影片字幕翻译的标准很不统一，这无疑会影响影片的质量和观众的理解。
钱绍昌在2000年说过如今译制片受众的数量远远超过翻译文学作品受众的数量，影视翻译对社会的影响也绝不在文学翻译之下。
由此不难看出电影字幕翻译的重要性。
电影字幕翻译概述通常来说，影视翻译中最常见的策略就是配音(dubbing)和字幕翻译(subtitling)。
配音是对源电影对白的语言符号的听觉代替过程;字幕翻译是对源电影对白的书面翻译形式，是电影画面的一种视觉不足。
字幕可分为两种：语内字幕(intralingua subtitles )和语际字幕(interlingua subtitles )。
本文所说的字幕翻译即语际字幕翻译，也就是在保留影视原声的情况下将源语译为目的语叠印在字幕下方，尽最大限度让观众欣赏到原汁原味的作品。
二十世纪八十年代曾是电影配音的黄金期。
如今，随着社会的发展，带字幕的原声电影越来越受到观众的欢迎和喜欢。
电影字幕翻译是跨文化交流的一种途径，其作用主要有两个：一是更多的提供信息，让那个观众更好的理解剧情的发展;二是有助于听力或智力有障碍的人在一定程度上能够看懂并理解电影内容。
因此，从观众的角度来说，电影字幕翻译要通俗易懂，雅俗共赏。
电影字幕翻译的约束因素每一种翻译都有其制约因素，电影字幕翻译也不例外，主要表现在三个方面：时间约束、空间约束和文化约束，其中以时空约束最为明显。
英文电影字幕的翻译方法与技巧
英文电影字幕的翻译方法与技巧英文电影字幕翻译是一项非常具有挑战性和复杂性的任务，需要翻译者具备良好的语言功底和对电影文化的深刻理解。
下面是英文电影字幕翻译方法与技巧的详细介绍。
一、字幕翻译的准备工作1.了解电影制作的背景和主题字幕翻译与电影所表现的背景以及主题密不可分。
因此，翻译者需要对电影的背景和主题有深入的了解，包括文化、历史、社会、政治等方面。
2.研究电影中各种音效的含义电影中的音效被看作是电影中非常重要的一部分。
因此，在翻译电影字幕时，翻译者需要对电影中各种音效有充分的理解和研究，包括配乐、声音效果等等。
3.掌握英文电影中常见的俚语和口语短语英语中有很多的俚语和口语短语，在电影对话中比较常见，如果翻译者不了解这些俚语和口语，就很容易出现翻译偏差，影响翻译质量。
4.选择合适的翻译软件和辅助工具现如今，市面上的翻译软件和辅助工具非常多，翻译者可以选择合适的翻译软件和辅助工具来提高翻译效率和翻译质量。
1.保持字幕简洁明了在翻译电影字幕时，尽可能使字幕简洁明了，用词简练，避免出现过于复杂的句子和使用过于生僻的词汇等等。
2.尽可能保留原文的原意和语气在翻译电影字幕时，尽可能保留原文的原意和语气是非常重要的，避免出现翻译过程中产生的歧义和误解。
3.遵循时间和空间的原则在翻译电影字幕时，需要考虑时间和空间的因素，遵循原文表现的时间和空间的限制，以便更好地传达电影的情节和故事性。
4.尽可能使用标准语言在翻译电影字幕时，尽可能使用标准语言，避免使用方言和口语，特别是在表现电影的情节和主题方面。
5.遵循文化差异原则在翻译电影字幕时，需要考虑到文化的差异，保留原文中的文化特色和习惯用语，但也要考虑到目标语言的文化差异，以便更好地传达电影的意义和主题。
三、字幕翻译的质量控制1.听取和采纳其他人的意见和反馈字幕翻译是一项非常具有主观性的过程，因此，翻译者需要听取和采纳其他人的意见和反馈，以便更好地提高翻译质量。
2.进行反复校对和调整在翻译电影字幕后，需要进行反复校对和调整，以确保字幕的准确性和适当性，并进行必要的修改和调整。
浅谈小学英语教学论文浅谈英语电影字幕翻译论文
浅谈小学英语教学论文浅谈英语电影字幕翻译论文浅谈英语电影字幕翻译论文篇一《浅谈英语电影字幕翻译》【摘要】随着近几年来中外文化交流的深入,大量的外国影片被引介到中国,在娱乐人们眼球的同时,也促进着人们对于影片欣赏水平能力的提高。
国外影片的引进,也刺激了另一个新兴领域字幕翻译的发展,本文旨在通过探讨英语电影的字幕特点,以期提出一些翻译策略。
【关键词】英语电影;字幕特点;翻译策略一引言近年来随着对外文化交流的发展与深入,一大批优秀的外国影片被引进到中国,受到人们的喜爱。
大量国外影片的引进,带动了英语字幕翻译需求的增长,然而,关于英语电影字幕翻译的标准始终未有一个统一的标准,但由于影视作品是剧作者根据自身生活的经历或经验创造而成,反映了一定的社会文化背景,其语言对白具有不同于其他文体的显著特点。
因此,在对英语电影翻译时,应把握住其特点进行翻译。
二英语电影字幕的语言特点1 口语性以剧情为主的影视作品一般主要是靠角色之间的互动来展开情节,这种互动一般以对话来呈现。
既然是对话,就是生活中浅显易懂的日常口语,即简短、直接、生动,并且含有较多的非正式语及俗语等。
2 文化性著名翻译家Nida 指出:语言是文化的一部分,任何文本的意义都有直接或间接地反映一个相应的文化,词语意义最终也只能在相应的文化中找到。
译制片本身就属于艺术的二度创作,目的就是向目的语观众介绍国外文化,促进民族文化的发展。
3 服务性英语字幕不是独立存在的。
它必须与影视作品的画面、声音等结合在一起才具有意义。
如果把一段字幕抽取出来,单看其内容,是无法了解其真正涵义的,而其最终目的决定了字幕的服务性的特点。
4 时空受限性既然字幕不可能独立于画面和声音而存在,这也就决定了其在时间停留和空间安排上都受到限制的特点。
一方面,它不可能象书本上的文字一样长久停留在同一处,静止不动。
随着与其语境相吻合的画面和声音的消失,它也必然消失,被下一句字幕所取代,即字幕瞬时性的本质。
英文电影字幕的翻译方法与技巧
英文电影字幕的翻译方法与技巧英文电影字幕翻译是一项十分重要的工作，因为它可以让观众更好地理解英语语言及文化背景，为英语学习者提供了一个宝贵的学习资源。
下面是一些英文电影字幕翻译的方法与技巧。
1. 翻译原则：1.1准确性电影字幕翻译应该准确反映原版电影对话的意思。
在翻译时，需要尽可能精细地理解原文。
在翻译过程中，译者应该尽可能准确地翻译语言，比如单词、句子、意义等等。
1.2简洁性电影字幕翻译必须简洁、清晰明了。
轻松的阅读材料能够更好地吸引观众的注意力。
在翻译时需要注意文本的分隔符、句型等等，不要切断原文中被分开的句子。
1.3一致性在翻译过程中，重要的是尽量保持字幕翻译的一致性，比如术语、时态、语气等等。
这会让人们更加容易理解翻译内容。
2.字幕翻译技巧（1）在字幕翻译中，需要注意语言的地区差异。
比如，英语中的颜色等术语，美国和英国的术语可能有所不同。
如果你不确定，最好利用网络来查询相关标准词汇表。
（2）使用靠谱的电影翻译软件，比如Subtitles Translator、Avi Subtitle和Subtitle Workshop。
这些软件具备多种功能特点，比如自动翻译，字幕编辑等等，以此提高翻译效率和一致性。
（3）要使用译文，需要与原版电影匹配。
在使用译文时，同时要遵循字幕翻译的标准。
例如，避免使用第二人称，但可以使用“你”代替“他”。
（4）要小心翼翼地处理文化差异。
有些文化差异因为句子的语言文字而导致翻译困难。
这时你可以借鉴经典的翻译，寻求专家的帮助，或采用本地人可以理解的文化差异来翻译。
(5) 在翻译中，注重电影屏幕上的信息与字幕之间的协调。
字幕可以包括镜头、场景、对话和音效。
字幕还应与时长和角色数量保持一致。
特别是在电影语言翻译上，应特别注意时间和人物名字的一致性。
3.最佳实践- 先观看原片，然后开始翻译。
这样，你可以更好地理解电影的内容、剧情、人物等元素，并减少翻译过程中的错误。
- 翻译的同时，建议在每个时间戳上添加注释、像是音效及配角宣发者的备注等等。
谈英语影片的中文字幕表达特点与技巧
摘要：英语影片的字幕翻译是我国一个新兴的翻译领域。
需要译者对原文进行提炼和再加工，既要保持原影片的语言风格，又要力求简明易懂，真实的传递影片的内涵，从而使观众更好地欣赏英语影片。
字幕翻译既具其他翻译领域的共性，同时又有其独特性。
本文从电影字幕翻译的特点入手，通过具体实例，对其翻译策略进行阐述分析。
尽量做到以观众为中心，促进不同文化的交流，使电影观众更好地欣赏英文影片。
关键词：英文电影字幕翻译；语言特点；文化转换；翻译技巧信息时代的飞速发展使得影视作品交流日益频繁，随着网络时代的到来和现代生活节奏的加快，配以字幕的英文影视作品能让观众在短时间内获取最大的信息量，同时也能欣赏到“原汁原味”的影视作品。
因此，对国外影片字幕翻译的数量和翻译者队伍的规模都在不断壮大。
作为影视翻译的一个重要组成部分，电影的字幕翻译具有其独特性，本文从其特点入手，探讨了电影字幕的翻译技巧和策略。
一、电影字幕翻译的语言特点影视语言与书面文学语言不同，英文影片的字幕翻译不单纯是文字翻译的问题，还涉及媒介手段的转换，即以文字的形式表现原语影片中人物之间转瞬即逝的语音对白，因此具有瞬间性。
电影对白是电影的重要组成部分，人物性格、心理以及情感都会通过对白表现出来，电影人物对白在语言类型上属于口语范畴，将其转化为字幕译文时，语言既要通俗易懂，又要清晰简洁，连贯流畅，尽量和原文风格保持一致，所以具有口语化的特点。
与此同时，由于影视作品的受众群体较为广泛，因此译文在文体、用词等方面要注意其通俗性和大众化的特点。
使字幕译文完整的传达故事情节，使译语观众能够享有与原语观众相似的体会和感受。
1．口语化的特点影视语言与书面文学语言不同，它有口语化、瞬间性、通俗性、制约性和无注性的特点。
影视语言本身绝大部分是由人物对白构成，对白的内容是整个作品的核心。
优秀的对白翻译要遵从其口语化的语言特色。
所谓口语化，就是指演员或者人物的道白与对话都是日常用语。
因此电影或电视剧的语言不能过多的咬文嚼字，不能过多的使用修饰词，要求译文必须贴近生活、易于上口，符合中国人的语言习惯。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
浅谈英语电影字幕翻译(一)
【摘要】随着近几年来中外文化交流的深入,大量的外国影片被引介到中国,在娱乐人们眼球的同时,也促进着人们对于影片欣赏水平能力的提高。
国外影片的引进,也刺激了另一个新兴领域—字幕翻译的发展,本文旨在通过探讨英语电影的字幕特点,以期提出一些翻译策略。
【关键词】英语电影;字幕特点;翻译策略
一引言
近年来随着对外文化交流的发展与深入,一大批优秀的外国影片被引进到中国,受到人们的喜爱。
大量国外影片的引进,带动了英语字幕翻译需求的增长,然而,关于英语电影字幕翻译的标准始终未有一个统一的标准,但由于影视作品是剧作者根据自身生活的经历或经验创造而成,反映了一定的社会文化背景,其语言对白具有不同于其他文体的显著特点。
因此,在对英语电影翻译时,应把握住其特点进行翻译。
二英语电影字幕的语言特点
1口语性
以剧情为主的影视作品一般主要是靠角色之间的互动来展开情节,这种互动一般以对话来呈现。
既然是对话,就是生活中浅显易懂的日常口语,即简短、直接、生动,并且含有较多的非正式语及俗语等。
2文化性
著名翻译家Nida指出:语言是文化的一部分,任何文本的意义都有直接或间接地反映一个相应的文化,词语意义最终也只能在相应的文化中找到。
译制片本身就属于艺术的二度创作,目的就是向目的语观众介绍国外文化,促进民族文化的发展。
3服务性
英语字幕不是独立存在的。
它必须与影视作品的画面、声音等结合在一起才具有意义。
如果把一段字幕抽取出来,单看其内容,是无法了解其真正涵义的,而其最终目的决定了字幕的服务性的特点。
4时空受限性
既然字幕不可能独立于画面和声音而存在,这也就决定了其在时间停留和空间安排上都受到限制的特点。
一方面,它不可能象书本上的文字一样长久停留在同一处,静止不动。
随着与其语境相吻合的画面和声音的消失,它也必然消失,被下一句字幕所取代,即字幕瞬时性的本质。
另一方面,字幕的空间存在也受到较大限制。
影视剧最大的魅力就在于其图像与声音的完美结合。
字幕作为并非必要的一种后来添加物,其存在的前提便是不能对画面的整体视觉效果造成较大的破坏。
因此,字幕的排版也必须符合审美标准。
在长期的字幕制作实践中,字幕的外观效果形成了较统一的评判标准,字体不能过大,也不能过小。
另外,每一句字幕的长度也受到限制。
由于画面是一闪而过,字幕停留的时间较短,往往只有两三秒甚至更少,因此内容不能太多。
同时,是否添加标点符号,哪些标点可以省略,哪些不能省略,这些问题也必须加以考虑。