浅析英文电影网络字幕翻译
[英语,字幕,电影]浅谈英语电影字幕翻译
![[英语,字幕,电影]浅谈英语电影字幕翻译](https://img.taocdn.com/s3/m/b06e1f237c1cfad6185fa759.png)
浅谈英语电影字幕翻译一、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，它不可能像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。
三、字幕翻译常用方法1.直译法由于不同国家的文化在大多数情况下是重叠的，所以原语言观众和目的语观众有相同或相似的认知环境。
在没有出现文化差异的情况下，直译足够帮助目的语观众获得最佳关联。
美剧字幕翻译浅析
美剧字幕翻译浅析作者：汪宁静来源：《校园英语·中旬》2016年第06期【摘要】身为电影、电视剧等影视作品的展现形式，字幕通常出现在屏幕底部。
从本质上来看，字幕翻译就是将源语转化为目的语的一种形式。
鉴于影视剧翻译涉及多个学科，因此字幕翻译也具有跨学科的特点。
本文以美剧绝命毒师为例，分析了不同情境下字幕翻译所使用的不同对策。
【关键词】字幕翻译绝命毒师一、导语《绝命毒师》是一部美国剧情类悬疑惊悚剧，讲述高中化学教师Walt White成为制毒高手的故事。
身为本分的高中教师，Mr. White一家人的生活本就捉襟见肘，然而跟在他身后的还有一个怀孕的妻子以及一个智障的儿子。
更糟糕的是，他还被查出癌症晚期。
遭受身心重创的他因此做出一个惊人的决定—制毒。
而这一决定最终导致他一步步走向罪恶的深渊。
选择该剧作为研究对象出于以下两个原因，其一在于该剧的热门程度。
在 IMDB（互联网电影资料库）中，该剧在全球电视剧排名中名列第三，并获得第65届艾美奖“剧情类最佳剧集”奖。
此外，该剧的台词贴近生活，受众广泛，并带有幽默风趣色彩。
二、字幕翻译研究不言而喻，字幕在外国影视作品的观影中起着至关重要的作用。
然后这并不意味着字幕就等同于影视作品！纵观国内外字幕研究现状，与之相关的论文、作品数不胜数。
1974年，国外第一篇有关字幕翻译的论文面世，题为：Subtitle of Television Programs. 1982年Titford 发表Subtitling： Constrained Translation，引入受限翻译这一概念，为多数字幕译员解决了难题。
1992年，瑞典字幕译员Ivarsson 出版了Subtitling for the Media： Handbook of an Art一书，该书被誉为第一本字幕专著。
较于外国，本国的字幕翻译研究起步较晚。
1998年，张春柏教授总结了影视作品翻译的本质、原则和技巧。
电影字幕翻译参考论文
电影字幕翻译参考论文电影字幕翻译是多媒体翻译的一个重要组成部分，在翻译领域中占有重要的位置。
下文是店铺为大家搜集整理的关于电影字幕翻译参考论文的内容，欢迎大家阅读参考!电影字幕翻译参考论文篇1浅析电影字幕翻译中的差额翻译一、引言电影自诞生之日起，就以它独具魅力的艺术表现力赢得了广大观众的青睐。
在信息全球化发展的今天，影视作品更是以直观与便捷的优势成为了解异域文化与学习外语的重要途径之一。
影视翻译因此也得到了空前的发展。
字幕翻译(subtitling)较之译制(dubbing)，以其制作成本低、周期短的特点成为影视翻译最为常用的方法之一。
然而，正如Birgit Nedergaard-Larsen所言，字幕翻译是一种特殊的语言转换，并非单一地从源语言到目标语言的转换过程，期间涉及诸多文本以外因素的处理，如声音、图像、画面的融合等因素[1]。
由于受到时间和空间的限制，电影字幕翻译通常采用浓缩、删减、添加等方法来尽可能保持画面、声音与字幕的统一，超额与欠额翻译在所难免。
同时，超额与欠额翻译一直以来是翻译学术界讨论的热点错误类型。
因此，如何看待字幕翻译中的超额、欠额翻译便迫在眉睫且具有现实意义。
二、超额翻译与欠额翻译彼得·纽马克在《翻译问题探讨》(Approaches to Translation)提出了交际翻译(communicative translation)和语义翻译(semantic translation)的概念。
交际翻译倾向于流畅、简单、清晰、直接的翻译方法，遵守某一特定的语域，是一种“欠额翻译”;语义翻译则倾向于细致、繁复、晦涩难懂的翻译方法，较之译者的意图，翻译更侧重思维过程的再现，因而是一种“超额翻译”[2]。
超额翻译是对所译材料进行补充加工，进行超出翻译范围的改造，而欠额翻译则是在某些方面不符合翻译规范的语言中介类型，是缩写或节译。
简言之，超额翻译是指译语文本承载了比源语文本更多的信息量，表述方式相对具体;而欠额翻译是指译语文本承载的信息量小于源语文本，译语文本更加概括[3]。
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。
浅谈功能对等理论视角下英文电影字幕翻译的技巧
校园英语 / 翻译研究浅谈功能对等理论视角下英文电影字幕翻译的技巧云南农业大学外语学院研究生/王首斌【摘要】当今中国，随着经济，政治，文化全球化的发展，随着文化交流的不断深入，中国电影市场和电视播放机也开始增长。
因此，电影字幕的翻译也得到了更多的实践者。
影视翻译有“视听性”，它转瞬即逝，要的是当时一瞬间带给观众的视听感受，越自然、越生活化、越口语化越好。
最理想的状态是观众听了就觉得是人日常生活中说的话。
而且要一听就懂，不需要停下来思考。
由于英语和汉语的不同，即是是同一件事，同一个道理，说起来也可能很不相同。
纸面文学翻译中或许可以保留原来的说法，供读者多次琢磨，但是视听艺术对这方面的要求更高。
本文从通过功能对等理论的方面，结合实例展示翻译电影字幕的作用。
【关键词】功能对等 电影字幕 翻译一、功能对等理论的本质美国著名翻译家尤金·A·奈达根据翻译的本质，从语言学的角度出发，提出了著名的“动态对等”翻译理论，也就是我们常说的“功能对等”。
他认为：“所谓翻译，是在译语中用最切近而又最自然的对等语再现源语的信息，首先在意义上，其次在文体上。
”在这一定义中，“切近”是指“切近源语的信息”；“自然”是指“译语中的表达方式”；“对等”把上述两者结合起来，是对等语(equivalent)，而不是同一语(identity)。
在某种意义上来说，强调的是信息对等，而不是形式对应(formal correspondence)。
奈达功能对等理论的提出在翻译界掀起了不小的波澜，由于其定义中强调了以内容为主、形式为次这一主张，因此引起了不少人的误解。
1.“功能对等”的理论基础。
尤金·A·奈达(Eugene A. Nida，1914年11月11日-2011年8月25日)，美国现代著名的语言学家和翻译理论家，在1964年出版的《翻译科学探索》一书中，从社会语言学和语言交际功能的角度，提出了“动态对等”(dynamice quivalence)理论。
英文电影字幕翻译解析
Free translation (意译)
Condensation (缩译法)
1) Reduce the source text (缩减原文)
例：They don't cover anything when they put it in the fridge. They just stick it in and leave it there till it walks out by itself.
3. We've been following clues, doing real police work. 译：顺着蛛丝马迹，做好本职工作。
有助于译文的凝练、贴切和概括，使译文更加生动有力
Annotation（加注）
Annotation（加注）
由于英汉文化存在许多差异，因此 英语中某些文化词语在汉语中根本就没 有对等词，形成了词义上的空缺。在这 种情况下，英译汉时常常要采用加注法 来弥补空缺。加注通常可以用来补充诸 如背景材料、词语起源等相关信息，便 于读者理解。
加注内容一定要短小精悍，否则加 注太长，观众看起来费力。
Common Translation Skills
• Literal Translation (直译)
• Free Translation (意译)
• Consendation (缩译法)
• Four-character Chinese
Structure
Limiting Factors
Space
The screen size
The number ofe
The duration of sound and image
浅析英美影视剧的字幕翻译
浅析英美影视剧的字幕翻译作者：邓魏维来源：《校园英语·上旬》2015年第05期【摘要】因为影视作品的个性特征，字幕翻译具有了一定的难度。
需要找到一些合适的翻译方法，才能展现原片的思想和艺术。
【关键词】字幕翻译个性方法一、概述网络迅速发展，我国的影视行业趁着这股东风在破浪前进，其势头可谓是前所未有。
影视剧演员层出不穷，影视剧产量与日俱增，影视剧质量推陈出新。
不仅国内的影视业表现出生机勃勃的势头，大量的海外影视剧也涌入中国的市场，红鼻子蓝眼睛的洋大人行走在中国的银幕之上。
但是，海外影视剧如果想要向中国观众充分地传达作品的内涵，就必须突破语言的局限，字幕的匹配这时成为无二的选择。
字幕是通过文本来实现语言的沟通，让不同语种的观众在短时间内品味到海外的文化精粹，是影视爱好者的阵地，是语言学习者的平台。
在我国，外国文学作品的翻译具有悠久的历史，影视剧的翻译却相对短促。
虽然已经以字幕或者配音的形式翻译了大量海外影视剧，但影视翻译仍是一个新兴的行业，并未引起专家和学者的重视，研究人员和论文数量都屈指可数。
曾有人指出，在我国，影视作品受众的数量与翻译界的重视程度不相匹配。
究其原因，影视作品翻译的个性对影视翻译的研究形成了重大的影响。
二、影视翻译的个性1.多重文本。
电影是通过画面和声音两种媒介来刺激观众的视觉和听觉，从而传递自身信息，画面和声音互相依助，互为补充，组成影视作品的二维效应。
所以，翻译者所面对的并不是孤立的文字文本，而是配合了色彩和声音的多重文本；研究者不只要比对源语和译语，还要综合考虑多种因素。
2.长度限制。
文学作品的译语是印在书纸上的，观众可以反复地阅读甚至吹毛求疵。
影视作品的字幕翻译却具有时空的瞬间性，观众只能一扫而过。
观众视野的有限性对字幕长度提出了高要求，字幕长度应该在11—15个词为宜，以与讲话人的声音同步。
这要求翻译必须简洁、概括、少修饰和晦涩之词。
3.大众化。
影视作品的商业性决定了它是一种大众的艺术，必须尽可能地扩大观众范围。
以目的论视角分析网络流行语在英汉电影字幕翻译中的使用
目录
单击此处添加文本 目的论视角下的网络流行语翻译 网络流行语在英汉电影字幕翻译中的使用 网络流行语在英汉电影字幕翻译中的策略选择 网络流行语在英汉电影字幕翻译中的实践案例分析 目的论视角下网络流行语在英汉电影字幕翻译的未来发展
目的论的定义和原则
添加 标题
目的论的定义：翻译的目的是通过传达原文本的意义和形式，使目标读者能够理解和欣赏原文本。
添加 标题
目的论的原则：目的论有三个原则，即目的原则、连贯性原则和忠实性原则。目的原则是指翻译的目的决定翻译的策略和方 法；连贯性原则是指翻译后的文本必须符合目标语言的表达习惯，使读者能够理解和接受；忠实性原则是指翻译后的文本必 须尽可能地忠实于原文，保持原文的意义和形式。
感谢您的观看
案例对比与启示
案例一：网络流行语在英汉电 影字幕翻译中的实践案例分析
案例二：网络流行语在英汉电 影字幕翻译中的实践案例分析
案例三：网络流行语在英汉电 影字幕翻译中的实践案例分析
案例四：网络流行语在英汉电 影字幕翻译中的实践案例分析
目的论视角在网络流行语翻译中的发展趋势
目的论视角下网络流行语翻译的未来发展将更加注重文化交流与传播 随着技术的进步，网络流行语翻译将更加注重语音和口音的还原 未来网络流行语翻译将更加注重语境和语气的表达，以更好地传递情感和意义
目的论视角下网络流行语翻译的未来发展将更加注重跨文化交际能力的培养和提高
电影字幕翻译在网络流行语传播中的作用和影响
促进跨文化交流， 让更多人了解和接 受网络流行语。
扩大网络流行语的 传播范围，提高其 影响力。
丰富语言文化，为 人们提供更多表达 方式和沟通渠道。
推动语言创新和发 展，促进语言文化 的多样性和包容性 。
由《美食总动员》浅析英文电影配音和字幕翻译
由《美食总动员》浅析英文电影配音和字幕翻译吴宁（上海外国语大学研究生院上海200083）中图分类号：H315.9文献标识码：A文章编号：1672-7894（2014）02-0117-02摘要如何判断一部英文电影配音和字幕翻译的优劣?一部优秀的英文电影的配音和字幕有哪些特点?本文通过对《美食总动员》这部英文动画电影的配音和字幕的赏析,总结出英文电影配音和字幕翻译需要注意的若干要素。
关键词英文电影配音字幕翻译A Brief Analysis on the Dubbing and Subtitle Translation of English Movies:Exemplified by"Ratatouille"//Wu Ning Abstract How can we judge whether the dubbing and subtitle translation of an English movie is good or not?What characteris-tics does the dubbing and subtitle translation of an excellent English movie possess?Through the appreciation of the dubbing and subtitle translation of the English animated movie"Rata-touille",this paper summarizes several factors that should be no-ticed in the dubbing and subtitle translation of English movies. Key words English movies;dubbing;subtitle translation小米是一只外表看上去很普通的老鼠，然而上天却赋予了它无与伦比的天赋———异于同类的嗅觉。
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.。
- 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)。
— —
—
—
法 ”—— “ 表层结构与深层 结构”的基础上， 提 出了翻译应 以 员通 常都 是业 余爱好者和在校学生 ， 其中不乏抱着 学习英语 文 反映深层结构 的 “ 功 能对等 ”为主， 而不应 该只是单纯反映表 化提 高英语水 平心理的人 ，其 自身英文知识和水平有限 ， 在 字 幕翻 译过程 中 自然 就会频 繁 出现 低级语言 错误和文 化误解 的 层结构 的 “ 形式对应 ”， 这样读者才 能通过译者 的翻 译既理解 原文意思又可 以达 到欣 赏原意的效果， 有助 于对 影片中所体现 现象 。如 在许 多字幕翻译 中常见 的标 点混乱 、格式错用 、名 称 不一 、语句晦涩 、结构冗长 、不 理解 原义 、盲译等 问题 ，都是 的文化 因素 的吸收和理解 。 翻译 的本质就 是释 义，在 英文 电影字幕 翻译中 ，就是指将 没有严格把 关控制翻译人员及译文质量 的后果 。 原字幕 的意思用 中文重 新表 达出来呈现给观众 ， 使听不懂英文 ３ 、电影字幕翻译策 略 或英文较差 的群体 能够通过 字幕 获取英文信息 。 奈达坚持翻译 英 文 电影在 中国英语 学习者 的语 言学 习过程 中有不可 忽 的 内容高于其形式 ，提倡译者注重 内容 呈现，但 并不赞 同形式 视 的作用及 影响力， 学 习者通过 英文 电影字幕 可以获取 大量 语 可 以随意更变 的观 点，他强调，注重 内容忽略形式 ，原文的美 言知识及 文化 信息，在 当今 网络如此发达的时代 ，网络 电影的 而网络电影 感必将丧 失，译文会过于枯燥 乏味；而注重 形式忽略 内容无疑 便利和快捷使 其成为备受关注的娱乐和学习媒介 ， 字幕制作 的低 门槛 和低质量应该得到学者和译者 的重视 。 根 据 将造成译文与原文 意思不符 ，华 而不实 。 奈达 的功 能对 等翻 译理论及对 目前字幕翻译现状 的分析 ， 笔者 ２ 、英文 电影字幕翻译 中存在 的问题 然成为 国家之 间语 言和 文化 的理想传 播载体， 在 国际跨文化交 际和文化传播 中具有重 要作 用， 而影视作 品的翻 译无疑也是当 今深 具影 响力 的翻译 活动之 一 。字 幕翻译在 保 留原语言 的同 时 ，还具备 了效率高制作 周期 短的优 势，这 使得 制作公司及 网 络字幕 团队大量涌现 ， 在英语影片 的字幕翻译 中存在着大量 的 释义不对等 、语 言输 入错误、语句不 同等 问题 。虽然影视翻译 对文化交流及语言 学习有很 大的潜在影响力 ， 但 与传 统翻译的 研究程度 比较其相关研 究却 很单薄， 并没有完整 的系统的体系 和理论指 引， 这也是导致 目前 网络 电影字幕翻译 泛滥质量欠缺 作为二十世纪 的新 兴媒 介， 影视作 品凭借 自身独 特优势 已 试 图找出合适 的翻 译策略并对 网路字幕翻译者提 出几点建议 。 首先 ，作 为电影字幕 的翻译人员 ， 应 该具备 良好 的语言素 养 ，对英文词汇 、语法 、句法 、语 篇等有 详细的了解 并精准 掌 握其细节和 具体用 法，中英文理解能力强 ，并能熟练转 换两 种 语言 的不 同表 达方式，在字幕翻译完成时 ， 应 进行 多人 校对 工 作 ，避 免或基本杜绝 出现简单语法错误 ，语言搭配不 当，句 子
英语 电影字幕翻译过程 中的文化 因素及 问题并提 出相应 的翻译 策略 。通过对 当前 中国字幕翻译 现状和问题的分析 ，本 文总 结 出三 条 网 络 字 幕 翻 译原 则 ：准 确 ， 简 洁 ， 达 到 功 能 对 等 。 ［ 关键词］ 字幕翻译 ；文化 因素 ；功能对等 ２ ． ２字幕翻译 门槛低 。 电影字幕 翻译者的薪水并不可观， １ 、功能对等理论 尤金奈达在 １ ９ ６ ４年 出版 的 《 翻译科学探 索》中 ，以社会 面对 着枯燥 繁重 的翻译量 ，许 多译者都承 受着很 大的心理压 语 言 学 和 语 言 交 际 功 能 为 出 发 点 ， 提 出 了动 态 对 等 理 论 力 ， 通常字幕翻译会招录有 兴趣 爱好的免费翻 译人员负责字幕 “ ｄ ｙ ｎ ａ ｍｉ ｃ ｅ ｑ ｕ ｉ ｖ ａ ｌ ｅ ｎ ｃ ｅ ”。 这一理论后来被奈 达的另一表述 翻译 ， 一些缺乏翻译经验和 技能的译 者为获取网络积分等志愿 只求数 量不 计质 量导致许多电影字幕翻 译 “ 功能对等 ”所 替代 ，这里提到 的功能二字将翻译 的过 免 费翻译应付 了事， 相较其他翻译而 言， 字幕翻译通 常通俗易懂 ， 程 比作交 际形 式 的一种 ，更 加注重 翻译 的内容及其 达到 的效 水平低下 。同时， 这些翻译 人 果，比 “ 动态 ”更 为贴 切 。奈 达在 乔 姆 斯基 “ 转 换生 成 语 许 多制作 公司降低 招聘要求大批地引进翻译人员 ，
浅海南 大 学 ，海南 海 口 ５ ７ ０ ２ ２ ８ ）
［ 摘 要］ 随着社会 经济及科 技的迅速发展 ，我国与世界各 国跨 文化 交流 日趋频繁 。人 们对外 国语言及文化也袁 现 出浓厚 兴趣 。但 是 由于各 国语 言文化 差异 ，翻译在 整个交流过程 中变得 尤为重要 。然而 当前我国 电影市场的繁荣却 与翻 译 界对 电影 翻 译 的重 视 程 度格 格 不 入 。 鉴 于 电 影翻 译 的 现 状 ， 本 文试 图运 用 奈 达 的功 能 对 等 理 论 对 电影 字 幕 翻 译 进行研 究。奈达的功能对 等理论 强调 目标语读者对翻译 的反应并要 求 目标 语读者与源语读者 反映一致。本文 旨在探讨