浅谈功能对等理论视角下的英语电影名称翻译
浅谈功能对等理论视角下的英语电影名称翻译
作者：张浩然
来源：《青年文学家》2015年第11期
摘要：外国电影作为文化传播的另一种载体相对书籍更容易被人们所接受，然而一部外国电影往往在中国大陆、香港、台湾被译作几个不同的名字。
针对这一现象，笔者从尤金·A·奈达（Eugene A. Nida）的“功能对等”理论出发，分析“两岸三地”电影名称翻译时的异同，并从文化、商业和政治三方面因素结合实例分析电影名称差异的根源。
关键词：功能对等；电影名称；翻译
[中图分类号]：H315.9 [文献标识码]：A
[文章编号]：1002-2139（2015）-11--01
电影作为文化的载体现如今已成为人们生活的一部分，更是世界文化交流的一种不可或缺的方式，电影名字作为电影主要内容以及风格的载体更是重中之重。
一个好的电影名称能够充分体现电影主要内容、风格，吸引观众眼球，赢得影院票房。
然而笔者发现，同一部电影在中国大陆与香港、台湾常被译为不同的电影名称。
本文力图通过功能对等理论分析大陆与港台地区电影名称翻译的共性与两岸三地对电影名称翻译不同的原因。
1、电影名称翻译的理论基础
尤金·A·奈达（Eugene A. Nida）指出：“翻译不仅仅指词汇意义上的对等还指语义、风格和文体方面的对等，翻译传达的信息既包含表层词汇信息也包含深层的文化信息”。
“动态对等”中的对等包括四个方面：词汇对等、句法对等、篇章对等、文体对等。
在这四个方面中，奈达认为：“意义是首要的，其次形式。
形式对等有可能会掩藏源语的文化意义并阻碍文化交流。
”因此，在翻译的过程中，译者应当把动态对等的四个方面作为翻译的准则，并准确地在目的语中再现源语的文化内涵。
在电影名称翻译的过程中也存在着功能对等现象。
电影名称的翻译不是死译或逐字翻译，在电影名称的翻译过程中应体现出翻译对等的原则，意义对等为首要，形式其次，尽量用最贴切、最自然的对等译名来体现原作名。
如果站在观众的立场上，他们更希望电影译名既要包含整个电影浓缩的主旨也简明扼要的体现风格。
但是由于中国大陆与港台地区国情不同、文化背景不同、风俗习惯不同等诸多原因，导致英语电影引进后出现“一片多译”现象。
2、造成“一片多译”现象的原因
2.1文化因素
内地片名的翻译特点是忠于原作，直译为先。
早期的电影翻译理论讲保留原片的原本风貌，直译片名是最佳的翻译方法。
因此，内地对于引进电影片名的翻译大多采取直译，注重形式，对仗工整，稍有忽略内在含义或内容的表达。
例如Brokeback Mountain直译为《断背山》，The Lord of the Ring翻译为《指环王》，The Day after Tomorrow直接翻译为《后天》。
香港片名的翻译特点则是语不惊人死不休。
香港在影片译名上带有区域性语言的特征，经常使用一些夸张的词汇，译者通常使用异化的方式，对电影名称进行深度修辞再创作，创意性较强。
例如The Lord of the Ring在大陆被译为《指环王》，在香港却被译作《魔戒》； Mr. and Mrs. Smith在大陆译为《史密斯夫妇》，在香港被译为《史密夫决战史密妻》。
台湾影名翻译特点可以概括为：传统文化的坚守者。
台湾电影译名既有内地片名翻译特点也有香港译名的特点，翻译在风格上和内地译名相似，但仍以形式和为主。
例如，Shooter在内地被译为《生死狙击》，在香港被译为《辣手枪》，在台湾被译为《狙击生死线》。
Taxi 4在内地被译为《的士速递4》，在香港被译为《终极杀阵4》，在台湾则被译为《终极杀阵：最后冲刺》。
2.2商业因素
电影作为一种商业文化，除了满足人们的精神追求外，最根本的目的还是为了谋取利益，一个好的电影名称可以吸引更多的观众眼球，勾起人们的观影欲望，而两岸三地观众的口味喜好不同也成了电影名称地域性差异的商业因素。
例如在1994年台湾引进一部获1973年多项奥斯卡大奖的电影The Sting，在大陆被译为《骗中骗》，在台湾被译为《刺激》在当时大为叫座。
一年后《肖申克的救赎》上映时，台湾译者认为此篇和《刺激》类似，都属于高智商复仇电影，因此便译为《刺激1995》，同时也获得了很高的票房。
1998年台湾引入一部电影Return To Paradise大陆被译为《重返伊甸园》，因此电影也有牢狱情节，在台湾被译为《刺激1998》，依旧热卖。
2.3政治因素
在翻译电影名称时，不仅要考虑当地文化习俗、观众喜好、受欢迎程度，还要考虑时代气氛、国情等政治因素，力图与时代背景、发展趋势想融合。
例如获得第50届戛纳电影节青年电影奖作品Bent。
该片以1930年代的纳粹德国为背景，讲述了一名同性恋男子在纳粹集中营的经历。
此片于1997年在英国首映，大陆译者考虑到当是正直香港回归，又是以同性恋、国籍、纳粹等敏感词汇为主题的电影，所以在翻译时规避了一些列敏感词汇，将此片翻译为《生命中不能承受之情》，符合当时社会状况，也比较容易让国人产生好奇。
而香港因为之前类似以主人公命名的电影居多，所以这次也不例外，将本片直译为《本特》。
3、结语
中国大陆、香港、台湾在影片名称翻译时都遵从了“功能对等”理论，在影片的风格、意义和美感上与原名保持了一致性，但是由于“两岸三地”文化背景、意识形态等诸多差异性的存在，以及电影名称在翻译时所处时代背景，票房盈利等政治、商业因素等，导致同一部电影被翻译为不同名称。
随着中国大陆国际化的深入，“两岸三地”文化交融的不断加深，笔者相信这一现象将会逐渐消失，电影名称翻译在大陆、香港、台湾将会更加规范化并得到逐步统一。
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[1]封霁芯. 功能对等与电影名称翻译[J]. 新西部（下半月）. 2008（09）
[2]毛发生. 两岸三地外语影片片名的翻译比较[J]. 西安外国语学院学报. 2002（04）
[3]张彩虹. 内地、港台电影译名异同的背后[J]. 电影文学. 2012（24）
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功能对等理论指导下电影片名的翻译
功能对等理论指导下电影片名的翻译【关键词】电影片名；功能对等；翻译方法on the translation of movie titles under the guidance of functional equivalencechen li-li（school of foreign studies, suzhou university, suzhou anhui 234000, china）【abstract】movies, as a kind of important medium of communication, plays an important role in cultural exchanges between china and the western countries. the translation of movie titles is closely related to the popularity of the movie. this paper, based on nida’s functional equivalence, puts forward to translation methods of movie titles. it is concluded that some methods like literal translation, transliteration, and free translation should be flexibly used in accordance with target audience’s understanding and acceptance.【key words】movie titles; functional equivalence; translation methods0 introductionthe translation of movie titles is considered as a crucial and creative job, for a good or bad translation willdefinitely affect the popularity of the foreign movies, and the movie title is the first step that makes the audience be aware of movies. many scholars, such as, nin zhishou[1], lin qun[2], he ying[3] have focused on this topic and put forward some translation methods. however, the studies have more or less shortcomings and those methods seemed so general that they could not include all of the translation strategies and methods and other approaches on the movie titles translation were ignored. on the basis of the previous studies on this field, this paper, firstly indicates some problems of the movie titles translation, then analyzes the features of the translation of movie titles, and at last, based on nida’s “functional equivalence”, provides three main approaches, including literal translation, transliteration, and free translation.１problems of the translation of movie titles currently, one of the most prevalent problems in the translation of movie titles is that a movie possesses several translated titles, which causes the translation of movie titles in a state of disorder. since the differences in social environment, cultural background and mode of thinking, there are different versions in translating movie titles betweenthe mainland, hong kong and taiwan. for examples, sound of music is literally translated into《音乐之声》in the mainland, 《仙乐飘飘处处闻》in hong kong, and《真善美》in taiwan; also, american beauty is respectively translated into《美国丽人》、《美国有罪》、《美国心玫瑰情》in the mainland, hong kong and taiwan respectively.。
功能对等理论视角下的电影字幕翻译--以《寻梦环游记》为例
2402019年22期总第462期翻译研究ENGLISH ON CAMPUS功能对等理论视角下的电影字幕翻译——以《寻梦环游记》为例文/李小倩要考虑观众的理解能力及接受度，要尽可能地缩小文化差异。
3. 由于电影字幕具有瞬时性特点，且银幕又有宽度限制，因此字幕翻译要注意遵循通畅与连贯的原则。
三、从功能对等理论看《寻梦环游记》的翻译《寻梦环游记》(Coco)是一部具有墨西哥文化特色的好莱坞动画电影，充分展现了墨西哥亡灵节的传统元素。
这部影片于2018年3月荣获奥斯卡金像奖最佳动画长片。
在中国内地上映后，也成为了票房爆款。
作为一部适合阖家观看的影片，如何降低观众的年龄门槛，并建立中国观众与墨西哥文化相遇的桥梁，使不同年龄层的观众都能有所感有所思？这一系列问题都会电影字幕的翻译提出了新的要求。
而中国观众之所以能很好地欣赏这部充满了墨西哥元素的电影，与该作品字幕翻译的策略密不可分。
本文以《寻梦环游记》(Coco)为研究对象，主要从语言风格和文化背景两个层面入手，探究功能对等理论对影视字幕翻译的指导意义。
1.语言风格层面。
语言层面的对等体现在电影中源文和译文在语音、语用两方面实现对等，使源文和译文在最大程度上相同或相似，要求语言流畅自然，并能传达内涵，让观众在观影过程中有类似的语言反应。
作为一部老少皆宜的动画电影，如何使不同年龄层次的观众都能更好的理解，并与源语观众产生相同或相似的感受，字幕翻译的语言风格尤为重要。
(1)简洁流畅。
米格向曾曾祖父埃克托描述自己在台上唱歌表演的场景时，埃克托建议说道：“Fire everywhere! Inspired. (熊熊烈火！灵感井喷。
)”字幕并没有直译成“火随处可见”，而是结合当时的情景，异译成两个四字成语，语言简洁流畅，能让观众产生直观的感受。
“熊熊烈火”极具生机与活力，渲染出舞台氛围。
而“灵感井喷”形容灵感喷发、无法阻挡，夸张但具有动态效果，表现出米格的音乐天赋。
功能对等理论视角下字幕翻译研究——以《信条》为例
作者简介：李祎凡，硕士。
研究方向：英语笔译。
林静，通讯作者，硕士生导师。
研究方向：文学翻译。
收稿日期：2020-11-27等理论，从词汇以及句法两个层面进对其行对照分析，以阐释两个版本字幕的优点与不足，并针对简体字幕中出现的误译现象给出具体解决方法。
2 字幕翻译与功能对等理论2.1 字幕翻译的特点字幕一般可分为语际字幕和语内字幕两种。
语际字幕是在保留影视原声的情况下，在屏幕下方显示的、由源语字幕翻译而来的目的语字幕，即人们通常所说的字幕翻译（李运兴，2001）。
由于电影中的台词大多是角色之间的对话或者旁白，因此口语化是字幕文本的一大特点。
除此之外，字幕还需要与画面同步，同时不宜过长，以防影响观众对电影画面的欣赏。
2.2 功能对等理论尤金·A ·奈达（Eugene A. Nida ）是一位发展了动态对等翻译理论的语言学家，也是现代翻译研究的创始人之一。
他提出的最为人所熟知的翻译理论就是功能对等理论，即“在接受语中用最切近的自然对等语再现源语的信息，其中意义的传递居于首要地位，形式则在其次”（Nida et al.，1969）。
同时奈达也指出，“对等”是相对于语言的“功能”而言的。
语言的“功能”是指语言在使用中所发挥的作用；不同语言的表达形式必然不同，不是语音、语法不同，就是表达习惯不同，然而它们却可以具有相同或相似的功能（谭载喜，1999）。
除此之外，奈达还十分重视译入语读者对译文的反应，并进一步将功能对等分为最低限度功能对等和最高限度功能对等。
最高限度功能对等是指译者能够通过译文让目的语读者获得与原文读者一样的阅读体验。
不过，这只是翻译所追求的理想境界，几乎不可能达到。
最低限度的对等指译文读者能通过译文基本理解原文想要传达的意思，而低于这一层次的译文是不可接受的，好的翻译应该介于最低限度功能对等和最高限度功能对等之间。
3 功能对等理论下《信条》的字幕翻译功能对等理论要求译者将“再现源语信息”作为首要任务，力求让目的语读者能够理解原文内涵。
功能对等理论在电影字幕翻译中的应用——以《我不是药神》为例
功能对等理论在电影字幕翻译中的应用——以《我不是药神》为例导言电影作为大众文化的一种重要表现形式，已经深度人们的平时生活，成为了我们放松、娱乐和得到信息的一种重要途径。
然而，由于不同国家和地区的文化差异，即使是同一部电影在不同国家的观众之间也会出现隔阂。
为了解决这一问题，字幕翻译应运而生。
功能对等理论作为一种重要的翻译理论，为电影字幕翻译提供了指导，使得观众之间能够更好地理解和传递电影中的信息。
本文将以中国电影《我不是药神》为例，探讨功能对等理论在电影字幕翻译中的应用。
一、功能对等理论概述功能对等理论是由美国翻译学家纳达布（Eugene A. Nida）和朱宏则（Charles R. Taber）于1969年提出的。
该理论认为，翻译的目标是为了传递原文中的信息和功能，而非对原文语言进行逐字逐句的翻译。
在字幕翻译中，观众更加关注的是能否准确理解电影中的台词和情节。
因此，字幕翻译需要不仅仅是语言上的准确，更重要的是传递原文中的意义和情感。
二、《我不是药神》的剧情和文化背景《我不是药神》是由中国导演文牧野执导，被誉为2018年度中国电影界最成功的黑马之一。
该片以药品新政策下，警方和跨国贩毒团伙的公理角力为主线，探讨了医药行业和社会道德的伦理问题。
影片通过幽默风趣的方式吸引观众，同时也引发了深思。
然而，由于该片涉及的是中国特定的社会背景和文化问题，其语境和表达方式对于国外观众来说可能不太容易理解。
因此，在字幕翻译中，需要运用功能对等理论，保持原片的情感和意义，同时又要思量到不同文化之间的差异。
三、功能对等理论在电影字幕翻译中的应用1. 转换语言形式在字幕翻译中，观众更关注的是信息的传递，而非字面上的语言形式。
为了追求更高的可读性和可理解性，字幕翻译中屡屡会对原文进行一定的转换。
例如，在《我不是药神》中，主人公韩晓明的口头禅是“药好，生意好”，这种表达方式在国外观众中可能难以理解。
在字幕翻译中，译者可以转换成更通俗易懂的方式，比如“好药，好生意”，以便更好地传达原片中的语义。
功能对等理论视角下的英语电影对白翻译
Conclusion
*Nowadays, more and more attention has been paid to the translation
of foreign films subtitle in China. So it is necessary to have a research
On the Subtitle Translation of English Films from the Perspective of Functional Equivalence Theory 功能对等理论视角下的英语电影对白翻译
Acknቤተ መጻሕፍቲ ባይዱwledgments
At first, I would like to take this opportunity to express my deep
Besides, I wish to extend my sincere gratitude to all the teachers in XinKe College who have taught me and given me unselfish support during my college years. Finally, I feel indebted to my parents, for their understanding and love in life, and I love them.
the future.
Thank you!
on the subtitle translation of English films under Nida’s Functional Equivalence theory. *With Nida’s Functional Equivalence theory as guidance and criterion, the author hopes that this paper will be helpful for the development of subtitle translation. *And many more and further research need to be done in this field in
功能对等理论视角下《越狱》的字幕翻译
功能对等理论视角下《越狱》的字幕翻译CONTENTSAbstrac t (1)Introduction (3)Chapter 1 Literature Review (4)1.1Studies on Subtitle Translation (4)1.2 Studies on Strategies for Subtitle Translation (6)Chapter 2 Functional Equivalence Theory.............................. ..(10)2.1 Brief Introduction of Nida?s Functional Equivalence Theory (10)2.2 Different Levels of Functional Equivalence (14)2.3 Principles for Producing Functional Equivalence Theory (15)2.4 The Application of Functional Equivalence in Translation (17)Chapter 3 Subtitle Translation (19)3.1 Features of Subtitle Translation (19)3.2 Constraints of Subtitle Translation (21)Chapter 4 A Case Study of Prison Break (23)4.1 Synopsis of Prison Break (23)4.2Translation Strategies Adopted in Prison Break (24)Conclusion (34)Notes (36)Bibliography (38)Acknowledgements (39)On Subtitles Translation of Prison Break Under the Perspective of Functional Equivalence TheoryAbstract: During the last few years, more and more foreignfilms have been introduced into China and become more and more popular. Along with the rising demand of people for TV products, subtitles translation is gaining importance. Consequently, the research on subtitles translation is starting to attract some attention. However, people didn?t work enough in this field. According to the issues，this thesis attends to talk about the subtitles translation under Nida?s functional equivalence theory. It falls into four chapters. Chapter one introduces some literature review of subtitles translation. Chapter two is mainly about Nida?s functional equivalence theory from its general introduction, its levels, its principles and how to apply the theory in subtitle translation. Chapter three presents the features and constraints of subtitles translation. Chapter four takes the Prison Break as a case study to show application of translation strategies under the guidance of functional equivalence theory.Key Words: functional equivalence theory; subtitle translation; Prison Break摘要：在过去的几十年中，越来越多的外国影视作品进入中国并且大受欢迎。
从功能对等理论比较研究电影《功夫熊猫》的翻译
从 功 能 对 等 理 论 比 较 研 究 电影 《功 夫 熊 猫 》的 翻 译
袁晨 中国矿 业大 学外 国语言文化 学院 ２２１００８
摘要 ：本文 以奈 达的功能对等 为理论框 架 ，应用 于热 门电影 《功 夫熊猫 》的翻译 ，比较研 究官方配 音版翻译和伊 甸园字 幕组 版翻译 ，从语 汇层 面 、语 用层 面、文化层 面和审关层 面出发 ，截取 两版翻 译的 片段 ，试 从功能对等 原则对其在观 众 中引 起的 不同反应加 以赏析 。
影视 翻译 的指导作用 。
现 在电影 的票房 、网络下 载率和 电视收视率 上 。虽 然 ，这 种表 现形
这些 研究 帮助我们进 一步 了解 电影 《功 夫熊猫 》的字幕 翻译 ， 式 也存在 缺陷 ，但 是 ，作 为一种衡 量效应 的方法 也不失其 合理 性。
但是 一部作 品翻译 的优劣不是 由评论 家或者学 者来定夺 ，而是 取决 美 国梦 工厂制 作 的电影 《功夫 熊猫 》 自２００８年５月上 映后 ，不仅 取
语影片的理解和原语 观众对原语影片的理解实现功能上 的对等 。
了功能对等 ，强调 以读者为 中心 ，强调读者反应 的对 等，即 “译语 中的
近 年来 随着 欧美 影 片大 量 引入 中 国市场 ，对 影 视 翻译 的研 究 信息 接受者对 译文 的信息 的反应应 该与源语 接受者 对原文 的反应 程
策略 归化和 异化人 手对 《功夫 熊猫 》的经典 台词 进行 了个案分析 。 从 而影响着 电影 的票房 。国外引进 的电影 只有在 国内观众 中引起 与
曹灵 美以顺应 论为视 角 ，根据 结构客 体顺应 、语 境关 系顺应 和顺 应 国外 观众相 同的效应 ，才会 吸引 国内观众 去观看影 片 ，这 与功 能对
浅谈功能对等理论在《摩登家庭》字幕翻译中的应用
2019.5.下MOTHERLAND论坛摘要：影视字幕翻译不仅影响着人们对影视欣赏的理解和享受，而且对不同国家之间的文化交流也有重要意义。
本文以美剧《摩登家庭》的字幕翻译为实例，论述分析由尤金·奈达提出的功能对等理论如何应用于影视字幕翻译过程，以达到语言，形式及文化多方面对等的效果，从而使译文观众真正收获与源语言观众对等的艺术享受。
关键词：功能对等字幕翻译摩登家庭浅谈功能对等理论在《摩登家庭》字幕翻译中的应用文/王一诺近年来，中外文化交流愈加频繁，大量优秀的英美影视作品被引进中国，国内观众对于海外影视作品字幕翻译的质量要求也越来越高，因此影视字幕翻译的准确达意便显得尤为重要。
随着网络的普及，翻译影视受众远远大于翻译文学作品的受众，但翻译界对影视字幕翻译的重视程度远不及对文学翻译的重视，与影视翻译的社会作用不相称[1]。
本文结合影视字幕翻译的特点，以经典美剧《摩登家庭》为例，分析了功能对等理论在影视字幕翻译实践中的运用。
一、功能对等翻译理论概述功能对等翻译理论由美国著名翻译理论家尤金·奈达提出。
他认为翻译是一个完整的交际过程，且支持从读者的角度看待问题[2]。
“功能”二字可被理解为语言交际所行驶的功能，比如表达、信息、人际、祈使等等。
由此可见，所谓功能对等并非严格意义上的逐字逐句的刻板对等，而是追求译文的整体效果对等[3]。
而“对等”则指：1.词汇对等；2.句法对等；3.篇章对等；4.文体对等。
奈达认为过度拘泥于原文语言结构并无意义，相反，他更重视原文的内涵与神韵，他认为译文在任何语言结构中都应充分展示原文旨意。
功能对等理论同样十分重视读者的感受，柰达提出，译语读者在欣赏译文本时的反应要与原文读者在欣赏原文时的反应基本相同[4]。
而影视作品同样追求观众对作品的感悟与欣赏，优秀的影视字幕翻译旨在使译语观众得到与源语观众相同的理解与享受。
这恰好符合功能对等理论的原则，因此在影视字幕翻译中应用功能对等理论是合理且必要的。
从功能对等理论看电影字幕翻译以疯狂动物城为例
从功能对等理论看电影字幕翻译以疯狂动物城为例摘要影视作品翻译的研究极大地促进了中外文化的交流，顺应了全球化的发展。
本文提出将奈达的“功能对等”理论应用与英语影视字幕汉译实践的观点，分析功能对等理论运用到影视字幕汉译中的可能性。
从语言、语义和语用等不同方面，通过具有代表性的字幕翻译实例，来分析《疯狂动物城》的字幕是否达到了功能对等。
在功能对等理论的指导下，总结出字幕翻译中用到的各种策略，如增译法、减译法和归化法。
本文希望通过这一案例分析，可以在理论和实践应用方面给影视作品字幕翻译者提供新视角，并借此引起更多的学者关注功能对等理论对字幕翻译的重要指导意义。
关键字：功能翻译理论;字幕翻译;翻译策略;《疯狂动物城》ABSTRACTThe study of subtitle translation facilitates Chinese and foreign cultural exchanges and adapts to the trend of globalization. This thesis applies functional equivalence theory to film subtitle translation to analyze its possibility. With some typical subtitle examples as illustration, this thesis analyzes the Chinese subtitle translation of Zootopia in terms of phonetics,semantics and pragmatics, exploring whether it achieves functional equivalence. Under the guidance of functional equivalence theory, various strategies are summed up including amplification, omission and domestication. By virtue of this case study, this thesis intends to provide the subtitle translators with a new perspective and suggest due attention should be given to the significance of functional equivalence theory in guiding subtitle translation.Key words: subtitle translation; functional equivalence theory; ZootopiaContents1. Introduction 12. Literature Review 32.1 Introduction to Subtitle Translation 32.1.1 Characteristics 32.1.2 Constraints 32.2 The History and Development of Subtitle Translation 42.2.1 Studies at Abroad 42.2.2 Studies at Home 53. Functional Equivalence Theory Applied in Subtitle Translation 63.1 Nida’s Functional Equivalence Theory 63.1.1 Main Contents of Functional Equivalence Theory 63.1.2 Introduction of Nida’s Translation Theory in China 73.2 The Possibility of Functional Equivalence Theory Applied in Subtitle Translation 73.2.1 Intercommunication between Languages 73.2.2 Receptor’s Similar Life Experiences 83.2.3 Similarity between Different Cultures 84. The Application of Functional Equivalence Theory in Subtitle Translation of Zootopia 10 4.1 A Brief Introduction to the Film Zootopia 104.2 Equivalence at Linguistic Level 104.2.1 Phonetic Equivalence 104.2.2 Semantic Equivalence 114.2.3 Pragmatic Equivalence 124.3 Translation Strategies Adopted in the Case Film 134.3.1 Reduction 134.3.2 Expansion 144.3.3 Domestication 155. Conclusion 17References 181. IntroductionSince the 21stcentury, thanks to technological innovation and economic boom, Chinese media industry has advanced byleapsandbounds. Numerous foreign films have been introduced into China and won great popularity by Chinese audience. As an entertainment, film not only contains cultural features of special times, but reflects the hopes and interests of countries and nations. It enriches people’s spiritual world and boosts the local economy. However, language has become a main barrier of film cultural communication. That’s why subtitle translation came into being. Besides, audiences’ experiences are greatly affected by translation quality. So far, there are abounding theories which applied to subtitle translation. Target audiences are more likely to understand and accept the audience-centered subtitle translation, which was guided by functional equivalence theory. Furthermore, it helps spread culture and generate profits. Firstly, previous studies of subtitle translation from both at home and abroad will be collected and classified, among which some most representative ones will be listed. Then the research on functional equivalence theory will be conducted in details, including the development in China and the possibility applied to subtitle translation. To take Zootopia as an example, the Best Animated Feature Film A wards at 89th Academy A wards, some subtitle translation will be analyzed under the guidance of functional equivalence theory.In this thesis, both the Chinese scripts and English subtitles are transcribed from the screen of the film DVD issued by China Film Group Corporation. Last, it comes to the conclusion, limitations and future researches. This thesis will mainly use comparative analysis and exemplification, to analyze the typical examples from the perspective of functional equivalence theory.This thesis can be divided into five chapters. Chapter one serves as an introduction whichpresents the research backgroundof subtitle translation, methodology andthesis structure. Chapter two is the literature review of subtitle translation. In the first part, the author will give a brief introduction of subtitle translationconcerning the characteristic and constraints. The second part will provide the relative studies about the subtitle translation in China and abroad. Chapter three introduces Nida’s functional equivalence theory and its possibility of being applied in subtitle translation. First are the main contents of functional equivalence theory and introduction and application of the theory in China. Apart from that, it focuses on intercommunication between languages from Nida’s point of view and functional equivalence in varying degree, as well as the possible application of functional equivalence theory in detail from the aspects of similarities of different culture and receptors’ life experience. Chapter four is the main body, in which the author will adopt the material from Zootopia for the case study to be analyzedunder the guidance of functional equivalence theory. Firstly, a brief introduction to Zootopia will be given, and then the application of functional equivalence in this film from equivalence on linguistic level will be presented. Furthermore, the translation strategies will also be elaborated, including reduction, expansion and domestication. Chapter five is a conclusion which briefly concludes the content of the whole thesis. Besides, it points out the limitation of this thesis and suggestions for further research.2. Literature Review2.1 Introduction to Subtitle Translation2.1.1 CharacteristicsAccording to Oxford Advanced Learner’s English-Chinese Dictionary(2014: 2084), subtitle is defined as “words that translated what is said in a film/movie into a different language and appear on the screen at the bottom. Subtitles are also used, especially on television, to help deaf people (= people who cannot hear well)”.Comparing with literary works, subtitle translation is a special translation and has its own characteristics. There are mainly three characteristics. 1) Popularity. Literary works have their contents and language styles, which confine their readers with special backgrounds. However, as a type of mass media, film tries to get all groups involved. As a mainstream form of the film industry, commercial films give first priority to public recognition and commercial profits. So it’s important to use plain and proper words to make subtitle concise. Otherwise, the complexsubtitles will divertaudiences’ attention from film contents. 2) Transience. Subtitles are usually placed at the bottom of the screen within two to three seconds and not more than two lines. It is always used in conjunction with dialogue and image to help audience to catch the missing information as well as understand the film plot. Considering the constant change of dialogue and image, subtitles should appear and disappear in time. It will influence the visual effect whether it appears earlier or disappears later. 3) Culture. A film often contains specific cultural elements. In different cultural contexts, it is a quite common that a certain word has completely different meanings. From the perspective of speakers’ expression, if the dialogue is simply translated word for word, it may confuse the film audiences. In order to deliver the right and deep meaning, the subtitle translation is more like trying to find correspondent words and suitable ways of expression from target audiences’culture context. Therefore, translators need to grasp both cultures to make translation understandable.2.1.2 ConstraintsThe intrinsic characteristics of filmslead to inevitable constraints of subtitle translation. There are two mainly constraints of subtitle translation.First is technical constraint, which basically consists of space and time constraint. As mentioned before, subtitles are usually placed at the bottom of the screen, occupying two to three seconds and not more than two lines. Therefore there is no space and time for a speech. Meanwhile, in contemplation of the average audiences’reading speed, the number of subtitle text is limited. As for English, Hatim and Mason(1997:65) agree that there are “generally up to 33, or in some cases 40 keyboard spaces per line”. As for Chinese, the reasonable number of characters generally ranges from 12 to 16 per line.Besides, the timeline is also restricted, which makes dialogue and subtitle synchronously. Gottlied(1992:165) holds that the position (in space) and cueing (in time) of the subtitles must correspond with the static and dynamic visual features of the film.Second is linguistic constraint. Guardini(1998:104) classifies linguistic constraints into intra-linguistic constraints and extra-linguistic constraints. Intra-linguistic constraints are focusing on “syntactic and grammatical differences between the source language and the target language”. Intra-linguistic constraints embrace many linguistic aspects, covering wordplay, idioms and proverbs as well as slang translation. Extra-linguistic constraints are concerned with “aspects of language which are not strictly linguistic, but link with the source culture as expressed by its language”. Hatim and Mason(1997:79) put forward that with the purpose of maximizing the retrievability of the intended meaning from a more brieftarget language version, the translator has to reconsidercoherence strategies, and take measures like reduction, omission etc.2.2 The History and Development of Subtitle Translation2.2.1 Studies at AbroadAn article named Traduction et Cinéma(Caillé,1956) was published on Le linguiste/De taalkundige in 1956 and the special edition of the magazine Bable named Cinéma et traduction was published in 1960, which are said to be the earliest research about film translation in Europe. In his articleOn Subtitles in Television Programmes, Dollerup(1974) analyzed different errors in subtitle translation from English programs to Danish.He first attempts to focus on subtitle translation solely and put forward its educational value. Fodor(1976:82), who published Film Dubbling: Phonetic, Semiotic, Esthetic and Psychological Aspects, believed that language and culture of countries had their particularity and irreplaceability so that it’s impossible to get a perfect “match”. In 1982, Titford(1982:113) proposed the concept of “constrained translation” for the first time in Subtitling Constrained Translation. He argues that the main problem the television translators faced is the limitation by the nature of television.Since 1990s, subtitle translation studies had come into a golden age of development. Tw o significant books appeared in this period. One is Overcoming Language Barriers in Television: Dubbing and Subtitling for the European Audience, which published by Luyken and other four subtitle translation scholars in 1991. This book contains the analysis of the different translating modes in subtitle translation and the statistics about the quantity of translated programs and the preferences of the audiences. Another is Subtitling for the Media: A Handbook of an Art, written by Jan Ivarsson. He provided a detailed history of subtitling in term of Technology. Diaz-Cintas(2004:21-34) agrees that early subtitle translation pays much more attention to linguistic translation rather than other influential factors i.e. social, culture and industry. It’s a good way to adopt polysystem theory.2.2.2 Studies at HomeThe first dubbed film A Common Solider was produced from Russian to Chinese by Changchun Film Studio in 1949, which represented the start of Chinese audiovisual translation practice and studies. Since the late 1970s, a large-scale study of subtitle translation has begun in China.Qian(2000:65), who is a leading figure in audiovisual translation, published an article Film Translation-the More and More Important Realm in Translation Film which sums up the five linguistic characteristics of film and holds that in subtitle translation, the principle of “expressiveness” is much more important than the principles of “faithfulness” and “elegance”. Li(2001:40) points out that the primary requirement of subtitling is to provide the most relevant information, with the mosteffective way in his article Strategies for Translating Subtitles. In 2003, Ma repeatedly stresses that subtitling should follow five principles: colloquial description, figure characterization, emotional dimension, lip-synchs and popularization. Liand Bo(2005:46),in Norms in Subtitle Translation, argue that subtitle translation is governed by linguistic and textual norms, and “invisibility of subtitling” should be seen as the ultimate goal. On Recreation and Film Translation by Mou(2006:86-89)claims that three principles of dealing with cultural differences: being understandable in language by using plain words, being fluent in the movie plot by using simple structures and being original in aesthetics by retaining the original flavor. Moreover, it would be a better choice to adopt domestication while translating.3. Functional Equivalence Theory Applied in Subtitle Translation3.1 Nida’s Functional Equivalence Theory3.1.1 Main Contents of Functional Equivalence TheoryEugene Nida, who was recognized as the “father of modern translation theory”, has made great contribution to translation studies. In 1964, Nida first proposed “Formal Equivalence” and “Dynamic Equivalence” in Towards a Science of Translating. Nida(1969:24) defines “Dynamic Equivalence” as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. A translation with huge influence is often mistaken for the sample of “Dynamic Equivalence”. In order to clear up this misunderstanding, Nida renamed “Dynamic Equivalence” to “Functional Equivalence”.Nida describes functional equivalence as “the closest natural equivalent to the source-language message”(1969:12). There are four translation principles: 1) contextual consistency has priority over verbal consistency (or word-for-word concordance), 2) dynamic equivalence has priority over formal correspondences, 3) the aural (heard) form of language has priority over the written form, 4) forms that are used by and acceptable to the audience for which a translation is intended have priority over forms that may be traditionally more prestigious (Nida&Taber, 2004). The equivalence in Functional Equivalence Theory covers the following four aspects: 1) Lexical equivalence 2) Syntax equivalence 3) Chapter equivalence 4) Stylistic equivalence. Functional equivalence can be divided into two levels: one is minimal and the other is maximal. The minimal equivalence means that “the readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it.” And the maximal equivalence means that “the readers of a translated text should be able to understand and appreciated it in essentially the same manner as the original readers did” (Nida, 2001). Nida argues that the primary purpose of functional equivalence is not concerned on whether the usage of word might be understood, but the equivalence of receptors’ response.3.1.2 Introduction of Nida’s Translation Theory in ChinaBefore Nida’s translation theory was introduced, Chinese linguistic scholars were confined to native theories such as Y an Fu’s “Faithfulness, Expressiveness and Elegance” and other relevant theories. At that time, it urgently needed infusing new thoughts into theoretical research.Nida and his theory became a hot topic since his theory entered China in early 1980s. Lin(1981)who first introduced Nida’stheory, simply made a brief introduction about semantic analysis in his article Introduction of Nida’s Translation Theory. Subsequently, Zhuang(1982) utilized informative, vocative and expressive function of communicative application to Bible translation. Moreover, he compared equivalence with Y an’s translation principles and illustrated the point of reader-centric equivalence and also stated that application scopes were limited in his article the Good News Bible and Nida’s concept of translation. Qian(1988:43) who wrote Should Reader’s Response be considered as a Criterion in Assessment of Translated Works?, held that it was impossible to compare readers’ responses, as reader responses differently from another toward the same translated work.As an important figure in Nida’s translation theory in China, Tan published some articles and one book to introduce Nida’s translation theory to Chinese scholars. He (1989:30) classifies and analyses the development of theory, including (1) descriptive linguistics (2) communication theories (3) social semiotics theories.Liu(1997:2-5) and Lv(1998:35) both disproved Nida’s theory and put forward a “readers’ response” theory. Liu claims that equivalence devalues the cognitive ability of the target-language readers and their pursuit of aesthetics. It is an impediment to develop methods and practice and cultural fusion. Lv states that the basis of Nida’s reception theory which causes the paradox of the principle of “equivalent effect”. Xi(2009:60) argues that equivalence corresponds to Chinese traditional fidelity of translation and replaces it rapidly.3.2 The Possibility of Functional Equivalence Theory Applied in Subtitle Translation3.2.1 Intercommunication between LanguagesLanguage is a systematic means of communication by virtue of a set of audible or visible signs, and similarities can be found in any two languages. Even though they are governed by totally different systems ranging from pronunciation, vocabulary to grammar and style, they do share common features.For example, corresponding language structures can be found between different languages, such as word, phrase, sentence, paragraph, phoneme and morpheme. Nida (1993: 106) agrees that “But at least ninety percent of the fundamental structures of all languages are quite similar, and language universals far outweigh the divergences”. Duringcontinuous change and development, languages have alternative expressions in some specific cultural contexts (Nida, 1993: 110). For example, there is a Chinese saying goes:“巧妇难为无米之炊”, and there is also a similar one, “make bricks without straw” in English. Both mean that one can’t make something out of nothing. Jin(1984: 53) holds that “the main differences between languages do not lie in what they can say, but in the ways in which they say it”.That’s the same as the purpose of functional equivalence—to represent equivalent content. In other words, communication between languages is possible as well as functional equivalence is possible in subtitle translation.3.2.2 Receptor’s Similar Life ExperiencesAs a long-term work, translation always needs a great deal preparation and lasts for months or even years, although it can be done by individuals. Nida’s (1964: 239)comments that, “a translation is usually the result of a number of years’ work, during which time not only the translator or translators, but also the people for whom the translation is being prepared, have contributed extensively to the form of the translation as the result of their own experiences”. Receptorslive in the same earth whether they live faraway countries. Despite of different lifestyles, customs and religion beliefs, they often have similar life experiences.Emotions, such as pleasure, sadness, anger and fear, are shared by all humankind. Besides, receptors’ life cannot do without eating, sleeping and working. They convey similar feelings and experiences, which can be found corresponding information among different receptors, though they all have their own ways to express them. In view of these, receptors’ similar life experience adds a positive factor to apply functional equivalence translation to subtitle translation.3.2.3 Similarity between Different CulturesAs a tool of communication, languages infiltrate and fuse with cultures. Language is like a mirror, reflecting a nation’s culture and revealing its content. It’s crucial to have a deep understanding of certain culture before translation. Namely, the primary problem in subtitle translation is how to deal with cultural differences. However, the research of national and tribal culture shows that the similar cultural features can be found amongnations when the specific feature is analyzed.Taylor(1871), “the father of anthropology”, believes that there are parallel evolution in different cultures and psychological consistency in all nations.Facing the same problem,different societies always give the same solution, as their cultural similarity. These similarities or common cores between different cultures offer the possibility to achieve functional equivalence translation. Proverbs with distinctive characteristics can be a sample to illustrate the point best. For example, there is “After a storm comes a calm” in English. Accordingly, there is “雨过天晴” in Chinese.Thus it’s possible to use corresponding expressions in receptors language to deliver the same meaning.4. The Application of Functional Equivalence Theory in Subtitle Translation of Zootopia4.1 A Brief Introduction to the Film ZootopiaThe American 3D computer-animated film Zootopiawas released on March 4, 2016 by the Walt Disney Company. Directed by Byron Howard, Rich Moore and Jared Bush, it was voiced by Ginnifer Goodwin and Jason Bateman. Zootopia roars past $1billion global box office and wins record-breaking popularity worldwide since its opening weekend. Besides, it won the Best Animated Feature Film A wards at 89th Academy A wards on Feb 26, 2017.Zootopia is a modern animal metropolis, where all the animals live peacefully whether they are predators or herbivores. Dreaming to be a bunny cop, Judy Hops graduates from police school and works in Zootopia police department.But she is responsible for the parking duty. Then she runs into a clever and wily fox named Nick Wildewhen she is on duty. When 14mammalsgo missing, Judy is determined to prove herself and get the bottom ofthis difficult case. Given the time constraints,Judy has to work with Nick.Finally, she finds out that there isa huge conspiracy behind the case.4.2 Equivalence at Linguistic Level4.2.1 Phonetic EquivalenceFrom the perspective of genealogical classification, Chinesebelongs to the Sino-Tibetan language,while English belongs to the Proto-Indo-European language. In terms of phonetics, it’s a challenge to make phonetic equivalence out of the vast difference in phoneme, syllable and intonation. When the phonetic equivalence is attained, the translation will offer a better effect. Thus, translators are supposed to try to make the original and target lines sound alike if possible. For example:(1) –Sheep: Ow! Cut it out, Gideon!啊! 别闹了吉迪恩！(00:04:21)–Gideon: Baah! Baah! What are you gonna do? Cry?咩! 咩!你打算怎么办呢? 哭吗？(00:04:22)–Judy: Hey! Y ou heard her. Cut it out.嘿! 她说了别闹了。
从功能理论角度分析电影《点球成金》字幕翻译
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