浅论英语电影台词的特征及其翻译 第6页
Thirdly, the Elegance in subtitling translation is considered as the attitude, craftsmanship and aesthetic faculties. We can label this rule as the translation must be art-oriented. Specifically speaking, there is no need to insist on reaching the standard of perfect wording all the while, when translating the lines. The principle of Elegance requires the subtitling translators to work in attitude of bettering, in pursuit of aesthetic value and in craftsmanship of artists, which should be realized on the condition that the translation accords with the style of the movie. Though the above-mentioned principle has drawn most criticism among Mr.Yanfu’s three golden translation principles, it is universally accepted that only the Elegance that reflects the original work’s color through reiteration of polishing. Furthermore, as a form of mass media, the lines in movies ought to be easily grasped by the majority of the audience to avoid the indigestible impression. In conclusion, what the screen translation needs is to make use of the simplest words to translate the strangest language—this is Elegance for the subtitling translation.
Ⅲ Uniqueness of Film Translation
3.1 Language Characteristics
Film language is viewed as face-to-face communication, which aims to reshape everyday conversation and daily life. Because it is commonly targeted at linguistically non-specialized audience, language in films, compared with the literal language, has several distinctive features as follows, that is colloquialism, lip rounding, instantaneity, popularity and harmony（Yao，2005:81-84）.
3.1.1 Colloquialism
The film language is mainly composed of the dialogue deriving from the daily life. According to an official survey of 12 dubbing English films, the translation of dialogue shares up to 98％in the total language translation of the film (Cai，2000:193). Evidently, the dialogue lies in the heart of the movie, and hence the outstanding subtitling translation is supposed to follow the characteristics of colloquialism in English movies, which signals the features of briefness, directness, lifelikeness and a full use of slangs, vulgarism, interjection as well as informal words. Accordingly, when translated, the target Chinese should be close to the real life, fluent enough for the public to imitate, meanwhile, it is also expected to be coincident with the basic language habits of Chinese people. The following two examples can show us this point.
Example ﹙1﹚ 毕业论文http://www.751com.cn
Quoting some lines in the film, “Would you please please please please please please please stop talking.” when translated, from the colloquial point of view, a translator dealt with it as “请你请你, 务必请你, 千万请你别说了吧!”Of course, that was pretty good, but in my mind, I prefer to translate by myself to “求求你了，拜托你了，别再说了吧”.
Example ﹙2﹚
Another example is a line “I was messed up for a long time”, “messed up” is the core information in this sentence, how to make it to Chinese audience’s liking is crucial. The dictionary tells us the Chinese definition of the phrase is “混乱, 乱七八糟”. When translating, we should bear the principle of expressiveness in mind, therefore, I believe the best one can be “这些年我过得一塌糊涂”.
3.1.2 Lip rounding
Lip rounding is an important visual component in the perception of speech (Mera, Miguel 1999.73-85). The feature of lip rounding in the film language asks the translators to try their best to make the translation in the aspects of rhythm, pause, breath and syllabic length accord with the expression and strain of the actors when spoken in the movie, obviously, on the condition that the exactness, lifelikeness and impressiveness of the translation can be assured. If the actor keeps shaking his head in film to express disapproval, then the subtitle “NO” is expected to appear at the bottom of the screen in order to tie with the scene for better understanding. So is the opposite way. We can grasp this point better through the illustrations.
Example ﹙3﹚
When the England Princess Diana once received an interview from BBC, she said: “No, no t at all. I come from a divorced background. I didn’t want to go into that one again. ” At the moment, the caption in the screen turned out to be “不, 绝对不是。我来自一个婚姻破碎的家庭, 绝不希望重蹈覆辙”,which made the character’s speech tie perfectly with the facial expression reaching a natural effect.
Example ﹙4﹚
Also, “He is a university student”, has ten syllables. In written version, the translation is“他是大学生”. However, the above translation has only five characters. Therefore such utterance in film cannot match with the exact mouth movement in screen. The translation should make the sentence longer, near to ten characters, such as“他现在是在大学里念书”.
3.1.3 Instantaneousness
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