Analysis on the Translation of Lines in English Movies 第3页
1.4 Focus of This Paper
As far as film translation is concerned, different countries may adopt a different tradition of translating films and subscribe to one of the two major modes: dubbing and subtitling, either form of audiovisual translation ultimately plays a unique role in developing both national identities and national stereotypes. This paper will focus on subtitling translation (translation of lines in English films) only, that is not to say the former one is less worthy of academic research. In contrast, analysis of dubbing translation plays a vital part on the academic circle, and it is only disregarded here for reasons of clarity and lucidity of argumentation.
The first part of this paper begins with the background of film translation, including the academic context in the modern world, the status as well as the particularities of film translation and so on, next trying to account for them from the perspective of how to adhere to “Faithfulness, Expressiveness, Elegance” in the translation with a lot of typical illustrations from the famous and popular foreign films. Subsequently, an attempt is made to show the perspective of adopting these three widely-acknowledged principles in the film translation. The paper aims to demonstrate that if the principle of translation, “Faithfulness, Expressiveness, Elegance”, can be best employed in harmony with the original text and the target culture in the area of film translation, we may see the academic and commercial power of film translation in a new height.
Ⅱ Analysis on the Translation Principles
2.1 Implication of Subtitling Translation
Before presenting how to adhere to “Faithfulness, Expressiveness, Elegance” in the translation of the lines in films, a closer look at the accurate implication of movies’ lines as well as the above-mentioned principles is a must.
The line, consisting of dialogues, monologues and off-screen voices, is a key factor in a film. It serves as a channel for the audience and actors to communicate, bridging the gap between the two. In simple terms, lines refer to the words the actors learn and say in a play. However, when translating the movie, the translators prefer to substitute the term of subtitling translation for lines’ translation, although it is true that there is certain difference in their exact signification, for the latter is often understood as follows: Subtitling, supplying a process of translating the spoken source language dialogue into the target language in the form of synchronized captions, usually at the bottom of the screen, is the form that alters the source text to the least possible extent and enables the target audience to experience the foreign and be aware of its 'foreignness' at all time (Zhang，1992:11).
Though different from its counterpart ---literal translation, the subtitling translation is no doubt a component of the translation field, and hence, such kind is supposed to accord with the general rules and methods adopted by the circle of translation. Certainly, that is not to say we would ignore the differentia. On the contrary, the type of the movie, the response from the target audience as well as the acoustical effect and the like, signaling the subtitling translation, should be taken into serious consideration and translated through special methods. The principle of “Faithfulness, Expressiveness, Elegance” in the translation, put forward by the famous ancient Chinese Mr.Yanfu has been always thought highly among the scholars. Accordingly, that also can be used to translate lines in foreign movies but may differ in the understanding and specific methods due to the particularities of film translation.
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