Analysis on the Translation of Lines in English Movies 第4页
2.2 How to Adhere to the Principles of “Faithfulness, Expressiveness, Elegance” in Translation
Firstly, as to the respect of subtitling translation, the principle of Faithfulness means the lines’ translation is requested to be loyal to the movie itself, rather than try to make translation correspond to every line in the screen to a 100％ degree. Or, in other words, Faithfulness can be understood as movie-oriented in the film translation. Moreover, taking into account of the commercial value as well as the aesthetic faculties, subtitling translation enjoys more freedom relative to the other types, so we may come across some sentences that appear to completely dissimilar with the actors’ words when watching a movie. Yet, no matter what methods are employed, the translation must reflect the movie’s content, theme and style instead of making random choices. Since the lines stand in the heart of a film, hence only when the translators get a clear picture of what the films want to convey to the audience can they make the translation of lines reach the standard of Faithfulness. Otherwise, the effect would turn in the opposite way.
Secondly, the principle of Expressiveness here refers to the translation should favor the target audience, either the contents or the structure. In other words, Expressiveness, which particularly attains much attention from Mr.Yanfu, equals to the demand of audience-oriented in the subtitling translation. As the audience is the most important factor to measure the quality of a translated foreign film, this principle should be given top priority. Before that, it is surely a wise choice for us to get a clear picture of the lines in the movie. It goes without saying that lines function as a way of depicting the story, coloring the character and reflecting the inner mind of impersonators. The authentic manifestation of the social communication witnesses the artistic charm of the lines, which may penetrate into the audience’s hearts. Based on that, the lines’ translation should not only be flowing and transpicuous but deserves more concern over the response of target audience, such as whether the audience may misunderstand or feel confused. Certainly, during such a persisting process towards the level of Expressiveness, the biggest obstacle that faces the translator lies in how to deal with the expressive manner bearing with the obvious English cultural phenomenon. Also here another factor not expected to neglect is the language characteristic of the film translation –the lip rounding. It is vital to take this into consideration in order to realize the Expressiveness, for different languages vary in the utterance of speech. The translation should accord with the speed, the length of the words from actors. Perhaps such consideration just demonstrates the particularity of subtitling translation in terms of Expressiveness.
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）.
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