Analysis on the Translation of Lines in English Movies 第5页
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﹚
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
Such feature is determined by the movie itself. It is true that the picture, or the speech in film passes very quickly as the plot proceeding. Comparatively, when the readers meet difficult points under the form of written words in literary works, such as in a prose or in a novel, he or she can weigh every word and analyze them again and again until a clear and full understanding. However, the case turns reverse when seeing a film, for the viewer cannot have another chance to listen to the words again if he or she has not understood clearly. The captions in the screen disappear quickly followed the next set. In other words, if we miss grasping the lines in a movie, what we can do is to quit. Otherwise, the following is likely to be influenced as well, just like doing listening exercise （He, 2002:181-194）. Moreover, this characteristic of instantaneousness of lines translation in movies thus requires the language in the film should be in a style of earthliness and populace. I believe the lines from The Return of the King can be a best example in this point.
Example ﹙5﹚
Hero: I see in your eyes... The same fear that would take the heart of me. A day may come when the courage of Men fails, when we forsake our friends and break all bonds of fellowship, But not this day. An hour of wolves and shattered shields when the age of Men comes crashing down, But it is not this day! This day we fight! By all that you hold dear on this good earth, I bid you stand, Men of the West! ﹙The Return of the King﹚
阿拉贡： 我的兄弟们！我从你们眼里看到你们跟我一样都恐惧得心惊胆战。
或许有一天，人类变得萎缩懦弱，舍弃朋友，断绝友谊，但今天决不会这样。
或许有一天，豺狼攻破人类城池，人类因此被灭绝，但今天决不会这样！
今天我们誓死奋战！我以你们所珍视得一切的名义，命令你们抗敌，西方的勇士们！
In the film of The Return of the King, the Hero led tens of thousands of brave soldiers to fight with the evil power. In order to inspire the soldiers to fight valorously, he delivered an exciting and inspiring speech to all war men. Here the speech was shaking hearts but passed in the screen pretty quickly to match with the Hero’s firm look and fearless behavior. The improper translation must lead to misunderstanding, nevertheless, the above tells us how to make this point easy.
3.1.4 Popularity
When the readers peruse literary, religious, scientific or philosophical texts, certain educational background is a must. However, film aims to the masses. The audience for film are individuals from various educated levels, who maybe linguistically specialized, or even illiterate. Therefore, the language in a popular style is more likely to be grasped by the common people, and furthermore, the film cooperation makes its gigantic profits. So are the other films of different nations. Take close at hand, if the introduced English films wish to cover with great popularity in our country, how to translate English to Chinese apt to the psychology as well as the real life of Chinese people should be given priority. In general, the target language should, if possible, imitate everyday conversation and use spoken and real –in- life utterances to make most viewers understand film easily (Zhang, 1998:18). There are plenty of illustrations, among which the following one is more typical.
Example ﹙6﹚
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