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.
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Ⅲ Uniqueness of Film Translation
3.1 Language Characteristics本文来自辣.文,论-文·网原文请找腾讯324,9114
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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