Culture Facsimile in Subtitle Translation of Films– A Case Study of Youth 电影字幕翻译中的文化传真–以电影《芳华》为例文献综述

 2021-12-28 09:12

全文总字数：15305字

文献综述

1.Introduction1.1Research BackgroundWith the development of global economy, cultural exchange has become the main trend. Film is the main way of cultural communication and we get to knowdifferentcultures through film. For our country, movies are a tool to spread traditional culture. The translation of movie subtitles reflects different cultures and has a great impact on the audience. At present, many scholars have paid much attention to the translation of movie subtitles. There are two different groups. On the one hand, some people emphasize that our Chinese movie subtitles should be translated into English while they often ignore our traditional culture. On the other hand, there are also scholars who focus on our cultural factors without considering the feelings of foreign viewpoints. Neither part of the translation is correct. This is where the quarrelcomes in. This paper should take the approach of making different cultures live in harmony. We should respect our traditional cultural factors and combine them with Western culture so that the translation can preserve the traditional culture and be understood by the foreign audience. The author thinks there are many differences between English culture and Chinese culture. Only by distinguishing the differences between English and Chinese cultures can we translate movie subtitles correctly.1.2Need of the StudyAs an increasingly popular form of popular culture, film is an effective channel for foreign cultural communication. With the deepening of reform and opening up and the development of science and technology media, the speed of film dissemination has become faster and faster. In recent years, China has introduced a large number of excellent foreign films and exported a certain amount of domestic films, which has led to large-scale film and television translation activities. Whether it is English to Chinese or Chinese to English translation, it is an effective way to promote movies to a wider world market. Therefore, film subtitle translation has played an increasingly important role, the purpose of which is to maximize the semantic information, help the audience to cross the language barrier, and then understand the relevant cultural connotation.2.Literature ReviewFilm subtitle translation is a special form of translation between languages, that isa written, condensed translation of a predominantly spoken original (Nedergaard-Larsen, 1993).2.1Studies on subtitle translation of films2.1.1Studies on subtitle translation of films abroadWestern scholars began to study film subtitle translation earlier, dating back to the late 1950s and 1960s. In 1960, Babel magazine published an article titled "Cinema et Traduction",（CAILLE P F., 1960）which was a symbolic beginning of film translation theory research. Karine Gambier (actress, whose main works include Nichten der FrauOberst, Die and Gefangene Frauen and Melancholic Dreams) is one of the leading figures in film subtitle translation in this period, focusing on the classification of translation styles, the future of translators, and the repercussions of film subtitle translations. Henrik Gottieb , a Danish scholar and professor, is one of the earliest scholars who has devoted themselves to the study of film subtitle translation. He began his career in subtitle translation research in the 1990s, working on the theoretical aspects of the field, covering many elements (from idiomatic translation from English to Danish, to the linguistic dimensions of subtitling, to the teaching and strategies of subtitle translation), providing the theoretical basis for subsequent researches. In 2000, Karamitroglou published his doctoral dissertation, which aimed to go beyond linguistic standards and thus set film subtitles in the target culture (KARAMITROGLOU F.， 2000). He used a modernized translation concept and applied them to film subtitle translation, broadening their functions to reach professional,commercial and production acceptance.2.1.2 Studies on subtitle translation of films in ChinaCompared with foreign studies, domestic research on film subtitle translation is still inits infancy and there are fewer relevant studies. In the 1990s, Zhang Chunbai (1998) gave a short explanation about the characteristics of audiovisual works and paid special attention to film dubbing, advocating the use of free translation. Li Yunxing proposed that the first priority of subtitling translation is to provide the most relevant information in a limited time and space. Qian Shaochang (2000), an experienced subtitle translator, has devoted himself to the study of film subtitle translation characteristics and summarized some methods for translating cultural differences. Zhao Chunmei (2002) analyzed the four most common pairs of contradictions in translation of translations including the contradiction between diction and content, the contradiction between sequencing and picture, the contradiction between naturalization and alienation, and the contradiction between phonetic and Italian translation as well as their corresponding solutions. Previous studies on film subtitle translation have laid a solid foundation and provided valuable information for later studies.2.2Catogories of film subtitlesFilm subtitle translation can be classified from different perspectives. From the point of view of a linguistic, subtitle translation can be divided into intra-lingual subtitling and inter-lingual Subtitling. Intra-lingual subtitling does not require the conversion of one language into another but rather converts the discourse into text, thus the mode of speaking is changed but the language is not. This type of subtitling is sometimes referred to as Vertical Subtitling Translation (VST). Interlingual subtitling is the process of translating the original language into the target language while preserving the original voice and overprinting the target language on the screen or at the bottom of the picture. This is sometimes referred to as Diagonal Subtitling Translation (Gottlieb H., 1994). Interlingual subtitling is diagonal in the sense that the subtitle crosses over from speech in one language to writing in another , thus changing mode and language (Baker, 2004). Subtitle translation is commonly referred to as interlingual translation, which is also the main topic of this paper.According to Baker, there is another distinction on the basis of technical rather than linguistic processes of subtitling (Baker, 2004). From the perspective of subtitling technology,From the perspective of subtitling technology, subtitle translation can be divided into open subtitle translation and hidden subtitle translation. Open Subtitles is non-arbitrary. It includes two aspects: one is film subtitling and the other is interlingual television subtitling. Subtitles can be part of the film (when the audience watches the film, they are displayed together with the picture), but at the same time they can be separated from the film. Closed captioning is arbitrary. Closed captioning is a standardized encoding of text into the TV signal. The TVs built-in decoder or stand-alone decoder can display the text, and this type of captioning is helpful for people who are deaf or hard of hearing (Liu, 1991). Television subtitling is typically interlingual and open, which means that SL linguistic material (speech, other linguistic material) is transformed into TL subtitles, and that subtitles are broadcast simultaneously with the program (Li Heqing, 2005).In terms of the content of subtitles, the translation of subtitles for movies is divided into explicit and implicit translation of movies in view of the content and nature of the original text. Explicit subtitle translation mainly refers to the translation of the words and dialogues of the characters in the original text; while implicit subtitle translation refers to the translation of suggestive contents, such as an explanation of time, place and objects (Zhao, 1994).From the form of subtitles, subtitle translation can be bilingual film and television subtitles. The form of subtitles is divided into two lines, one for the original language subtitles, the other for the translated language subtitles, two lines of subtitles are displayed on the screen at the same time. In addition, subtitle translation can also be monolingual movie subtitles, which usually only display subtitles in one language. Subtitle translation can also be set by switching the type of subtitle language or calling out the second subtitle, which is only displayed at the upper end of the screen. It is featured with only one language. The translation of movie subtitles also varies according to the type of film work, for example, feature films, documentaries, documentaries, etc. Each have different characteristics. So the translation of subtitles will also have different translation categories and strategies.2.3Features of film subtitles2.3.1Colloquialization and popularizationAlthough the film is called a literary work, its essence is to tell a story in a colloquial way. The actors performance is to express and convey the story written by the scriptwriter inwords, and the performance is reflected in the dialogue. Dialogue, as the name implies, is the rivalry between actors, which includes the language of each country's actors. Taking Chines as an example, English has idioms, simplified language,slang and so on. These expressions isnot only used to express the meaning in full, but also to maintain the style of the original spoken language (Luo, 1981). It is not just the word-by-wordtranslation of the text, whichwill greatly diminish the movie's viewability. The purpose is to make the story fuller, so that the audience can easily accept and understand it.2.3.2CoherenceTranslation is the process of retransmitting and reproducing the language in the film. When translating, coherence is very important, and only coherent statements can be accepted and understood by the audience (YangLiu, 1994). Therefore, when translating movie subtitles, it is necessary to be faithful to the original flavor of the original film.In the process of rapid development of China's film industry, more and more domestic films are shown abroad. When translating Chinese subtitles, a sea of cultural differences should be considered. and cultural equivalence should be greatly adhered to. Making proper deletions and expansions of the content is necessary, so that the film content can reach a coherent state. For some plots that have little to do with the main idea of the movie itself, and often are not interesting to the viewers, although they are also part of the movie, they can be condensed or omitted in the translation.2.3.3ImmutabilityImmutability means that the subtitles pass once with the development of the plot and are non-returnable and irreversible, which is the most significant feature of the subtitle translation of films. No matter how interesting the movie is, subtitle translation can only appear once. The audience needs to decipher the subtitles quickly in case they miss the next dialogues and scenes (Sun, 1999). Therefore, the translator should make the audience understand the storyline as quickly as possible.2.4Requirements of cultural facsimilie in film subtitle translationCultural facsimile refers to the basic criterion of cultural translation. The translation is required to accurately reproduce the meaning, form and style of the original language culture from the perspective of cultural meaning. In other words, it means that the formand spirit of the original language are reflected in the translation. The American translation theorist Eugene Nida pointed out that translation is the communication between two cultures (Nida, 1993). It is impossible to achieve the real communication between two languages without the cultural background. However, the difficulties brought by the difference between Chinese and Western cultures cannot be ignored in that the difference can often cause the loss or distortion f cultural imagery. Thus, the study of cultural facsimile is a key part of translation. The reason why translation is not so easy is that language reflects culture, carries a rich cultural connotation, and is subject to cultural constraints (Guo, 1999). Once language enters communication, it is vital for the communicators to enhance their ability of understandingand expressing the cultural connotation . This requires the translator not only to be bilingual, but also to have bicultural or even multicultural knowledge, especially to have a certain understanding of a series of interchangeable factors such as the process of forming national psychological consciousness culture, historical customs and traditions, religious culture and regional characteristics of the two languages. It is these interchangeable factors that reflect the language and culture of the English and Chinese peoples with their own unique national colors.Therefore, in film translation, Chinese cultural background should not be isolated fromlanguage. Culture is an aid to help film viewers understand the content of a film, which can be reflected from the cultural background and film translation. Good subtitle translation can help the film to bring out its content, increase the visual experience of the viewer and stimulate the viewer to appreciate art across cultures. Good translation can also play a role in promoting cultural exchange, each culture has its own unique spiritual civilization, which inevitably has the essence as well as the dregs. Only by following the principle of cultural facsimile can subtitle translation truly become a tool of cultural communication and enable the audience to fully appreciate and truly understand the film.ReferencesBaker, Mona (2004). Routledge encyclopedia of translation studies. Shanghai: SFLEPress. CAILLE P F. (1960). Cinema et traduction. Babel, 3 ,103-109.Gottlieb H. (1994). Subttling diagonal transation. Perspectives: Studies in Transolgy, 2: 104-106.KARAMITROGLOU F. (2000). Towards a methodology for the investigation of norms in audiovisual translation. Amsterdam: Rodopi.Neergarrd-Larsen, Birgit (1993). Cultural-bound problems in subtitling. Perspectives: Studies in Transtology, (2): 212.Nida, Eugene A. (1993). Language, Culture and Translating. Shanghai: Shanghai Foreign Language Education Press.郭建中（1999），中国翻译界十年(1987-1997)：回顾与展望，《外国语》，（6）：57。

李运兴（2001）,字幕翻译的策略,《中国翻译》,（7）： 38-40。

刘靖之（1991），《翻译新论集》，台北：商务印书馆。

罗新璋（1981），《翻译论文集》，商务印书馆。

钱绍昌（2000），影视翻译：翻译园地中愈来愈重要的领域，《中国翻译》，（1）： 61-65。

孙致礼（1999），《翻译:理论与实际探索》，南京：译林出版社。

杨自俭,刘学云（1994），《翻译新论》，湖北：湖北教育出版社。

张春柏（1998），影视翻译初探，《中国翻译》，（2）:50-53。

赵春梅（2002），论译制片翻译中的四对主要矛盾，《中国翻译》,（4）： 49-51。

剩余内容已隐藏，您需要先支付 10元 才能查看该篇文章全部内容！立即支付

以上是毕业论文文献综述，课题毕业论文、任务书、外文翻译、程序设计、图纸设计等资料可联系客服协助查找。

您可能感兴趣的文章