浅谈英语电影字幕翻译(一)
英文电影字幕翻译分析
Everything you see exists together in a delicate balance.
世界上所有的生命都在微妙的平衡中生存。(狮子王)
I laugh in the face of danger.
越危险就越合我心意。(狮子王)
God shall wipe away all the tears from their eyes, and there shall be no more death. Neither shall there be sorrow or dying, neither shall there be any more pain, for the former world has passed away.
Minoritizing Translation (异化翻译法)
《功夫》: 洪家铁线拳——Iron Fist from the Hung School 昆仑派的蛤蟆功——The Toad Style of Kwan Lun School 虎行——Tiger style 《功夫熊猫》: 师傅——Master Shifu 乌龟大师——Master Oogway
Is this a slaughter house? 莫非是一家黑店?
Should I show you my heart? 要不要我把心掏出来给你看看啊?
If I can’t be with the one who I love, I won’t be happy even if I were Heaven Emperor. 如果不能跟我喜欢的人在一起,就算让我做玉皇大帝我也 不会开心。
“pigeon”指鸽子,在中文中没有什么不好的意思,但在 英语俚语中有“傻瓜,受骗上当者”的意思。
从目的论角度浅谈电影英语字幕翻译
I. IntroductionFilm production has been developing in leaps and bounds ever since and gradually boom as one of the most profitable industries of the world nowadays. As a dominant role in the world, film industries sell their film products all over the world. The Hollywood film industry----the engine of the world film industry is definitely the best evidence.According to the statistics,in the 1930s and 1940s,Hollywood films produced nearly 75% of the film market share in china. Never before have we seen so many foreign films flooding the domestic market and never before have we seen so many Chinese films going abroad. These films were generally dubbed into Chinese because few Chinese audiences understood English at that time. Therefore, film subtitle translation can not present real meanings to the viewers except for the translation of some inter-titles.The significances of the present research are reflected in the following aspects. Since the thesis attempts to combine both film subtitle translation and skopos theory together, it might be conductive to the enrichment of both fields, beneficial to the practice of film subtitle translation as well as the promotion of our understanding of general translation theory.II. Definition of film subtitlingA. SubtitleAccording to George-Michael Luyken(1991), “subtitles are condensed written translations of original dialogue which appears as line of text, usually positioned towards the foot of the screen, subtitles appear and disappear to coincide in time with corresponding portion of the original dialogue and are almost always added to the screen image at a later date as a post-production activity”(335).B. Definition of film subtitlingFilm subtitle is “a printed statement or fragment of dialogue appearing on the screen between the scenes of a silent motion picture or appearing as a translation at the bottom of the screen during the scenes of a motion picture or television show in a foreign language” (Merriam 1175). In short,film subtitles are supplements,in the sense that they supply information unavailable from the phonetic dialogue and visualpicture.Film subtitles are different from “displays” or “captions”. “Displays” are “fragments of text recorded by the camera-letters, newspapers, headlines, banners etc” (Gottlieb l01-121). “Captions” (or “top titles”) are pieces of “textual information usually inserted by the program maker to identify names,places or dates relevant to the story line”(Luyken). This distinction is maintained here and “subtitles”do not include displays or captions, unless otherwise stated.Film subtitle can be both “intralingual”(and “vertical”), when the target language is the same as the source language, and “intralingual” (or “diagonal”), when the target language is different from the source language (Gottlieb 249-258). “Film subtitle”in this thesis is used to refer to interlingual film subtitle, unless otherwise stated.Film subtitle can be “open”, when the target text constitutes a physical part of the translated film and is transmitted together with the film sound and image,or “closed”, when the target text is stored in a digital/teletext format which is transmitted in as well as accessed via a separately coded channel at the discretion of the viewers(Gottlieb 247). In this thesis, “film subtitle”, refers to open film subtitle, unless otherwise stated.III. A brief introduction to skopostheorieA. The process of skoposSkopos is the Greek word for “aim” or “purpose” and was induced into translation theory in the 1970s by Hans J. Vermeer as a technical term for the purpose of a translation and of the action of translating skopos focuses on the purpose of the translation, which determines the translation methods and strategies that are to be employed in order to produce a functionally adequate result, the target text (TT), called the translatum by Vermeer (20-23). Therefore,in skopos theory,knowing why an source text (ST) is to be translated and what the function of the TT will be are crucial for the translator.In the 1970s there appeared a school in translation studies in Germany functionalism. Katharina Reiss firstly pointed out in his work Translation Criticism (2004). The representatives are Katharina Reiss, Hans J. Vermeer and Christiane Nord. They hold that translation is a kind of action with a purpose. This theory is first presented by Reiss and Vermeer in their book Grundlegung einer allgemeinen Translationstheorie (1984) (General Foundations of Translation Theory).Since 1978, German translation theorist H. J. Venneer, who breaks through thetraditional equivalence-based the theory that centers on source text,creates the skopostheories with the translation purpose or function of a translation as a general principle on the basis of theory of action(23-24). It is generally agreed now that translation is a type of human action. According to Vermeer, human action is intentional and purposeful behavior that takes place in a given situation, which modifies the situation at the same time (205-210). Skopos argues that the shape of target text should above all be determined by the function or “Skopos”that it is intended to fulfill in the target context.Vermeer believes that the purpose of a target text determines the translation strategies. In his opinion, the purpose of a target text, which is so important, is great extent decided by target readers, cultural background. In Hans J Vemeer’s Skopos and Commission in Translational Action(1989),Vemmer puts the Skopostheorie in this way:“Any form of translation action, including therefore translation itself, maybe conceived as an action, as the name implies. Any action has an aim, a purpose. The word Skopos, then, is a technical term for the aim or purpose of a translation.” In her book Translating as a Purposeful Activity: Functionalist Approaches Explained (2001), Christiane Nord defines the skopostheorie that “Skopos is a Greek word for purpose”(13-14). According to skopostheorie (the theory that applies the notion of Skopos to translation), the prime principle determining any translation process is the purpose (skopos) of the overall translational action. This fits in with intentionality being part of the very definition of any action.B. Three rules of the SkopostheorieSkopos theory involves three rules, i. e. skopos rule, coherence rule and fidelity rule, which will be discussed as follows.1. Skopos ruleVermeer postulates that as a general rule it must be the intended purpose of the target text that determines translation methods and strategies. From this postulate, he derives the skopos rule: Human action(and its subcategory:translation) is determined by its purpose(Skopos), and therefore it is a function of its purpose(Baker 236).Vermeer explains the Skopos rule in the following way,“Each text is produced for a given purpose and sho uld serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and withthe people who want to use it and precisely in the way they want it to function” (29).It is also pointed out that most translational actions allow a variety of skopos, which may be related to each other in a hierarchical order, and the translator should be able to justify their choice of a particular skopos in a given translational situation in translation, ., the skopos must be decided separately in each specific case.Skopos rule helps the translator solve the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, and so on. Nord points out that the skopos of a particular translation task may require a “free” or a “faithful” translation, or anything between these two extremes, depending on the purpose for which the translation is needed. (29).2. The coherence ruleTwo further general rules are the coherence rule and the fidelity rule. The coherence rule stipulates that the target text must be sufficiently coherent to allow the intended users to comprehend it, given their assumed background knowledge and situational circumstances.The coherence rule, or in Vermeer’s terms, the standard of “intra-textual coherence” means “the receiver should be able to understand it: it should make sense in the communicative situation and culture in which it is received”(Nord 32). The coherence rule specifies that “a t ranslation should be acceptable in a sense that it is coherent with the receivers’ situation” (Nord 32).That is to say, the translator’s task is to produce a text that is at least likely to be meaningful to target-culture receivers, namely, to be coherent with the receivers’situation and thus to be understood by the receivers. Only when the receivers understand it as being sufficiently coherent with their situation, can this communicative interaction be regarded as successful.3. The fidelity ruleHowever, just being coherent with the target situation is not enough. A translation is an offer of information about a preceding offer of information; therefore there is a relationship between the translation and the source text. Vermeer calls this relationship “inter-textual coherence or “fidelity”. This is postulated as a further principle, referred to as the “fidelity rule” (Nord 32)“Inter-textual coherence should exist between source and target text, while the form it takes depends both on t he translator’s interpretation of the source text and on the translation skopos” (Nord 1-32). For example, one possible kind of inter-textualcoherence could be a maximally faithful imitation of the source text.We know that the source text is intended for the source culture receivers instead of translation,therefore when it is translated for the different target-culture recipients, maybe the function of the target text or the purpose of the translation is different from that of the source text. In this case,the “fidelity rule” should give way to the skopos rule. However, the translator should aim for any possible compatibility between the skopos and inter-textual coherence.The three basic rules of the skopostheorie are designed to govern the translator’s activities in the whole translation process. In most cases, due to the reason that the skopos of the translation is frequently likely to deviate from the intention of the corresponding source language text, a translation cannot satisfy the three rules at the same time.IV. Film subtitle translation of If You Are the One from the perspective of skopostheorieIn subtitle translation of If You Are the One, in particular, its skopos is determined by the intention of its director as the initiator and the expectation of the English speaking viewers as the receivers of the English subtitles; its shape is determined by its skopos and the subtitler. This part is to analyze how the factors mentioned above determine the skopos and shape of translated subtitles in If You Are the One, and how strategies are employed to fulfill its skopos.A. Brief review of the film If You Are the OneThe film for 2008, If You Are the One, stars Feng’s longtime collaborator, Ge You, as a man in his 40s, newly rich, looking to settle down and start a family. Having made an instant fortune through his sale of the Conflict Resolution Terminal 2008, middle-aged entrepreneur Qin Fen (Ge You) turns his attention to finding a wife. Using all online personals service, he auditions potential spouses, but few make a lasting impression. Qin Fen’s stalwart personality is partly to blame;he’s intent on finding a suitable match,and is willing to walk away from even an absolute goddess if there’s a hint of incompatibility. So it goes with comely flight attendant Smiley Liang (Shu Qi), who Qin Fen initially recognizes as a poor match. Regardless, the two commiserate over drinks, where the melancholy Smiley reveals that she’s dating amarried man (Alex Fong). The two parts intends never to meet again, with each returning to their own pursuit of love.But as fate and the screenwriters would have it, Qin Fen and Smiley meet again on all airline flight,with Smiley working, Qin Fen traveling, and Smiley’s boyfriend and wife also present. The coincidence draws Qin Fen and Smiley back together, propelling them on the road to friendship and perhaps more, with occasional stops at fine luxury entertainment locations, where they sip expensive drinks while verbally sparring over their views on love. Qin Fen aims for a home run with his potential mate, while Smiley seems willing to settle if she can’t have her idealized,unattainable love. In response, Qin Fen tries to convince her otherwise while attempting not to appear as he’s trying to. It’s the story of one man’s tough love, except with a picturesque tour of fabulous locations that only people with money can visit. Somewhere in there, Qin Fen’s loyalty and stalwart affection is supposed to comfort Smiley’s wounded heart or something like that.B. An analysis of subtitle translation of If You Are the One based on skoposIn subtitle translation of If You Are the One, in particular, its skopos is determined by the intention of its director Feng Xiaogang as the initiator and the expectation of the English-speaking viewers as the receivers of the English subtitles; its shape is determined by its skopos and the subtitler. This part is to analyze how the factors mentioned above determine the skopos and shape of translated subtitles in If You Are the One and how the strategies are employed to fulfill its skopos.1. Feng Xiaogang’s intentionFeng never denies his wish to defeat the Hollywood films at the box office by adapting Hollywood’s game rules (Rosen 336).Feng discloses that the Associate President of Columbia Pictures, once said to him, “Your films have never been shown in overseas countries and thus you are not known to the viewers outside your country.Big Shot’s Funeral serves as an advertisement to publicize you and I hope it can provide the foundation for your second and third film in the overseas market” (Feng 187). From Mr. Geris’s wish, we can also find F eng’s ambition to gain the market share in foreign countries. And the film If You Are the One has proved to be well received in the North American market.Feng recalls in his book that on a seminar about the making of Big Shot’s Funeral,some people asked him whether the production strategy of the film should beconsidered as Hollywood’s cultural invasion into Chinese film industry. He replies that “it is a win-win deal and a two-edged sword” and that this kind of cooperation is cost-efficient because it “still makes Chinese films,but faces the global market” (Feng 187). As for Feng Xiaogang, the way to revive domestic market and march into international market is to cooperate with foreign film production companies and internationalize domestic film success.From above,we can see that the director’s intention is to bridge the gap between Chinese and foreign cultures and gain market share in foreign countries,which is the major part of translation brief.2.Skopos analysisTo define the skopos, we should verify the translation brief. Although it is said that a brief should be given by the clients, more often than not, it is not the case. Then a translator should have the ability to verify it by himself. The translation brief of the present case could be specified as follows:a. The intended text functions: the main function of the TT is referential. If You Are the One is more a commercial movie than art,the intended text function is first of all referential, to provide information about what is going on the screen. Then it may come the expressive function to relay the sender’s attitude and feelings. The translator must weigh against different functions and decide on the main one. In the present case,it is the referential function that wins the upper hand. Translator has to make a choice according to the skopos of the translation of film subtitle. Feng’s film subtitle translation aims to win the target market so that translator has to produce clear and concise subtitled film dialogues bridging the cultural gaps and make the narrative easily accessible for the audience.Thus, the target audience will find it easier to accept and understand the translated subtitles. Here are some examples.(1)秦奋:不算老实但天生胆小I'm no angel杀人不犯法我也下不去手Just too cowardly to do wrongThe west and east have different religious beliefs. In Christianity, Angel is a good spirit who is kind, lovely and innocent. Here, Qin Fen describes himself as a man who is not well-behaved.So he is not like an angel.(2)别猫哭耗子了Spare me the alligator tearsIn China, there is a proverb“猫哭耗子假慈悲”. This means the cat pretends to be sympathetic to the death of the mouse because she can have it as a meal. In western culture, people think that while having meals, usually an animal, an alligator will shed tears. So alligator tears implies disguised sympathy.(3)有的人是情人眼里才是西施Beauty is in the eyes of the beholder不过分的说, 仇人眼里你都是西施But no exaggeration, even to a foe,you’d be beautifulThe above underlined words or proverbs are all culture-loaded. Domestication is adopted to make the western audience fully understand the film.b. The addressees:It is self-evident that the TT addressees in subtitle translation are the foreign audience, probably adults, who share a different culture background and who are lay of Chinese. To be specific, they are common people who watch it for entertainment and film festival juries who view it with a discerning eye, eg.秦奋:那咱俩要是结婚了So,if we get married非得倒插门我去你们那儿吗I have to go to live with your family?In China, in most cases,after marriage, the wife lives with the husband’s family. “倒插门”means the husband lives with wife’s family. In this sentence, it is deleted since it expresses the same meaning as “我去你们那儿”.c. The time and place of text reception: The time and space of reception is less controversial,which vary in different cases. In this case, the time is up to now from 2008 when it was released to the public and the place is at the very beginning cinema and later on amounts to a wide range of places thanks to the development of technologies such as DVD.So far, the skopos of the translation can be defined as to supplement the film by providing the optimal information for the audience in written form within a limited time and space.V. Film subtitle translation of Curse of the Golden Flower from the perspective of skopostheorieIn this part, the subtitle translation of Curse of the Golden Flower is analyzedwith the background of the skopos theory.A. Background of Curse of the Golden FlowerCurse of the Golden Flower is derived from the story Thunderstorm, one of the best-known masterpieces by the most famous Chinese playwright Cao Yu. But the adaptation doesn’t stay too faithful to the original. The film is a historical drama directed by Zhang Yimou who also co-wrote the screenplay in Chinese. The screen version is established in the 10th century during the short-1ived Late Tang Dynasty, about a thousand years ago.For today’s viewers,it is a story about court intrigues and deceptions. Moreover there are several pivotal factors within the plot, among which, traditional Chinese medicine is the foremost one since the Emperor in the film is gradually poisoning his wife, the Empress, by adding a deadly fungus to her medicine. Zhang Yimou the director gives his explanation of the arrangement that “as for the Emperor’s personality, well, he’d love to stay in the royal pharmacy all the time. He’s a drug freak. That’s how his character is developed and expanded upon. He’s just so into the drug”.B. An analysis of subtitle translation of Curse of the Golden Flower based onskoposThe title of the movie,which is literally translated as “The Whole City is Clothed in Golden Armor”, is the last line taken from a Tang Dynasty poem---Do not Endow with Chrysanthemum Behind written by Huang Chao who rose in rebellion in 875 and died 9 years later.After changing the title several times, the screenwriters as well as the director finally settle on the poem for the reason that it indicates the rebellion taken by the Prince against the Emperor in the movie. The Chinese audience may easily understand the cultural connotation while the English-speaking audience who are not familiar with the background of the poem, due to the great disparity in terms of cultural background, may not comprehend the implicit aspects of the title without the explanatory message or footnote. Consequently, this kind of culturally loaded expressions will put a lot of processing efforts on the target audience. In addition, with the constraints of time and space, if they focus on the reading of the subtitle, they will lose some of the visual and audio information.To solve this problem, the subtitler discards the Chinese title and adapts a new one with the image of the golden flower taken as a symbol to reveal the palace intrigue and the machination of power play to the target audience. The golden flower is designed to function as the symbol of rebellion, which is the same as the title. Hence its images appearing in the film once and again will, in another form, retrieve the loss of the culturally loaded information caused by the substitution since film is a multidimensional art involving visual images, sound, colors and so on. Let’s see some examples:(1)辰时的药煎好了Your Majesty’s medicine for the hour is ready(2)执令官统领后宫羽林军The Imperial Guards protect our private palacesIt is no easy job to translate cultural elements in subtitle translating. The underlined parts of the source text are omitted in the target text since these cultural elements do not deliver adequate information and there is no time to explain all details. Their function can be retrieved by the image and the subtitler is careful enough not to omit information that could at a later stage be essential for the understanding of the story.According to adequacy and equivalence theory, the translator can not offer the same amount and kind of information as the source-text producer. What the translator does is to offer another kind of information in another form (Reiss & Vermeer 123). Located in a broader ecological culture, the subtitling succeeds in producing a communicative interaction in the target text. We may find another example in this film:(3)当年你只是一个小小的都尉At that time,you were only a lowly captain.“都尉”here refers to the low-ranking officer in Tang Dynasty. If a simple transliteration as “Duwei”is adopted, it is completely meaningless to the English-speaking audience and fails to achieve intra-textual coherence. Whether to translate the complete meaning of “Duwei”, on the other hand, makes no difference to the comprehension of the plot for the source text producer just means that the Emperor mounts the throne from the bottom. Therefore the subtitler, by chunking it up, translates it into “a lowly captain” to establish inter-textual coherence as well as intra-textual coherence in the target text.(4)儿臣为了母后从此不再服药You will never drink the poison again.In the film, what the Empress drinks is a kind of Chinese medicine containing the ingredient that will cause a person to lose his or her entire mental faculty. According to traditional Chinese medicine, any medicine has 30% poison ingredients. Therefore some ingredients are useful as well as poisonous. Their curative value is restricted to certain diseases and certain dosage based on the theory of using poison to cure poison. These ingredients belong to the category of medicine despite of their toxicity. By chunking down the medicine into poison, the subtitler defines the meaning in the narrowest sense and makes the implicit information explicit to accomplish intra-textual coherence in the target text.VI. ConclusionA. ContributionSkopostheorie provides translators with a whole new perspective into translation action. This paper conducts a systematic analysis of crucial factors that influence the strategies of subtitle translation, in which skopostheorie is adopted to guide the descriptive and explanatory analysis.On the basis of the above analysis, this paper gets some enlightenment of skopostheorie on subtitle translation. The enlightenment of “intra-textual coherence”on subtitle translating is that the target receiver should be able to understand the translated version of subtitle. And the translated version should make sense in the communicative situation and culture in which it is received. The subtitler should always keep the target viewers in mind. After exploring the main components of skopostheorie and analyzing the specific constraints in film subtitle translation, the author tries to find out some enlightenment of skopostheorie on subtitle translation. In order to find out the enlightenment, this paper analyzes Feng Xiaogang’s film in light of skopostheorie. The film If You Are the One proves to be successful in its target market. Therefore, this paper tries to find out influencing factors that affect the subtitler’s choice of strategies.The author gives focus to the skopos of subtitle translation, the more influencing role of the film director in subtitle translation and the importance of target audience. With reference to skopostheorie,subtitle translating is a purposeful activity and thepurpose of the whole translational action is the prime principle that determines the translation process. The basic purpose or skopos of subtitle translation is to aid the viewers with a translated film dialogue, to provide them with the most relevant information in the most effective way within its specific constraints,to help them in understanding what’s happening on the screen with ease.B. LimitationsOwing to the limitations of time and space,the source data collected for the thesis is limited. Meanwhile because of the knowledge limitations this paper can not deeply analyzes the translation of Chinese film subtitles into English ones from the perspective of skopostheorie. It is the author’s sincere wish that if possible, in the future, further research can be done on comparative study on Chinese-English translation and English-Chinese translalion of film subtitles.Work CitedBaker, Mona. Routledge Encyclopeata of Translation Studies. Shanghai:Shanghai Foreign Language Education Press(2004):Baker,Christiane, Nord. Translating as a Purposeful Activity: Functional Approaches Explained.Shanghai: Shanghai Foreign Language Education Press, 2001.Feng, X. G[冯小刚]我把青春献给你武汉:长江文艺出版社2003: 187Gottlieb, H. Teaching Translation and Interpreting. Amsterdam: John Benjamins Publishing Company, 1998Gottlieb, H. Media Translation. Amsterdam/Philadelphia: John Benjamins Publishing Company, 2001Gottlieb, H. Subtitfing: Diagonal translation In C. Dollerup et al. (eds), Perspectives Studies in Translatology. Copenhagen: University of Cpenhagen, 1994 l01-121.Gottlieb, H. Anglicisms and TV Subtitles in an Anglified World: [A] Gambier Yves, 249-258 Gottlieb, H.Subtitling-a new university discipline in Teaching Translating and Interpreting. (eds) Dollerup, Cay&A. . Amsterdam: John Benjamin. 1998: 247Katharina, Reiss. Translation Criticism: The Potentials&Limitations. Shanghai: Shanghai Foreign Language Education Press, 2004.Katharina, Reiss and Hans J. Vermeer. Grundlegung einer allgemeinen Translationstheorie.Tubingen:Niemeyer, 1984,Michael. Overcoming Language Barriers in Television. [M] Manchester: European Institute forthe Media 1991.Luyken,George-Michael. Overcoming Language Barriers in Television. [M] Manchester: European Institute for the Media 1991.Merriam-Webster. Merriam Webster's Collegiate Dictionary. 1997:1175Rosen,S.(2002).狼来了:好莱坞与中国电影市场,. 全球化与中国影视的命运336-360. (S.Y Sun, Trans.). Shanghai: Shanghai Foreign Language Education Press. 1994-2000 Vermeer, Hans J. Skopos and Commission in Translational Action in Chesterman(ed). 1989, 20-233.。
英文电影字幕的翻译方法与技巧
英文电影字幕的翻译方法与技巧英文电影字幕是观众在观看外语电影时非常重要的辅助工具,它能够帮助观众更好地理解电影对白内容,进而享受到更好的观影体验。
对于翻译人员来说,如何准确、流畅地翻译电影字幕显得尤为重要。
本文将从翻译方法与技巧两个方面来探讨英文电影字幕的翻译方法与技巧。
一、翻译方法1. 直译法直译法是最常见的一种翻译方法,它是指将源语言内容直接翻译成目标语言,不做过多的增删改动。
在电影字幕的翻译中,直译法常常用于一些简单、直接的句子。
当原文中出现“I love you” 这样的表达时,翻译人员可以直接翻译为“我爱你”,这样的翻译方法能够保持原文的原汁原味,也更容易被观众理解。
译化法是指在翻译过程中,翻译人员会根据原文内容进行一定程度的适应或改动,使得翻译结果更符合目标语言的口语特点。
在电影字幕的翻译中,译化法常常用于一些口语化的表达或者一些特定场景下的台词。
当原文中出现“I’m gonna kick your ass” 这样的表达时,翻译人员可以译化为“我要揍你了”,这样的翻译方法能够更好地把握原文情感,同时符合目标语言的口语习惯。
二、翻译技巧1. 熟悉背景知识在进行电影字幕翻译时,翻译人员需要对电影的题材、背景、文化等方面有所了解,这样才能更好地理解台词内容,并且做出更准确的翻译。
如果是一部古装电影,翻译人员需要对古代生活、礼仪、风俗等方面有所了解,才能更准确地翻译相关对白。
2. 保持节奏和韵律电影字幕的翻译需要保持原文的节奏和韵律,这样才能更好地呈现出原文的情感和氛围。
在翻译过程中,翻译人员需要注意句子长度和语气,并且尽量保持与原文相似的节奏和韵律。
3. 注意上下文在进行电影字幕翻译时,翻译人员需要在翻译过程中考虑上下文,尽量使得翻译结果更符合原文的意思,并且更好地适应当前情境。
翻译人员在进行翻译时需要考虑上下文的逻辑关系,尽量做到符合语境的翻译。
4. 精准表达情感电影是一个感情表达的艺术形式,因此在电影字幕翻译中,翻译人员需要尽量准确地表达原文中蕴含的情感和情绪。
电影字幕翻译类论文
电影字幕翻译类论文随着电影事业的发展和扩张,影视作品,作为一种大众文化,在跨文化交流中扮演着重要的角色,而影视翻译是进行此交流过程的关键因素。
下文是店铺为大家搜集整理的关于电影字幕翻译类论文的内容,欢迎大家阅读参考!电影字幕翻译类论文篇1浅谈电影字幕翻译的策略电影字幕翻译是一个新兴的翻译领域,不同于其他形式。
它在语言的逻辑性,艺术性,感染力等方面都有更高的要求;较之单纯的文学翻译,电影字幕翻译又有更高的通俗性和广泛性。
因此影视翻译中的真正难点并不在于词汇或是文章的严谨缜密,而往往在于最普通最地道的语言。
然而当前英语影片字幕翻译的标准很不统一,这无疑会影响影片的质量和观众的理解。
钱绍昌在2000年说过如今译制片受众的数量远远超过翻译文学作品受众的数量,影视翻译对社会的影响也绝不在文学翻译之下。
由此不难看出电影字幕翻译的重要性。
电影字幕翻译概述通常来说,影视翻译中最常见的策略就是配音(dubbing)和字幕翻译(subtitling)。
配音是对源电影对白的语言符号的听觉代替过程;字幕翻译是对源电影对白的书面翻译形式,是电影画面的一种视觉不足。
字幕可分为两种:语内字幕(intralingua subtitles )和语际字幕(interlingua subtitles )。
本文所说的字幕翻译即语际字幕翻译,也就是在保留影视原声的情况下将源语译为目的语叠印在字幕下方,尽最大限度让观众欣赏到原汁原味的作品。
二十世纪八十年代曾是电影配音的黄金期。
如今,随着社会的发展,带字幕的原声电影越来越受到观众的欢迎和喜欢。
电影字幕翻译是跨文化交流的一种途径,其作用主要有两个:一是更多的提供信息,让那个观众更好的理解剧情的发展;二是有助于听力或智力有障碍的人在一定程度上能够看懂并理解电影内容。
因此,从观众的角度来说,电影字幕翻译要通俗易懂,雅俗共赏。
电影字幕翻译的约束因素每一种翻译都有其制约因素,电影字幕翻译也不例外,主要表现在三个方面:时间约束、空间约束和文化约束,其中以时空约束最为明显。
英文电影字幕的翻译方法与技巧
英文电影字幕的翻译方法与技巧英文电影字幕翻译是一项非常具有挑战性和复杂性的任务,需要翻译者具备良好的语言功底和对电影文化的深刻理解。
下面是英文电影字幕翻译方法与技巧的详细介绍。
一、字幕翻译的准备工作1.了解电影制作的背景和主题字幕翻译与电影所表现的背景以及主题密不可分。
因此,翻译者需要对电影的背景和主题有深入的了解,包括文化、历史、社会、政治等方面。
2.研究电影中各种音效的含义电影中的音效被看作是电影中非常重要的一部分。
因此,在翻译电影字幕时,翻译者需要对电影中各种音效有充分的理解和研究,包括配乐、声音效果等等。
3.掌握英文电影中常见的俚语和口语短语英语中有很多的俚语和口语短语,在电影对话中比较常见,如果翻译者不了解这些俚语和口语,就很容易出现翻译偏差,影响翻译质量。
4.选择合适的翻译软件和辅助工具现如今,市面上的翻译软件和辅助工具非常多,翻译者可以选择合适的翻译软件和辅助工具来提高翻译效率和翻译质量。
1.保持字幕简洁明了在翻译电影字幕时,尽可能使字幕简洁明了,用词简练,避免出现过于复杂的句子和使用过于生僻的词汇等等。
2.尽可能保留原文的原意和语气在翻译电影字幕时,尽可能保留原文的原意和语气是非常重要的,避免出现翻译过程中产生的歧义和误解。
3.遵循时间和空间的原则在翻译电影字幕时,需要考虑时间和空间的因素,遵循原文表现的时间和空间的限制,以便更好地传达电影的情节和故事性。
4.尽可能使用标准语言在翻译电影字幕时,尽可能使用标准语言,避免使用方言和口语,特别是在表现电影的情节和主题方面。
5.遵循文化差异原则在翻译电影字幕时,需要考虑到文化的差异,保留原文中的文化特色和习惯用语,但也要考虑到目标语言的文化差异,以便更好地传达电影的意义和主题。
三、字幕翻译的质量控制1.听取和采纳其他人的意见和反馈字幕翻译是一项非常具有主观性的过程,因此,翻译者需要听取和采纳其他人的意见和反馈,以便更好地提高翻译质量。
2.进行反复校对和调整在翻译电影字幕后,需要进行反复校对和调整,以确保字幕的准确性和适当性,并进行必要的修改和调整。
浅谈小学英语教学论文浅谈英语电影字幕翻译论文
浅谈小学英语教学论文浅谈英语电影字幕翻译论文浅谈英语电影字幕翻译论文篇一《浅谈英语电影字幕翻译》【摘要】随着近几年来中外文化交流的深入,大量的外国影片被引介到中国,在娱乐人们眼球的同时,也促进着人们对于影片欣赏水平能力的提高。
国外影片的引进,也刺激了另一个新兴领域字幕翻译的发展,本文旨在通过探讨英语电影的字幕特点,以期提出一些翻译策略。
【关键词】英语电影;字幕特点;翻译策略一引言近年来随着对外文化交流的发展与深入,一大批优秀的外国影片被引进到中国,受到人们的喜爱。
大量国外影片的引进,带动了英语字幕翻译需求的增长,然而,关于英语电影字幕翻译的标准始终未有一个统一的标准,但由于影视作品是剧作者根据自身生活的经历或经验创造而成,反映了一定的社会文化背景,其语言对白具有不同于其他文体的显著特点。
因此,在对英语电影翻译时,应把握住其特点进行翻译。
二英语电影字幕的语言特点1 口语性以剧情为主的影视作品一般主要是靠角色之间的互动来展开情节,这种互动一般以对话来呈现。
既然是对话,就是生活中浅显易懂的日常口语,即简短、直接、生动,并且含有较多的非正式语及俗语等。
2 文化性著名翻译家Nida 指出:语言是文化的一部分,任何文本的意义都有直接或间接地反映一个相应的文化,词语意义最终也只能在相应的文化中找到。
译制片本身就属于艺术的二度创作,目的就是向目的语观众介绍国外文化,促进民族文化的发展。
3 服务性英语字幕不是独立存在的。
它必须与影视作品的画面、声音等结合在一起才具有意义。
如果把一段字幕抽取出来,单看其内容,是无法了解其真正涵义的,而其最终目的决定了字幕的服务性的特点。
4 时空受限性既然字幕不可能独立于画面和声音而存在,这也就决定了其在时间停留和空间安排上都受到限制的特点。
一方面,它不可能象书本上的文字一样长久停留在同一处,静止不动。
随着与其语境相吻合的画面和声音的消失,它也必然消失,被下一句字幕所取代,即字幕瞬时性的本质。
英文电影字幕的翻译方法与技巧
英文电影字幕的翻译方法与技巧英文电影字幕翻译是一项十分重要的工作,因为它可以让观众更好地理解英语语言及文化背景,为英语学习者提供了一个宝贵的学习资源。
下面是一些英文电影字幕翻译的方法与技巧。
1. 翻译原则:1.1准确性电影字幕翻译应该准确反映原版电影对话的意思。
在翻译时,需要尽可能精细地理解原文。
在翻译过程中,译者应该尽可能准确地翻译语言,比如单词、句子、意义等等。
1.2简洁性电影字幕翻译必须简洁、清晰明了。
轻松的阅读材料能够更好地吸引观众的注意力。
在翻译时需要注意文本的分隔符、句型等等,不要切断原文中被分开的句子。
1.3一致性在翻译过程中,重要的是尽量保持字幕翻译的一致性,比如术语、时态、语气等等。
这会让人们更加容易理解翻译内容。
2.字幕翻译技巧(1)在字幕翻译中,需要注意语言的地区差异。
比如,英语中的颜色等术语,美国和英国的术语可能有所不同。
如果你不确定,最好利用网络来查询相关标准词汇表。
(2)使用靠谱的电影翻译软件,比如Subtitles Translator、Avi Subtitle和Subtitle Workshop。
这些软件具备多种功能特点,比如自动翻译,字幕编辑等等,以此提高翻译效率和一致性。
(3)要使用译文,需要与原版电影匹配。
在使用译文时,同时要遵循字幕翻译的标准。
例如,避免使用第二人称,但可以使用“你”代替“他”。
(4)要小心翼翼地处理文化差异。
有些文化差异因为句子的语言文字而导致翻译困难。
这时你可以借鉴经典的翻译,寻求专家的帮助,或采用本地人可以理解的文化差异来翻译。
(5) 在翻译中,注重电影屏幕上的信息与字幕之间的协调。
字幕可以包括镜头、场景、对话和音效。
字幕还应与时长和角色数量保持一致。
特别是在电影语言翻译上,应特别注意时间和人物名字的一致性。
3.最佳实践- 先观看原片,然后开始翻译。
这样,你可以更好地理解电影的内容、剧情、人物等元素,并减少翻译过程中的错误。
- 翻译的同时,建议在每个时间戳上添加注释、像是音效及配角宣发者的备注等等。
谈英语影片的中文字幕表达特点与技巧
摘要:英语影片的字幕翻译是我国一个新兴的翻译领域。
需要译者对原文进行提炼和再加工,既要保持原影片的语言风格,又要力求简明易懂,真实的传递影片的内涵,从而使观众更好地欣赏英语影片。
字幕翻译既具其他翻译领域的共性,同时又有其独特性。
本文从电影字幕翻译的特点入手,通过具体实例,对其翻译策略进行阐述分析。
尽量做到以观众为中心,促进不同文化的交流,使电影观众更好地欣赏英文影片。
关键词:英文电影字幕翻译;语言特点;文化转换;翻译技巧信息时代的飞速发展使得影视作品交流日益频繁,随着网络时代的到来和现代生活节奏的加快,配以字幕的英文影视作品能让观众在短时间内获取最大的信息量,同时也能欣赏到“原汁原味”的影视作品。
因此,对国外影片字幕翻译的数量和翻译者队伍的规模都在不断壮大。
作为影视翻译的一个重要组成部分,电影的字幕翻译具有其独特性,本文从其特点入手,探讨了电影字幕的翻译技巧和策略。
一、电影字幕翻译的语言特点影视语言与书面文学语言不同,英文影片的字幕翻译不单纯是文字翻译的问题,还涉及媒介手段的转换,即以文字的形式表现原语影片中人物之间转瞬即逝的语音对白,因此具有瞬间性。
电影对白是电影的重要组成部分,人物性格、心理以及情感都会通过对白表现出来,电影人物对白在语言类型上属于口语范畴,将其转化为字幕译文时,语言既要通俗易懂,又要清晰简洁,连贯流畅,尽量和原文风格保持一致,所以具有口语化的特点。
与此同时,由于影视作品的受众群体较为广泛,因此译文在文体、用词等方面要注意其通俗性和大众化的特点。
使字幕译文完整的传达故事情节,使译语观众能够享有与原语观众相似的体会和感受。
1.口语化的特点影视语言与书面文学语言不同,它有口语化、瞬间性、通俗性、制约性和无注性的特点。
影视语言本身绝大部分是由人物对白构成,对白的内容是整个作品的核心。
优秀的对白翻译要遵从其口语化的语言特色。
所谓口语化,就是指演员或者人物的道白与对话都是日常用语。
因此电影或电视剧的语言不能过多的咬文嚼字,不能过多的使用修饰词,要求译文必须贴近生活、易于上口,符合中国人的语言习惯。
英语电影字幕中的翻译之道
英语电影字幕中的翻译之道图文 / 来源网络很多人喜欢从欧美电影里学习英语,一般国外的电影都是带字幕的,(事实上,不带字幕分分钟想关掉电影。
)由于字幕来源不同,导致的翻译的效果也不同,这里我们收集了一些字幕的翻译句子,首先需要把娃句子的语境。
01.You're cleverer than you look.(选自电影Brave Heart)你真聪明,看不出来/没想到你的脑子还很好使。
短评:字幕翻译是“你比你看上去的聪明一些”,略显生硬。
02.I don't want us to end up enemies.(选自电影Presumed Innocent)我不希望咱们闹翻/我不希望以互相为敌而告终。
短评:电影字幕的译文是“我不希望干掉敌人”。
原文末尾虽然是成语化的简洁,但是根据最佳关联的原则还是可以推理为“闹翻”或“为敌”的译文。
03.I owe you my life.(选自电影The Count of Monte Critsto)我欠你一条命/我这条命是你捡回来的。
短评:电影字幕是“我这条命是你给的”,岂有此理!命乃父母所赐。
原文的功能是致谢。
因此,若译为“我欠你一大笔人情”或“以后用得着我尽管说”也比“给”字句好些。
04. I am in the book business.(选自电影You've Got Mail)我是做图书生意的/我是书商。
短评:电影字幕是“我在书生意里”,一是汉语不地道,观众不知所云;二是没有翻译出原文的功能。
原文是介绍自己的职业,相当于“我是医生/教师”。
其实在很多情况下,我们需要把握翻译句子所在的语境,显得最地道哦~。
浅析英语影视剧字幕翻译-精品文档
浅析英语影视剧字幕翻译-精品文档浅析英语影视剧字幕翻译一.影视剧字幕翻译的基本特征翻译是跨语言、跨文化的交流活动。
将英语影视剧翻译成中文,就像是译者建了一座桥梁,促进中外文化的沟通交流。
本质上,影视剧翻译与其他文本翻译相同,目的都是将源语的意义用译语予以再现。
但影视剧翻译之所以为影视剧翻译,正是基于其特殊性,也就是影视剧字幕翻译的基本特征。
1.1声画统一性首先,字幕翻译不是独立的,我们在欣赏一部影视作品的时候,不仅要看字幕,更重要的是看画面,听声音。
画面、声音、字幕三者是不可分离的统一体。
所以,译者在翻译字幕的时候,要将字幕与故事情节,画面动作,人物特点等要素结合起来,使各要素和谐融为一体。
此外,由于屏幕是有限的,所以译者在翻译字幕的时候也要受到限制,字幕的内容既要表达出说话人的全部内容,也要控制译文的长度,用最简练的语言,传达最准确的信息,以减轻观众的负担,让观众把关注的重点放在画面和情节上,更好地享受影视剧带来的快乐。
1.2文学魅力性观众看剧,就是要放松,投入,享受,作为字幕译者,应该使观众了解基本信息的前提下,获得良好的审美体验。
也就是说,译者的译文要美,要有文学性,要有审美价值,让观众在看了字幕之后能在情感上引发强烈的反应,这种反应能够在人们心中引起喜怒哀乐酸甜苦辣等各种感觉,能让观众对剧情更加投入,对人物有更深刻的体会,因此,字幕翻译的语言文采不可忽视,这一点又与文学翻译相同,所以,译者在翻译字幕时,可以运用文学翻译的理论,充分把握人物性格特点,情景语境,文化语境等要素.二.影视剧字幕翻译批评与赏析2.1动画片《白雪公主》片段1Queen:Take her far into the forest. Find some secludedplace where she can pick wildflowersHuntsman: Yes, Your Majesty.Queen: And there, my faithful huntsman, you will kill her!Huntsman: But Your Majesty, the little Princess!Queen: Silence! You know the penalty if you fail.Huntsman: Yes, Your Majesty.Queen:But to make doubly sure you do not fail,bring back her heart in this.网络译文王后:把她带进森林深处。
浅析英语影视作品字幕翻译策略
浅析英语影视作品字幕翻译策略浅析英语影视作品字幕翻译策略字幕翻译作为英语影视作品的重要组成部分,在近年来的快速发展中扮演着日益重要的角色。
字幕翻译的目标是将原始英语对话或台词转化为其他语言的文字,并以清晰、准确的方式传达给观众。
在这篇文章中,我们将浅析英语影视作品字幕翻译策略,并探讨其对观众体验和文化传播的影响。
首先,字幕翻译的一项重要任务是保持对话或台词的准确性。
在转化为其他语言时,译者需要确保对话内容与原始意图一致,并能够准确地传达给观众。
为了实现这一目标,译者需要具备良好的语言能力和翻译技巧,同时还需要对原作的背景和文化有深入了解。
只有当字幕翻译准确无误,观众才能真正理解原始英语作品的含义和情感。
其次,字幕翻译还需考虑观众的阅读体验。
字幕翻译是通过将文字以特定的方式呈现在屏幕上来传达对话内容的。
因此,译者需要注意字幕的长度和显示时间,在确保准确性的基础上尽量保持简洁明了。
长句或过长的字幕不仅容易导致观众的阅读困难,还可能错过影片中的重要画面。
字幕翻译需要在准确传达对话的同时,尽量提供便于观众理解和接受的文字表达。
除此之外,字幕翻译还需要兼顾文化的传播。
影视作品是文化的重要载体,其中蕴含着丰富的文化元素和背景。
字幕翻译需要将这些元素传达给观众,让他们更好地了解和欣赏作品所代表的文化。
在这一过程中,译者需要充分理解原作中的文化细节,并灵活运用翻译策略来传达给观众。
同时,字幕翻译也需要注意避免文化冲突或失实的情况,确保翻译语言与目标观众的文化背景相符。
此外,字幕翻译还需考虑语言的表达方式和习惯。
不同语言有着不同的表达方式和文化差异,字幕翻译需要在转化为目标语言时尽可能贴近目标观众的语言使用习惯。
这意味着译者需要灵活运用翻译策略,选择适合目标语言的词汇、句式和表达方式,使得观众更容易理解和接受。
总之,英语影视作品字幕翻译策略在影视传播中起着关键的作用。
通过准确、简洁地传达对话内容,字幕翻译帮助观众更好地理解原始英语作品的含义和情感。
英文电影字幕的翻译方法与技巧
英文电影字幕的翻译方法与技巧1. 引言1.1 介绍英文电影字幕的重要性English movie subtitles play a crucial role in enhancing the viewing experience for audiences around the world. They are essential for non-native speakers to understand the dialogue, storyline, and cultural references in the film. Without subtitles, many viewers would struggle to follow the plot or fully appreciate the performances of the actors.2. 正文2.1 字幕翻译的基本原则Basic Principles of Subtitle TranslationSubtitle translation is a specialized form of translation that involves conveying the spoken dialogue and other sounds in a film or TV show into written text at the bottom of the screen. In order to provide an accurate and effective translation, there are several key principles that must be followed:2.2 字幕翻译中常见的挑战In the process of translating English movie subtitles, there are several common challenges that translators often face. Oneof the main challenges is maintaining the balance between accuracy and readability. Translators need to ensure that the subtitles are faithful to the original dialogue while also making sure that they are easy to understand for the audience.Another common challenge is dealing with wordplay and cultural nuances. English movies often contain puns, idioms, and cultural references that may not have direct equivalents in other languages. Translators need to find creative ways to convey the intended meaning without losing the essence of the original dialogue.Additionally, timing and length can be challenging aspects of subtitle translation. Translators need to ensure that the subtitles appear on screen at the right time, in order to match the actors' dialogue. At the same time, they need to keep the subtitles concise and easy to read, which can be a difficult task when dealing with complex sentences or technical jargon.Overall, translating English movie subtitles requires a deep understanding of both languages, as well as strong linguistic and cultural skills. It is important for translators to constantly improve their skills and stay updated with the latest trends in order to provide high-quality subtitles that enhance the viewing experience for the audience.2.3 如何处理口语和文化差异When it comes to translating English movie subtitles, one key aspect to consider is how to handle colloquial language and cultural differences. This is crucial in ensuring that the translation accurately conveys the meaning and tone of the original dialogue.2.4 使用合适的词语和语言风格When it comes to translating English movie subtitles, using appropriate words and language style is crucial to accurately convey the meaning and tone of the original dialogue. Here are some tips on how to ensure you are using the right words and language style when translating subtitles:2.5 如何保持节奏和流畅度1. Understand the pacing of the dialogue: It is crucial to accurately capture the speed and rhythm of the spoken words in the original language. Translators should pay attention to the natural flow of the dialogue and ensure that the subtitles reflect the timing and cadence of the actors' delivery.3. 结论3.1 总结字幕翻译的重要性与技巧In conclusion, translating English movie subtitles is a crucial task that requires a good understanding of linguistic and cultural nuances. The importance of accurate and appropriate subtitle translations cannot be overstated, as they directly impact the viewers' comprehension and enjoyment of the movie.。
英文电影字幕的翻译方法与技巧
英文电影字幕的翻译方法与技巧英文电影字幕翻译是一项既具有挑战性又具有创造性的工作。
它不仅要求翻译者对目标语言的熟练运用,还需要对原文语境的敏感理解。
在进行英文电影字幕翻译时,翻译者需要运用各种技巧和方法来保持原作的情感和表达方式,并使其在另一种语言中能够准确传达。
下面将介绍一些关于英文电影字幕翻译的方法与技巧。
翻译者需要充分理解原片的背景和情节。
在进行电影字幕翻译时,翻译者必须了解角色的性格特点,掌握对话的语境,理解对话之间的隐含含义。
只有在对原片有深入的理解后,才能进行准确的翻译。
观看原片,了解背景故事,熟悉角色对话,是进行英文电影字幕翻译的第一步。
在进行英文电影字幕翻译时,翻译者需要注意语言的通顺流畅。
电影字幕的翻译要求语言简洁明了,不宜过于冗长。
翻译者需要在保持原意的选用简练的语言进行翻译,使观众在观影时能够轻松地理解字幕内容。
还需要在保持原文词语的情感和表达方式的前提下,对句式和语法进行适当调整,以使翻译更加符合目标语言的表达习惯。
在进行英文电影字幕翻译时,翻译者需要注意情感和节奏的保持。
英文电影中的对白往往表达了角色的情感和内心世界,因此在翻译字幕时,翻译者需要保持原文的情感表达,使观众能够在观影时感受到相似的情感。
还需要注意字幕的节奏感,尽量使翻译后的字幕与原片的对白节奏相符合,以保持原作的表达方式。
翻译者还需要注意口语表达和俚语的翻译。
英文电影中常常包含口语和俚语,这些语言特点在翻译时需要被恰当处理,以使观众在观影时能够理解。
翻译者需要根据目标语言的习惯,选择恰当的口语表达或俚语进行翻译,以保持原作的语言特点。
翻译者需要注重字幕的准确性。
在进行英文电影字幕翻译时,翻译者需要尽可能准确地翻译对白内容,以保证观众能够明白原片的意思。
还需要特别注意专业名词、地名以及文化背景的翻译,以使观众在观影时不会因对字幕内容的理解出现偏差。
英文电影字幕的翻译方法与技巧
英文电影字幕的翻译方法与技巧一、翻译方法1. 直译与意译相结合在翻译英文电影字幕时,翻译人员需要灵活运用直译和意译的方法。
直译是指尽量保持原文的语言风格和结构,准确地传达原文的意思;而意译则是指根据目标语言和文化背景,适当地进行调整,以使译文更符合观众的阅读习惯和理解能力。
在翻译过程中,翻译人员需要根据具体情况灵活选择直译和意译的比例,以达到最佳的翻译效果。
2. 借助音频在翻译英文电影字幕时,翻译人员可以借助音频来更好地理解原文的语境和语调,从而更准确地翻译对话内容。
通过仔细听取原文的语音表达,翻译人员可以更深入地理解人物情感、语气和语速,这有助于他们准确把握对话的语言特点,从而更好地进行翻译。
3. 考虑观众背景在翻译英文电影字幕时,翻译人员需要充分考虑目标观众的语言背景和文化习惯,以保证译文更好地符合观众的理解习惯。
对于某些具有地域特色的口语表达,翻译人员可以适当地进行调整,以使译文更符合观众的语言习惯。
还需要考虑目标观众的文化背景和文化修养,以避免在翻译过程中出现冲突或不当的表达。
二、翻译技巧1. 准确把握语境和角色特点2. 保持一定的简洁性在翻译英文电影字幕时,翻译人员需要尽量保持译文的简洁性,以使观众能够更流畅地阅读和理解字幕内容。
通常情况下,对话内容越简洁越清晰,观众越能够快速理解和接受。
翻译人员需要在翻译过程中尽量简化句子结构和语言表达,以保证译文的简洁性和易读性。
3. 注意语言风格和情感表达在翻译英文电影字幕时,翻译人员需要特别注意对话的语言风格和情感表达,以确保译文更符合原文的意图和情感表达。
在翻译不同角色的对话时,翻译人员需要根据角色的特点和情感变化,灵活调整翻译风格和语言表达,以使译文更生动、更贴近原文的情感表达。
4. 确保译文的准确性和流畅性翻译英文电影字幕是一项需要高度专业和灵活应变能力的工作。
只有在准确把握原文语境和角色特点的基础上,灵活运用直译和意译的方法,同时兼顾观众背景和翻译技巧,才能更好地完成这一任务。
浅析英语字幕翻译策略
浅析英语字幕翻译策略英语字幕翻译策略是指在将英语语音转译为中文字幕过程中所采用的翻译思路和方法。
字幕翻译是影视翻译的一个分支,主要通过将影视剧中英语的对话、解说等语音部分转化为中文字幕,使得不懂英语的观众也能理解影视内容。
因此,良好的字幕翻译策略对于影视翻译的质量至关重要。
以下是对英语字幕翻译策略的浅析。
1.意译与直译在翻译中,常常需要对某些语言进行意译或直译。
意译是将英语原文内容表述的含义或思想用汉语的表述方式来表达,达到和英语原文相同的效果,但表达方式不同。
直译则是将英文原文尽可能直接翻译成中文,并保持源语言句式和语用习惯。
在英语字幕翻译中,需要根据语音内容和场景,综合考虑使用意译或直译的方式,使中文字幕更符合口语表达习惯。
2.节奏与语感字幕翻译不仅仅是将文字翻译成中文,还需要考虑到剪辑和配音、音效之间的协调性。
在翻译时需要把握好不同片段的字数、长短、语言韵律,结合视频剪辑,做到所翻译的字幕和影视画面的视觉、听觉效果相互配合。
3.传达对话的真正含义英语的表达方式和表达习惯和中文有很大差别,而且有很多英语词汇存在多义性。
因此,在翻译时需要准确传达英语原文所表达的含义,营造出与原文相似的翻译效果。
针对语境和对白的不同,选择合适的翻译方式,并做到语言简练、易于理解,这是英语字幕翻译中最重要的一步。
4.深入理解影视文化字幕翻译需要了解电影和电视行业的特点和规则,抓住影视文化和观众心理的特征,力求准确传达原作的各种表现手法和情感内涵,才能实现最终的翻译效果。
5.字幕的可阅读性英语字幕翻译的目标是让观众尽可能的理解内容,因此字幕的可阅读性是非常重要的。
字幕要尽可能使用简洁易懂的词汇,标点符号和排版格式也要精细处理。
同时,对于出现的生僻词或专业术语需进行解释或者添加注释,在字幕中加强语言的表达效果,方便观众理解英文内容的同时也确保字幕翻译的通顺、流畅。
总之,英语字幕翻译是一项综合性的任务,要想达到翻译质量高、口语表达流畅的效果,必须抓住突出符合语境和文化背景的翻译特点,通过多方面考量使之贴合观众的语感,达到最佳呈现效果。
浅谈《哈利·波特与魔法石》电影字幕翻译
浅谈《哈利·波特与魔法石》电影字幕翻译《哈利·波特与魔法石》是一部经典的奇幻电影,是全球范围内备受欢迎的系列电影之一。
这部电影所采用的是英国传统的文化元素,带领观众踏上一段神秘的魔法之旅。
为了让观众更好地理解电影,字幕翻译就显得尤为重要。
本文将从几个方面对该电影的字幕翻译进行浅谈。
首先,翻译的准确性是最基本的要求。
比如,在电影中,“Hogwarts”(霍格沃茨学院)、“Dumbledore”(邓布利多)、还有“Quidditch”(飞贼比赛)等词汇就需要被准确地翻译过来。
在这个过程中,翻译人员需要注意词汇选择的准确性和规范化,既能保证翻译内容的准确性,又能使观众更加易懂。
其次,电影中还包含了不少英国的习惯语言,比如“Blimey”、“Gosh”等等,这些语言在汉语中并没有对应的说法,而字幕翻译也需要做出适当的处理。
对于含义不是很明确的习惯语言,翻译人员常常会采用具有类似语境、约肢的汉语说法,以便观众明白电影的情节。
再次,翻译人员还需要注意到一些英语的双关语、谐音等,这些词汇也起到了电影语言的额外附加值。
在翻译电影字幕的过程中,需要考虑如何将这些英语特色的表达法翻译到汉语中,以便观众在感受电影情节同时也能体验到英语特色的表达法。
此外,翻译人员还需要注意到英语中的口语表达,比如“Made a run for it”(逃跑了)、“Mum”(妈妈)、还有“Wizarding world”(巫师世界)等等。
这些口语表达体现了英国本土的语音、文化等方面的特征,也是电影的重要元素之一。
由于汉语和英语在口语表达方面存在较大差异,翻译人员需要特别注意口语表达的翻译,以便让观众更好地理解电影内容。
最后,对于电影中一些难以理解和解释的句子或情节,翻译人员需要采取适当的手法来处理。
比如,“Norbert”(诺伯特)、“Nagini”(纳妮)等名称,在电影中没有具体的解释,而字幕翻译需要在保证原意不变的情况下,采用更加易懂的译名,以方便观众理解。
浅析英文电影字幕翻译
浅析英文电影字幕翻译作者:肖伯娜来源:《新一代》2018年第12期摘要:本文对英文电影字幕的语言特点、电影字幕的翻译策略与方法进行了分析和举例,旨在对英文字幕翻译策略及方法的运用进行研究,从而减少翻译初学者在翻译字幕时可能出现的失误,增强观众对于英文电影翻译的理解。
关键词:英文电影;字幕;语言特点;翻译策略;翻译一、英文电影字幕的语言特点(一)口语性。
影视作品一般都是以剧情为主,依靠角色之间的互动与交流将其陈述给观众,大多采用人物对话、个人独白或旁白形式呈现,因此字幕的译法须简短易懂、生动直接,这与书面语翻译有所不同。
(二)文化性。
语言是文化的一部分。
很多影视作品中含有大量俗语、俚语以及非正式用语,因此译制片既要通俗易懂,符合广大观众的教育水平;又要向观众传播文化知识,促进民族文化的发展。
(三)时空受限性。
字幕不可能独立于影视画面和声音存在,因此其在时间和空间上都受到一定的限制。
在时间层面上,影视剧中的语言是有声语言,不可能像在纸张上的文字一样长时间停留。
随着剧情的推进以及电影画面的切换,字幕必然转瞬即逝;在空间层面上,字幕的长度和字体的大小都不能影响观众的观影效果,所以在译制过程中要考虑到用词长度、语句标点和是否使用省略等问题。
二、英文电影字幕的翻译策略基于英文电影字幕的几大语言特点,英文字幕的翻译也须采取相应的策略。
(一)语言通俗策略。
通俗易懂的语言可以减少观众与影视作品的距离感,因此,通俗化和口语化的翻译能让观众做到雅俗共赏。
比如在《疯狂动物城》中出现的对话中有一句“Pull it together”,结合电影剧情和英语习惯用法,这句话译成“拉起来”或是“放在一起”都明显欠妥当,电影字幕中译成了“振作点”就很贴切了。
(二)归化策略。
归化是一种让作者更接近读者的翻译手法,比如《卧虎藏龙》里的一句台词“守住真气,我一定回来。
” 其中“真气”这个词源自道家,指人体内各种器官正常发挥功能的原动力。
浅析英语字幕翻译策略
浅析英语字幕翻译策略英语字幕翻译是通过将英文对话转化为中文文字,并在屏幕上显示出来,以帮助观众更好地理解影片或电视剧中的对话内容。
字幕翻译需要遵循一定的策略,以确保准确传达原文的意思并适应不同的观众群体。
接下来,我将对英语字幕翻译策略进行浅析。
准确性是字幕翻译的核心。
字幕翻译应尽可能准确地传达原文的意思。
翻译人员应理解原文的语言和文化背景,确保选择合适的词汇和表达方式。
翻译人员还应注重细节,如标点符号、语序和语法等,以确保字幕的准确性。
简洁性是字幕翻译的重要策略之一。
由于字幕空间有限,翻译人员需要将原文中的冗长表达进行压缩,使其能够适应字幕的显示区域。
在保持原文意思的前提下,翻译人员应尽量使用简洁明了的词组和句子,使观众能够迅速理解并记住字幕内容。
口语化是字幕翻译的重要考虑因素。
英语字幕翻译应尽量符合中文口语的习惯和规范,使字幕更加易于理解。
翻译人员可以使用常用词汇和短语来取代书面语,使字幕更接近口语表达。
翻译人员还可以适当加入一些常见的俗语、口头禅和惯用语,以使字幕更加生动和自然。
符合观众的文化差异也是一个重要的翻译策略。
随着全球化的发展,越来越多的人通过字幕翻译来观看影片和电视剧。
翻译人员应考虑观众的不同文化背景和语言习惯,以便更好地传达影片的内容。
翻译人员可以根据观众的国家或地区进行适当的文化调整,例如将一些与当地文化不相关的词汇或句子进行转换或解释。
字幕翻译还需要注重时间和节奏。
字幕的显示时间应与对话的节奏相匹配,不过早或过晚地显示字幕。
翻译人员需要注意音频和视频同步,确保观众能够准确理解对话的内容。
准确性、简洁性、口语化、符合文化差异以及时间和节奏是英语字幕翻译的重要策略。
通过正确运用这些策略,翻译人员可以更好地传达原文的意思,并使观众能够准确理解影片或电视剧中的对话内容。
英语电影的字幕翻译探讨
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浅谈英语电影字幕翻译(一)
【摘要】随着近几年来中外文化交流的深入,大量的外国影片被引介到中国,在娱乐人们眼球的同时,也促进着人们对于影片欣赏水平能力的提高。
国外影片的引进,也刺激了另一个新兴领域—字幕翻译的发展,本文旨在通过探讨英语电影的字幕特点,以期提出一些翻译策略。
【关键词】英语电影;字幕特点;翻译策略
一引言
近年来随着对外文化交流的发展与深入,一大批优秀的外国影片被引进到中国,受到人们的喜爱。
大量国外影片的引进,带动了英语字幕翻译需求的增长,然而,关于英语电影字幕翻译的标准始终未有一个统一的标准,但由于影视作品是剧作者根据自身生活的经历或经验创造而成,反映了一定的社会文化背景,其语言对白具有不同于其他文体的显著特点。
因此,在对英语电影翻译时,应把握住其特点进行翻译。
二英语电影字幕的语言特点
1口语性
以剧情为主的影视作品一般主要是靠角色之间的互动来展开情节,这种互动一般以对话来呈现。
既然是对话,就是生活中浅显易懂的日常口语,即简短、直接、生动,并且含有较多的非正式语及俗语等。
2文化性
著名翻译家Nida指出:语言是文化的一部分,任何文本的意义都有直接或间接地反映一个相应的文化,词语意义最终也只能在相应的文化中找到。
译制片本身就属于艺术的二度创作,目的就是向目的语观众介绍国外文化,促进民族文化的发展。
3服务性
英语字幕不是独立存在的。
它必须与影视作品的画面、声音等结合在一起才具有意义。
如果把一段字幕抽取出来,单看其内容,是无法了解其真正涵义的,而其最终目的决定了字幕的服务性的特点。
4时空受限性
既然字幕不可能独立于画面和声音而存在,这也就决定了其在时间停留和空间安排上都受到限制的特点。
一方面,它不可能象书本上的文字一样长久停留在同一处,静止不动。
随着与其语境相吻合的画面和声音的消失,它也必然消失,被下一句字幕所取代,即字幕瞬时性的本质。
另一方面,字幕的空间存在也受到较大限制。
影视剧最大的魅力就在于其图像与声音的完美结合。
字幕作为并非必要的一种后来添加物,其存在的前提便是不能对画面的整体视觉效果造成较大的破坏。
因此,字幕的排版也必须符合审美标准。
在长期的字幕制作实践中,字幕的外观效果形成了较统一的评判标准,字体不能过大,也不能过小。
另外,每一句字幕的长度也受到限制。
由于画面是一闪而过,字幕停留的时间较短,往往只有两三秒甚至更少,因此内容不能太多。
同时,是否添加标点符号,哪些标点可以省略,哪些不能省略,这些问题也必须加以考虑。