从目的论角度分析电影字幕的翻译——以《当幸福来敲门》为例

从目的论角度分析电影字幕的翻译——以《当幸福来敲门》为例

111.Analysis ofSubtitle TranslationThesubtitle translation of film and television works is limited by the particularityofthe artof film and televisionto a large extent.It integratesa varietyof artistictechniquesand attractsthe audience with itsunique audio-visual impactand artisticappeal.Since theaudienceall comefrom different levels,their cultural level isdifferent,which requiressubtitle translation toconsider popularization.Subtitle translationof film and televisionworksis alsodifferent fromthat ofgeneral literaryworks.Subtitle translation willaccompany the dialogue of the film and befleeting on the screen,which demandsthesubtitle translation to beeasy to understand.Since thereare greatdifferences betweenChineseand Englishcultures,the timeof subtitle translation on the screen is also limited.In conclusion,it can be concludedthat subtitle translation has the characteristics ofcolloquialism,popularization and instantaneity,as wellas the limitations of time,spaceand culture.

111.1Features ofSubtitle TranslationSubtitle translation belongsto literarytranslation.According toQian Saochang,afamous translator,film and television translationnot onlycontains theelements ofgeneralliterary language,but alsohas itsown characteristics:listening,钱绍昌，comprehensiveness,instantaneity,popularity andnon-annotation^.20001General literaryworks havedifferent literarystructures,and the characters havedifferentlevels ofdifficulty,which requiredifferentlevelsof readers culture.Film worksare akindof artof the public,which is appreciated by the audience.This alsorequires that thedialogue and subtitles of the filmshould conform to the culturallevelof the majority of theaudience,and should be easilyaccepted by the majority of the audience.At the same time,the speedof thedialogue is very fast,which is almost fleeting.Therefore,thecharacteristics of film subtitle translation can be summarizedin threeaspects:colloquialism,popularization andinstantaneity.

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1.1ColloquialismColloquialism isverbal language;language iseasy to understand,close to life,not wedto stricttext structure.We oftenhear sucha saying:Art comesfrom life,and it ishigher thanlife.^in fact,film and television worksare the same,and mostof thesubjectscome fromreal life.The development of plotsin film and television works mostlydependson thedialogue between the charactersto promote.The language of mostfilm and television worksis composedof dialogues,and thetranslationof dialoguesis themain partof subtitle translation.The dialoguein afilm andtelevision works toa vividstory atmosphere,let the audience in the true story scenarios,inorder to show thecharm of the film and television works,thedialoguewill needis,insimple words in lifeis brief,direct andvivid language,and has a large number ofinformallanguage andslang andcolloquial language.In fact,the principle is the same,the translation should becloser to the original style,words areelegant,but stillchoose easy to understandvocabulary.The translationshouldalso be consistent with the originalin sentencepatterns and language forms.In order toenable themajority of the audience to better appreciate theBritish andAmerican moviesand television works,subtitle translationshould bemore closer tolife,and be able to usesimple oraldialogue to complete thenarrative.Therefore,in orderto make it moreacceptable to the audience,subtitle translationshould beclosertolife andcolloquialism.

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1.2PopularizationBecause the audiences comefrom differentcountries andregions,the educationalbackgroundand levelsare alsodifferent.Therefore,subtitle translators should takethevast audienceas themain body,andsubtitle translationshould be tendedto popularity.Popularity hererefers to the use of simple,clear andeasy to understand words andsentences,but notvulgar,so that the audience canbemore convenientto understand themeaning and emotion expressed in the film.As the art formclosest todaily life,film and television worksare basicallydialoguederived from life and are for the appreciationof thegeneral audience.Therefore,thesubtitle of film and television works need toconsider thepopularity,that is,to use thepopular languageto expressas muchas possible,and at thesame time to ensure that thelanguage isconcise and clear.Popularization isvery important6for the audience,the audienceneeds to be ableto understand,easy to understand,simplesentences,these commoncharacteristics arethe importantcharacteristics of film andtelevisionrequirements.Therefore,the languageoffilm and televisionplays must be inlinewith theeducation levelof the public.At thesame time,subtitle translationmust becatchy,coherent andfluent,and pay attention tocolloquialism.In addition,in orderto fullytake intoaccount theacceptability of thepublic,thisrequires translatorsto bepopularized in translation.Subtitle translators should graspthedifferences in audience acceptability,culture,professional terms and educationlevel,andprovide the audiencewith a convenientchannel tocorrectly understand the contentexpressed in the film.The so-called popularizationof the principleis actual aservice forthe audience,theprinciple of responsibilityto the audience.

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1.3InstantaneityMost of the film and television works show the feelingsand ideasof thecharactersthrough sound,which isdifferent from theartform oftext.In addition,the textworks canberead repeatedly,but the film and television worksare instantaneous.When the film and television worksplay,only afew secondsstay on the screen,thecharacter dialoguespeed isfast andfleeting.Therefore,we should payattention to thelengthof the sentence in the translation,and shouldbe simple andclear,so that theaudience canroughly understand the meaning of this sentence afterreading it.The instantaneityis mainlyfor the film and television deductivecharacteristics of theactors languageexpression and the needsof the audience to watch thestory atthe sametime to beintegrated.The generalcharacteristics offilmandtelevision languageinstantaneityis mainlybased on the languageof theaudio characteristics of thetransientprocessing,generally requiresthe emphasis of the languageof the actors,the requirementsof the audience to understand the languageto express the meaning.Subtitle translation in filmandtelevision works need to becombined with thepresence ofsound andpictures,and the time spenton the screen is alsolimited.Therefore,it has a certaininstantaneity.The instantis mainlyaccording to the sound7characteristics of the language,the processingof themoment of the language,usuallyrequires theemphasisof the actorlanguage,and the audience isableto understand themeaning of the language.The artof languageis for the filmsection,its deductivemethodsand techniquesrequire certainlanguage skills.In addition,if the subtitles stayon thescreenfor tooshort atime,the audiencewill notbeableto seeit,and2-3seconds is thebest time.Because thetime to watch the subtitles isvery short,it requiresEnglish subtitlesto be concise,which is convenient for the audience towatchand better understand theworks.

111.2Limitations ofSubtitle TranslationIn addition to the threecharacteristicsofcolloquialism,popularization andinstantaneitymentioned above,subtitle translation isalsolimited bytime,space andculturaldifferences,and has the limitations of time,space and culture.

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2.1Space RestrictionSubtitle translation isdifferent fromother translations,screen sizeis limited,subtitledisplay time islimited,display on thescreentimeis only afew seconds,in ashort periodoftime subtitle translationwillcontinue tochange with thecharactersdialogue andplot,which requiresthe translatormust bea certainperiod oftime to showthefeelingsexpressed by the filmandtelevisionwork.It isalso necessaryfor the audience tounderstand.

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2.2Time RestrictionThetext displayedon thescreenisvery limited,subtitle translationwill notcausedamage to the overallvisual effectof the picture,it occupiesa spacecan notcover theimagescreen,so asnot toaffect the audience towatch.The typesettingof subtitletranslationmust alsoconformtoaesthetic standards.Subtitle translationmust beat thesame time as the sourcelanguage discoursetocompletethe transmissionof information,each lineof subtitlesmust stayonthescreen enoughfor the audience toscan thetime,because thepicture isa flash,so the content of thesubtitlecan notbe too much,and mustbe concise andclear,the easytounderstandstatements presentedto the audience.Therefore,translators shouldgive fullconsideration totime and space factorsin theirtranslation,so asto ensurethat theaudiencecanobtain theinformation asquickly aspossiblein theshortest time.323Cultural RestrictionIn the process offilmandtelevisionsubtitle translation,cultural factoris anotherrestrictingfactor.Because eachcountry hasdifferent languages and cultures,there will belanguage barriersand culturaldifferences infilmandtelevision works,so thatmanyChinese audiencesin theviewing of western filmandtelevision works,do not have agoodunderstanding of the plot and thefeelings expressed,so it is needed,tousesubtitletranslation tolet theaudience understand the country9sculture,so asto beable toappreciate the deep meaningoffilmandtelevision works.Subtitle translationshould alsofocus onimproving thecultural communicationawarenessof theaudience andseeking theintersection ofthinking andculture in thecommunication between China and the West.This isalso theinevitable trendof culturalexchanges and communication between China and thewest,but also the inevitablerequirementof enhancingChinas culturalsoft powerand internationalinfluence.Therefore,translatorsshouldtry theirbest torestore theinformation offilm andtelevision works,respect theirown culture,and usedistinctive wordsintranslation.Inorder to make theaudience understand and betterconvey cultureeffect,translators shoulduseliteral translation,free translation,amplification,omission andother strategies.IV Subtitle Translation of The Pursuit of Happiness from thePerspectiveof Skopos TheoryThis section analyzes the film subtitles translation from the perspective of SkoposTheory.First ofall,this paperbriefly introducesthe film,then analyzeslanguage featuresof the film,and finallyillustrates andsummarizes the translation strategiesand methodsused in thisfilm.

4.1Brief Introductionof The Pursuit of HappinessThe Pursuit of Happiness is aninspirational filmin the United States.Theprotagonist,Chris facesa lotof difficulties,but nomatter howhard it is,he hasnot givenuphis efforts,and hisheart is still fullof hope.Finally,with thecontinuous persistenceandefforts,Chris Gardnermarches onthe roadto happiness.

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1.1Story LineThe Pursuit of Happiness isan American film adaptedfrom atruestory.ChrisGardner isa middle-aged,facing afamily crisis.As asalesman,the productbacklog.Hecant paythe rent,his childcan onlygo tothe cheapestkindergarten.His wifeleft himagain at thistime.Chris gotan interviewby virtueof hisgenius forplaying Rubiks Cube.But onenight beforethe interview,he wascaught in the policestation fornot handingin aparkingfine.It doesntseem to be anyworse.When heran tothe interviewerthe nextdayunkempt,no onebelieved thathe couldpass theinterview,but Chris was recognizedforhis excellenteloquence.The nextsix monthsof internshipswere unpaid,andin the endonlyone out of20candidates hadto beoffered ajob.Chriswasbusying forhis newjob,and worriyingabout hislife atthesame time.There was a passagein whichthey weredrivenout byhotel ownersfor defaultingon theirrent andno onehelped them.In thesubwaystation,helpless willand hisson pressedthe buttonback tothe sceneof thePastmeeting with“dinosaurs.It wasmoving,and the author suddenlyfound theface of theblack childso lovely.The eyeswere soclear.The optimisticspirit of the fatherand sontwo is that they are also the drivingforcebehind Chrisfinal success.Then theyboarded the toilet atthe subwaystation,and willlockedthe door.Holding thesleeping sonin hisarms,suddenly,thetoiletdoor wasviolentlybanged,will desperatelywith hisfeet againstthe door,Chris huggedthe sleepingson,sitting onthe wallof thetoilet.The midnightlights werepale,and theemaciated,malnourished fathershed tearsin silence.With all the trouble,Chris eventuallybecame anemployeeof theinvestment company,a seeminglyindifferent whiteboss,showing theirslightwarmth.He heldback histears,trembled andpicked uphis belongings,and wentintothe vastsea ofgoods.In themidst of the hustleand bustleof thecrowd,Chris raisedhishand toapplaud himself,and thesilent,a momentof heavyapplause wascheeringhimself.This filmtells usthat whenpeople experiencesetbacks anddifficulties,like theprotagonistChris Gardner,one shouldnot giveup lightly,they shouldface lifewith anoptimistic,positive andtenacious spirit,and eventuallyusher in a happylife.

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1.2Language FeaturesThefirst language feature of The Pursuit of Happiness isthat itiseasytounderstand,concise andcrisp.Films comefromlife,theyarethe nuancesof life,so theyappear tobesimpler,more refinedand morelife-made.Films usuallyusethespoken English,slang andotherexpressions commonly usedindaily lifetoshowa modernfeel,so that they areconcise,easy fortheaudiencetounderstand the roleintention,early integrationinto theplot.For example,是让我晋升的好途径1It was a way to anotherplace.This sentenceuses simplesentences toexpress the deepmeaning,so that theaudience can better understand the emotionexpressed in the movie,simpleandclear,andeasy tounderstand.The secondlanguage featureof The Pursuit of Happinessisthatitis powerfulandrhythmic.The filmcleverly usethe rhythmof words,phrases andsimple torandomcombination,so that the languagehas arhythmic rhythm,tone cadence,catchy,melodious,in orderto obtaina tenseand stimulatingplot atmosphere,strengthen theeffectiveness oflanguageart appeal.For example,2Chris!Chris!Dont jerkme around,okay,ChrisFm notjerking youaround,Ralph,all rightIm gonnaget it.I needthat moneynow,not later.When Iget it,you getit,Ralph.Now!克里斯，克里斯，别耍我，克里斯？我没有，拉尔夫，我会给你，会付钱给你的我要房费，现在就要！不是以后！我有了钱马上就付给你，拉尔夫我现在就要！This is the scenewhere Ralphurges Christo paythe roomrate.From Ralphscontinuouscalls fbrChris nameand repeatedemphasis onthe roomrate,theaudiencecanfeel thesonorous andstrong rhythm.The thirdlanguagefeatureof The Pursuit of Happinessiswitty humor,lively andinteresting.There isno doubtthatthe original purposeof thefilm wasto entertain thepublic andbring funto people.As aresult,thefilmlines arefilled withall sortsofwell-meaning tauntsand are.The playwrightstill blendsthe classiclaughs theyget inlifeinto theplotandrelies onthe actorsexaggerated performanceto makeit tothe fullest.Forexample,3What would you sayif aguy walkedin foran interviewwithout a shirt onand Ihiredhim WhatwouldyousayHe mustvehad onsome reallynice pants.如果有个人连衬衫都没穿，就跑来参加面试，你会怎么想？如果我最后还雇了这个人，你会怎么想？那他穿的裤子一定十分考究This isa sceneof Chrisgoing to an interview,and fromChris answerabout whyhedidnt weara shirttoaninterview,theaudiencecan seethe humorousand interestinglanguage features.

4.2Subtitle TranslationStrategies ofThe PursuitofHappinessfromthe Perspectiveof Skopos TheoryAccording toSkopos Theory,different purposeswill producedifferent translations,and translatorsoffilmandtelevisionworks willadopt certaintranslation methodstoachieve theirtranslation purposes.Through analysis,the translatoradopted thefollowingtranslation strategiesin thesubtitle translationof thePursuitofHappiness to make theaudiencefeel thecharm of thefilm.

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2.1Literal TranslationLiteral translation isa methodwithalong history.It means that under the conditionoflanguage,the targettext shouldnot onlyexpress the content of the source text,but alsoretain the rhetorical style andsentence formof the source textas muchas possible.Literal translationemphasizes theword-for-word translationofthesource text,making itstylistically similartothesourcetextin theexpression ofvarious wordsandfunction words.Literal translationpursues theprinciple of“being faithfulto andconsistent with the original text”.In addition,literal translationalso emphasizesfollowing the original expression formof thearticle,trying tokeep the intention ofthe original author,and retainingthe languageexpression form or literary imageunique tothesourcelanguage butnot in the targetlanguage,rather thanreplacing itwiththeexpression wayor literaryimage in the targetlanguage.This method is helpful to strengthenthe audiencesunderstanding ofthe sourcelanguageandculture and acceleratethe process of cultural exchanges between China andforeign countries.Literal translationplays animportant rolein subtitle translation.Forexample,4This littlecube isthe giftsensation of

1981.这小玩意是年的送礼佳品19815You seethat carThe onewiththepretty yellowshoe onit看到那车了吗？那辆穿着漂亮黄鞋子的车你明天搬走6I want to youout oftomorrow morning.The thirdexample isthat Chrisspares theRubiksCubein thecar,the fourthisonthestreet,and thefifth iswhen Chriscant paythe rentand thelandlord evictshim.The literaltranslationmethodis adopted inthree examples,andtherhetoricalstyleand sentenceformationofthe original text are preserved.Literaltranslationhelps usto understandwestern culture,and italso helpswesterners understandour nationalculture.Throughliteral translation,itiseasier fortheaudiencetounderstandthe thoughts,feelings andstylesofthe original work.

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2.2Free TranslationSome ofthecontents ofthe original textarenot directlyexpressedin the formof thepurpose,but inother formsafter analysis,which isthe meaningofthe translation,and thetextis notheld onthe surface.When translatingin thenative language,we shouldabandon theforeign literaryimagesand lookforthecorresponding or similar familyliterary images.If there is alanguageexpression formorliteraryimage that is notin theculture offoreign culture,it isexplainedby culturalstandpoints andvalues.In translation,the meaningofthe originaltext mustbe conveyedby changingthesentencestructure andexpression modeaccordingto theexpressionformand characteristicsif thestructure andexpressionformof theoriginal text cannot be followed.In theprocess of translation,in orderto make theexpression clear,convincing andconsistentwiththe language habits,the translatormusttry tofollow thelanguagehabitsand correctusage,rather thaninsist onthe originalformof expression.Zhao jingshenonce said,“a smoothversion isbetter thana text-onlyversion5Therefore,translatorsshouldchoose appropriate translation strategies andmethods.The advantageof free translation isthattheaudience iseasily understoodandaccepted,and does nothavea strangefeeling.For example,随着我国改革开放政策的不断发展，东方与西方的交流不断深入以及英语发展的普遍化，西方国家的影视作品作为中外文化交流与沟通的载体，发挥了重要的作用西方国家的影视作品不断涌入我国的电影市场，越来越多的人喜爱观看英美电影，但由于存在语言上的障碍和文化上的差异，一些人对影视原作的理解就会有所偏差，这时，作为沟通桥梁的字幕翻译就显得尤为重要本文从目的论的角度出发，以美国励志影片《当幸福来敲门》为例，对字幕翻译的特点和局限性进行了分析，并对翻译策略和方法进行了总结与归纳，希望对今后的字幕翻译提供一些帮助关键词目的论字幕翻译《当幸福来敲门》有其父必有其子嘛，7Thats kindofthe way itworks,you know.I wasbelow average.我当时篮球就处于平均水平之下事实上，同意我去8In fact,I gota greenlight fromWalter Ribbon...Walter RibbonDue to culturaldifferences anddifferent languagehabits,translators heretake themethod of freetranslation,translationtoget someonespermission orconsent.So thattheaudience canfurther understandthe deepmeaning.For example,9Dont expectto solveit easily.但是想把它玩好可没那么容易This sentencecannotbeliterally translated,the translatorshould adopt the methodoffree translationtoshowthe deepmeaning,so thattheaudiencecan understandthe originalauthorsintention andthe thoughtandemotiontobeexpressed.For example,你们在座的有些是因为有门路才10Someofyou arehere becauseyou knowsomebody.进来的It adoptsthe translationstrategy offreetranslation,which translates“you knowsomeone”into“you havethe rightway ina newwaytoexpress,which not only showsthe original authorsintention,but alsomakes the translated sentencemore profoundmeaning,which isworthy ofour study.

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96.4percent onthe writtenexam.去年我们有个实习生笔试考了

96.4%oHe wasntchosen.Its nota simplepass/fail.但是却没被选上，考试不是通过没通过这么简单In translatingthissentence,the translatoradds some words tomakeiteasierfortheaudience tounderstand andbeconcise.15I aminacompetitive internshipat DeanWitter.我正在迪安・维特实习，忙得很！Here“busy isthe addedinformation,which directlypoints tothedeepmeaning ofChris,so thattheaudiencecan clearlyknow whyhe wasinvolved ina caraccident butrefusedto gotothehospital forexamination.

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2.1The ConceptofSkoposTheoryThis partintroduces thatSkoposTheoryisarelatively newmodel of translationtheory,which wasput forwardby Hans Vermeer,a Germantranslator,inthe1970s.Thetheory seestranslation asa purposefulcross-cultural behavior,the wholeprocess oftranslationis determinedbythespecificpurposeof translation,emphasizing theinteractivityand practicalcharacteristicsoftranslation,thecontentoftranslationshouldalso be readable,consistent andaccurate,canbeaccepted bythepublic.In addition,he putforwardthe threeprincipleofSkoposTheory,namely,Skopos Rule,Coherence RuleandFidelity Rule.SkoposTheory has awide rangeof practicality,and itfouuses onthecharacteristics oftext type,which ishelpfultoimprovethe translators awarenessofcommunicative functionandlinguisticsigns offunctional translationunits,and improvetheefficiencyoftranslation.Therefore,SkoposTheoryhasahigh statusinthetheory oftranslationandaprofound influence.There arefour stagesinthedevelopmentofSkoposTheory:Katharina Reiss,on thebasis ofthemodel oftranslation criticism,puts forwardthe rudimentofthetheoreticalthought offunctional pie,and holdsthattheideal translationshouldbeequivalent totheoriginal textfromtheconceptual content,language formand communicativefunction.HansVermeerputs forwardthe three principlesofSkoposTheoryand afterthe three，principles wereput forward,the standardof judgingtranslationisno longer“reciprocity”but theadequacy ofthetranslationto achievethe desiredgoal;Justa HolzMantariestablished thetheory ofbehavioral translation,focusing ontheanalysisoftherespectiveroles ofthe participantsandthecontextual conditionsof theirbehavior;Christiane Nordsummedup andperfected thefunctional theory,and suggestedthatthe translator shouldfollowfunction plusloyalty99guiding principles.These fourstages areclosely relatedand complementaryto eachother,whichpromotes thefurther developmentoftranslationtheory.SkoposTheoryisamajorprogress incontemporary translationresearch,andanew researchperspective isadded forthemulti-disciplinary explorationoftranslation.

2.2Rules ofSkopos TheorySkoposTheoryhasthreeprinciples,namely,Skopos Rule,Coherence RuleandFidelity Rule,in whichSkopos Ruleisthehighest principle,occupies thecore position,Coherence Ruleand Fidelity Rule inthe subordinateposition.The purposedetermines themethodoftranslation,which meansthattherole oftranslationinthecultureandcontext ofthetranslatedlanguage dependsontheway theaudienceexpects,which isthe SkoposRule.Duetothe differencesbetweentheaudienceand theculture,there willbe greatdifferences inthewayof presentationand thedistributionof content,even whenthe functionsor objectivesofthetranslationandthe，original arethesameorsimilar,thetranslationbehavior isnotonly“code-switching inthechoice ofthe methodologyofthetranslation,the purposeoftranslationisstillthedecisive factor.Coherence Rulemeansthatthetranslationmust conformtothecriteria ofconsistencyinthelanguage,bereadableand acceptable,or bethe readabilityofthetargettext andits acceptanceintheaudience.The translationappears tobe coherent,acceptableand readableinthedestination languageand canbe understoodbythepublic.Therefore,thetranslatorwants togenerate textthat makessense fortheculturalreaders ofthetranslated language.Inaddition,thetranslatorshouldfollowtheintentionoftheoriginalauthor toachieve aharmonious relationshipbetweentheoriginalauthor,thetranslatorandthe targetlanguage reader.FidelityRulemeans tobeconsistentwiththeoriginal effectand cannotdistort oraltertheoriginalmeaning.The translationshould accuratelyexpresstheoriginal meaningoftheoriginaltext,can addwords tomakethesentence smooth,atthesametime,thetranslated sentenceshouldbeexpressedina smoothand correcttranslation language.Inaddition,thetranslationshouldpayattentiontotheuseof words,and striveto achieveeleganttext,of course,this isonthebasisofensuring theaccuracy oftheoriginalmeaningto bemodified toachieve.。