電影片名翻譯與語境適應(yīng)論影視編導(dǎo)專業(yè)

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1、電影片名翻譯與語境適應(yīng)論 摘要：隨著文化交流的擴大，越來越多的國外影片引進(jìn)中國，受到觀眾的喜愛，越來越多的中國電影受到外國觀眾的關(guān)注。電影標(biāo)題作為電影語言的一部分，是電影第一面對受眾的部分，其翻譯自然是電影推廣宣傳的關(guān)鍵一環(huán)。眾所周知，電影標(biāo)題也是社會語言的一部分，當(dāng)然會涉及到社會文化形式的各個方面，包括政治，經(jīng)濟，歷史，宗教等。如何逾越不同社會文化背景所造成的理解鴻溝，是電影片名翻譯首先要解決的問題。語境適應(yīng)論作為國內(nèi)語用學(xué)范疇探討的新理論，對如何逾越不同社會文化背景所造成的理解鴻溝有較強的指導(dǎo)性。本文首先從商業(yè)、文化、藝術(shù)的視角指出了片名的重要性，接著分析了電影片名翻譯主要影響因素—

2、—社會文化背景差異，然后詳細(xì)分析了解決這一因素的語境適應(yīng)論，并根據(jù)這一理論探討指導(dǎo)中外電影片名互譯的實用策略，同時指出語境適應(yīng)理論對片名翻譯有制約和延伸的作用。 關(guān)鍵詞：電影片名；翻譯; 文化差異; 語境適應(yīng)論; 翻譯策略 ABSTRACT:With the development of culture exchange in the world, more and more English films have been introduced into our country, which have gained preference of the Chinese people. At

3、the same time, Chinese films are favored by foreign audience. Film title is an important part of film language, and the first part to be directly confronted with the audiences, whose translation plays a critical role in promotion of the film production in international film market. As we all know, f

4、ilm title is also a portion of the social language, so it surely relate to aspects of the social culture, such as politics, economics, history, religion, etc.. Therefore, how to bridge the comprehension gap of the audiences from different cultural background is crucial to film title translation. Con

5、textual Adaptation Theory, a hot topics in pragmatics nowadays, mainly talks about the key to bridge the gap of different contextual backgrounds, so this paper will apply contextual adaptation to the film title translation. Firstly, the importance of the film title translation is analyzed from the p

6、erspective of commerce, culture and art; then the paper discusses the main factors of film title translation, that is the difference of the cultural backgrounds; in the following chapter, Contextual Adaptation Theory is introduced in details, for the purpose of exploring the proper strategies of fil

7、m title translation.? Key words: film title; translation; cultural difference; contextual adaptation; translation strategy 1 Introduction??? As we all known, film is an audio-visual art. This glamorous act is a magnificent gem in human history, which creates romantic stories and leads human int

8、o a marvelous land we have never come before. Looking back to the development history of film, we cannot deny that film reflects the society reality and the time spirit. As the cultural exchange between China and overseas become booming, film plays an important role as culture envoy. Film was entrus

9、ted with the mission to let more people from different cultural backgrounds to enjoy the entertainment and share advanced technology together. This is an unavoidable trend in the world now. As the most popular form of mass communication, film has accompanied human for almost one century. In the lon

10、g history, film industry experiences six serious changes. From the era of film’s father Liaster brother taking black and white documentary into people’s life to the era of talkie, ever-big change of film industry has remarkable significance in human history. Countless famous film stars show their ch

11、arming glamour on the screen and many excellent films are popular with audience in the whole world. Entering into 21 century, the film industry continues to develop rapidly, which is entrusted with the mission to let more people with different cultural background understand foreign culture. As the d

12、evelopment of society, the trend of film importing and exporting is unavoidable due to the globalism.? Since the policy of reform and opening carried out in China at the end of 1970s, an increasing amount of English films have entered Chinese market and the Chinese film industry has developed in t

13、he meantime. Both sides need to share the market and spread culture of each other. Therefore, it is curial to be accepted by the audience from other cultural background. Undoubtedly, film title translation is an important segment concerted, which is far from being explored. Film title musters the es

14、sence of the film wholly, and in some sense, a successful film title should be the one that can attract people to the cinema. A good translator should translate the film title in the base of the contextual adaptation, which reflects the culture surroundings of audience such as society current situat

15、ion, religion and history. Those objective factors are in direct contact with acceptance and comprehension of audience. Actually, it is high time that film title translation should pay more attention to the contextual adaptation field. This paper makes a tentative study of Chinese and English film t

16、itle translation with an attempt to formulate some practical theories and methods to explore film title translation. The film title musters the essence of the film wholly, and in some sense, a successful film title should be the one that can attract people to the cinema and that should become a gre

17、at box-office hit. The intense rivalry of big film companies impels all film investors to pay careful attention to the international market. However, film title translation is a process to master the psychology and acceptance of foreign audiences. Namely, this process is a cruel segment to enter in

18、ternational market. The aim of translating film title is to inherit, that is to say, the translator should apply audience-oriented translation skills on the base of referring to film content in order to enter into the market successfully .The aim of film title translation lay the position of dissemi

19、nating film . Translation is not just the process of language transferring, but the society phenomenon of culture exchange . [1]The great mission of film title translation is to incarnate the culture value and develop the understanding between different countries. Being a special and significant pa

20、rt of translation, film title translation has been piloted from many aspects, such as the angle of reception aesthetics, the perspective of skopostheorie and cultural perspective. A great portion of scholars keep their eyes on reception aesthetics which has often been taken as the theoretical backgr

21、ound to analyze film title translation. Based on those theories, typical models are established aiming at providing the theoretical framework to guide film title translation. Those fruitful research contribute a lot to the work. However, till now not a single theory or theoretical frame has been set

22、 up to guide the film title translation, which is far from being explored in the past years. ?Contextual adaptation, a newly developed field in China, is adopted as the theoretical background of this paper and an audience-oriented English and Chinese film title translation approach is highly advoc

23、ated. The reception process is a kind of Contextual adaptation, and the contextual adaptation significance of a literary work cannot be fully realized without the reader’s reception. Contextual adaptation provides us with a new perspective of the relationship between film and audience. Exploring the

24、 sources, types and styles of film title, this paper claims that translating film title is on the base of four-foundation rule: information value principle, culture value principle, aesthetic appreciation principle and business value principle. Accordingly, this paper put forward three basic transla

25、ting methods with the guidance of contextual adaptation, which are literal translation, transliterate and adaptation. Then the paper will raise those translating approaches with rich examples to elaborate the importance and the way of applying contextual adaptation. Contextual adaptation serves as

26、the theoretical base of this paper due to its apparent applicability of this newly developed field, which is testified as guiding principles. Convincing examples and proper methods have been given. Chapter One gives the importance introduction of film title translation, from the angle of social deve

27、lopment and the angle of the aim of title translation. Chapter Two sates the definition, content and importance of contextual adaptation. Chapter Three studies the application of the contextual adaptation in film title translation, which includes four-foundation rule and three basic translating meth

28、ods with typical examples of film title translation. 2 Main Factors In The Translation Of Film Title The translator should bear in mind that there are some main factors in the translation of film title. Aesthetic Principle, Ideology, Theme and Style of film are the main points that need careful co

29、nsideration in the process of film title translation. Then, in this chapter, the key factors of film title translation will be analyzed according to rich examples. 2.1 Aesthetic Principle And The Translation Of Film Title Chinese aesthetics emphasizes the balance very much, particularly in using t

30、he organizational structure of the language like a parallel symmetry. Therefore, Four- character phraseology is commonly used in Chinese film titles and the translated titles of foreign, such translated titles as 盧浮魅影, 生死時速, 完美風(fēng)暴, 一往無前, 永不妥協(xié), 天使之城, 擇日而亡, 霹靂嬌娃, 狼犬丹尼, 冰河世紀(jì), etc. Westerners' aesthetic

31、 concepts is putting more emphasis on analysis and paying more attention to local and individual and advocating conciseness which is reflect on the film titles directly. Substantial factors affecting the development of the film plot (such as people, objects, things, location, etc.) or a single term

32、are used as a film title universally, like the net, Saw, the piano, Congo, ghost, the car, cold mountain, King Kong, etc. So now many Chinese films, according to the appreciating custom and psychology, adopt the translated titles as brief as western films’, such as 決戰(zhàn)紫禁之顛into the Dual; Jet lee’s lat

33、est film 霍元甲 with the name Fearless; Chen Kaige’ s blockbuster 無極 with its translated title the Promise; 看上去很美with the Little Red Flower, etc. 2.2 Ideology And The Translation Of Film Title The concept of ideology has been broadening and its introduction to Translation Studies has enabled research

34、ers to probe into some translational phenomena, which might have been neglected otherwise. The ideological manipulation in translation could refer to "any interference with the text is it cultural, religious, political or otherwise, imposing modifications that are not textual constraints, for the pu

35、rpose of indoctrination".[2] As growing and living in the different social system, the ideology of Chinese people and westerners are quite different even different between Hong Kong, Taiwan and china main land. the title of Chinese film 紅色戀人 audience know clearly it is about the love of the Communi

36、st in hard years. But in westerners’ mind, on one hand, they may not understand red lover indicate a couple of Communist lover, on the other hand, even if they know the t indicative meaning of the red in china, they do not identify with Communist at all. So it is a good choice to adopt creative tran

37、slation with the film English title a time to remember. 2.3 Theme And Style Of The Film Usually the theme and style of the film is related to the film titles cheek by jowl. Naturally it is closely related to the translation of the film titles as well. A good translated title should reflect the ma

38、in idea of the film proper, well and truly, which embody the theme and give prominence to the style of the film. To classify the 63 films according to its theme as follows: type Film Translated title Ethical Films ? ? ? American beauty 美國美人 Rain man 雨人 Monster 女魔頭 Forrest Gump 阿甘正

39、傳 活著 To live Campus Life Film Coach Carter 鐵血教練 Mr. Holland's Opus 春風(fēng)化雨 American Pie 美國派 10 Things I Hate About You 對面惡女看過來 War Films Apocalypse Now 現(xiàn)代啟示錄 Enemy at the Gates 兵臨城下 All Quiet on the Western Front? 西線無戰(zhàn)事 Hotel Rwanda 盧旺達(dá)飯店 Saving Private Ryan 拯救大兵瑞恩 Legend-Bas

40、ed Films Cleopatra 埃及艷后 Alexander 亞歷山大大帝 Troy 特洛伊 King Arthur 亞瑟王 The Aviator 飛行者 Western film Dances with Wolves 與狼共舞 Unforgiven 不可饒恕 To Kill a Mockingbird 殺死一只知更鳥 Once upon a time in American 義薄云天 ?Romance Notting Hill 諾丁山 開往春天的地鐵 Spring subway Are We There Yet? 小鬼上路

41、 The Break Up 同床異夢 Just My Luck 倒霉愛神 情迷大話王 Everyday is valentines 大城小事 Leaving Me, Loving You Political Films ? ? Schindler's List 辛德勒的名單 JFK 刺殺肯尼迪 Good night, good luck 晚安,好運 生死抉擇 Fatal decision ? Cartoon films Monsters, Inc. 怪物公司 ? Robots 機器人總動員 ? Chicken run 小雞快跑

42、 ? Peter Pan 小飛俠 ? ?Sci-Fi Films Jurassic Park 侏羅紀(jì)公園 ? Artificial intelligent 人工智能 ? the Island 逃出克隆島 ? serenity 沖出寧靜號 ? Stealth 絕密飛行 ? Thriller film The Others 小島驚魂 ? Silent Hill 寂靜嶺 ? Halloween 月光光心慌慌 ? Final Destination 死神來了 ? The Silence of the Lambs 沉默的羔

43、羊 ? Musical film The Red Shoes 紅菱艷 ? Chicago 芝加哥 ? Moulin Rouge 夢斷花都 ? 如果·愛 Perhaps love ? Marilyn Hotchkiss' Ballroom Dancing and Charm School 舞動心方向 ? Action film Rush hour 尖峰時刻 ? Cliffhanger 絕嶺雄風(fēng) ? 霍元甲 fearless ? Dust to Glory 車舞狂沙 ? 喋血雙雄 The Killer ? 縱橫四海 On

44、ce a Thief ? Documentary film Rize 瑞茲 ? The Year of the Yao 挑戰(zhàn)者姚明 ? Fahrenheit 9/11 華氏911 ? Deep Sea 3D 深海大進(jìn)擊/深深的海 We can see the film titles of different types above with different characteristics, Documentary film is the track record of true life and affairs in the world, so its t

45、ranslated title need brief and direct without any exaggeration or more special translating techniques. Ethical films usually have profound social meanings and ethical thinking, which have serious and elevated topics in truly sense. So the translated titles of ethical film do not need to be added som

46、e elements in translating, as the primary film name has been the best summary of the film. As to the legend-based films, war films and political film, they are all adapted from the true history in a largely scale, therefore we advocated the literal translation and we need the true and impersonal fil

47、m title no matter after translation or not. Finally, title translation of the other kinds of film has a vast room to bring techniques and imaginations into play. Thriller’titles are to create thriller atmosphere so that abundant Chinese character and thriller cultural element could be used in trans

48、lation. Romance’s translated titles should be warm, cozy, romantic and especially charming to female audiences and amatory audiences. Sci-Fi films titles should have fantastic and illusory color with some pressure, giving the imaginative room for audience. Cartoon film’ titles should be cute, dramat

49、ic, simple-word and new-minded so as to attract both children and grown-up. 3 Contextual Adaptation As discussed above, whether the film title can be appreciated by target audience involves many aspects of human life, such as, politics, economy, history, all of which are included in macroscopic co

50、ntext. So to attract the target audience is to adapt their context. In this chapter, the author introduces the definition and content of contextual adaptation and makes a study of film title translation on this base due to its apparent applicability of this newly developed discipline. According to t

51、he contextual adaptation, a new visual angle to analyze target title can be raised. 3.1 The Definition &Content Of Contextual Adaptation The contextual adaptation is in the range of context, which notion is essential to the pragmatic study of language. [3]The context is divided into two portions,

52、which are macroscopic context and microcosmic context. The macroscopic context means social cultural appearance, which involves every aspect of human life. [4]In contrast, the range of microcosmic context is narrow. We consider it as the concrete environment shared by the speaker and hearer. Accur

53、ately, the contextual adaptation is in the range of macroscopic context. There is a long history to explore contextual adaptation abroad, which is composed of microcosmic contextual adaptation and macroscopic contextual adaptation. The macroscopic contextual adaptation means the process of language

54、adaptation to specific surrounding, which is analyzed in the aspect of the society and culture. [4]Social surroundings restricts using language, which are the foundation of language development and the most complicated factors in context. The social surroundings include politics, economy, religion,

55、history, etc. Different nations have their own culture due to the specific social surroundings, which differ from that of other nations. Because of the culture relative independence, there is an understanding gap between native and foreign culture. To build a bridge over the gap is an arduous missio

56、n for translator. The microcosmic contextual adaptation refers to the use of sentence as what people actually utter in the course of communication. Actually, the macroscopic contextual adaptation is adopted as the theoretical background of this paper. 3.2 Importance Of Contextual Adaptation On Tran

57、slation Traditionally, people consider translation as “faithfulness”. Translators have laid great emphasis on both source text and target text, on faithfully reproducing the original first in terms of meaning and second in terms of style. [5]Nevertheless, Professor Wu Jun explored the study of med

58、ium and considered the translation as “the essence of translation is the transmit of information, that is communication” [6] It calls our attention to the transference of the efforts from the text to the reception of the potential reader. As a new voice out of context, contextual adaptation ushers i

59、n fresh air to local translation studies. Translator can become the bridge between different languages under the prerequisite of contextual adaptation. Namely, contextual adaptation is the foundation of culture exchange and understanding. 3.3 Importance Of Contextual Adaptation On Film Title Trans

60、lation As a popular art, film is tinged with a film of commercialization. When the film enters into target market, the first impression for audience is film title. Understanding film content is very important, but we should take contextual adaptation on the top of the list. Contextual adaptation pr

61、ovides us with a new perspective of the relationship between film and audience. Different nations have different traditional cultures and value preferences, letting along the distinction of western and eastern culture. Through comprehending contextual adaptation to find the appropriate approach, the

62、 deviation of understanding will be avoided. There are plenty of wonderful target names in film domain. Those successful cases state the importance of combination of film content and contextual adaptation during translation. 4 The Application Of Contextual Adaptation In Film Title Translation As s

63、tated previously, to gain a toehold in the international market, the overseas and domestic film companies are bumping up efforts to put forward their film to target audiences. Obviously, contextual adaptation is curial in the film title translation. It is the contextual adaptation that endows the ti

64、tle with uniqueness that pleases the senses and provided audience enjoyment. In this chapter, the strategies of film title translation will be analyzed according to the fundamentals of contextual adaptation.? 4.1 Realization Of Four Basic Principles In the process of film title translation, trans

65、lator should persist in four basic Principles for the propose to make the effect of culture exchange. The four basic points are the informative value, the cultural value, the aesthetic value and the commercial value. Those points are the concrete centerpieces in exploring contextual adaptation from

66、theory to practice. According to the standard of contextual adaptation, there are three audience-oriented title translation skills：literal translation , transliterate and adaptation. 4.2 The Feasibility Of Contextual Adaptation In Film Title Translation As the newly developed filed, contextual adaptation can be the guidance of the audience-oriented translation skills in film title translation. Translator can regard the contextual adaptation as the criterion to judge the target title whether it