從《瘋狂動(dòng)物城》看動(dòng)畫電影字幕翻譯

Ⅰ從《瘋狂動(dòng)物城》看動(dòng)畫電影字幕翻譯摘要?jiǎng)赢嬰娪白鳛槲幕瘋鞑サ闹匾d體，其觀眾主要是容易受新事物影響的青少年和兒童，他們既是未來(lái)文化傳播的主體，又是當(dāng)前文化傳播的受體，字幕翻譯的重要性不言而喻。電影《瘋狂動(dòng)物城》深受大家的喜愛(ài)，自然離不開(kāi)極具中國(guó)特色的字幕翻譯，它采用了多元化的翻譯方法。本文旨在研究以《瘋狂動(dòng)物城》為例的動(dòng)畫電影字幕的翻譯，從動(dòng)畫電影字幕的特點(diǎn)入手，深入剖析《瘋狂動(dòng)物城》的字幕翻譯的原則和策略，在前人理論研究背景的基礎(chǔ)上，來(lái)剖析《瘋狂動(dòng)物城》的字幕翻譯。通過(guò)對(duì)動(dòng)畫電影的字幕翻譯，在傳遞影片的語(yǔ)言和文化信息的同時(shí)，更好地體現(xiàn)美學(xué)價(jià)值和商業(yè)價(jià)值，最大程度上滿足觀眾的需求，促進(jìn)不同國(guó)家、不同民族之間的文化交流和交流，為中國(guó)影視事業(yè)的發(fā)展帶來(lái)上升的空間。本文將從字幕翻譯的特點(diǎn)、理論與原則和字幕翻譯的方法幾個(gè)方面對(duì)該片的字幕翻譯進(jìn)行探討，希望能對(duì)動(dòng)畫片的字幕翻譯提供一些參考。關(guān)鍵詞：動(dòng)畫電影；字幕翻譯；《瘋狂動(dòng)物城》ⅡABSTRACTAsanimportantcarrierofculturalcommunication,theaudienceofanimatedmoviesaremainlyteenagersandchildrenwhoareeasilyinfluencedbynewthings,andtheyareboththemainsubjectsoffutureculturalcommunicationandtherecipientsofcurrentculturalcommunication,sotheimportanceofsubtitletranslationisself-evident.ThefilmZootopiaiswell-lovedbyeveryone,naturallyitcannotbeseparatedfromtheveryChinesecharacteristicsofthesubtitletranslation,whichadoptsadiversifiedtranslationmethod.Thisarticleaimstostudythetranslationofanimatedmoviesubtitles,takingZootopiaasanexample.Startingfromthecharacteristicsofanimatedmoviesubtitles,itdeeplyanalyzestheprinciplesandstrategiesofsubtitletranslationinZootopia.Basedonthetheoreticalresearchbackgroundofpreviousscholars,itanalyzesthesubtitletranslationofZootopia.Throughsubtitletranslationofanimatedfilms,whileconveyingthelanguageandculturalinformationofthefilm,itbetterreflectsaestheticandcommercialvalues,meetstheneedsoftheaudiencetothegreatestextent,promotesculturalexchangeandexchangebetweendifferentcountriesandethnicgroups,andbringsupwardspaceforthedevelopmentofChina'sfilmandtelevisionindustry.Keywords:animatedfilms;subtitletranslation;ZootopiaⅢTableofContentsChapterOneIntroduction…….….…………….…….……..….1ChapterTwoFeaturesofAnimatedFilmSubtitleTranslation….….……………..….…..…22.1SpokenLanguage……….……………..……………….……….…….……….…………22.2LanguageSimplification…………….……….…….…….32.3LanguageLocalization….……………….……………….………………32.4CharacterizationandEmotionalization….……….…….…4ChapterThreeTheoryandPrinciplesofSubtitleTranslationintheFilmZootopia………63.1SubtitleTranslationTheory……………..………….…………….…...….63.1.1Conformism…………….…….………..…………..…………..…..63.1.2PurposeTheory……………..………….…………..……………...73.1.3EcologicalTranslationTheory……….…………….83.2PrinciplesofSubtitleTranslation…………93.2.1FidelityPrinciple…….……..…..……………….….…..….…103.2.2CommonalityPrinciple……….…..…….….…….….….…..….113.2.3SimplicityPrinciple……………..……….……..……….…….….….……….…..11ChapterFourTheWaytoTranslatetheSubtitlesoftheMovieZootopia……….………….134.1ReproductionoftheOriginalTone………………..…...134.2AdaptationtoChineseExpressiveHabits………………134.2.1ChangeofLanguageOrder….…………………134.2.2Colloquialization..………..……….…..….…..…...144.2.3TheUseofFour-letterWords…….……………….……….……………….….154.3ClosetotheAcceptanceofChildrenandYoungPeople………….…….……………….15ChapterFiveConclusion..…..………………….17Note……..………18Bibliography…………………….19Acknowledgements…………….20保定理工學(xué)院本科畢業(yè)論文-1-ChapterOneIntroductionThe55thanimatedfeaturefilmZootopiawonalotofpraiseforitspositivestoryandexquisitedetailing,andbecamethehighestscoringanimatedfilmonDoubansofar.Itisthefirstanimatedfilmtobreakthe1.5billionboxofficerevenueintheChinesefilmfair,settinganewcontainerofficedocumentforlivelyfilmsintheChinesefilmmarket.Thelinguisticoccurrenceandethnicfeaturesthatappearintheofficialinterpretationofitssubtitlesareofgreatresearchvalue.ThemaincharacterofthemovieZootopiaisJudy,arabbitwhoaspirestobeapoliceofficeratanearlyage.ShecomestoZootopiaaftergraduatingfromthepoliceacademythroughherownefforts,becauseoftheunwillingnesstobeunderestimatedbyotheranimals,tooktheinitiativetotakeoverthepolicedepartmentplaguedbyalongtimecarnivoredisappearancecase.Later,shebecameapartnerwithafoxNickbymistake,andwentthroughvarioustwistsandturnstofindthetruth,andfinallybecameanoutstandingpoliceofficer.ThesubtitletranslationofZootopiaisforChineseaudiences,withafocusontheChinesetext.Asthepurposeofsubtitletranslation,thetextaimstoconveythemostimportantinformationofthemovietotheChineseaudience,inordertoachievethepurposeofunderstandingandappreciation,sothattheChineseaudiencecanunderstandthemovie,experienceitsjoy,andappreciateitstruemeaning.Wenoticethatthesubtitlesinthefilmarenotalldirecttranslations,butadoptadiversetranslationstrategy.Thispaperwillexplorethesubtitletranslationofthisfilmfrommanyaspects.ChapterTwoFeaturesofAnimatedFilmSubtitleTranslationForthepastfewyears,culturalexchangesbetweenChinaandothercountriesandregionsaroundtheworldhavebecomeincreasinglyclose,andthetypesofmediahavealsobecomeincreasinglydiverse.Asaninfluentialmedia,filmculturehasmadetremendouscontributionstotheexchangeofChineseandWesterncultures.Amongthem,languagedifferencesarethemainobstacleinthedisseminationofmovies,sosubtitletranslationisparticularlyimportant.Asalanguagemedium,moviesubtitlesmustvisuallyreproducethestyleandcharacteristicsoftheoriginalfilmlanguage,whilealsotakingintoaccountfactorssuchastheculturalbackground,agecharacteristics,andaestheticpsychologyofChineseaudiences,inordertoimprovethequalityofsubtitletranslationandpromotethedisseminationandexchangeofChineseandforeigncultures.2.1SpokenLanguageAnimationmoviesubtitlesaregenerallytranslatedandexplainedfortheconversationsbetweencharactersandcertainpsychologicalactivitiesthatcannotbedirectlyexpressed.Becausethisisaverbalcategoryintermsoflanguage,whenexpressingcharacterdialoguesinsubtitletranslations,itisrequiredthatthedisplaystyleofthesubtitlesshouldbeconsistentwiththatexpressedinthefilmandtelevisionitself.Anditrequiresclearandclearlanguage,coherence,fluency,andclearexpression.Theobjectofanimationfilmtranslationistofacethemassesofpeople,sothetranslationlanguageisrequiredtobepopularized,thatis,thetranslatedcontentcanbeclosetothepeople’slife,andthelanguageexpressionintheprocessofexpressingthecharacterscanbenarratedinpopularizedlanguageasmuchaspossible,sothatthemassesofpeoplecaneasilyacceptandunderstand.Colloquialismsarealsothelanguagethatcomesoutofourmouthsineverydaylife,withoutthestructureofwrittensentencesandwithouttheformallanguageofwrittenlanguage,whichweusuallycallcolloquialisms.Forexample:Haveyoueaten?Haveyoueaten?Nottoobad,Iguess.Unlikescienceeducation,sciencefiction,documentaries,etc.,whichproducespecifictargetsthatrequireformalwrittenlanguage;inthecaseofmoviesandTVshows,colloquialismsdependonthesocialcontextofthetimeandtheinteractiveplotthatemergesbetweenthecharacters.Convertingcomplexlanguageintosimplelanguagemakesiteasyfortheaudiencetounderstandtheplotandthesituation,makinglanguagefilmsanddramaseasytounderstand.Thus,itispossibletotranslatecomplexwordsintowordsthatcanbeheardandspokenineverydaylife.Example:Judysays,Stop!Stopinthenameofthelaw!Andthiefsays,Catchmeifya’can,cottontail!Translatedas:朱迪說(shuō):“站??！我是警察，站住!”小偷說(shuō)：“來(lái)抓我啊，毛尾巴!”Intranslation,thephrase“Stopinthenameofthelaw”istranslatedas“我是警察”.“Iamapoliceofficer”isaphrasecommonlyusedbypoliceofficersinpursuitofcriminals.Itismorecommonthanthedirecttranslation“以法律之名給我停下來(lái)”.Inordertofollowtheprioritiesofsubtitletranslation,thedialogueofthescreenplotshouldbeadaptedtotheaudience’sperceptionandavoidunnaturalandoverlyformaltext.Thedirecttranslationof“Stopmeinthenameofthelaw”isawrittenChinesephrase,whichismorerigidandformalthanthespokenone,whilethetranslationof“我是警察”ismoreunderstandableandmoreinlinewiththecognitiveabilityofchildren.2.2LanguageSimplificationThelanguageofcartoonsisrelativelyshortandeasytounderstand.Thisismainlyduetothefactthattheaudienceofcartoonsismainlyteenagersandchildren,andthelanguageneedstobeadaptedtotheirunderstandingandreceptiveness.However,theaudienceforcartoonstodayisnotlimitedtoteenagersandchildren;moreandmoreadultsarealsowatchingcartoons,eitherinthecompanyoftheirchildrenortorelaxandrelievestress,andthereforehaveafarlessprofoundandill-definedviewoflanguage.Whentranslatingmoviesubtitles,somecolloquialexpressionsorcatchphrasesofthemaincharacterscanbeomittedinthetranslationaccordingtotheChineseaudience’sreceptiveness.Themainpurposeofsubtitletranslationistocreateagoodlanguageenvironmentandconveythecenterofthefilmtotheaudience.Ofcourse,thetranslationofsubtitlesislimitedbylengthandscreenconversion,andthetranslatedlinesshouldnotbetoolong,otherwiseitwillbetoocomplicatedandcumbersometoachievetheintendedeffect.Example:Allright,well,I’dsaythecaseingoodhands.Translatedas:案子這下靠譜了。WhenJudymadeitclearthatshewantedtohelpMrs.SamarfindAmySamar,thedeputymayorwarmedtoJudy,“案子這下靠譜了”?！癆llright,well,I’dsay”isacommoncolloquialisminEnglishthat,iftranslatedtothebigscreen,wouldcauseChineseaudiencestobeword-lessanddifficulttounderstand.Thesewordshavelittletodowiththefilmasawhole,theyarejustthespeaker’scatchphrase,andomittingthemwouldenhancetheChineseaudience’sappreciationofthefilm,inlinewiththeirreceptivity.2.3LanguageLocalizationCulturaluniquenessisthemostimportantbasisofacountry’spositionintheworld,andatthesametimecreatesinsurmountabledifferences.Thismeansthatthecultureofanycountryisinevitablyamixtureofidentitiesandcontradictions.Asanimportantculturalbridgebetweencountries,translationmustfirstlyconveythemeaningoftheoriginaltextandsecondly,giventhelimitedlengthofeachline,localizationisthefastestwayforthetranslatortogetclosetotheaudience,quicklygrasptheplotandentertheworldcreatedbythefilm.ThesubtitletranslationofZootopiacontainsmanyidiomsandexpressionsfromChineseculture,givingthefilmastrong“Chineseflavor”.Example:Theleopardcop:Me,BenjaminClawhauser.Theguyeveryonethinksisjustaflabbydonut-lovingcop,stereotypingyou.Translatedas:豹子警官：我，洪金豹。那個(gè)大家認(rèn)為我只是個(gè)愛(ài)吃甜甜圈的軟萌警察，還給你套刻板印象?！癏ongJinbao”isacombinationofthefamousChinesekungfustar“HongJinbao”and“Leopard”.ThetranslationisverynaturalandcreativebecauseinChinese,thepronunciationof“Bao”isverysimilarto“Leopard”.ThenaturalizationstrategywasusedtotranslatethenameofLeopardPolicetofollowaninterestingorderofpriority.Translatingtheforeignname“BenjaminKrauthauser”intosuchacreativeChinesenamenotonlyretainsthecharacteristicsoftheleopardpoliceofficer,butisalsomorerelevanttotheChineseaudience’sperception.2.4CharacterizationandEmotionalizationLiteraryworksaremostlycharacterizedbyshapingcharactertraits,andfilmandtelevisionworksarethesame.Usually,characterswithdistinctpersonalitiesoftenleaveadeepimpressionontheaudience.Sothekeyissueinshapingtypicalcharacterimagesischaractercharacterization.Theactor’staskistoshowthecharacter’spersonalityinthefilmandTVwork,whilethetranslator’staskistoreflectthecharacter’spersonalityandtheemotionsheexpressesinalimitedspace.Themostimportantprincipleinthetranslationoffilmandtelevisiondramas,namelytheprincipleofemotionality.Onlywhenthetranslatorisabletograsptheemotionsofthecharacterswellduringthetranslationprocessandexpresstheminappropriatelanguagecantheycreateasenseofimmersion.Therearemanywaystodescribethecharacter,suchasdetaileddescription,actiondescription,contrastdescription,etc.Forexample,inthesilentfilmsofthegreatmasterChaplin,heborrowedactionsandexpressions.Afterthecreationofsoundfilms,actionsandexpressionsarenolongertheonlywaytoshowcasethecharacter’spersonalityinthefilm.Characterlanguageisalsoanimportantmeansofexpression,sowhentranslatinganimatedmoviesubtitles,itisnecessarytoreflectthecharacter’spersonalityandemotionalexpression.InthemovieZootopia,theembodimentofanimalhumanitystartswithasmallcharacter,thereceptionistattheAnimalCitypolicestation,OfficerBenjaminthecheetah,who,whenhefirstmeetsJudytherabbit,sayssomethinglike:“Theguyeveryonethinksisjustaflabbydonut-lovingcop,stereotypingyou.”Itmakestheaudiencerealizethateventhecheetahofficerwhosmilesateveryoneatthefrontdeskeverydayalsohashisownlittlesadness,vividlyresemblingarealpersoninlife,sothattheaudiencecanactuallyfeelthatanimalsalsohavesadhumannature.Andthentheelephantinthedessertstoredoesnotwelcomethefox,saidtothefox“Sohittheroad!”Itiseasytoseethatprejudiceagainstothersthiskindofhumannatureisalsocommonamonganimals,andthen,whenrabbitJudycameforwardtohelpfoxNicktospeak,pointingoutthatthedessertmadebytheelephantisnothygienic,thetimidandfearfulelephanthadtoagreetosellicecreamtothefox.ThishumannatureofbullyinganddiscriminationisalsopresentedtotheaudienceinitsentiretythroughtheEnglishtoChinesesubtitles.ChapterThreeTheoryandPrinciplesofSubtitleTranslationintheFilmZootopiaAsaculturalcarrier,moviesinterpretpeople’slivesinauniqueway,andhavegraduallybecomeanimportantwayforpeopletounderstandtheculturesofdifferentcountriesandregionsandcarryoutculturalexchanges.Zootopiaisparticularlyamodelinrecentyears,leavingadeepimpressionontheaudiencewithitscloseplotandexcitingdialogue.Manyscholarshaveconductedresearchonsubtitletranslationusingthisfilm.Subtitletranslation,asoneoftheimportantmediaforculturalexchangebetweendifferentlanguagecountries,hasasignificantimpactonitsquality.subtitletranslationmustfollowcertainprinciplesandtheories,centeredaroundtheaudience,tohelptheaudiencemaximizetheiraccesstooriginalculturalinformationandnarrowculturalgaps.Thisarticleanalyzesandinterpretsthetheoryofsubtitletranslationforthismovie,selectingthreeaspects:adaptationtheory,skopostheory,andecologicaltranslationtheory.Inprinciple,italsoprovidesadetailedintroductiontothefaithfulness,popularity,andindirectnessofsubtitletranslationinmovies.3.1SubtitleTranslationTheoryTranslationtheories,i.e.thetheoriesinvolvedinthetranslationprocess,someofwhichcanbedirectlydescribedandacquiredthroughtraining,andsomeofwhichcanonlyremainatthetheoreticallevel.Mostdomesticscholarsareguidedbyforeigntranslationtheoriestostudytheprinciples,methodsandtechniquesofsubtitletranslation.3.1.1ConformismFromtheperspectiveofadaptationtheory,contextreferstotheenvironmentoflanguagecommunication,whichreferstothefactorsthatinteractwithlanguageorallfactorsthataffectlanguageprocessing(includingthephysicalworld,socialworld,psychologicalworld,etc.)andlinguisticcontext.Theformeristhenon-linguisticcontext:thelatteristhelinguisticcontext,i.e.,whatweusuallycallthecontext.Translationisalsoessentiallyaprocessofconformity.Itshouldbenotedthatdifferentlanguageshavedifferentphonetics,vocabulary,syntax,style,andculture.However,thefundamentalgoalofanimatedfilmtranslationisthatthetargetlanguageaudiencehasthesameexperienceofwatchingthetranslatedfilmastheoriginallanguageaudience.Therefore,whentranslatinganimatedfilmsubtitles,itisimportanttonotethatthesocialandsituationalrelationshipsofthecharactersinthefilm,aswellasthepsychologicalenvironmentofthecharacters,needtobereflectedinthedialoguesubtitlesandsituationalsubtitles.Therefore,successfulmoviesubtitletranslationshouldachievevariousadaptationstomeetthecharacteristicsofthetargetlanguageaudienceandmeettheirappreciationrequirements.EnglishandChinesebelongtodifferentlanguagefamilies,andtheirrulesforwordformationandsentenceconstructionarenotthesame.ChineseisanItalian-accentedlanguage,andtheconnectionbetweensentencesisnotshownbythewordstheyconnect,butbytheopensentencesunderstoodbytheaudience.Therefore,intheprocessoftranslatinganimatedmoviesubtitles,itisnecessarytoconsiderthesyntacticdifferencesbetweentheoriginallanguageofthefilmandChinese,andappropriatelyusetranslationmethodssuchasaddition,subtraction,andreversetranslation.Forexample.Example1:Don’ttellmewhatIknow,Travis.（我知道，不用你告訴我，崔維斯。)Example2:Thatmakesmefeelalittlebitbetter,Ithoughtshewastalkingintonguesorsomething.（你們也沒(méi)懂我就放心了，我以為她在說(shuō)哪國(guó)鳥語(yǔ)呢。)Example3:I‘dlosemyheadifitweren’tattachedtomyneck.（真是就差忘帶腦袋了。)Example4:Oh,comeon,whenistherenotaneedforafoxtaser?（得了吧，怎么會(huì)不需要狐貍電擊器了？）Example5:Uslittleguysreallyneedtosticktogether,right?--Likeglue.（像我們這種小家伙真的需要同心協(xié)力，不是嗎？)BecausetheaudienceisintheChinesemarket,itisnotdifficulttoobserveintheaboveexamplesthatthetranslator,whenperformingsubtitletranslationprocessing,conformstothecommunicationandexpressionhabitsofChinesetothegreatestextentpossible.Thetranslatoralsotakesintoaccounttherhythmofthefilm’splotandtone,addinginteresttothefilmwhilealsoputtingineffortinsyntacticprocessing,reducingtheeffortmadebyChineseaudiencestounderstandtheoriginaltext.3.1.2PurposeTheoryAccordingtothepurposetheory,theprimaryprincipletobefollowedinalltranslationactivitiesisthe“purposeprinciple”,whichmeansthatthetranslationshouldfunctionaccordingtotherecipient’sexpectationsofhowthetranslatedlanguagewillfunctioninthetranslator’scontextandculture.Thepurposetobeachievedduringtranslationdeterminestheentiretranslationprocess,whichisthemethodofoutcomedetermination.ChristianeNordproposedthe“PrincipleofFidelity”basedonthe“PrincipleofPurpose”.The“LoyaltyPrinciple”holdsthattranslatorsshouldnotonlyrespecttheoriginalauthorbutalsoberesponsibletothereadersofthetranslatedtextduringthetranslationprocess.Thetranslationprincipleistostriveforconsistencywiththeoriginalauthorasmuchaspossible,nottoofarfromtheintentionoftheoriginalauthor,tocoordinatethepurposeofthetranslatedtextandtherelationshipbetweentheauthors,andtoachieveconsistencyinthetranslatedtext.Theprincipleofpurposeisthefirstofthethreeprinciples①thatdeterminetranslationstrategiesandmeans,soitisimportanttoconsiderthepurposeofthefilmZootopia,whichisintendedtobeviewedbychildrenand,ofcourse,adults.Therefore,thetranslatormustgiveprioritytoacceptability.Thisincludestheacceptabilityofthetranslatedlanguageitselfandtheacceptabilityofinformationfromdifferentcultures.Theultimategoalofsubtitletranslationisforthetargetlanguageaudiencetobeabletoacceptandfeelthecharmofthismovie.Therefore,subtitletranslationisnotonlyaprocessofculturaltransmissionandtransplantationbetweentwolanguages,butalsoapurposefultranslationthattakesthetargetlanguageaudienceastherecipient.Theselectionoftranslationprinciplesandstrategiesmusttosomeextentbeintegratedwiththetranslationpurpose,function,orthefunctiontobeexpressedinthetranslation.Therefore,scholarsofSkopostheorybelievethatthepurposeoftranslationorthegoaltobeexpressedmustbedeterminedbeforeconductingtranslationwork.Itisnotdifficulttoseethathelpingtheaudiencebetterunderstandeverythingthathappensinthefilm,enablingthemtohaveadeeperunderstandingofthefilm,andfullyexperiencingthebeautyandcharmthattheoriginalworkintendstoexpressisthepurposeoffilmsubtitletranslation.Inordertoimplementthisgoal,thetaskofthetranslatoristoselectappropriatetranslationprinciplesandstrategieswithinthelimitationsofsubtitledisplaytimeandscreenconversionspace,andprovideaclearandaccuratesubtitlecontextforthetargetaudience.Ofcourse,ifthetranslatedsubtitlescannotachievetheintendedeffectoftheoriginaltext,orifthetargetlanguageortargetlanguageaudiencecannotexperiencetheexcellenceoftheworkliketheindigenouspeopleoftheoriginalworkorigin,suchtranslationandtranslationbehaviorisundoubtedlyafailure.Example:Yeah，Idon’thavetocowerinaherdanymore.Translatedas:我不用再縮在羊群里了。BlackSheepinEnglishisthesameas“害群之馬”inChinese.Judyandherbuddiesrehearsedtheplay,arguingthatnowthatcarnivoresandherbivoresliveinharmony,thereareendlesspossibilitiesforeverymammal.Atthismomentablacksheepcameoutandsaidthis.BlackSheepmeans“害群之馬”inEnglish,andwithoutunderstandingitsculture,thereadercannotunderstanditsmeaning.3.1.3EcologicalTranslationTheoryEcologicaltranslationtheorywasfirstproposedbyProfessorHuGengsheninhisbookAdaptationandSelectioninTranslation.Ecologicaltranslationreferstothescreeningandfilteringoftranslatedworksbasedontheoriginalarticle’sinternalecologicalstructure,whilereproducingtheinherentecologicalresultsoftheoriginalworkinanotherlanguageduringthetranslationprocess.Therefore,ecologicaltranslationisdestinedtofirstandforemosthaveitsowncharacteristics.Theecologicaltranslationtheoryemphasizesthethreedimensionaltransformationsoflanguagesymbols:communicationdimension,languagedimension,andculturaldimension.Languagedimensiontransformationreferstothetransformationoftheoriginaltextbasedonthelanguagecharacteristicsofthetargetlanguage.Culturaldimensiontransformationreferstorecognizingthedifferencebetweenthesourcelanguagecultureandthetargetlanguageculture,andthetransformationofcommunicativedimensionreferstopayingattentiontothecommunicativeintentionofthespeaker,andclearlyreflectingthedeepmeaningoftheoriginaltextinthetranslation.Theadaptationandselectiontransformationofculturaldimensionemphasizesthattranslatorspayattentiontothetransmissionandelaborationofbilingualculturalconnotationsduringthetranslationprocess.Example:Gideon:CauseI'mafox,andlikeyousaidinyourdumblittlestageplay,uspredatorsusedtoeatprey.Andthatkillerinstinct’sstillinourDANA.Travis:Uh,I'mprettymuchsureit’spronouncedDNA.Translatedas:吉丁:我是只狐貍，就像你那個(gè)愚蠢的舞臺(tái)劇里說(shuō)的，我們食肉動(dòng)物是吃兔子的，殺戮的本能還在DAN里。崔維斯:呃，我記得那個(gè)詞叫DNA。GideonoriginallywantedtoscareJudybysayingsomemysteriouswords,butdidn’twanttomakethingsworsebymistakingDNAforDANA.Whentranslating,thetranslatordidnotsystematicallytranslateitintoDANA,butcleverlyrewroteitintoDAN.Thismainlytookintoaccountthelackofbiologicalknowledgeamongyoungaudiences,andshiftedtheirattentiontothedifferentalphabeticalorder.Fromaculturalperspective,thisisverysuccessful.3.2PrinciplesofSubtitleTranslationThesubtitletranslationoffilmandtelevisiondramasisfaithfultothecontentandstyleoftheoriginalfilm,andthetranslatorYanFuoftheQingDynastyproposedtranslationstandardsof“faithfulness”,“expressiveness”,and“elegance”.Thecorerequirementofthesestandardsistobeloyaltotheoriginaltextofthefilm,tothecontentoftheoriginaltext,tothelanguageenvironment,languagestyle,andculturalfactorsoftheoriginaltext.Atthesametime,thetranslationshouldstrivetomaintainconsistencywiththeoriginalstyleintermsofstyleandlanguage.3.2.1FidelityPrincipleFidelityisthemostfundamentalguidingprincipleinalltranslations,whichreferstothetranslatormaintainingequivalencewiththeoriginaltextwhenusingatargetlanguagetoexpressthelanguageofthesourcetext.Thefaithfulnessprinciple,whichiscalledintertextualcoherence,isfaithfultotheoriginaltext,butnotaone-to-onecorrespondence.Thepurposeofthetranslationandthetranslator’sunderstandingoftheoriginalfilmdeterminethefidelityofthetranslatedtexttotheoriginalfilmanditsform.Theprincipleofloyaltyislimitedbytheprinciplesofpurposivenessandcoherence.Ifthereisaconflict,theprincipleofpurposivenessshouldprevail.Theconnotationofloyaltyincludesthefollowingtwoaspects:firstly,formalloyalty,thatis,fromaformalperspective,strivingtoachievewordcorrespondenceinordertomakethereproducedinformationsimilarinformtotheoriginalinformation,andsimilarityinstructureandmetaphortotheoriginalwork.Thesecondisloyaltyinmeaning;Itrequirestheideologicalcontentofthetranslatedtexttobeconsistentwiththeoriginalfilm,andthereisnophenomenonofaddition,deletion,ormodificationinitsoriginalmeaning.Wecandemonstratetheloyaltyoffilmtitlesthroughthreemethods:literaltranslation,freetranslation,andtransliteration.Accordingtothecharacteristicsoftheoriginallanguageofthefilmandthetargetlanguageofthetranslation,literaltranslationisusedtomaximizethepreservationofthecontentandformintheoriginalfilm.Whentheoriginallanguageofthefilmandthetargetlanguageofthetranslationarefunctionallyconsistent,thisisthesimplestandmosteffectivemethod.Theprincipleoffaithfulnessbelongstotheprinciplesofcoherenceandpurpose,anddoesnotrequireconsistencybetweentheoriginaltextandthetranslatedtext.Thetranslator’schoiceoftranslationmethodstemsfromthetranslator’sunderstandingoftheoriginalpurposeofthefilm.Themaintranslationstrategyistoaddtranslations.Example1:Imean,Iamjustadumb