归化与异化应用于电影名翻译的原因

1、Foreignization and Domestication in Film Title TranslationFilm is a window of the language culture. Through film we can see the colorful culture of a different country. Film titles are like products labels. There are mainly three basic functions for film title translation. Firstly, with a few words,

2、 the titles can tell audiences most of the information about the film. They bear the great task of helping people understand the film and learning the culture of a different area. A successful title should transfer the cultural information of the source language and express the “foreign flavor” and

3、try hard to reach the standard of “resemblance of spirit and form”. Secondly, they will lay down the basic tone for the whole film. They will determine that in which way the film or will touch the audiences. Sometimes it is in a funny way, sometimes in an exciting or moving way. Thirdly, the titles

4、also shoulder the great task of advertising. If they attract audiences in the first place, the producers can get profit. Therefore, titles should be easy to remember and can impress audiences at their first sight. However, some titles go too far away from the content of the film. Take the film title

5、 “True Lies” for example, this title is translated as“魔鬼大帝”. But in fact this film is about the struggle between a spy and a bunch of terrorists. There is neither a feudalistic empire in the film, nor a person that can be called an emperor. Even if the hero spy can be called an emperor, he is obviou

6、sly not a monster. Some translators, solely in pursuit of commercial profit, translate the titles as funny or enchanting ones. Film translation is not only to transfer the literal meaning of the source language, it is also a kind of culture transfer. Translators should not only translate the literal

7、 meaning of the title but also show the deep cultural meaning of it. Take “American Beauty” for example, this film got the Oscar award of the year 2000.It is translated into“美国丽人”,“美国大美人”or“美丽有罪”.When people first see the titles, they will quite naturally think that this film may be related to some

8、American beauties in fashion or some successful, beautiful professional women. However, after they watch the film, they will get puzzled, where is the beauty? There is not even one woman in this film that can be called a beauty. There are drugs,family conflicts, decadent students, and gays but beaut

9、ies. Those titles sound exciting, optimistic and bright, but the content is so depressing, pessimistic and grey. In fact American beauty here refers to a type of red rose growing in the United States. In the film, we can see the red rose several times. For example, when the hero Lesters wife Carolyn

10、 cut red rose in their garden in the morning; when the hero Lester is in deep fantasy several times, there is the appearance of the red rose. Even in the poster of the film, the red rose takes a very important position. In fact, red rose here is a simile to the American middle class. It is bright bu

11、t coarse, enterprising but decedent. The theme of this film is a criticism to the American middle class who are on the decline. The director describes a group of people of the middle class who are in the spiritual hell and are trying to persuade themselves that they are very well. The version“美国心,玫瑰

12、情”is better for it touches the cultural meaning of the film more or less. However, it still can not directly relate the cultural meaning of “American Beauty” to that of “红蔷薇”,so it is not beneficial to the spread of its cultural meaning .Therefore, this thesis thinks that this title should be transl

13、ated as“美国红蔷薇”.This title will let the audience be immersed in the source language culture, and create the culturalpresupposition of the source language culture. This title can let the audience learn the original meaning of the source language and create the basis for cultural exchange. In some case

14、s, it is better if translators can use the strategy of foreignizing instead of domesticating for the reason of keeping the foreign flavor and introducing foreign culture to our country. Some words or phrases may look unfamiliar for the first time, but gradually people will accept such a way of sayin

15、g these words or phrases. Here are some good examples of foreignized titles: The film “Seven” is a very breathtaking and exciting film. In this film, there are seven crimes, seven punishments, the seventh rain and the story happening in the seventh day. Seven is everywhere. Even the poster in this f

16、ilm is written as “Se7en.”Making use of the audiences curiosity and misunderstanding towards metaphysics, this film tells a story of a series of murders. “Seven” is a mysterious number in religion ,and this is best shown in the Old Testament. God created Adam on the seventh day, and Satan is a fire

17、dragon with seven heads. If the translators are not familiar with the content of the film or the Bible, they may just translate it into“七”. In this film, the criminals leave the mark of “greed” “glutton” “lust” “pride” “envy” “wrath” “sloth” at the places where he commits crimes. These are the seven

18、 crimes being talked about in the Bible. According to the cultural information of this film, it should be foreignized into“七宗罪”.In fact, Chinese audiences have accepted this way of expression. In “Guangzhou Evening Paper” of February 20th,2002,sevencrimes of the short messages were listed, and the t

19、itle of this report is called“细数短信的七宗罪”.On June 15th,there is a report in this newspaper called“六宗罪杨斌坐牢18年”.These are very good examples of foreignizing strategy and they have enriched our vocabulary and culture. The loanwords from foreign countries have become a very persuasive proof that foreigniz

20、ation is a feasible strategy. There is another example of foreignizing strategy in title translation:There is a very popular foreign film called“Red Shoes”in the later part of the1980s.This film is about a ballet dancer who can not make a correct decision when facing love and career, and eventually

21、walks towards the end of her life. It is a tragedy. In the paper written by Cai Meiping(柴梅萍,2001：91),she thinks that the translation of the title as“红菱艳”is better than“红舞鞋”.However, this paper holds a different view on this. Although it is true that“红菱”is kind of very good simile to the dancers who

22、led a very poor and sad life.Just as the author says in her paper that“红菱”grows in the silt, but it is voluptuous，and the bending“菱角”is very similar to that of“金莲”. However, this paper thinks that such a translation will make people think of girls who sing in the tea house in the old times or the gi

23、rls who are forced to become a prostitute without any other choices in old China. Therefore, the cultural image is wrong and the word is too culture-loaded. When the audiences see the title, they will think that it is a Chinese film about old China. On the other hand, the translation of “红舞鞋”directl

24、y points out the content of the film and the cultural image is quite clear. Red shoes will make us think of the ballet dancer with red shoes instead of a traditional Chinese girl. Therefore, the author thinks that“红舞鞋”is a better translation, for it is clear and bears the correct foreign cultural im

25、age. Another example is the title of the American film“Chasing Amy”. In the article by Wang Jing(王菁，2004：53),she is against the translation of“追逐艾米”and she is in support of translating it as“追逐阿梅”，thinking that the name“阿梅”makes the Chinese audience feel a kind of closeness for it sounds like a Chin

26、ese country girl and she thinks“艾米”is difficult for Chinese to remember. However, since it is an American girl in an American film, and she actually has no Chinese name, why should the translators give her a Chinese name that does not match the girls nationality and destroys the whole tone of the fi

27、lm? In this thesis, the author is in support of the translation of“追逐艾米”，for it is helpful to keep the foreign flavor and “艾米”is not difficult to remember. Another example is the classics, “Hamlet”, there are two types of translation for this title. One is“哈姆雷特”and the other one is“王子复仇记”.In the art

28、icle by Wang Jing(王菁，2004：53),she thinks that the first title is hard to remember and it means nothing for people who know nothing about Shakespeare. The thesis holds a different view. It is well known that Shakespeare is one of the greatest authors in English history and his works are a cornerstone

29、 in English literary history. It is the translators duty to introduce foreign literature into China and let Chinese people get to know the greatest author in world literary history. As one of the most famous works of Shakespeare, the audience should know the exact name of the hero, and this name is

30、like the symbol of Shakespeare. In addition, audiences will encounter this namefrequently in the film,so the audiences will remember it anyway.Although“王子复仇记”is very easy to remember,and it tells us the content of the film,it does notsound like a famous play,but sounds like a fairy tale instead.This

31、 translation can notpromote peoples understanding of foreign culture and can not enhance peoplesliterary cultivation.However,there are some cases in which foreignization strategy is not feasible,because most English films and TV series titles are plain.They do not give muchinformation about the film

32、 or TV series and can not attract Chinese audiences.Whenencountered with such titles,translators should translate according to the aestheticstandards of the Chinese people and add some beautiful colors into these titles.Take the Oscar film“Ghost”for example,this is a moving romantic story.SamWheat a

33、nd Molly Jepson,both full of youth and vigor,both having good andpromising jobs and both being in love with each other dearly,seem to have everythingthat all happy couples have.But it comes as a shock that Sam is killed.Life and deaththereupon separate the lovers,and Molly is entrapped into loneline

34、ss,remembrance,and grief.But Sams ghost,who can see without being seen,hear without being heard,does a great deal.He finds out the truth about his death.It is Carl,his colleague,whowants to embezzle money from othersaccounts.He asks Willy,a ruffian,to stealSams pocket so that he can get the computer

35、 password.Willy is so brutal that he killsSam when Sam is fighting against him.With his strong will,Sam the ghost learns tomove objects and obtains help from Oda Mae Brown,a witch,who is sostraightforward but kind.She helps Sam the ghost to comfort Molly,smash Carls plot, and send him and Willy into

36、 their deserved ends.Sams wishes are fulfilled,and theghost is going to heaven.In reluctance,he says farewell to Molly and Oda Mae.This isa classic love story.However,if translators use the foreginzing method and translate itas“鬼”,audiences will think that it is a horror film about a ghost,for the w

37、ord“鬼”is blood curdling and makes people feel horrified.It lays down the wrong tone for thefilm and will affect the box office.The domesticated version“人鬼情未了”pointsout that it is a love story and lays down the right tone for the film,and shows thebeauty of Chinese language.It successfully fulfills t

38、he three functions of film titles.Another example is also a classic love film called“Waterloo Bridge”.Based onthe Pulitzer-winning playwright Robert E.Sherwoods Broadway drama,the filmtells the poignant story of two lovers caught up in the frantic pace of World War I.Myar and Roy meet and fall in lo

39、ve on the framed bridge during a London air raid.They are about to marry but Roy is suddenly called out to the front.Having lost her joband believing Roy dead in action,Myra turns to prostitution.But soon she runs intoRoy in Waterloo Station.Although Roy loves her just as before,Mayra can not getawa

40、y with her past.At last she chooses to jump off Waterloo Bridge where she firstmeets Roy and kills herself.Roy can never find her again.If foreignizing method isused to translate this title,it will be translated as“滑铁卢大桥”.Chinese people arefamiliar to Waterloo not because it is related to some beaut

41、iful love stories but becausethis word makes people think of Napoleon who was defeated eventually in the War ofWaterloo.Audiences will naturally put this film into the catalogue of war filminstead of a love film.The domesticated version“魂断蓝桥”gives the audiences aclue that it is a tragic love story.T

42、his Chinese title is beautiful and satisfies Chinesepeoples aesthetic standard.Although the word“蓝桥”has a Chinese source which isabout a love story that happened on“蓝桥”，it is not too culture-loaded.In addition,itfunctions better than the original title.The film“The Cold Mountain”is a very popular fi

43、lm in the US and wasnominated at Oscar Film Festival in the year of 2003.However,it did not receive theexpected reaction from the Chinese audiences when it was introduced into China withthe foreignized title“冷山”.In fact,this film is a love story happening in AmericanCivil War.The hero finally comes

44、back home after long endurance of hardship anddifficulties.Cold mountain is the name of his hometown.Although it is a faithfultranslation,the name means nothing to people who do not know this place and it doesnot point out the type of this film.The domesticated version“乱世情天”is a betterone.Because“乱世

45、”points out the background of the film,while“情天”shows thatit is a love story.This is a perfect translation and reaches the standard of“resemblanceof spirit and form”.When language structure is concerned in film or TV series translation,thisthesis argues that foreignizing method is no longer suitable

46、.Again,take“Robin Hood:Prince of Thieves”for example,if the structure is foreignized,then it should betranslated as“罗宾汉：盗贼王子”because in western countries,position and nicknameare usually put before ones name.In China,people usually put position and nicknamebefore ones name.The foreignized version is

47、 difficult to remember and is not theChinese way of expression,and it is not helpful in promoting the spread of this film.However,the domesticated version“盗贼王子罗宾汉”is very Chinese.It fulfills theresponsibility of a title,for it is very easy for people to remember.Therefore,whenform is concerned,domes

48、tication should always be applied and no awkwardnessshould appear.3. Strategy of Domestication Adopted in E-C Film Titles TranslationFirst, as the source culture and target culture may have completely different aesthetic preferences and linguistic traditions, the translator is required to bridge the

49、 differences to facilitate the communication by adopting the domestication strategy. When English film titles are translated into Chinese culture, translators should take the factor that Chinese people are linguistically in the habit of using four-character phrases and the poetic style with five or

50、seven characters in a single line. This can be illustrated by plenty of examples, such as, Shakespeare in Love(1998)莎翁情史，Speed生死时速(1994)，Enemy at the Gate兵临城下(2001)，A Walk in the Clouds(1995)云中漫步，Catch Me If You Can(2002)猫鼠游戏，Scent of a Woman(1992)闻香识女人，Pocahoutas风中奇缘，Far and Away大地雄心，etc. Second, e

51、ach culture is characterized by its unique fairy tales, legends and historical anecdotes. Lets take the movie Ghost as an example. Characters“人”and“鬼”present a sharp contrast for Chinese audiences, revealing that one of the couple is already dead. Besides, the three poetic words “情未了” help create a

52、sorrowful atmosphere that the couple are affectionately missing each other. As a result, the translated movie title was instantly accepted by Chinese audiences and helped this movie turn out to be a sensation in1990.Third, English movies are often named after names of people or places, but Chinese m

53、ovie titles usually summarize the plot or utilize abstract words. For example, Forrest Gump (1994) is named after the hero of this film. This story follows the life of low I.Q. Forrest Gump and his meeting with the love of his life Jenny. “Forrest Gump”is translated into 阿甘正传in Chinese, which not on

54、ly generalizes the story but also sounds quite natural in Chinese culture. “阿甘”is a typical name and always associated with a down-to-earth person. This title is actually adapted from 阿Q 正传，written by the renowned Chinese writer Lu Xun, and people take interest in this movie since the translated tit

55、le sounds familiar to Chinese audience. Forth, Chinese audiences are willing to accept a film title which enables them to make a right judgment about the genre of the film at the first sight of it, while English audiences rarely show a preference for film titles which reveals their genres. For insta

56、nce, Home Alone (1990) is a well-known comic movie in China and the translated title小鬼当家contributes a lot to its popularity among the Chinese audience. Twins (1988), Sister Act (1992) and Bean (1997) are also popular comic films and their success in China have to be attributed to their translated ti

57、tles to some extent, namely, 龙兄虎弟，修女也疯狂and憨豆先生. A large number of English film titles are translated in a way that their genres are clearly presented by the translated ones by the adoption of domestication strategy. For example, catastrophic films A Night to Remember(1958) and Alive (1993) are respectively translated into冰海沉船and劫后余生; the romantic film Youve Got