从《疯狂动物城》看动画电影字幕翻译

Ⅰ从《疯狂动物城》看动画电影字幕翻译摘要动画电影作为文化传播的重要载体，其观众主要是容易受新事物影响的青少年和儿童，他们既是未来文化传播的主体，又是当前文化传播的受体，字幕翻译的重要性不言而喻。电影《疯狂动物城》深受大家的喜爱，自然离不开极具中国特色的字幕翻译，它采用了多元化的翻译方法。本文旨在研究以《疯狂动物城》为例的动画电影字幕的翻译，从动画电影字幕的特点入手，深入剖析《疯狂动物城》的字幕翻译的原则和策略，在前人理论研究背景的基础上，来剖析《疯狂动物城》的字幕翻译。通过对动画电影的字幕翻译，在传递影片的语言和文化信息的同时，更好地体现美学价值和商业价值，最大程度上满足观众的需求，促进不同国家、不同民族之间的文化交流和交流，为中国影视事业的发展带来上升的空间。本文将从字幕翻译的特点、理论与原则和字幕翻译的方法几个方面对该片的字幕翻译进行探讨，希望能对动画片的字幕翻译提供一些参考。关键词：动画电影；字幕翻译；《疯狂动物城》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保定理工学院本科毕业论文-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:朱迪说:“站住！我是警察，站住!”小偷说：“来抓我啊，毛尾巴!”Intranslation,thephrase“Stopinthenameofthelaw”istranslatedas“我是警察”.“Iamapoliceofficer”isaphrasecommonlyusedbypoliceofficersinpursuitofcriminals.Itismorecommonthanthedirecttranslation“以法律之名给我停下来”.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:案子这下靠谱了。WhenJudymadeitclearthatshewantedtohelpMrs.SamarfindAmySamar,thedeputymayorwarmedtoJudy,“案子这下靠谱了”。“Allright,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。那个大家认为我只是个爱吃甜甜圈的软萌警察，还给你套刻板印象。“HongJinbao”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，不用你告诉我，崔维斯。)Example2:Thatmakesmefeelalittlebitbetter,Ithoughtshewastalkingintonguesorsomething.（你们也没懂我就放心了，我以为她在说哪国鸟语呢。)Example3:I‘dlosemyheadifitweren’tattachedtomyneck.（真是就差忘带脑袋了。)Example4:Oh,comeon,whenistherenotaneedforafoxtaser?（得了吧，怎么会不需要狐狸电击器了？）Example5:Uslittleguysreallyneedtosticktogether,right?--Likeglue.（像我们这种小家伙真的需要同心协力，不是吗？)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:我不用再缩在羊群里了。BlackSheepinEnglishisthesameas“害群之马”inChinese.Judyandherbuddiesrehearsedtheplay,arguingthatnowthatcarnivoresandherbivoresliveinharmony,thereareendlesspossibilitiesforeverymammal.Atthismomentablacksheepcameoutandsaidthis.BlackSheepmeans“害群之马”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:我是只狐狸，就像你那个愚蠢的舞台剧里说的，我们食肉动物是吃兔子的，杀戮的本能还在DAN里。崔维斯:呃，我记得那个词叫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