Movie Title Translation Under the Guidance of Skopos
Abstract：With the developing of living standard, the film as a form of spiritual life has been a part of our life. As an integral part of the movie, the movie title translation has become the primary task. The translation of film products has become the international cultural exchange, and it has received more and more attention of scholars in the translation field. For the study of translation of film titles, skopos theory put forward by Hans Vermeer become the core theory of the functional translation theory, which is the suitable guiding method. It not only from the language level pays attention to translation, but also stresses the important role of the translator and culture. This article introduces the research significance English status Chinese translation of movie titles and the general situation of Skopos theory. It is concluded that the skopos theory has his own imperfections, but in the translators know the translation purpose, the translator can effectively guide the good movie title translation work. It can effectively guide the movie title translation work under the condition that the translators know the purpose of translation.
Key Words:movie titles; skopos; translation methods
浅谈目的论与电影片名翻译
摘要:随着物质生活的日益提高，电影作为精神生活的一种形式已经走入人们的日常生活里。作为电影一个不可缺少的组成部分，电影片名的翻译就成为了首要任务。电影产品的翻译己经成为国际间文化交流重要的组成部分，受到了越来越多的翻译界学者的关注。对于电影片名的翻译研究，在所提出的翻译理论中，汉斯维米尔提出的翻译目的论成为功能翻译理论的核心理论，是一种适合片名翻译的指导方法。它不仅从语言的层面去关注翻译，同时也强调了译者和文化的重要作用。本论文介绍了英文电影片名汉译的现状及翻译目的论的概况。文章最后得出结论是翻译目的论虽然有其不完善的地方，但在译者知道译文目的的情况下，能够有效地指导译者做好电影片名的翻译工作。
关键词: 电影片名；目的论；翻译方法
1 Introduction
According to statistics, the annual 100-200 Department China imported films, most of them are English film. Because of the cultural differences between English and Chinese, the translation of film work is not a simple matter. At present, film translation has made some development, but as an important part of film translation, research work in film title translation is still far from enough. Film title translation is an important and creative work, better translation for the film the icing on the cake, play a decisive role in the promotion of the new film in. With the 1995 American blockbuster "the fugitive" (The Fugitive) of the introduction, then English films have entered the China, makes China lit movie craze. Home to the translation of film titles also officially started, subsequent research has gradually increased the translation of film titles. There is also a concern status, it is the mainland, Hongkong, Taiwan translation confusion, showing "a more, a topic multi translation" of the situation. The lack of theoretical guidance, the lack of systematic.
The film is useful for both young and old people who love to see and hear the form of art. A good film can attract tens of thousands of spectators, in addition to the profound implications the actor's performance, the picture and blew to express surprise, and attract people`s attention, lead a person to endless aftertastes titles have a direct link. The seemingly simple but the title product author quite challenging, a numeral embody the essence of the whole work.In numerous television advertising posters, titles are very prominently in direct "guide", plays the role of.Whenever possible, the author will use a variety of vocabulary, grammar and rhetoric, the eye-catching title. Film title above on film, but in the movie. With the China opening up the door open, gradually increasing cultural exchanges and learning Chinese and the world, the film is a kind of form of expression. The introduction of foreign films enriched the Chinese film market, in Chinese also popular. Since it is the foreign movie introduction, it must involve the problem of translation. While the film title translation seems to be the priority among priorities of film translation. Film title is the movie's eyes, the translator should will "make the finishing point". Translated title
of outstanding plays a role can not be ignored to promote international cultural exchange.Bao Huinan points out, the film and television film title translation "should conform to the language standard, but also full of artistic charm, not only to be faithful to the original title of the content, but also embody the language features of the original work, and strive to achieve the creation of" art, to emphasize the "popular, popular, colloquial and art", "to be able to afford to a very good guide and promotion effect".
2 The Overview of Skopostheorie
2.1 The Introduction of Skopostheorie
From the definition of the concept of translation skopos theory perspective, the action theory and cross-cultural communication theory as the theoretical foundation, holds that translation is a kind of complex behavior for the realization of information culture, cross-cultural communication and not simply to the original text based symbolic conversion. Vermee thinks, "translation means in specific environment, because of the specific purpose of translation, for a specific recipient". From the perspective of translation principle, teleology to skopos rule as the primary principle of translation should follow, process and the translation is translation behavior to achieve the purpose of decision behavior of the whole translation means. According to Skopostheorie, the communicative purpose of the translation is generally determined by the translation initiator, initiator to put forward by translators "translation requirements". However, the translator can not passive ground accept sponsors "translation requirements", if the initiator of the lack of professional knowledge of translation or don't understand, so the communicative purpose of the translation can be combined with the social and cultural background of the target readers, to the translation look, communicative needs and factors such as the initiator of joint consultation to decide. At the same time, the theory also the coherence and fidelity as a law. Among them, the fidelity rule subordinate to the coherence rule, both from belong to objective law. The original and the translation function the same, fidelity rule can no longer apply; if the objective laws require translation need not smooth, so the coherence rule can no longer apply. Reducing the source language status is a significant feature of teleology. The source language text plays an important role in traditional translation theory, also requires the translation to be faithful to the original, and the skopos theory holds that "objective decision means", "the source language is a kind of" the translator needs a lot of information obtained in the translation before, but not the primary basis for the translator.
Compared with the traditional "equivalence theory", the skopos theory rather than focus on the translation and the source text equivalence, but stressed that the translation from its expected function embarks, according to the context, choose the best treatment method, so it has high scientific and operable (Chen 20). Teleology is the "full" rather than "peer to peer" text according to different purposes of translation, may produce multiple versions, the original and the translation is not necessarily complete equivalence. As long as the translation meets the purpose of translation, it is sufficient, acceptable. Therefore, in the purpose theory perspective, as the standard of translation, highlights the translator's role, expand the translator's responsibility scope. Skopos theory is a breakthrough of the contemporary western translation theories, has opened up a new train of thought of translation theory, translation practice for the translation practice to provide a new operation method.
2.2 About the Skopos Rule
2.2.1 Skopos Rule
1.Objective principle (Skopos rule) objective principle is the first rule of Skopos theory. That is, translation purpose decided to achieve the desired goal of strategy. The law, translation method and the choice of translation strategies, and the whole process of translation is required by the act of translation purpose decision.
2.The principle of coherence (coherence rule) is the translation must meet the intratextual coherence criterion. What is the intratextual coherence refers to the translation allows the recipient to understand, and readable, also have meaning in the target language culture communication and the use of the original communicative environment.
3.The principle of fidelity (fidelity rule) the principle of fidelity refers to the author and the original text faithfully. That is to say, between the original translation should achieve intertextual coherence. Intertextual coherence equivalent usually said is faithful to the original text, the translation purpose and the translator determines the extent and form of the faithful to the original.
2.2.2 The Relationship Between the Rules
In the process of translation, the Skopos rule requirements if the source text and the target text function is different, so the loyalty principle not apply; if the objective principle requires a translation is not fluent, is not in conformity with the domain coherence, coherence rule does not apply, "faithfulness" belongs to the "coherence rule", but the two must obey "objective principle", this is the relationship between the three, the skopos theory breaks through the study of contemporary western translation theories.
2.3 The Purpose of the Translation of Film Titles
Transfer film title translation is the most direct purpose is information, good translation can highlight the original film content, to understand the original audience better expression and convey the theme of information. For example, The Rock translated into "the rock" will enable the audience to predict film want to express the effect of stimulation, the information transfer film. If literally translated into "rock" will let people think is a science film. The film was born in the west, is affected by the capitalist culture from the beginning, playing on the commercial brand. The ultimate purpose of the film should be the production and exchange rather than simply for the film creators appreciation and creation. The film is an art, it should belong to both the art and belongs to the field of aesthetic. At the same time, the film is a commodity, it is highly industrialized production line to produce. Therefore, driven by economic interests, the art attribute and commercial attribute of the film would become less important than. The film thus must first have the economic value and exchange value, production objective is to maximize the economic benefits to producers. The box office income level is the only criteria to decide the film production. USA movie world hegemony is the reason, USA film industry highly commercial, film has become one of the pillar industries USA third industry. At present, Chinese imported sheet film market share has increased.Film translation direction and purpose depends to some extent on the film market highly commercialized and broad space for
development. Of course, a good movie translation is inseparable from the good translation of a film title. Film title as a type of advertising and advertising translation, also has the same purpose, namely, eye-catching, arouse interest, arouse the desire, is one kind has the specific target of commercial activities, restricted by various aspects of business and culture. However, the translation of film titles and not completely equal to advertising translation, the existence of film is not physical goods, with aging, and the length is limited. Movie is just like is the commodity trademark, is Punchline. Good movie has speed, strong advertising effect, can attract large audiences to watch the film, support the film, and then increase the box office income, so as to realize the commercial value of the film. Name of film art, culture, aesthetic value to establish in the film's foundation, has the intense commercial propaganda function. If the movie art and cultural value to meet the psychological requirements of movie audience, so its commercial propaganda function has been achieved. Can say, the movie name commercial value is first to meet a variety of general value of the film, after is to meet a movie audience psychology of the higher level of value. If the movie name value is a bridge, then art, culture, aesthetic value is equivalent to a pier, commercial value is the bridge. Therefore, translation of film name purpose, must not be confined to the translation itself, can not stay in the realization of film art, literature, general common value level, but should try to realize the translation of film names in movie industry operation commercial publicity of great value. Therefore, this should also be present and translation of film title in the next few years should be considered an important aspect. Film title translation purpose is: artistic charm and style reproduction of the original title, comprehensively and fully propaganda film, maximize attract the target country's audience. English film title translation purpose determines the translation is not only a kind of highly creative art activities, is also a great market economic value of commercial activities, the premise of the basic guiding ideology and follow the general principle of the translation, the translation of movie titles should explore their own unique rules and methods.
3 The Overview on film title
3.1 Characteristics of Film and Film Titles
1.The language characteristics.First of all, the movie film title must have the simplicity in language. The movie title is highly enriched the content of the film. Film title is the first channel viewers understand the movie, no matter what kind of type of film, film title is usually only a short span of a few words. "Concise" is a remarkable characteristic of movie titles. So that the audience can guess the movie belong to which kinds of movies, long title not only lose its as the title character, and very difficult to remember the audience. For example, Speed True Lies "speed", "true lies". Secondly, to have the popular movie titles. The film is a kind of mass media, with the majority of the audience for different age, occupation and education level, need to film title must popularization, popularization. Avoid the use of obscure and difficult to understand, hard to remember words, or highly specialized terminology. Must be consistent with the original film content, reflect the theme of "brave heart" Brave Heart The Princess Diaries, "the Princess Diaries". Finally, the movie film title must be vivid and attractive to the audience, to beauty, to attract the audience into the theater. The audience saw the movie on buying desire, want to immediately into the cinema to see. Films such as "Sister Act Cast Away Sister Act", "desert island".
2.Cultural characteristics.The film is a cultural product of a kind of special artistic form. The film named, is drawn from the plot, background or hero, title although concise, but the meaning is profound. Some titles from allusions, implied meaning is not clear grasp. And the film content reflects the East-West be totally different natural environment, religion and historical origin, loaded with rich cultural information. The existence of the film must be able to reflect their culture people's way of thinking and cultural values. Different language determines different nationalities in different ways of thinking, behavior and language expression. Some English film title is the legendary stories from their own culture, than the Seven-year Itch translated into Chinese "seven year itch". And movies like "the red shoes" Red
Shoes, translators have a very China culture and cultural characteristics of the images of "Hong Ling" into the film translation, which has successfully created a new image of the majority culture for Chinese familiar to audiences, can accept.
3.Business characteristics.No doubt, the film is a kind of commodity, the ultimate goal is to obtain commercial value and commercial benefits. Of course, make every attempt to attract the audience to the film business is the key to the eye, to occupy the market. A film from start to write, shoot, publicity has to put on the market, businesses have invested huge funds. Therefore, these investments must return from the box office, in order to obtain more profits. Therefore, from some dubbing film title can be seen in the movie title inevitably commercial characteristics. "To do the film is the first to do business, which has become the highest philosophy in contemporary Hollywood." (morning and night, 1999:56). For example, It Happens One Night dubbed the title "one night", Sister Act's "Sister Act" and so on. Practice has proved, to arouse the curiosity of the audience, to win the market, you have to give the film a loud and attractive name. Therefore, whether it is imported or exported to a film, film title translation is undoubtedly must consider its signage and promotional role. In order to cater to the market, the film title translation often jump out of the formerly restricted, out of its advertising function with a show ingenuity name.
3.2 The Function of Film Title
Language is a special symbol system. British scholar and translation theorist Peter Neumark language functions are divided into 6 types: information function (informative function), the expression function (expressive function), imperative function (vocative function), power (aesthetic function), beauty of phatic function (plastic function), meta language function (Multilingual function). While the German scholars and functionalist translation theorist Christie Nord will be the function of language is divided into 4 types: the indicator function (referential function), the expression function (expressive function), call function (appellative function); phatic function (phatic function). Different people have different classification of language
functions of film title text, is also a kind of text (Zhang 20). The film title function is summed up in four: information dissemination function, expressive function, aesthetic function and advertising function. According to the features and functions of film titles, we will function attributed into four kinds: information function (informative function) (cultural function), cultural function, aesthetic function (aesthetic function), call function (appellative function). The film is not only the product of culture, is also a kind of special artistic and commercial products. So the importance of film title is to reflect the cultural exchange, commercial and artistic appreciation value. Specifically, the requirements of film title should have four main functions: information function, expressive function, aesthetic function and appellative function.
4 The Methods of Translation of Film Titles under the Guidance of Skopos
4.1 The Influence Factors of Film Title Translation
Film title is the highly generalization of the film, art film title should embody the film, the most important is the embodiment of the commercial value. The art of film of movie titles should be concise requirements of highly generalized. While the film business value decided to a wonderful film also can not ignore the movie box office income. Therefore, the title must be able to maximize attract the audience, the audience to have the desire to watch the movie. English film translation by way of thinking, aesthetic ideas, cultural connotation, affecting the commercial value.
4.2 The Supporting Examples
The translation skopos theory tells us, the purpose of translation determines the translation methods. Translation and advertisement translation of film names are similar, therefore, in the process of translation, the translator cannot limit and restrict the original title of the movie, but to exert their subjective initiative, in the faithful to the film content and film on the essence, characteristics and the audience to consider the translation language culture requirements, according to the characteristics of different film and the needs of different audiences take flexible methods of film title translation.
(1)Transliteration: In the purpose theory, skopos theory emphasizes that translation should note the intended function embarks, according to the context, choose the best treatment method. As long as the translation meets the purpose of translation, it is sufficient, acceptable. In traditional translation, there are many examples of transliteration. Will not lead to misinterpretation of the target language culture, should as far as possible the direct transliteration principle. The reason for using the direct transliteration, is because it has retained the original title of rhyme
and rhythm, but also can reflect the characteristics of the film alien. Such as: Rocky: "Rocky" Casablanca: "Casablanca". Titanic "Titanic" Jane Eyre "," Macbeth ", Jane. Love, Troy" Troy "Macbeth".
(2)Literal translation: Chinese has more than 100 years of history in translation, many translation theories, translation should be faithful to the original both emphasized, and reflect the original style. In the teleology do follow the principle, in addition to the primary principle -- the principle of goal, but also including the coherence rule and fidelity rule. The principle of fidelity refers to the original and true to the original author. Literal translation method followed the teleology of faithful principle. There are many films, formerly known as itself is the content of the film's highly generalized, better realize its information function, aesthetic function and market function. The theoretical basis of faithfulness in the translation the translator must request the title also as far as possible to literal translation, based on language universals of translation, in a reasonable condition, also is in the target language when conditions permit, can keep the original ideas expressed, and as far as possible should be maintained relative with the original language form translation. This literal titles are often able to inherit the concise original titles, a large amount of information, easy to arouse the curiosity of the characteristics of the audience. Literal translation for the translation of the film, also can be called complete translation. Without prejudice to the plot of the movie, the content and will not cause errors under the premise of Lenovo, with vivid, image of the TL reproduction title. So, is faithful to the original, the original intention of the expression, and can be accepted by the audience. Therefore, the movie film title translation method is a basic strategy. Such as the India film Slumdog Millionaire's Oscar winning film, the title itself is a high level overview of the entire movie. Slumdog and millionaire are two than too think Guoliang and contradictory words, together has greatly aroused the curiosity of the audience. So it will be literally translated as "Slumdog Millionaire" the most appropriate, the translation successfully retained the name rainbow.
(3)Free translation：Relationships exist between the three rules of Skopos theory. In the process of translation, the Skopos rule requirements if the source text and the
target text function is different, so the principle of fidelity is no longer suitable for use, if the objective principle requires a translation is not fluent, is not in conformity with the intratextual coherence, coherence rule is not suitable for use, the principle of fidelity from belongs to the coherence principle, but the two must obey the objective principle. Literal translation can not transfer the movie itself information accurate, literal translation is difficult to reflect the title itself contains rich cultural connotation, such as themes and categories of the film, the film audience will feel difficult to understand. The title is informative text, this text translation requirements when do aims to pass on information, in order to achieve the purpose, the translator to understand the original film content, analysis, style, the plot even style on the basis of the method can flexibly adopt free translation. Therefore, translation of the translation purpose has not changed, or the transmission of information, reflect the film's artistic charm, attract the purpose and audience. As the Oscar winning film the The Curious Case of Benjamin Button, China has repeatedly literally translated as "Benjamin Barton", and the translation for "renew one's youth" will be more popular with viewers. From the information function, "Benjamin Barton" although summarized the movie the original content, but apparently not "rejuvenescent" can directly pointed out that "the specific content of wonders". If from aesthetics perspective, the latter using the Chinese traditional four syllable word, obviously than the former easier to the audience to accept, but also more in line with the Chinese audience's psychology. Of course, "rejuvenescent" than "Benjamin Barton" more box office appeal.
(4)Transliteration and Translation：Transfer film title translation is the most direct purpose is information. Good translation to highlight the primary content of the film, the audience a better understanding of the original film express and convey the theme of information. Transliteration and translation combination embodies the teleological principle, follow the principle of faithful transliteration and free translation part part follows the principle of coherence, and follow the principle of goal is the most important.
(5)The new nomenclature：Skopos theory holds that translation is a kind of complex behavior for the realization of information culture, cross-cultural
communication and, rather than simply to the original text based symbolic conversion. Transfer film title translation is the most direct purpose is information. The film is an art, is also a commodity, film translation should reflect its commercial property. There are some movie title translation, if using the method mentioned above, from the hands of the language environment and psychological point of view, cannot give attention to realize three functions of the film. Some cinemas name too simple, too abstract. If the literal translation or transliteration method, as the carrier of information in the title are unable to convey the theme of the movie and the hands to express information. There are some films originally too lengthy and tedious, this type of film title is often used more than one word or phrase in the form of. This time, the meaning will consider renaming the method.
5 Conclusion
5.1 The Discussion on the Significance of Film Title
5.1.1 The Purpose of Movie Title Translation
For the translation of film titles are common, the original is placed in the core position, in the process of translating batted consideration, in order to achieve the greatest degree of original movie and the "equivalence". Since the advent of the skopos theory, for the translation of film titles have a direction. Skopos theory holds that the first rule is followed by the translation skopos rule, this film title translation from the bondage of the equivalent, the original name of film in the process of translation and the guidance of dominance is greatly reduced, at the same time, is also conducive to play the target language advantage, of course, the translator's subjective initiative, in the process of translation, to make the translation to a more ideal effect.
5.1.2 The Various Methods of Translation of Film Title
Skopos theory holds that, any translation behavior has its own purpose, therefore, the purpose of the overall translation action determines the methods and strategies which should be adopted in translation. In the purpose theory of a translation task purpose determines the translation of a text taken strategy. So, the problem of translation methods of the film is solved. Any one can achieve the purpose of translation methods can be adopted, here said the purpose is to better play its commercial value in realizing the movie general value basis, which makes the translation methods of film title diversification. Translation method is no longer limited to literal translation, transliteration method in general, of course, can also according to different audiences, different cultural psychology and language habits and so on are separated from the original movie, free translation, combination of literal translation and free translation, transliteration and free translation with etc..
5.1.3 The Commercial Value of Film Title Translation
In the study of film title translation, not just regard it as a kind of literary
translation, while the traditional translation theory research, to do so though features can be retained the original movie, but neglect and reduces the film title commercial value to a large extent. Therefore, better to complete the translation of the film's title refers to the film were retained in the foundation of general features, then the great role of movie name translation behavior and the film title in the business combination. From this point of view, the skopos theory has great guiding significance for the translation of film names. Translation is a cross-cultural communication behavior. According to the first law of teleology follows is the principle of purpose, the communicative purpose of the translation is the most important. For the current movie of the translation, we in the film were retained on the basis of general characteristics, to play the role of its advertising, increase its market share, is in line with the requirements of the Skopos theory. Even to a certain extent, excellent translation of some film title can make the whole movie commercial value are improved.
5.2 The Practical Role of Film Title Translation
With more and more foreign movies imported China market, especially English film. The movie product turned over a page of the original more popular, attracting many scholars filmmakers and translation circles attention. The translation of film titles has become an important part of international cultural exchange. As an essential part of a film, the film title itself is the most direct and most important film where the profits. Although the film title is very short, but the translation is not easy. The translation of film titles lack of guidance of the targeted theory to guide the translation of. In addition, at present the translation of film titles also was in chaos. There are different translation versions of the same film in different regions in china. Makes the audience feel confused. Therefore, the research English film title translation is very necessary and urgent. This is why I wanted to explore a movie title translation theory and strategy adopted by the appropriate. One of the most important problems in film title translation is how to evaluation a movie title translation. In other words, can arouse the desire of the audience to see, what kind of translation version can be
viewed as a success. Of course, the equivalence is not the sole criterion for translation. According to Skopostheorie, every translation version depends on whether the realization of translation skopos theory to determine the requirements to a certain extent. Every coin has two sides. Of course, translation theory is no exception and we cannot say that a theory is the best, is the most suitable for the movie title translation. Translation theory will put forward some corresponding translation strategies, in practice also proved a successful strategy.
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４７ 陕西职业技术学院学报 Ｊｏｕｒｎａｌ Ｏｆ Ｓｈａａｎｘｉ Ｖｏｃａｔｉｏｎａｌ ＆ Ｔｅｃｈｎｉｃａｌ Ｃｏｌｌｅｇｅ ２０１０年３月 第６卷 第１期 Ｍａｒ．， ２０１０ Ｖｏｌ．６ Ｎｏ．１ 时”，与影片内容相差千万里，令人费解。 译好片名的第一步，应全面了解片名的来源及其命名特点，这是优秀译名的必经之路。片名大多以剧情、背景、主题、主人公线索为来源。以此为标准，电影大约有以下几种类型： （１）动作片：常通过画面的快速变换及打斗场面来吸引观众，如：Ｇｏｌｄｅｎ Ｅｙｅｓ （黄金眼）；Ｓｉｎｄｌｅｒ’ｓ Ｌｉｓｔ （辛德勒的名单）；Ｓｐｅｅｄ（生死时速）等。 （２）爱情片：Ｇｈｏｓｔ（人鬼情未了）；Ａｍｅｒｉｃａｎ Ｂｅａｕｔｙ（美国丽人）。 （３）恐怖片：ｔｈｅ Ｓｉｌｅｎｃｅ ｏｆ ｔｈｅ Ｌａｍｂｓ（沉默的羔羊）； Ｈａｃｋｅｒｓ（黑客）。 （４）灾难片：Ｔｉｔａｎｉｃ（泰坦尼克）；Ｐｅａｒｌ Ｈａｒｂｏｒ（珍珠港）。 （５）科幻片：Ｊｕｒａｓｓｉｃ Ｐａｒｋ（侏罗纪公园）；Ｓｔａｒ Ｗａｒｓ （星球大战）。 （６）间谍片：ｔｈｅ Ｌｉｖｉｎｇ Ｄａｙｌｉｇｈｔｓ（黎明生机）。 （７）悲喜剧片：Ｇｒｏｗｉｎｇ Ｐａｉｎｓ（成长的烦恼）；Ｆｒｉｅｎｄｓ（六人行） 摘 要：关键词：英文电影片名的翻译，国内学者涉及不多，但已渐渐引起重视。现实中常常将英文电影片名分为，动作片爱情片恐怖片灾难片科幻片间谍片和悲喜剧片。对于各种类别的英文电影片名的翻译需要遵守几种翻译的原则：经济效益原则；译名应具有信息原则；体现文化特色的原则；具有艺术审美价值的原则。同时在翻译中应坚持一定的翻译标准。另外，对于片名翻译必须掌握几种方法：直译法、音译法、意译法、多种翻译方法灵活结合的翻译方法。 电影片名；直译；音译；意译 ﹑﹑﹑﹑﹑英文电影片名基本翻译思想浅析 冯建民 许丽红 （烟台南山学院公共外语教学部，山东 烟台 ２６５７１３） 作者简介：冯建民（１９７９—），男，汉族，本科，讲师，黑龙江省黑河人，烟台南山学院公共外语教学部，研究 方向：英语教学。 许丽红（１９８２—），女，汉族，本科，助教，吉林省松原人，烟台南山学院公共外语教学部，研究方 向：英语教学。 电影是一门艺术，不同于其它体裁作品，它通过多种信息传播媒体作用于人的感官进而产生某种效果，因而电影片名的翻译也不同于其它体裁的翻译，但它也属于跨文化交际的活动。从体裁类型看，英文电影片名翻译属于翻译学专项研究一类。英文电影片名的翻译，国内学者涉及不多，但已渐渐引起重视。何跃敏指出西片译名中的许多问题并提出了解决对策。贺莺则根据功能对等理论，结合中英电影片名的特点，提出了指导电影片名翻译的四大价值标准，概括了片名翻译的主要方法。肖陆锦对片名的汉译技法作了分析。本文在此基础上，广泛收集近一个世纪的英文原版的电影片名译名，并加以分析、归类，就英文电影片名翻译的原则、方法、标准等作了进一步探讨。片名的确定、选择并非无目的、无原则，它是片商和观众之间相互沟通的第一个直接的窗口。瘪脚的译名通常是见词猜义或死译硬译的结果，常与影片内容风马牛不相及。如：ｔｈｅ Ｄｕｋｅ、Ｗｈｉｌｅ Ｙｏｕ Ａｒｅ Ｓｌｅｅｐｉｎｇ曾分别被译为“公爵”和“当你入眠 ［１］ １ 电影片名分类
浅议法语电影片名的翻译
摘要:文章以电影名称为探讨对象,以大量经典译名和近年来极受欢迎的法语片名为翻译实例,探讨了电影片名翻译中的归化与异化策略的具体运用,并在此策略指导下,提出了法语电影片名翻译中直译和意译等多种的翻译方法. Abstract: Taking a numble of classic and hot French movies for example, this article focuses on the translation of the film names by exploring the application of the adaptation and the alienation in some specific circumstances. With the guidance of strategies of adaptation and the alienation, the article proposed a variety of translation methods including literal and free translation methods. 关键词：电影归化异化翻译方法 一．引言 21世纪人类社会发展的经济全球化不仅仅局限于经济领域,它也渗透到社会、文化生活等各个领域.电影作为一种世界性、大众化的艺术形式,它能传播信息,抒发感情,反映丰富多彩的生活,使观众得到艺术上的享受.从而促进各民族的文化交流和传播.影片名作为电影的一个重要组成部分,就好像是电影的一张名片,有着独特的功能.好的片名翻译,能够简洁凝练地概括影片内容,言简意赅地揭示主题,隽永深长地激发观众的丰富联想,并激起观众的观赏兴趣.好的片名与好的内容的完美统一,能使观众得到美的艺术熏陶,美的情感享受,对影片的推广产生积极的影响和作用.但是,电影片名翻译该如何处理两种文化、语言之间存在的巨大差异,如何做到“信、达、雅”呢？ 为了使原语和目的语之间的转换有一个标准,尤金·奈达提出了著名的动态对等原则(随后发展为功能对等原则)："翻译是在接受语中寻找和原语信息尽可能按近、自然的对等话语,首先是意义上的对等,其次才是风格上的对等."（E.A 奈达,1969）.在这个概念中,奈达认为翻译是语言交际行为,主张用交际学理论诠释翻译过程和结果,从而使翻译的研究领域不再局限于语言层面.而是扩大到译文的使用者.他主张用动态眼光审视译文与原文.所考虑的因素不仅是孤立的文本内的语言结构,而且还有篇章的语境.包括从原文作者到译文读者的完整的交
电影片名的翻译标准及实现方法 电影是深受人们喜爱的文化娱乐形式和文化交流的桥梁，每年涌入中国市场的国外影片和走出国门的国产电影不胜枚举。电影作为视听类文本，具有意识形态、文化与商品三重属性，具备教育、娱乐和盈利的三重功能，即使电影片名翻译与文学著作书名和新闻标题翻译有相似之处，但电影仍具有独特性，译者在电影片名的翻译处理中需要仔细斟酌。然而，有些电影片名的翻译仍有一些瑕疵。 一、电影片名翻译问题 从中国翻译进口影片的历史来看，中国译制片生产始于1949年后。中国对国外电影片名的翻译，也应是有好几十年光景了。然而，在电影片名的翻译上，依然存在着一些问题。 问题一：影片译名与影片内容关系松散 Roman Holiday译为《罗马假日》，影片讲的是欧洲某公国的公主与一个美国记者在罗马一天当中发生的浪漫故事。而这个译名跟故事内容本身的联系松散，
不如译为《邂逅公主》更贴近于故事本身，也能吸引受众的期待。 《赤壁》译为Red Cliff，不如The War of red cliff 更具体明白。 Revolution Road译为《革命之路》，这部影片是讲爱情和婚姻，影片名称只是男女主人公所居住的街道名，这种片名会让观众误以为是一部战争相关的电影。 问题二：缺乏美感 American pie在大陆译为《美国派》，香港却译为《美国处男》，实在是难逃露骨低俗。 Three Idiots 译为《三傻大闹宝莱坞》，这部印度电影讲的是三个性格迥异的同窗的励志故事。单从这个译名来看，以为是一部傻里傻气，插科打诨的纯搞笑电影，然而观后发现整个剧情跟惊叹、赞美、努力有关，跟“傻”、“闹”无缘。还不如《寒窗三友》或者《寒窗三杰》有美感。
浅谈对英文电影片名翻译的认识与理解 引言 电影是一种艺术形式，又是一种大众文化形式；它既要符合大众口味，又要注意审美取向。电影译名和商品一名一样，虽然只有只言片语，但是要译得好，译得切题，使人看了片名解渴望先睹为快，就不那么容易了。 片名的翻译，一般要收到原片名的很大限制，还要考虑到诸如电影观众的理解能力、心理作用等社会因素。英文片名的汉译，应该在忠实于原片名的影片内容的基础上做到生动活泼，力求达到艺术的再创造。 著名的翻译家眼福曾说过：“译事三难：信达雅。”可见“雅”是翻译的最高境界。追求雅趣应该是翻译家们的终身课题。 外国电影片名的翻译同译制片的作用一样，起到了文化媒介的效果。尤其是1995年引进首部进口分账大片《亡命天涯》以来，中国人又重新燃起了看电影的热情。 除了电影本身的品质外，电影片名作为“导看者”，是很重要的一环，人云“片以名扬”。自然，来自国外的电影师傅吸引中国人的眼球，那么其片名的翻译就是重中之重了。好的译名能让佳片锦上添花，使普通电影更上一层楼；但是不好的译名却能使佳片黯然失色，使一般电影光彩尽失。 片名是窗户，是影片的眼睛，透过“眼睛”可让观众洞察影片的内心世界。它虽字数寥寥，却是整部影片的向导和灵魂。片名与内容的完美统一，能吸引观众眼球，及其观看欲望，使其欲罢不能，欲弃不忍，从而得到美的享受、艺术的熏陶和高尚情操的尽然。从交际目的来看，电影片名作为呼唤类语篇之一，译者应该从交际翻译的角度去思考问题。片名翻译的直接目的是为了与观众沟通交流，片名的优劣直接影响到影片的传播与反响。从翻译的手法来看，片名之于影片的特殊性决定了其翻译手法的特殊性，它除了要遵循翻译的一般规律与法则外，还得通晓电影片名的特殊性，斟酌出片名中蕴含的丰富的影片信息和联想意义，并且在片名中反映出来，使观众赏心悦目。 随着我国文化市场越来越多地参与全球文化的流动与沟通，每年都有数十部乃至数百部的外国大片被引进，影片片名的翻译在文化交流过程中的重要性愈加凸现。 电影片名是对应内容是研究，兼有艺术观赏和商品广告的双重功效，在很大程度上起着导视和促销的作业。在译制电影的传播和推介过程中，片名翻译的好坏，直接影响着影片艺术性的展示和商业吸引力的大小，直接关系到影片的上座率。 一、电影片名翻译的标准 外文电影片名翻译的过程具体有三个阶段：语言转化、文化顺应及市场预测。相应地，片名翻译的标准便在这三方面中形成。 （一）语言转换标准 翻译所追求的“信达雅”，“雅”这一字中包含着译文所具有的音义美，二电影片名的翻译也应遵循音义俱美的标准。
翻译目的论指导下的英语电影片名翻译 【摘要】本文以翻译目的论为基础，结合电影 片名的特点，分析了其翻译的目的和原则，归纳总结 了英语电影片名的翻译策略和翻译技巧。 【关键词】目的论电影片名翻译翻译策略翻译技巧 一、前言 电影片名不仅是电影凸显主题，向观众传递影片 中心思想的一种方式，也是具有特定的商业目标，保 证票房收入，宣传、推广电影的一种商业名片。因此，它同时兼具艺术性和商业性两种特性，而通过电影片 名翻译，不仅要实现其艺术价值，更要实现其商品价值。好的电影片名对电影而言，是点睛之笔，甚至比 电影海报或广告宣传更为有效，能够快速地吸引观众 的注意力，增加票房的收入，是一种强有力的商业宣 传手段。 二、电影片名的特点 电影片名一般有三种特点，从语言层面上分析， 电影片名首先要简洁凝练。它就像是透视电影的眼睛，对电影的主要内容进行了高度概括。反之，若是用比
较长的句子作为电影片名，观众往往记不住，也丧失 了其推广宣传的功能。其次，电影片名要通俗易懂。 电影若要迎合这个观众群体的口味，必须要让这些千 差万别的观众与电影之间产生共鸣，因此，电影片名 要避免使用一些晦涩难懂的术语，尽可能地通俗一些、大众一些，也就是人们常说的“接地气”。最后，电影片名要生动优美。为了最大程度地吸引观众，让他们 心甘情愿地走进影院、买票观影，就要使电影片名既 生动又优美。生动又富于美感的电影片名具有强烈的 票房感召力，让人一看到电影片名就立刻产生买票入 场的欲望。 三、英语电影片名的翻译技巧 1.直译法。根据翻译目的论的三原则之一，即忠 实原则，我们首先考虑对电影片名采用直译的方法。 忠实原则就是指译文要忠实于原文，要体现原文的风貌，而译文的目的和译者对原文的理解可以决定译文 对原文忠实的形式和程度。直译法恰恰就符合这一原则。有些电影片名其实就来源于影片的故事内容、情 节或主人公，对这种类型的电影片名，译者就可以采 用直译的方法，既保持原片名的内容，又能够与源语 形式保持一致，同时也易于被目的语观众接受。如：E.T.《E.T.外星人》；Empire《帝国大厦》Duck Soup《鸭
浅谈英文电影片名的翻译 【摘要】电影片名是一部电影的浓缩和灵魂所在。随着国际文化交流的不断深入，越来越多的英美影视作品不断涌入我国，本文通过分析部分英文电影片名翻译的范例来探讨英文电影名的翻译原则，翻译标准和翻译方法。 【关键词】英文电影片名；翻译策略；翻译标准；翻译方法 引言 电影是一种大众喜闻乐见的、声音和画面相结合的影像艺术，是一种群众性的艺术，具有旺盛的生命力，并具备高度的商业性。同时，电影又是社会生活的缩影，也是各国文化交流的重要组成部分，更是了解一个国家文化的窗口。电影的片名起到了浓缩主题、画龙点睛的作用，其任务在于简洁凝练地概括影视片的内容，言简意赅地揭示主题，隽永深长地激发群众的丰富联想。因而，电影片名大都采用简短、生动、形象、优美的语言来突显影片内容、吸引观众、激发观众的审美期待和观看热情。因此，英文电影片名的译文既要有一定的文化品味，又要符合中国观众的语言文化和审美心理。 一、英文电影片名的翻译标准 片名是整部电影的浓缩，片名的翻译不同于一般的文学作品，对电影片名翻译时，语言结构要凝练，能明确影片主题，并力求言简意赅、形神具备。因此翻译时要遵循四条标准。 1.信息转译。作为画龙点睛之笔，电影片名涵盖的信息也是观众急于要了解的信息。译者应该把源语文本里的信息尽最大可能地转译成目标语，让不懂源语语言的观众获取译入影片的主要信息。否则，翻译就毫无意义和价值可取。影片True Lies的译名《魔鬼大帝》就很失败（另一译名是《真实的谎言》）。凡是看过这部电影的观众明显感觉到影片片名和其主题、情节相去甚远，两者很难联系起来。 2.文化转译。翻译不只是两种语言的交换，更是两种文化的交流。不同的文化背景、历史、地理、气候、价值观、习俗、伦理观、政治、经济等等诸多因素阻碍了信息的通畅转译。因 此，呈现在不同语言中的文化形象其丰富的内涵有时很难用相应的词语表达出来。翻译此类电影片名时，一定要考虑到其丰富的文化要素，如：影片Dragon Heart的现译名是《魔龙传奇》，之前还有个译名是《龙的心》。“龙”在西方文化里是个贬义词，通常等同魔鬼、残暴的含义。相反的，“龙”在中国文化中通常是吉祥、力量的象征。因此，本着西方电影本身要表达的含义，《魔龙传奇》符合影片主创者的思想。
浅谈影响英语电影名称翻译的原因 摘要：外国电影作为文化传播的另一种载体相对书籍更容易被人们所接受，然而一部外国电影往往在中国大陆、香港、台湾被译作几个不同的名字。针对这一现象，笔者从尤金·A·奈达（Eugene A. Nida）的“功能对等”理论出发，分析“两岸三地”电影名称翻译时的异同，并从文化、商业和政治三方面因素结合实例分析电影名称差异的根源。 关键词：功能对等，电影名称，翻译，异同 随着中国经济的发展和改革开放的不断深入，外国文化不断涌入中国，国人通过报纸、电视、网络等各种媒体途径了解世界的机会与日俱增。尤其中国加入WTO以来，对异域文化了解程度加深，而电影作为老少皆宜、通俗易懂的媒体手段对国人的影响越来越大。从解放前中国无电影到改革开放初期每年从国外引入寥寥几部电影，到如今每月都不间断地有外国大片在影院上映，电影已经成为人们生活的一部分，更是世界文化交流的一种不可或缺的方式。 电影作为一种意识形态，被译成文字音频从而使国人能够看懂，而电影名字作为电影主要内容以及风格的载体更是重中之重。一个好的电影名称能够充分体现电影的主要内容，恰当地体现电影的风格，从而吸引观众眼球，赢得影院票房，获得商业价值和艺术价值的双丰收。然而笔者却发现，同一部电影在中国大陆与香港、台湾常被译为不同的电影名称。本文力图通过功能对等理论分析大陆与港台地区电影名称翻译的共性与两岸三地对电影名称翻译不同的原因。 1、电影名称翻译的理论基础 尤金·A·奈达（Eugene A. Nida）指出：“翻译不仅仅指词汇意义上的对等还指语义、风格和文体方面的对等，翻译传达的信息既包含表层词汇信息也包含深层的文化信息”。“动态对等”中的对等包括四个方面：（1）词汇对等，（2）句法对等，（3）篇章对等，（4）文体对等。在这四个方面中,奈达认为：“意义是首要的，其次形式。形式对等有可能会掩藏源语的文化意义并阻碍文化交流。”因此，根据奈达的理论，在翻译的过程中，译者应当把动态对等的四个方面作为翻译的准则，并准确地在目的语中再现源语的文化内涵。
浅谈英文电影片名的翻译 [摘要] 随着国际间的交流日益频繁，电影作为文化艺术形式，也是中外文化交流中重要的一部分。电影片名的翻译受着文化差异的影响，就电影翻译中如何更好地再现原片的文化特色和艺术效果，以求在源语文化和译入语文化中达到最大程度的对等，更好地实现跨文化交际，让人们欣赏到优秀的外文影片。 [关键词] 电影片名中西文化差异翻译技巧 电影作为一种世界性、大众化的艺术形式，在各国的文化交流中所发挥的作用也越来越明显。尤其是大量英文影片的引进, 电影翻译也备受关注。电影片名的翻译属于跨文化交际的活动，从一种语言到另一种语言, 不同的文化背景、思维方式、价值观以及审美观等目的语文化环境下, 如何翻译出让观众认同并接受的电影篇名, 是翻译者为之努力的方向。 一、电影是文化艺术的载体，电影片名的翻译属于跨文化交际活动 文化的性质决定了在不同地域和时空的文化有着不同的表现形式。因此，电影片名的翻译也应尽可能地正确把握源语民族语言中的文化信息，适时地进行选择和适应，以求在源语文化和译入语文化中达到最大程度的功能对等。语言是文化的一部分,也是文化的载体。翻译作为跨文化交流的一个桥梁, 与其说它是语言的翻译, 不如说是文化的翻译。因此在翻译的过程中, 不但要知道词语本身的字面意义, 还要弄清其所承载的文化意义。 二、中西文化差异对电影片名翻译的影响 在中西方不同的文化背景中，对事和对物有着各自不同的文化寓意。同一事物,在不同的民族文化中有着不同的文化寓意。电影“Red Shoes”（英国），主要讲述了英国一名芭蕾舞女演员面对爱情与事业不能做出正确选择，最终走向悬崖的悲惨故事。尽管《红舞鞋》正确无误地译出了英文的原意，却没有更深的寓意。后来这部英国影片又被译成《红菱艳》。译者把那双红舞鞋比作了中国观众妇孺皆知的红菱。它寓意红菱虽出于污泥，却仍美丽动人。特别是那两只弯弯的红菱角，犹如中国古代浸入了女子血泪的三寸金莲。与《红舞鞋》相比，《红菱艳》这一片名更体现出了电影的意境美。再如，美国电影“American Beauty” .大陆和香港都有自己各自的片名译文版本。大陆译作《美国美人》，香港译作《美国丽人》。而这两个简单的直译版本都很不贴切。根据The American Heritage Dictionary （<<美国传统词典>>），“American Beauty”是一种玫瑰花，花大叶长，呈紫红色。这种花美丽而神圣，象征着崇高而神圣的爱情。影片中，导演用联想的手法，用这种花用来象征着一个女孩的爱。因此台湾译本《美国心·玫瑰情》更加传意贴切。 审美是人类独有的一种复杂而高级的活动,包含了复杂的感觉、心理、思维、情感等一系列多样又统一的精神活动。审美作为普遍的社会文化现象，是人类文明长期发展的结果。文化背景的不同，决定了审美情趣的差异。审美的差异决定了译者要深入把握源语电影作品的思想美学内容，用目的语的艺术形式传达原作的形象、情感和语言的艺术美，从而将原作的审美体验生动形象地传递于译入语的电影艺术观众。例如，在某些形象的审美上，汉文化也不同于英语文化的审美习俗。在中国传统文化中，芙蓉总是与美丽动人联系在一起，唐代诗人李白就用“天然去雕饰，清水出芙蓉。”这样的诗句来描绘美人杨贵妃。影片“Bathing Beauty”译为“出水芙蓉”更自然贴切，迎合了中国人的审美心理。再如，“Blood and Sand”翻译成“碧血黄沙”，贴近汉民族的修饰与生动传神的审美需求，而英语的表达惯式则不使用修饰性的形容词。译名不仅充分展现了原名的文化价值和商业价值，还忠实了电影的内容。 三、英文电影片名翻译的标准、方法及技巧 近代著名翻译家严复提出的“信、达、雅”的标准。奈达提出的对等概念，金隄从三个方面对该概念进一步阐释：接受者概念、效果概念、对等概念。关于效果概念，他指出，在明确了效果指信息对接受者的作用后，需要强调它应该包括信息的全部作用，也就是接受者从中所获得的一切理解和感受。包括主要精神、具体事实、意境气氛三大要素(1998：18)。笔者认为，这进一步明确了严复“信、达、雅”标准的内容。效果概念是否全面掌握，实质
浅谈电影片名翻译 【摘要】电影片名翻译不同于一般产品的翻译,它以吸引人眼球、诱惑观众进场观看为目的,本文介绍了电影片名翻译的几种常用方法。【关键词】电影片名翻译技巧 电影是一种商品,其批发商将考虑什么样的电影名字能为其带来最大的票房收入,如果这名字很吸引人,就能引起观众的兴趣,观众就会踊跃购票。如果太贫乏,其票房一定让人失望。要让观众过目不忘,这就需要我们有很强的翻译技巧,在电影片名翻译中,我们通常用直译、音译、意译以及直译意译相结合、音译意译相结合的方法。 一、直译 直译,从表面上讲,就是不改变原作的词与句。但严格说来,就是不改变原作的观点和风格,而且忠实于原着,是对原作在思想内容和写作风格上的一种再现,并且尽可能多的忠实于原作的修辞。 在实际翻译过程中,许多片名中英文重合程度惊人,几乎可以达到字对字翻译。如将Schindler’s List译为《辛德勒的名单》,Four Wedding and a Funeral译为《四个婚礼和一个葬礼》,the Jurassic park译为《侏罗纪公园》,《黄土地》译作Yellow Earth,《南京大屠杀》译作Nanjing Massacre等。 另一些则须根据译语特征,略微改变源语的词序或结构,在总体上仍趋于同源语形式保持一致。英译汉如:Man in Black译为《黑衣人》, the River Wild译为《狂野之河》。汉译英如将《高山下的花环》译作Wreaths at the Foot of the Mountain,《青春之歌》译作the Song of Youth,
《天云山传奇》译为Legend of Tianyun Mountain。 我们知道,许多电影都是根据名着改编的。改编成成电影后,借助名着本身的艺术魅力和轰动效应,创作人员保留了原着原名。与此相联系,当这些名着被译成别国文字,介绍给他国读者时,由于早期译者对这些着作的书名采取了直译法,因而使这些作品从书名到内容早已深入人心。因此,面对以这些名着为蓝本而改变的电影,可以直接将作品名“挪用”过来作为电影名称,既方便又自然。如A Million Pounds Bank Note译为《百万英镑》, The Godfather译为《教父》,Uncle Tom’s Cabin 译为《汤姆叔叔的小屋》, The Silence of Lamb译为《沉默的羔羊》。 当然,直译电影名绝对不仅仅陷于上述情形。有时候,我们并不确定是译作先于电影,还是电影推动了翻译作品的出现和传播,而且许多电影在本国并没有以文学作品的形式出版发行,抑或即使出版过也没有引起人们足够的关注。但无论怎么样,总的说来,直译的片名都是继承了原片名的简介明了、信息量大、易于引起观众好奇心等特点。而且,更重要的是,这些片名不带有浓厚的异域文化色彩,不会导致观众在理解上和接受上的难度。如All Quiet on the Western Front(《西线无战事》),Dances with Wolves(《与狼共舞》),Death on the Nile(《尼罗河上的惨案》),(Evil Under the Sun《阳光下的罪恶》),Love or Bullets(《爱情与子弹》)等。 二、音译 音译也是传统翻译中比较常见的方式,这是全球文化杂合的结果。随着各国文化相互渗透的
龙源期刊网 https://www.doczj.com/doc/5917205105.html, 浅议英语电影片名的翻译 作者：刘敏 来源：《西部论丛》2018年第10期 摘要：随着全球一体化和文化多元化的不断发展，电影在各国文化交往中扮演着愈来愈 重要的角色。闲暇之余，观看电影不仅可以丰富人们的日常生活，还提供了了解外部世界的契机。英语电影一直以来都备受各国观众的喜爱。随着中国对外开放发展程度的不断提高，引进的英语电影也愈来愈多。一个好的电影片名可以使电影锦上添花，起着先声夺人的效果。因此，英语电影片名的翻译是否得当，决定着其是否拥有较高的票房收入和话题热度。本文从翻译方法的角度浅议英语电影片名，以期找出符合大众心理预期、备受大众喜爱的电影片名。 关键词：英语电影片名翻译 一引言 当前，世界各国的文化活动异彩纷呈，不仅国内的文化活动欣欣向荣，就连跨国的文化项目也在如火如荼地开展着。其中电影作为一种跨文化交流的途径，正发挥着其独特的作用，影响力与日俱增。特别是各类国际电影节的举办，这独属于电影人的饕餮盛宴，为从事电影事业的人们提供了一个分享与交流的舞台。其中尤以英语电影的影响力最为深远，特别是好莱坞大片为中国电影的票房收入作出了巨大的贡献。随着我国引入英语电影的增多，这就对英语电影片名翻译的要求严格起来。如果英语电影片名翻译得好，就等于该电影已经成功了一半。好的电影片名不仅能帮助观众提前了解电影内容或题材，还能夺人眼球，创造经济效益。因此，我们要重视英语电影片名的翻译，提高英语电影片名的翻译质量。 二英语电影片名翻译现状 近年来，随着中国对外开放程度的提高，文化方面的交流也日益增多。其中，中国引入英语电影的种类和数量都达到了前所未有的高度。电影因兼具艺术价值和商业价值，因此，其影响力与日俱增。然而，由于我国电影翻译事业仍然处于发展阶段，在英语电影片名翻译中仍然存在众多问题。例如，同一部英语电影，大陆地区、港澳地区和台湾地区就有不同的译法。对于电影《The Shawshank Redemption》，大陆译成《肖申克的救赎》，台湾译成《刺激1995》，香港译成《月黑高飞》。大陆地区在电影片名翻译上更青睐于直译，而港台地区则偏向于意译。《Léon》在大陆地区被译成《这个杀手不太冷》，在台湾被译成《终极追杀令》，在香港则被译成《杀手莱昂》。相较于港台地区的译名，大陆地区的译名不仅突出了主人公的身份，还点明了主人公的性格特征。大陆地区的译名更能全面概括主人公的特征，观众可以通过片名获得电影的主要信息。受地区环境的影响，大陆地区的译名更加坚持传统的翻译理念，而港台地区的翻译更加追求创新，但有时创新过度，难免落于俗套。因此，在翻译电影片名上，我国还有很大的发展空间。同时翻译工作者应该遵循基本的翻译方法，在追求商业价值的同时应力求艺术价值。
基于功能目的论的电影片名翻译 电影片名翻译是一项集商业、文化和艺术等因素于一身的再创作。本文以功能翻译理论为指导，探究直译和意译两大翻译方法在具体实例中所起之功效，并力图对当前电影片名翻译中存在的“一名多译”及其他不规范的翻译现象进行批判性地分析和解读，以期为今后的电影片名翻译提供有益的借鉴和思考，从而使电影译名在忠实传递影片信息和文化的同时，亦能兼富美感，并顺利实现其商业价值。 标签：功能目的论电影片名翻译直译意译 一、引言 电影不仅是人们日常休闲的娱乐形式之一，也是一门商业性与文化性兼具的现代视听艺术。电影片名作为影片呈现给观众的第一印象，不仅具备较高的艺术和审美价值，还承担着对电影的宣传和推销作用。精彩的片名往往有助于吸引观众的好奇心和“购买欲望”，进而帮助实现其商业价值、艺术价值和文化价值。（贺莺，2001） 在现阶段翻译界，学者虽已从多个角度对电影片名的翻译进行了较为细致地尝试和探究，但综观电影片名翻译的研究文献，仍存在三大不足之处。其一，电影片名的翻译究竟是应当就“片名”本身而论，还是应当结合电影情节和内容；其二，当前电影片名的翻译依然存在诸多译名并存的现象，正可谓是“一名多译，良莠不齐”（贺莺，2001）；其三，电影片名翻译作为一种应用型文体，其究竟应当注重“求真”，还是落脚于“务实”？因此，本文将以功能目的论为理论指导，力图通过具体的实例分析方法来探究直译与意译在片名翻译中的具体应用，并针对其中出现的“一名多译”及其他翻译不规范现象进行对比分析，以促进电影译名的规范化和合理化。 二、功能目的论与电影片名功能介绍 功能目的论是由德国功能派学者汉斯·弗米尔和克里丝汀·诺德等人创立的一种理论，是功能派翻译理论的重要组成部分。该理论将“目的”这一概念运用于翻译之中，并认为翻译作为一种跨文化的交际行为，翻译目的往往决定翻译策略或手段。同时，目的论者认为，在“目的论”的三大法则中，目的法则和忠诚法则作为普通适用法则，贯穿于整个翻译过程，且忠诚法则从属于目的法则（仲伟合，1999）。就具体的翻译目的而言，电影片名翻译作为一种应用型翻译，往往以实现市场利益最大化为依托，即“务实”总体上高于“求真”：增加票房收入必然是其首要考虑的因素。（周领顺，2014） 依据功能目的论，电影片名作为一种特殊的文本形式和交际行为，其功能大致可概括为以下三个方面：信息（指称）功能、表情功能和感染（诉求）功能（Nord，2001）。信息功能即传递电影信息，包括其内容、情节和主题的表达；表情功能
内地、港台英语电影片名翻译对比 摘要：新世纪以来随着全球文化的交流和融合，大量的英文电影被引进中国市场，优秀出彩的电影名称翻译对电影具有很好的宣传作用，好的电影片名激发了人们探寻电影独特魅力的求知欲，因此电影片名的翻译就显得尤为重要。本文旨在分析内地港台三地电影片名翻译的原则、特点、翻译策略的异同及引起差异的深层原因。 关键词：电影译名、内地、港台、差异 近年来，中国开始大量地引入英文电影。然而，因为汉语文化风格各异，几乎每一部英文电影在融入汉语市场的过程中，都会出现“一片多译”的现象，尤其在中国内地、香港和台湾地区，对英文电影片名的翻译已形成了各自鲜明的特性，呈现出“三足鼎立”的态势。我们在看到这三地译名差异的同时，更应该去关注引起这种差异的深层原因，从而促进三地取长补短共同促进英语电影译名健康、合理发展。 一、电影片名的翻译原则 尽管在内地、港台三地电影片名翻译存在着差异，但是电影片名翻译还是存在着一些比较有共性的原则。笔者认为，电影片名的翻译应遵循以下三原则： 1、信息等值原则 片名翻译应遵循与影片内容相关的信息，做到译名与影片的中心内容、形式的统一，即实现信息等值。由于译者对影片内容的无知，译名偏离甚至背离影片主题是片名翻译中的致命错误。例如2014年的美国悬疑惊悚类影片《The Bag Man》被译为了《包裹男人》，这样的翻译虽然是英文片名直译过来的，却和悬疑惊悚的电影内容不相符，《包裹男人》给人的感觉是这部电影是关于一个送快递的男人的比较生活化的故事，然而事实上男主人公是个杀手。 这样的译名无疑会误导观众。 2、文化等值原则 电影作为一种文化传播手段，对其片名的翻译担负着体现文化意象，促进文化交流的重任。由于中西方在社会发展历史、地理气候、历史政经、价值观念、风俗习惯、伦理道德等诸多方面存在着很大的差异，在译名翻译时
Movie Title Translation Under the Guidance of Skopos Abstract：With the developing of living standard, the film as a form of spiritual life has been a part of our life. As an integral part of the movie, the movie title translation has become the primary task. The translation of film products has become the international cultural exchange, and it has received more and more attention of scholars in the translation field. For the study of translation of film titles, skopos theory put forward by Hans Vermeer become the core theory of the functional translation theory, which is the suitable guiding method. It not only from the language level pays attention to translation, but also stresses the important role of the translator and culture. This article introduces the research significance English status Chinese translation of movie titles and the general situation of Skopos theory. It is concluded that the skopos theory has his own imperfections, but in the translators know the translation purpose, the translator can effectively guide the good movie title translation work. It can effectively guide the movie title translation work under the condition that the translators know the purpose of translation. Key Words:movie titles; skopos; translation methods
浅谈电影片名的翻译 贾薇 辽宁工程技术大学外语系，辽宁阜新123000 摘要：电影，作为一种独特的传媒方式，在人们的生活中起着越来越大的作用。在电影的世界中我们可以足不出户的领略异国风情。一个完美的电影片名可以吸引观众的眼球，增加票房收入，对于电影片名的翻译也是一个需要技巧和反复推敲的过程。本文根据电影片名的特点，分析总结了电影片名的翻译方法和技巧。 关键词:电影片名特点翻译方法 电影片名的翻译是一项重要的，且富于创造性的工作，佳译可以为电影锦上添花，对推动中国影片走向世界，促进国际间文化艺术交流起到不可忽视的作用。电影片名是电影的门楣，既要反映影片的中心思想，又要简短新奇，将观众引入门内；它是电影的眼睛，既要突出显示个性，又要生动形象，令人一瞥便会联想翩翩。优秀的电影片名应“简洁凝练地概括影视片内容，言简意赅地揭示主题，隽永深长地激发群众的丰富联想”。因此，完美的对一部电影片名作出翻译绝非易事。 一．电影片名的特点 1.来源 结合原片语境理解片名的来源是进行正确翻译的前提条件，中英电影片名大都以剧情、背景、主题、主人公、线索为来源。 根据电影所要表现的主题为名。如：You Can’t Take I t with You 、A Farewell to Arms 、Brave Heart 、《男人四十》、《人到中年》等。 根据剧情内容命名。如：Murder of the Orient Express、Sleepers、Deep Impact 、《秋菊打官司》、《五月之恋》等。 根据电影主角命名。如：Gandhi、Macbeth 、《黄飞鸿》、《女篮五号》等。 根据影片线索命名。如：The Ring 、Schindler’s List 、Twister 、《一封陌生女人的来信》、《鸡毛信》等。 根据影片背景命名。如：A Streetcar Named Desire、The Cassandra Crossing、Titanic 、《黄土地》、《红高粱》等。 2.风格 电影片名的语言风格是言简意赅，结构简单，生动形象，善用隐藏比喻等修辞手法，主要目的是吸引观众的眼球，激发观众观看影片的愿望。 3.功能
苏州教育学院学报 ＪｏｕｒｎａｌｏｆＳｕｚｈｏｕＣｏｌｌｅｇｅｏｆＥｄｕｃａｔｉｏｎ 第２５卷第３期２００８年９月 Ｖｏｌ．２５Ｎｏ．３Ｓｅｐ．２００８ 收稿日期：２００８－０６－１１ 作者简介：代荣（１９７２－），女，湖南衡阳人，讲师，硕士生，研究方向：英汉互译理论与实践。 目的论在电影片名翻译中的运用 代 荣１，２ （１．苏州市职业大学外国语与国际交流系，江苏苏州２１５１０４；２．上海海事大学外语系，上海２００１３５）摘 要：德国功能派的目的论指出，交际目的是决定一切翻译行为的首要原则，突破了以原文为中心的“忠实”“等 值”译论，为电影片名的翻译提供了有力的理论支持。电影片名的翻译作为应用翻译，其主要目的是实现影片的艺术价值和商业利益，提高上座率。根据目的论，可以采取灵活多样的方法处理片名翻译中的一些具体现象，以实现片名的预期功能。 关键词：目的论；片名翻译；翻译方法中图分类号：Ｈ３１５．９ 文献标识码：Ａ 文章编号：１００８－７９３１（２００８）０３－００７２－０３ 传统译论认为，翻译应当遵守“信”或“忠实”的原则，即译文必须忠实于原作，原作是什么样就尽可能把它译成什么样。“信”是翻译的天经地义。虽然绝对忠实无法实现，但不恪守“信”的原则的译文往往会招致责难，而译者对原作的故意添加或删改往往被认为是对原作的不忠。 随着越来越多的外国电影，特别是英文电影进入中国市场，电影片名的译名可谓琳琅满目、风格各异。有音译或直译的，但更多的是意译或改译，更有甚者另起炉灶，随意创作。纵观港台和大陆对英语片名的汉译，“不忠”甚至“叛逆”的现象俯拾皆是，译者们在八仙过海、各显神通的片名翻译中似乎有些诚惶诚恐、不知所措。翻译必须遵守一定的准则，片名翻译也不例外。 一、翻译的目的论 德国功能派翻译理论产生于２０世纪七八十年代。该理论主要包括赖斯 （ＫａｔｈａｒｉｎａＲｅｉｓｓ）提出的功能翻译批评理论、威密尔（ＨａｎｓＪ．Ｖｅｒｍｅｅｒ）提出的目的论、曼特利（ＪｕｓｔａＨｏｌｚＭａｎｔｔａｒｉ）的翻译行为理论和诺德（ＣｈｒｉｓｔｉａｎｅＮｏｒｄ）的翻译文本语篇分析理论。其中威密尔提出的翻译目的论 （ｓｋｏｐｏｓｔｈｅｏｒｙ）是功能派翻译理论中最重要的理论。目的论认为，“目的准则”是一切翻译应遵守的首要原则，即“目的决定方法”。威密尔指出，“翻译是一种用于达到特别目的的 复杂行为”［１］１１ 。诺德则系统地总结了功能派的形成过 程和基本思想，并针对目的论过分强调目的语的不 足附加了“忠实性原则” ［１］３２ 。目的论的理论核心是翻译的目的和译文的功能，中心思想是“行动皆有目的，行动者参照实际环境选择一种他认为最适合的 方式以求达到预期目标”［１］２９ 。既然翻译也是一种行 动，那么译者也会在翻译目的的指引下，尽量考虑一切可能有关的因素，从而决定最适合的行动方式。由此，可以得出翻译活动的行为准则，即“翻译行动的 目的决定达到预期目标的翻译策略” ［２］１４０ 。二、片名翻译的目的及目的论对片名翻译的启示（一）片名翻译的目的和功能 电影是一种文化性和商业性兼具的艺术形式，其观众既是艺术欣赏者又是商品消费者，这就决定了一个好的片名应该由诸多因素组成，这些因素也决定着片名翻译的目的和功能。 １．信息传递。电影片名是浓缩了的电影语言，能 够凸显影片的内容，帮助观众更好地理解影片，奠定影片的感情基调。片名翻译的用语必须明白易懂，避免故弄玄虚，以引领观众更好地欣赏电影这种大众艺术。如Ｈａｍｌｅｔ（《哈姆雷特》）、Ｓｉｎｄｌｅｒ’ｓＬｉｓｔ（《辛德勒的名单》）、ＬｏｖｅＳｔｏｒｙ（《爱情故事》），这样的译名让观众一目了然，立刻能够联想到自己即将观看到的影片内容。 ２．文化交流。 电影是语言文化的一扇窗口。通过一部电影，我们可以了解一个民族丰富多彩的文化内容，所以电影负载着向观众介绍异域文化的目的。在片名翻译中体现文化价值，促进文化交流和理解， ７２－－
浅析英语电影片名翻译方法 姓名： 学号： 单位： 专业：英语 指导老师：
摘要：看电影，已逐渐成为我们生活中不可或缺的消遣娱乐方式，特别是近几年来好莱坞式电影占据了我们的大荧幕，并不断创造了票房神话。其中，英语电影的片名翻译也发挥了相当作用。一个好的电影片名，毋庸置疑，对电影本身更是起了画龙点睛的作用。本文则对当前英语片名的翻译现状和翻译方法进行了研究和讨论。 关键词：电影片名翻译现状方法
目录 一、英语电影片名翻译现状 (4) 二、翻译方法 (5) 1、直译 (6) 2、变译 (6) （1）人名地名 (6) （2）增补法 (7) （3）四字格运用 (7) 3、创译引申 (8) 三、结论 (9)
引言 “1895年12月28日，卢米埃尔兄弟在法国巴黎第一次向公众放映自己拍摄的影片，引起了社会的巨大轰动，标志着电影的正式诞生。从1995年我国引进收不进口大片《亡命天涯》以来，越来越多的外国影视作品通过各种渠道涌入中国。”[1]一部好的电影，除了演员的精湛演技，紧凑的剧情以及导演的叙事手法，其耐人寻味的片名也起着妙笔生花的作用。有时甚至可以说，电影的片名有着举足轻重的低位。电影“不同于其他类的艺术作品，它无法像书籍、报纸一样陈列在案，让观众先睹为快，吸引观众的往往是片名”。[2] 一、英语电影片名翻译现状 在这个电影云集的时代，各式各样的片名翻译并不罕见，而且也是最受争议的话题之一。尤其是一些保守的翻译工作者，他们提出，“根据传统翻译理论，可以质疑的应该尽量直译”，但是根据统计，2001年进入中国的百余部好莱坞大片中直译的仅占26.6%。[3]由此可鉴，绝大部分英语片名翻译还是采用了意译的方法，而翻译多元化的现象也开始出现在我们的视角。与台湾，香港相比，大陆的翻译显得更为保守，尽量较少的改动英文片名的语言结构和意义。以下的表格清晰的对比出三地电影标题翻译的不同：[4]
第26卷 第2期2006年4月 湛江海洋大学学报 Journal of Zhanjiang Ocean U niversity Vol 126No 12Apr 2006 浅谈电影片名翻译技巧 毛妙维 (广东海洋大学外国语学院,广东湛江524088) 收稿日期:2004212224 作得简介:毛妙维,女,1979年生,本科,助教,主要研究方向英美文学。 摘 要:电影不仅是作为一种艺术品,同时也是作为一种商品存在,而电影片名就好比是电影的一件外衣,因此,确切地翻译电影片名非常重要。电影片名的翻译技巧有很多,同时影响电影片名的翻译的因素也有很多。因此,在翻译电影片名时要从各方面因素考虑,从而选择恰当的翻译技巧,使得译名不仅能够从意义上忠实于源名,涵盖电影的内容,同时在形式上做到简练并具有吸引力。关键词:电影;片名;翻译技巧;因素中图分类号:H315.9 文献标识码:A 文章编号:1007-7995(2006)02-0115-06 On the T echniques of T ranslating the Titles of the Movies MAO Miao 2wei (College of Forei g n L ang uage ,Zhanj i ang Ocean U ni versit y ,Zhanj i an g 524088,Chi na ) Abstract :As we know ,movie is not only a work of art but also a commodity ,and a title to a movie is just like a coat to a person ,so it is important for us to t ranslate it.There are many tech 2niques of t ranslating t he title of a movie and t here are also many factors which affect it s transla 2tion.So when we t ranslate t he titles we should take all t hese factors into consideration and choose t he right techniques ,and in t his way we may make t he t ranslation appropriate and att rac 2tive.This paper will discuss some techniques in translating t heir titles and some factors t hat in 2fluence t he t ranslation of t he titles of t he movies. K ey w ords :Movies ,Titles ,Translating Techniques ,Factors 下用最经济的手段表义。 综上,粤方言新词语有其浓厚的方言色彩。它们如同社会变革发展的一面“镜子”,不仅给社会发展带来深远的影响,而且昭示出现代汉语词汇的演变过程。但我们在运用粤方言新词语时要把握一个度,既要符合语言的规范,又要考虑社会的认可度。 参考 文 献 [1] 符淮青.现代汉语词汇[M ].北京:北京大学出版社,1985:169[2] 张志毅,张庆云.新时期新词语的趋势与选择[J ].语文建设, 1997(3):15218 [3] 邹嘉彦,游汝杰.当代汉语新词的多元化趋向和地区竞争[J ]. 语言教学与研究,2003(2):16;20 [4] 陈建民.汉语新词语与社会生活[M].北京:语文出版社,2000.8[5] 陈原.新词语[M ].北京:语文出版社,2000.21 [6] 宋伶俐,朴正俸.汉语新词中的方言词义渗透现象分析[J ].西 南民族大学学报,2003(12):2512254 [7] 刘澍心.新词的两种造词法考察———兼谈新词的谐趣[J ].湘潭 工学院学报(社会科学版),2001(2):66268 [8] 周序林.社会发展与新词汇的涌现[J ].西南民族大学学报, 2004(7):4272429 [9] 詹伯慧.汉语方言及方言调查[M ].第二版.湖北:湖北教育出 版社,2001:1002101 [10] 徐波.新词新语的文化心理透视谈[J ].丹山师专学报,1997 (4):40243 [11] 孙荣实.新时期新词语运用中的心理基础[J ].修辞学习,2002 (1):425