[英语,字幕,电影]浅谈英语电影字幕翻译

浅析英语电影字幕翻译方法电影翻译作为一种新型的翻译，自21世纪以来受到了广泛的关注，越来越多的翻译学者和翻译人员加入了这一领域的翻译。

当前，中西文化交流越来越密切，将英文电影字幕翻译成中文已成为一项重要任务。

如何提高汉语翻译的效果已成为英语电影介绍的重要环节。

本文结合英语电影字幕的特点，以现有电影翻译资料为例讨论了当前字幕翻译方法中存在的不足，最后从多层次的推广角度给出了英语电影字幕翻译的方法。

希望通過本文的工作，可以为英文电影字幕的翻译提供有益的信息，以更好地促进中国文化与世界文化的融合与共同发展。

2.字幕翻译的特点2.1口语化大多数电影通过某些情节来解释含义。

许多情节是生活中的场景，因此电影台词是口语化的。

由于电影中人物的对话和语境不同，因此采用的翻译技术也不同。

2.2内容丰富由于英语电影的类型多种多样，相应的电影行字幕也多种多样，因此字幕的内容丰富多彩。

例如，带字幕的科幻电影和生活电影之间在风格上会有巨大差异，因此在翻译时，要求翻译人员具有丰富的信息储备和广泛的知识。

2.3历史性电影是历史的产物。

每个时期的电影题材、内容都是不一样的。

2.4瞬时性电影是文化消费的商品。

每行都在很短的时间内完成，这与日常交流相同。

因此，字幕应与字符的行匹配，并且内容应在很短的时间内表示出来。

因此，字幕的翻译应在文本长度上保持一致，而内容应更加一致。

2.5合理性电影是时代的艺术品，所以它应该顺应时代的特征，与时俱进，顺应时代的背景，才可以顺应思想时代的主流，所以达到流传经典的水平。

作为表达电影意义的主要方式，台词承担了主要任务。

经典系列可以生存很长时间，而不太受欢迎的系列则很快就被遗忘了。

这样，字幕翻译就显得尤为重要，因为看电影的人只能通过字幕翻译后的语言来理解每一行字符的内容。

如果字幕翻译没有传达正确的含义，那么上电影的人会感到困惑，因为他们不了解电影讲话的内容。

如果电影没有被观众所理解，更不用说警告甚至传播给人们了。

浅析英语字幕翻译策略英语字幕翻译是指将英语电影、电视剧等媒体中的对话翻译成中文并加上中文字幕的过程。

英语字幕翻译是一项极其重要的工作，它的质量直接决定了观众对作品的理解和接受程度。

为了让翻译更贴近观众，字幕翻译者需要制定一些策略。

本文将分析英语字幕翻译中常见的策略。

一、直译与意译并用直译是指按照原文语言的语法和结构翻译成另一种语言的过程，意译则是在保持原文意思的基础上根据所翻译语言的语言习惯和表达方式进行转化。

在英语字幕翻译中，直译和意译都有其适用范围。

对于对话中的一些文字游戏、双关语等，翻译人员可以采用直译。

但有些语言的表达方式和语言习惯与中文不同，如果直接翻译会损失原文的意思和表达效果，这时可以采用意译。

在翻译过程中，如果切合上下文，并不是所有时候都要采用直译或意译，而要根据具体情况而来。

二、转述与压缩转述是指将一段原文的意思用自己的语言表达出来，而不拘泥于原文具体的用语和表达方式；压缩是指在没有损失原文意思的前提下删减多余的词语，使得翻译更加简洁通畅。

在英语电影、电视剧中，对话内容长的多，很多时候需要转述或压缩，以便适应字幕翻译的时间和空间限制，让观众能够准确快速的理解。

但是，转述和压缩需要掌握度的问题。

如果过于放任，会损失原文的言辞魅力和细节描写，给观众留下不好的印象。

三、保留特色与用语适化电影、电视剧中各具特色的人物性格、背景、口音等都需要在字幕翻译中得到体现。

这就需要翻译人员在翻译时保留原文中的特色。

例如，在英国伦敦地区使用的口音和方言如果从字面上翻译成中文，观众不一定能够理解，此时可以用一些中文民间语等与之相对应的词语。

用语适化应该是翻译中的一个原则。

在翻译过程中，应该尊重中文的翻译规范，避免将原文的用语和中文背景做过多的联想和拼接，在词语用法和意义上让翻译更贴近中国的语境。

四、语言风格与翻译风格电影、电视剧的人物各具特色，会使用不同的语言风格。

在字幕翻译中，应该根据人物的不同特点，选择相应的语言风格，使翻译更具个性，更加真实。

I. IntroductionFilm production has been developing in leaps and bounds ever since and gradually boom as one of the most profitable industries of the world nowadays. As a dominant role in the world, film industries sell their film products all over the world. The Hollywood film industry----the engine of the world film industry is definitely the best evidence．According to the statistics，in the 1930s and 1940s，Hollywood films produced nearly 75% of the film market share in china. Never before have we seen so many foreign films flooding the domestic market and never before have we seen so many Chinese films going abroad. These films were generally dubbed into Chinese because few Chinese audiences understood English at that time. Therefore, film subtitle translation can not present real meanings to the viewers except for the translation of some inter-titles.The significances of the present research are reflected in the following aspects. Since the thesis attempts to combine both film subtitle translation and skopos theory together, it might be conductive to the enrichment of both fields, beneficial to the practice of film subtitle translation as well as the promotion of our understanding of general translation theory.II. Definition of film subtitlingA. SubtitleAccording to George-Michael Luyken(1991), “subtitles are condensed written translations of original dialogue which appears as line of text, usually positioned towards the foot of the screen, subtitles appear and disappear to coincide in time with corresponding portion of the original dialogue and are almost always added to the screen image at a later date as a post-production activity”(335).B. Definition of film subtitlingFilm subtitle is “a printed statement or fragment of dialogue appearing on the screen between the scenes of a silent motion picture or appearing as a translation at the bottom of the screen during the scenes of a motion picture or television show in a foreign language” (Merriam 1175). In short，film subtitles are supplements，in the sense that they supply information unavailable from the phonetic dialogue and visualpicture.Film subtitles are different from “displays” or “captions”. “Displays” are “fragments of text recorded by the camera-letters, newspapers, headlines, banners etc” (Gottlieb l01-121). “Captions” (or “top titles”) are pieces of “textual information usually inserted by the program maker to identify names，places or dates relevant to the story line”(Luyken). This distinction is maintained here and “subtitles”do not include displays or captions, unless otherwise stated.Film subtitle can be both “intralingual”(and “vertical”), when the target language is the same as the source language, and “intralingual” (or “diagonal”), when the target language is different from the source language (Gottlieb 249-258). “Film subtitle”in this thesis is used to refer to interlingual film subtitle, unless otherwise stated．Film subtitle can be “open”, when the target text constitutes a physical part of the translated film and is transmitted together with the film sound and image，or “closed”, when the target text is stored in a digital/teletext format which is transmitted in as well as accessed via a separately coded channel at the discretion of the viewers(Gottlieb 247). In this thesis, “film subtitle”, refers to open film subtitle, unless otherwise stated.III. A brief introduction to skopostheorieA. The process of skoposSkopos is the Greek word for “aim” or “purpose” and was induced into translation theory in the 1970s by Hans J. Vermeer as a technical term for the purpose of a translation and of the action of translating skopos focuses on the purpose of the translation, which determines the translation methods and strategies that are to be employed in order to produce a functionally adequate result, the target text (TT), called the translatum by Vermeer (20-23). Therefore，in skopos theory，knowing why an source text (ST) is to be translated and what the function of the TT will be are crucial for the translator.In the 1970s there appeared a school in translation studies in Germany functionalism. Katharina Reiss firstly pointed out in his work Translation Criticism (2004). The representatives are Katharina Reiss, Hans J. Vermeer and Christiane Nord. They hold that translation is a kind of action with a purpose. This theory is first presented by Reiss and Vermeer in their book Grundlegung einer allgemeinen Translationstheorie (1984) (General Foundations of Translation Theory).Since 1978, German translation theorist H. J. Venneer, who breaks through thetraditional equivalence-based the theory that centers on source text，creates the skopostheories with the translation purpose or function of a translation as a general principle on the basis of theory of action(23-24). It is generally agreed now that translation is a type of human action. According to Vermeer, human action is intentional and purposeful behavior that takes place in a given situation, which modifies the situation at the same time (205-210). Skopos argues that the shape of target text should above all be determined by the function or “Skopos”that it is intended to fulfill in the target context.Vermeer believes that the purpose of a target text determines the translation strategies. In his opinion, the purpose of a target text, which is so important, is great extent decided by target readers, cultural background. In Hans J Vemeer’s Skopos and Commission in Translational Action(1989),Vemmer puts the Skopostheorie in this way：“Any form of translation action, including therefore translation itself, maybe conceived as an action, as the name implies. Any action has an aim, a purpose. The word Skopos, then, is a technical term for the aim or purpose of a translation.” In her book Translating as a Purposeful Activity: Functionalist Approaches Explained (2001), Christiane Nord defines the skopostheorie that “Skopos is a Greek word for purpose”(13-14). According to skopostheorie (the theory that applies the notion of Skopos to translation), the prime principle determining any translation process is the purpose (skopos) of the overall translational action. This fits in with intentionality being part of the very definition of any action.B. Three rules of the SkopostheorieSkopos theory involves three rules, i. e. skopos rule, coherence rule and fidelity rule, which will be discussed as follows.1. Skopos ruleVermeer postulates that as a general rule it must be the intended purpose of the target text that determines translation methods and strategies. From this postulate, he derives the skopos rule: Human action(and its subcategory：translation) is determined by its purpose(Skopos), and therefore it is a function of its purpose(Baker 236).Vermeer explains the Skopos rule in the following way,“Each text is produced for a given purpose and sho uld serve this purpose. The skopos rule thus reads as follows: translate／interpret／speak／write in a way that enables your text／translation to function in the situation in which it is used and withthe people who want to use it and precisely in the way they want it to function” (29).It is also pointed out that most translational actions allow a variety of skopos, which may be related to each other in a hierarchical order, and the translator should be able to justify their choice of a particular skopos in a given translational situation in translation, ., the skopos must be decided separately in each specific case．Skopos rule helps the translator solve the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, and so on. Nord points out that the skopos of a particular translation task may require a “free” or a “faithful” translation, or anything between these two extremes, depending on the purpose for which the translation is needed. (29).2. The coherence ruleTwo further general rules are the coherence rule and the fidelity rule. The coherence rule stipulates that the target text must be sufficiently coherent to allow the intended users to comprehend it, given their assumed background knowledge and situational circumstances.The coherence rule, or in Vermeer’s terms, the standard of “intra-textual coherence” means “the receiver should be able to understand it: it should make sense in the communicative situation and culture in which it is received”(Nord 32). The coherence rule specifies that “a t ranslation should be acceptable in a sense that it is coherent with the receivers’ situation” (Nord 32).That is to say, the translator’s task is to produce a text that is at least likely to be meaningful to target-culture receivers, namely, to be coherent with the receivers’situation and thus to be understood by the receivers. Only when the receivers understand it as being sufficiently coherent with their situation, can this communicative interaction be regarded as successful.3. The fidelity ruleHowever, just being coherent with the target situation is not enough. A translation is an offer of information about a preceding offer of information; therefore there is a relationship between the translation and the source text. Vermeer calls this relationship “inter-textual coherence or “fidelity”. This is postulated as a further principle, referred to as the “fidelity rule” (Nord 32)“Inter-textual coherence should exist between source and target text, while the form it takes depends both on t he translator’s interpretation of the source text and on the translation skopos” (Nord 1-32). For example, one possible kind of inter-textualcoherence could be a maximally faithful imitation of the source text.We know that the source text is intended for the source culture receivers instead of translation，therefore when it is translated for the different target-culture recipients, maybe the function of the target text or the purpose of the translation is different from that of the source text. In this case，the “fidelity rule” should give way to the skopos rule. However, the translator should aim for any possible compatibility between the skopos and inter-textual coherence.The three basic rules of the skopostheorie are designed to govern the translator’s activities in the whole translation process. In most cases, due to the reason that the skopos of the translation is frequently likely to deviate from the intention of the corresponding source language text, a translation cannot satisfy the three rules at the same time．IV. Film subtitle translation of If You Are the One from the perspective of skopostheorieIn subtitle translation of If You Are the One, in particular, its skopos is determined by the intention of its director as the initiator and the expectation of the English speaking viewers as the receivers of the English subtitles; its shape is determined by its skopos and the subtitler. This part is to analyze how the factors mentioned above determine the skopos and shape of translated subtitles in If You Are the One, and how strategies are employed to fulfill its skopos.A. Brief review of the film If You Are the OneThe film for 2008, If You Are the One, stars Feng’s longtime collaborator, Ge You, as a man in his 40s, newly rich, looking to settle down and start a family. Having made an instant fortune through his sale of the Conflict Resolution Terminal 2008, middle-aged entrepreneur Qin Fen (Ge You) turns his attention to finding a wife. Using all online personals service, he auditions potential spouses, but few make a lasting impression. Qin Fen’s stalwart personality is partly to blame；he’s intent on finding a suitable match，and is willing to walk away from even an absolute goddess if there’s a hint of incompatibility. So it goes with comely flight attendant Smiley Liang (Shu Qi), who Qin Fen initially recognizes as a poor match. Regardless, the two commiserate over drinks, where the melancholy Smiley reveals that she’s dating amarried man (Alex Fong). The two parts intends never to meet again, with each returning to their own pursuit of love.But as fate and the screenwriters would have it, Qin Fen and Smiley meet again on all airline flight，with Smiley working, Qin Fen traveling, and Smiley’s boyfriend and wife also present. The coincidence draws Qin Fen and Smiley back together, propelling them on the road to friendship and perhaps more, with occasional stops at fine luxury entertainment locations, where they sip expensive drinks while verbally sparring over their views on love. Qin Fen aims for a home run with his potential mate, while Smiley seems willing to settle if she can’t have her idealized，unattainable love. In response, Qin Fen tries to convince her otherwise while attempting not to appear as he’s trying to. It’s the story of one man’s tough love, except with a picturesque tour of fabulous locations that only people with money can visit. Somewhere in there, Qin Fen’s loyalty and stalwart affection is supposed to comfort Smiley’s wounded heart or something like that.B. An analysis of subtitle translation of If You Are the One based on skoposIn subtitle translation of If You Are the One, in particular, its skopos is determined by the intention of its director Feng Xiaogang as the initiator and the expectation of the English-speaking viewers as the receivers of the English subtitles; its shape is determined by its skopos and the subtitler. This part is to analyze how the factors mentioned above determine the skopos and shape of translated subtitles in If You Are the One and how the strategies are employed to fulfill its skopos.1. Feng Xiaogang’s intentionFeng never denies his wish to defeat the Hollywood films at the box office by adapting Hollywood’s game rules (Rosen 336).Feng discloses that the Associate President of Columbia Pictures, once said to him, “Your films have never been shown in overseas countries and thus you are not known to the viewers outside your country．Big Shot’s Funeral serves as an advertisement to publicize you and I hope it can provide the foundation for your second and third film in the overseas market” (Feng 187). From Mr. Geris’s wish, we can also find F eng’s ambition to gain the market share in foreign countries. And the film If You Are the One has proved to be well received in the North American market.Feng recalls in his book that on a seminar about the making of Big Shot’s Funeral，some people asked him whether the production strategy of the film should beconsidered as Hollywood’s cultural invasion into Chinese film industry. He replies that “it is a win-win deal and a two-edged sword” and that this kind of cooperation is cost-efficient because it “still makes Chinese films，but faces the global market” (Feng 187). As for Feng Xiaogang, the way to revive domestic market and march into international market is to cooperate with foreign film production companies and internationalize domestic film success.From above，we can see that the director’s intention is to bridge the gap between Chinese and foreign cultures and gain market share in foreign countries，which is the major part of translation brief.2.Skopos analysisTo define the skopos, we should verify the translation brief. Although it is said that a brief should be given by the clients, more often than not, it is not the case. Then a translator should have the ability to verify it by himself. The translation brief of the present case could be specified as follows：a. The intended text functions: the main function of the TT is referential. If You Are the One is more a commercial movie than art，the intended text function is first of all referential, to provide information about what is going on the screen. Then it may come the expressive function to relay the sender’s attitude and feelings. The translator must weigh against different functions and decide on the main one. In the present case，it is the referential function that wins the upper hand. Translator has to make a choice according to the skopos of the translation of film subtitle. Feng’s film subtitle translation aims to win the target market so that translator has to produce clear and concise subtitled film dialogues bridging the cultural gaps and make the narrative easily accessible for the audience.Thus, the target audience will find it easier to accept and understand the translated subtitles. Here are some examples.(1)秦奋：不算老实但天生胆小I'm no angel杀人不犯法我也下不去手Just too cowardly to do wrongThe west and east have different religious beliefs. In Christianity, Angel is a good spirit who is kind, lovely and innocent. Here, Qin Fen describes himself as a man who is not well-behaved．So he is not like an angel.(2)别猫哭耗子了Spare me the alligator tearsIn China, there is a proverb“猫哭耗子假慈悲”. This means the cat pretends to be sympathetic to the death of the mouse because she can have it as a meal. In western culture, people think that while having meals, usually an animal, an alligator will shed tears. So alligator tears implies disguised sympathy.(3)有的人是情人眼里才是西施Beauty is in the eyes of the beholder不过分的说, 仇人眼里你都是西施But no exaggeration, even to a foe，you’d be beautifulThe above underlined words or proverbs are all culture-loaded. Domestication is adopted to make the western audience fully understand the film.b. The addressees:It is self-evident that the TT addressees in subtitle translation are the foreign audience, probably adults, who share a different culture background and who are lay of Chinese. To be specific, they are common people who watch it for entertainment and film festival juries who view it with a discerning eye, eg.秦奋：那咱俩要是结婚了So，if we get married非得倒插门我去你们那儿吗I have to go to live with your family?In China, in most cases，after marriage, the wife lives with the husband’s family. “倒插门”means the husband lives with wife’s family. In this sentence, it is deleted since it expresses the same meaning as “我去你们那儿”.c. The time and place of text reception: The time and space of reception is less controversial，which vary in different cases. In this case, the time is up to now from 2008 when it was released to the public and the place is at the very beginning cinema and later on amounts to a wide range of places thanks to the development of technologies such as DVD.So far, the skopos of the translation can be defined as to supplement the film by providing the optimal information for the audience in written form within a limited time and space.V. Film subtitle translation of Curse of the Golden Flower from the perspective of skopostheorieIn this part, the subtitle translation of Curse of the Golden Flower is analyzedwith the background of the skopos theory.A. Background of Curse of the Golden FlowerCurse of the Golden Flower is derived from the story Thunderstorm, one of the best-known masterpieces by the most famous Chinese playwright Cao Yu. But the adaptation doesn’t stay too faithful to the original. The film is a historical drama directed by Zhang Yimou who also co-wrote the screenplay in Chinese. The screen version is established in the 10th century during the short-1ived Late Tang Dynasty, about a thousand years ago.For today’s viewers，it is a story about court intrigues and deceptions. Moreover there are several pivotal factors within the plot, among which, traditional Chinese medicine is the foremost one since the Emperor in the film is gradually poisoning his wife, the Empress, by adding a deadly fungus to her medicine. Zhang Yimou the director gives his explanation of the arrangement that “as for the Emperor’s personality, well, he’d love to stay in the royal pharmacy all the time. He’s a drug freak. That’s how his character is developed and expanded upon. He’s just so into the drug”.B. An analysis of subtitle translation of Curse of the Golden Flower based onskoposThe title of the movie，which is literally translated as “The Whole City is Clothed in Golden Armor”, is the last line taken from a Tang Dynasty poem---Do not Endow with Chrysanthemum Behind written by Huang Chao who rose in rebellion in 875 and died 9 years later.After changing the title several times, the screenwriters as well as the director finally settle on the poem for the reason that it indicates the rebellion taken by the Prince against the Emperor in the movie. The Chinese audience may easily understand the cultural connotation while the English-speaking audience who are not familiar with the background of the poem, due to the great disparity in terms of cultural background, may not comprehend the implicit aspects of the title without the explanatory message or footnote. Consequently, this kind of culturally loaded expressions will put a lot of processing efforts on the target audience. In addition, with the constraints of time and space, if they focus on the reading of the subtitle, they will lose some of the visual and audio information．To solve this problem, the subtitler discards the Chinese title and adapts a new one with the image of the golden flower taken as a symbol to reveal the palace intrigue and the machination of power play to the target audience. The golden flower is designed to function as the symbol of rebellion, which is the same as the title. Hence its images appearing in the film once and again will, in another form, retrieve the loss of the culturally loaded information caused by the substitution since film is a multidimensional art involving visual images, sound, colors and so on. Let’s see some examples:(1)辰时的药煎好了Your Majesty’s medicine for the hour is ready(2)执令官统领后宫羽林军The Imperial Guards protect our private palacesIt is no easy job to translate cultural elements in subtitle translating. The underlined parts of the source text are omitted in the target text since these cultural elements do not deliver adequate information and there is no time to explain all details. Their function can be retrieved by the image and the subtitler is careful enough not to omit information that could at a later stage be essential for the understanding of the story.According to adequacy and equivalence theory, the translator can not offer the same amount and kind of information as the source-text producer. What the translator does is to offer another kind of information in another form (Reiss & Vermeer 123). Located in a broader ecological culture, the subtitling succeeds in producing a communicative interaction in the target text. We may find another example in this film：(3)当年你只是一个小小的都尉At that time，you were only a lowly captain.“都尉”here refers to the low-ranking officer in Tang Dynasty. If a simple transliteration as “Duwei”is adopted, it is completely meaningless to the English-speaking audience and fails to achieve intra-textual coherence. Whether to translate the complete meaning of “Duwei”, on the other hand, makes no difference to the comprehension of the plot for the source text producer just means that the Emperor mounts the throne from the bottom. Therefore the subtitler, by chunking it up, translates it into “a lowly captain” to establish inter-textual coherence as well as intra-textual coherence in the target text.(4)儿臣为了母后从此不再服药You will never drink the poison again.In the film, what the Empress drinks is a kind of Chinese medicine containing the ingredient that will cause a person to lose his or her entire mental faculty. According to traditional Chinese medicine, any medicine has 30% poison ingredients. Therefore some ingredients are useful as well as poisonous. Their curative value is restricted to certain diseases and certain dosage based on the theory of using poison to cure poison. These ingredients belong to the category of medicine despite of their toxicity. By chunking down the medicine into poison, the subtitler defines the meaning in the narrowest sense and makes the implicit information explicit to accomplish intra-textual coherence in the target text．VI. ConclusionA. ContributionSkopostheorie provides translators with a whole new perspective into translation action. This paper conducts a systematic analysis of crucial factors that influence the strategies of subtitle translation, in which skopostheorie is adopted to guide the descriptive and explanatory analysis.On the basis of the above analysis, this paper gets some enlightenment of skopostheorie on subtitle translation. The enlightenment of “intra-textual coherence”on subtitle translating is that the target receiver should be able to understand the translated version of subtitle. And the translated version should make sense in the communicative situation and culture in which it is received. The subtitler should always keep the target viewers in mind. After exploring the main components of skopostheorie and analyzing the specific constraints in film subtitle translation, the author tries to find out some enlightenment of skopostheorie on subtitle translation. In order to find out the enlightenment, this paper analyzes Feng Xiaogang’s film in light of skopostheorie. The film If You Are the One proves to be successful in its target market. Therefore, this paper tries to find out influencing factors that affect the subtitler’s choice of strategies.The author gives focus to the skopos of subtitle translation, the more influencing role of the film director in subtitle translation and the importance of target audience. With reference to skopostheorie，subtitle translating is a purposeful activity and thepurpose of the whole translational action is the prime principle that determines the translation process. The basic purpose or skopos of subtitle translation is to aid the viewers with a translated film dialogue, to provide them with the most relevant information in the most effective way within its specific constraints，to help them in understanding what’s happening on the screen with ease.B. LimitationsOwing to the limitations of time and space，the source data collected for the thesis is limited. Meanwhile because of the knowledge limitations this paper can not deeply analyzes the translation of Chinese film subtitles into English ones from the perspective of skopostheorie. It is the author’s sincere wish that if possible, in the future, further research can be done on comparative study on Chinese-English translation and English-Chinese translalion of film subtitles.Work CitedBaker, Mona. Routledge Encyclopeata of Translation Studies. Shanghai：Shanghai Foreign Language Education Press(2004)：Baker,Christiane, Nord. Translating as a Purposeful Activity: Functional Approaches Explained.Shanghai: Shanghai Foreign Language Education Press, 2001.Feng, X. G[冯小刚]我把青春献给你武汉：长江文艺出版社2003: 187Gottlieb, H. Teaching Translation and Interpreting. Amsterdam: John Benjamins Publishing Company, 1998Gottlieb, H. Media Translation. Amsterdam／Philadelphia: John Benjamins Publishing Company, 2001Gottlieb, H. Subtitfing: Diagonal translation In C. Dollerup et al. (eds), Perspectives Studies in Translatology. Copenhagen: University of Cpenhagen, 1994 l01-121．Gottlieb, H. Anglicisms and TV Subtitles in an Anglified World: [A] Gambier Yves, 249-258 Gottlieb, H.Subtitling-a new university discipline in Teaching Translating and Interpreting. (eds) Dollerup, Cay＆A. . Amsterdam: John Benjamin. 1998: 247Katharina, Reiss. Translation Criticism: The Potentials＆Limitations. Shanghai: Shanghai Foreign Language Education Press, 2004.Katharina, Reiss and Hans J. Vermeer. Grundlegung einer allgemeinen Translationstheorie.Tubingen：Niemeyer, 1984,Michael. Overcoming Language Barriers in Television. [M] Manchester: European Institute forthe Media 1991.Luyken,George-Michael. Overcoming Language Barriers in Television. [M] Manchester: European Institute for the Media 1991.Merriam-Webster. Merriam Webster's Collegiate Dictionary. 1997：1175Rosen，S．(2002)．狼来了：好莱坞与中国电影市场,. 全球化与中国影视的命运336-360. (S.Y Sun, Trans.). Shanghai: Shanghai Foreign Language Education Press. 1994-2000 Vermeer, Hans J. Skopos and Commission in Translational Action in Chesterman(ed). 1989, 20-233.。

英文电影字幕的翻译方法与技巧英文电影字幕是观众在观看外语电影时非常重要的辅助工具，它能够帮助观众更好地理解电影对白内容，进而享受到更好的观影体验。

对于翻译人员来说，如何准确、流畅地翻译电影字幕显得尤为重要。

本文将从翻译方法与技巧两个方面来探讨英文电影字幕的翻译方法与技巧。

一、翻译方法1. 直译法直译法是最常见的一种翻译方法，它是指将源语言内容直接翻译成目标语言，不做过多的增删改动。

在电影字幕的翻译中，直译法常常用于一些简单、直接的句子。

当原文中出现“I love you” 这样的表达时，翻译人员可以直接翻译为“我爱你”，这样的翻译方法能够保持原文的原汁原味，也更容易被观众理解。

译化法是指在翻译过程中，翻译人员会根据原文内容进行一定程度的适应或改动，使得翻译结果更符合目标语言的口语特点。

在电影字幕的翻译中，译化法常常用于一些口语化的表达或者一些特定场景下的台词。

当原文中出现“I’m gonna kick your ass” 这样的表达时，翻译人员可以译化为“我要揍你了”，这样的翻译方法能够更好地把握原文情感，同时符合目标语言的口语习惯。

二、翻译技巧1. 熟悉背景知识在进行电影字幕翻译时，翻译人员需要对电影的题材、背景、文化等方面有所了解，这样才能更好地理解台词内容，并且做出更准确的翻译。

如果是一部古装电影，翻译人员需要对古代生活、礼仪、风俗等方面有所了解，才能更准确地翻译相关对白。

2. 保持节奏和韵律电影字幕的翻译需要保持原文的节奏和韵律，这样才能更好地呈现出原文的情感和氛围。

在翻译过程中，翻译人员需要注意句子长度和语气，并且尽量保持与原文相似的节奏和韵律。

3. 注意上下文在进行电影字幕翻译时，翻译人员需要在翻译过程中考虑上下文，尽量使得翻译结果更符合原文的意思，并且更好地适应当前情境。

翻译人员在进行翻译时需要考虑上下文的逻辑关系，尽量做到符合语境的翻译。

4. 精准表达情感电影是一个感情表达的艺术形式，因此在电影字幕翻译中，翻译人员需要尽量准确地表达原文中蕴含的情感和情绪。

电影字幕翻译的策略——以英文电影汉译为例电影字幕翻译的策略——以英文电影汉译为例电影作为一种特殊的媒介形式，能够通过视觉、声音和文字等多种元素传达信息和情感。

而字幕则是观众在观影过程中获取影片对话内容的重要工具。

对于英文电影来说，汉译的准确性和适用性直接影响着观众对电影内容的理解与接受。

所以，电影字幕翻译策略的选择和运用至关重要。

首先，准确传达对话是电影字幕翻译的首要任务。

字幕翻译应准确地将英文对话转化为中文，并确保信息的完整性，不夸大、不缩水。

传达影片中角色的情感、立场和态度对于观众的理解至关重要。

在准确性的基础上，字幕翻译还应追求与原文的贴合度，保留原文中的幽默、诙谐或感人之处，尽可能地传达原著作者的用词、语气和意图。

其次，电影字幕翻译策略应根据具体的情境和文化背景进行调整。

因为语言和文化的差异，观众可能对某些翻译内容和表达方式感到陌生。

字幕翻译者需要考虑观众的背景和对原文的理解程度，尽量选择通俗易懂的翻译，以便观众更好地理解电影对话的含义和情感。

同时，对于涉及特定行业、历史事件、地域文化等的对话，字幕翻译应该进行注释或选择合适的翻译方式，以帮助观众更好地理解电影内容。

第三，电影字幕翻译策略需要注重口译和书面译的结合。

电影是一种口头交际形式，其对话表达往往具有口语化、简洁、拗口的特点。

字幕翻译不能完全套用书面翻译的规则和句式，否则会导致对话过于僵硬，不符合口语交流的特点。

而且，字幕翻译要求在有限的时间和空间内传达更多的信息，所以需要适当地运用省略、合并和删减等手段，以保证字幕的清晰易读。

最后，字幕翻译还应注重与影片节奏和画面的匹配。

电影是一种视听的艺术，字幕与影片的节奏和画面应该相互协调，增强影片的观赏性和听觉感受。

字幕的长度、颜色、位置等设计都会对观众的观影体验产生直接影响。

字幕翻译在进行类型选择、用词运用和排版时应该与影片的时代背景、故事情节和音乐等要素相匹配，以营造出更加自然和统一的观影环境。

英文电影字幕的翻译方法与技巧英文电影字幕翻译是一项十分重要的工作，因为它可以让观众更好地理解英语语言及文化背景，为英语学习者提供了一个宝贵的学习资源。

下面是一些英文电影字幕翻译的方法与技巧。

1. 翻译原则：1.1准确性电影字幕翻译应该准确反映原版电影对话的意思。

在翻译时，需要尽可能精细地理解原文。

在翻译过程中，译者应该尽可能准确地翻译语言，比如单词、句子、意义等等。

1.2简洁性电影字幕翻译必须简洁、清晰明了。

轻松的阅读材料能够更好地吸引观众的注意力。

在翻译时需要注意文本的分隔符、句型等等，不要切断原文中被分开的句子。

1.3一致性在翻译过程中，重要的是尽量保持字幕翻译的一致性，比如术语、时态、语气等等。

这会让人们更加容易理解翻译内容。

2.字幕翻译技巧（1）在字幕翻译中，需要注意语言的地区差异。

比如，英语中的颜色等术语，美国和英国的术语可能有所不同。

如果你不确定，最好利用网络来查询相关标准词汇表。

（2）使用靠谱的电影翻译软件，比如Subtitles Translator、Avi Subtitle和Subtitle Workshop。

这些软件具备多种功能特点，比如自动翻译，字幕编辑等等，以此提高翻译效率和一致性。

（3）要使用译文，需要与原版电影匹配。

在使用译文时，同时要遵循字幕翻译的标准。

例如，避免使用第二人称，但可以使用“你”代替“他”。

（4）要小心翼翼地处理文化差异。

有些文化差异因为句子的语言文字而导致翻译困难。

这时你可以借鉴经典的翻译，寻求专家的帮助，或采用本地人可以理解的文化差异来翻译。

(5) 在翻译中，注重电影屏幕上的信息与字幕之间的协调。

字幕可以包括镜头、场景、对话和音效。

字幕还应与时长和角色数量保持一致。

特别是在电影语言翻译上，应特别注意时间和人物名字的一致性。

3.最佳实践- 先观看原片，然后开始翻译。

这样，你可以更好地理解电影的内容、剧情、人物等元素，并减少翻译过程中的错误。

- 翻译的同时，建议在每个时间戳上添加注释、像是音效及配角宣发者的备注等等。

英语电影字幕中的翻译之道图文 / 来源网络很多人喜欢从欧美电影里学习英语，一般国外的电影都是带字幕的，（事实上，不带字幕分分钟想关掉电影。

）由于字幕来源不同，导致的翻译的效果也不同，这里我们收集了一些字幕的翻译句子，首先需要把娃句子的语境。

01.You're cleverer than you look.(选自电影Brave Heart)你真聪明，看不出来/没想到你的脑子还很好使。

短评：字幕翻译是“你比你看上去的聪明一些”，略显生硬。

02.I don't want us to end up enemies.(选自电影Presumed Innocent)我不希望咱们闹翻/我不希望以互相为敌而告终。

短评：电影字幕的译文是“我不希望干掉敌人”。

原文末尾虽然是成语化的简洁，但是根据最佳关联的原则还是可以推理为“闹翻”或“为敌”的译文。

03.I owe you my life.(选自电影The Count of Monte Critsto)我欠你一条命/我这条命是你捡回来的。

短评：电影字幕是“我这条命是你给的”，岂有此理!命乃父母所赐。

原文的功能是致谢。

因此，若译为“我欠你一大笔人情”或“以后用得着我尽管说”也比“给”字句好些。

04. I am in the book business.(选自电影You've Got Mail)我是做图书生意的/我是书商。

短评：电影字幕是“我在书生意里”，一是汉语不地道，观众不知所云;二是没有翻译出原文的功能。

原文是介绍自己的职业，相当于“我是医生/教师”。

其实在很多情况下，我们需要把握翻译句子所在的语境，显得最地道哦~。

浅析英语影视剧字幕翻译-精品文档浅析英语影视剧字幕翻译一.影视剧字幕翻译的基本特征翻译是跨语言、跨文化的交流活动。

将英语影视剧翻译成中文，就像是译者建了一座桥梁，促进中外文化的沟通交流。

本质上，影视剧翻译与其他文本翻译相同，目的都是将源语的意义用译语予以再现。

但影视剧翻译之所以为影视剧翻译，正是基于其特殊性，也就是影视剧字幕翻译的基本特征。

1.1声画统一性首先，字幕翻译不是独立的，我们在欣赏一部影视作品的时候，不仅要看字幕，更重要的是看画面，听声音。

画面、声音、字幕三者是不可分离的统一体。

所以，译者在翻译字幕的时候，要将字幕与故事情节，画面动作，人物特点等要素结合起来，使各要素和谐融为一体。

此外，由于屏幕是有限的，所以译者在翻译字幕的时候也要受到限制，字幕的内容既要表达出说话人的全部内容，也要控制译文的长度，用最简练的语言，传达最准确的信息，以减轻观众的负担，让观众把关注的重点放在画面和情节上，更好地享受影视剧带来的快乐。

1.2文学魅力性观众看剧，就是要放松，投入，享受，作为字幕译者，应该使观众了解基本信息的前提下，获得良好的审美体验。

也就是说，译者的译文要美，要有文学性，要有审美价值，让观众在看了字幕之后能在情感上引发强烈的反应，这种反应能够在人们心中引起喜怒哀乐酸甜苦辣等各种感觉，能让观众对剧情更加投入，对人物有更深刻的体会，因此，字幕翻译的语言文采不可忽视，这一点又与文学翻译相同，所以，译者在翻译字幕时，可以运用文学翻译的理论，充分把握人物性格特点，情景语境，文化语境等要素.二.影视剧字幕翻译批评与赏析2.1动画片《白雪公主》片段1Queen：Take her far into the forest. Find some secludedplace where she can pick wildflowersHuntsman： Yes， Your Majesty.Queen： And there， my faithful huntsman， you will kill her！Huntsman： But Your Majesty， the little Princess！Queen： Silence！ You know the penalty if you fail.Huntsman： Yes， Your Majesty.Queen：But to make doubly sure you do not fail，bring back her heart in this.网络译文王后：把她带进森林深处。

浅析英语影视作品字幕翻译策略浅析英语影视作品字幕翻译策略字幕翻译作为英语影视作品的重要组成部分，在近年来的快速发展中扮演着日益重要的角色。

字幕翻译的目标是将原始英语对话或台词转化为其他语言的文字，并以清晰、准确的方式传达给观众。

在这篇文章中，我们将浅析英语影视作品字幕翻译策略，并探讨其对观众体验和文化传播的影响。

首先，字幕翻译的一项重要任务是保持对话或台词的准确性。

在转化为其他语言时，译者需要确保对话内容与原始意图一致，并能够准确地传达给观众。

为了实现这一目标，译者需要具备良好的语言能力和翻译技巧，同时还需要对原作的背景和文化有深入了解。

只有当字幕翻译准确无误，观众才能真正理解原始英语作品的含义和情感。

其次，字幕翻译还需考虑观众的阅读体验。

字幕翻译是通过将文字以特定的方式呈现在屏幕上来传达对话内容的。

因此，译者需要注意字幕的长度和显示时间，在确保准确性的基础上尽量保持简洁明了。

长句或过长的字幕不仅容易导致观众的阅读困难，还可能错过影片中的重要画面。

字幕翻译需要在准确传达对话的同时，尽量提供便于观众理解和接受的文字表达。

除此之外，字幕翻译还需要兼顾文化的传播。

影视作品是文化的重要载体，其中蕴含着丰富的文化元素和背景。

字幕翻译需要将这些元素传达给观众，让他们更好地了解和欣赏作品所代表的文化。

在这一过程中，译者需要充分理解原作中的文化细节，并灵活运用翻译策略来传达给观众。

同时，字幕翻译也需要注意避免文化冲突或失实的情况，确保翻译语言与目标观众的文化背景相符。

此外，字幕翻译还需考虑语言的表达方式和习惯。

不同语言有着不同的表达方式和文化差异，字幕翻译需要在转化为目标语言时尽可能贴近目标观众的语言使用习惯。

这意味着译者需要灵活运用翻译策略，选择适合目标语言的词汇、句式和表达方式，使得观众更容易理解和接受。

总之，英语影视作品字幕翻译策略在影视传播中起着关键的作用。

通过准确、简洁地传达对话内容，字幕翻译帮助观众更好地理解原始英语作品的含义和情感。

英文电影字幕的翻译方法与技巧一、翻译方法1. 直译与意译相结合在翻译英文电影字幕时，翻译人员需要灵活运用直译和意译的方法。

直译是指尽量保持原文的语言风格和结构，准确地传达原文的意思；而意译则是指根据目标语言和文化背景，适当地进行调整，以使译文更符合观众的阅读习惯和理解能力。

在翻译过程中，翻译人员需要根据具体情况灵活选择直译和意译的比例，以达到最佳的翻译效果。

2. 借助音频在翻译英文电影字幕时，翻译人员可以借助音频来更好地理解原文的语境和语调，从而更准确地翻译对话内容。

通过仔细听取原文的语音表达，翻译人员可以更深入地理解人物情感、语气和语速，这有助于他们准确把握对话的语言特点，从而更好地进行翻译。

3. 考虑观众背景在翻译英文电影字幕时，翻译人员需要充分考虑目标观众的语言背景和文化习惯，以保证译文更好地符合观众的理解习惯。

对于某些具有地域特色的口语表达，翻译人员可以适当地进行调整，以使译文更符合观众的语言习惯。

还需要考虑目标观众的文化背景和文化修养，以避免在翻译过程中出现冲突或不当的表达。

二、翻译技巧1. 准确把握语境和角色特点2. 保持一定的简洁性在翻译英文电影字幕时，翻译人员需要尽量保持译文的简洁性，以使观众能够更流畅地阅读和理解字幕内容。

通常情况下，对话内容越简洁越清晰，观众越能够快速理解和接受。

翻译人员需要在翻译过程中尽量简化句子结构和语言表达，以保证译文的简洁性和易读性。

3. 注意语言风格和情感表达在翻译英文电影字幕时，翻译人员需要特别注意对话的语言风格和情感表达，以确保译文更符合原文的意图和情感表达。

在翻译不同角色的对话时，翻译人员需要根据角色的特点和情感变化，灵活调整翻译风格和语言表达，以使译文更生动、更贴近原文的情感表达。

4. 确保译文的准确性和流畅性翻译英文电影字幕是一项需要高度专业和灵活应变能力的工作。

只有在准确把握原文语境和角色特点的基础上，灵活运用直译和意译的方法，同时兼顾观众背景和翻译技巧，才能更好地完成这一任务。

浅析英文电影字幕翻译作者：肖伯娜来源：《新一代》2018年第12期摘要：本文对英文电影字幕的语言特点、电影字幕的翻译策略与方法进行了分析和举例，旨在对英文字幕翻译策略及方法的运用进行研究，从而减少翻译初学者在翻译字幕时可能出现的失误，增强观众对于英文电影翻译的理解。

关键词：英文电影；字幕；语言特点；翻译策略；翻译一、英文电影字幕的语言特点（一）口语性。

影视作品一般都是以剧情为主，依靠角色之间的互动与交流将其陈述给观众，大多采用人物对话、个人独白或旁白形式呈现，因此字幕的译法须简短易懂、生动直接，这与书面语翻译有所不同。

（二）文化性。

语言是文化的一部分。

很多影视作品中含有大量俗语、俚语以及非正式用语，因此译制片既要通俗易懂，符合广大观众的教育水平；又要向观众传播文化知识，促进民族文化的发展。

（三）时空受限性。

字幕不可能独立于影视画面和声音存在，因此其在时间和空间上都受到一定的限制。

在时间层面上，影视剧中的语言是有声语言，不可能像在纸张上的文字一样长时间停留。

随着剧情的推进以及电影画面的切换，字幕必然转瞬即逝；在空间层面上，字幕的长度和字体的大小都不能影响观众的观影效果，所以在译制过程中要考虑到用词长度、语句标点和是否使用省略等问题。

二、英文电影字幕的翻译策略基于英文电影字幕的几大语言特点，英文字幕的翻译也须采取相应的策略。

（一）语言通俗策略。

通俗易懂的语言可以减少观众与影视作品的距离感，因此，通俗化和口语化的翻译能让观众做到雅俗共赏。

比如在《疯狂动物城》中出现的对话中有一句“Pull it together”，结合电影剧情和英语习惯用法，这句话译成“拉起来”或是“放在一起”都明显欠妥当，电影字幕中译成了“振作点”就很贴切了。

（二）归化策略。

归化是一种让作者更接近读者的翻译手法，比如《卧虎藏龙》里的一句台词“守住真气，我一定回来。

” 其中“真气”这个词源自道家，指人体内各种器官正常发挥功能的原动力。

英文电影字幕翻译的技巧探析王雪菲(渤海大学辽宁锦州１２１０００)㊀㊀摘要:在英语学习与实践的过程当中英语翻译是一个主要的应用方向ꎬ其中ꎬ英文电影字幕翻译由于翻译对象的特殊性ꎬ对翻译的技巧方面有着更高的要求ꎮ本文主要从英文电影字幕翻译的要求出发ꎬ探讨英文电影字幕翻译的技巧以及今后的提升策略ꎮ关键词:英文电影字幕翻译技巧中图分类号:Ｈ０５９㊀文献标识码:Ａ㊀文章编号:１００９－５３４９(２０１８)０１－００２７－０３㊀㊀随着中西方交流范围的不断扩大ꎬ大量的欧美电影陆续进入我国ꎮ由于中西语言文化的不同ꎬ需要英语翻译者来实现中英之间的语言转换ꎮ英文电影字幕翻译已经成为一个产业ꎬ但是ꎬ如何科学有效地进行英文电影字幕翻译ꎬ是当前整个英文翻译领域所研究的主要方向ꎮ因此ꎬ本文结合英文电影字幕的特点探讨翻译技巧ꎬ对于促进英文电影字幕翻译的水平的提升ꎬ有着一定的积极意义ꎮ一㊁英文电影字幕的特点英文电影ꎬ主要是通过图像的方式ꎬ将相关的题材进行艺术化的呈现ꎮ从整体上来看ꎬ英文电影字幕主要呈现出以下几个方面的特点ꎮ首先ꎬ口语化的语言ꎮ目前ꎬ英文电影字幕翻译内容大部分都是对白ꎮ因此ꎬ其所使用的语言呈现出一定的口语化色彩ꎮ由于英语发音各地区有所不同ꎬ因此其在口语表达方面也会展现出一定的地方语言特色ꎮ在翻译过程当中注重电影字幕的口语化特点也是今后在英文电影字幕翻译过程当中需要考虑的主要方向ꎮ其次ꎬ英文电影字幕内容的多元化ꎮ在进行英文电影梳理后可以发现ꎬ英文电影在类型上是非常多元的ꎮ有科幻题材㊁爱情题材㊁战争犯罪题材以及惊悚题材电影等等ꎬ其字幕翻译涉及诸多领域的专业术语ꎮ因此ꎬ在英文电影字幕翻译过程当中ꎬ需要从电影的题材以及字幕的特点出发来选择相应的翻译技巧ꎮ二㊁英文电影字幕翻译的基本要求在英文电影字幕翻译的过程当中ꎬ需要满足以下几个方面的要求才能更好地达到预期的英文电影字幕翻译效果ꎮ首先ꎬ英文电影字幕翻译的效果性ꎮ电影是一种文化商品ꎮ电影字幕翻译的好坏ꎬ不仅影响着电影本身的传播ꎬ在很大层面上也影响着电影背后文化的传播ꎮ尤其是大量的电影需要开展海外销售ꎬ如果不能从当地的语言文化出发来进行相应的翻译匹配ꎬ会在一定层面上影响英文电影的播出与表达效果ꎮ所以 入乡随俗 是英文电影字幕翻译的一大要求ꎮ其次ꎬ英文电影字幕翻译的创新性ꎮ在每年的国际性电影评选中ꎬ对英文电影的剧本提出了很高的要求ꎮ在这个过程当中ꎬ英文电影字幕翻译发挥着非常重要的作用ꎮ一个佳片能够在电影节评选中获奖ꎬ其中一个非常主要的原因就是其电影字幕在翻译的过程当中呈现出了一定的创新性ꎬ也就是说有与众不同之处ꎮ所以ꎬ在今后的英文电影字幕翻译中也应该进行相应的创新㊁提升ꎮ总之ꎬ从英文电影字幕的翻译要求来看ꎬ在英文电影字幕翻译过程当中ꎬ既要注重结合目标语言的文化体系以及英文电影字幕本身的特点ꎬ还要考虑英文电影字幕翻译所具有的区域性特点等等ꎮ只有从上述几点上进行相应的提升ꎬ英文电影字幕翻译所呈现出来效果才会更加理想ꎮ三㊁英文电影字幕翻译技巧分析英文电影字幕的翻译技巧从本质上来看与其他类型的翻译有着很大的相似之处ꎮ但是ꎬ由于电影语言具有自身的一些特点ꎬ因此ꎬ在英文电影字幕翻译的过程当中ꎬ还应该从具体的电影语言情景出发来选择与运用相应的电影字幕翻译技巧ꎮ首先ꎬ直接翻译ꎮ直接翻译是英文电影字幕翻译的过程当中比较常见的一种翻译技巧ꎮ所谓的直接翻译ꎬ主要是对电影字幕的字面意思进行直接的翻译ꎮ但是ꎬ作为一种带有一定表演性质的语言ꎬ在准确翻译的同时ꎬ还应该在遣词造句方面做相应的推敲与拿捏ꎬ从而提高英文电影字幕翻译的表现力与感染力ꎮ例如ꎬ在电影«海上钢琴师»中有一段经典的独白ꎬ在翻译的过程当中ꎬ需要体会男主人公的内心情感ꎬ注重深层含义的翻译表达ꎮＡｌｌｔｈａｔｃｉｔｙ.Ｙｏｕｊｕｓｔｃｏｕｌｄｎ'ｔｓｅｅｔｈｅｅｎｄｔｏｉｔ.Ｔｈｅｅｎｄ?Ｐｌｅａｓｅ?Ｙｏｕｐｌｅａｓｅｊｕｓｔｓｈｏｗｍｅｗｈｅｒｅｉｔｅｎｄｓ?ＩｔｗａｓｗｈａｔＩｄｉｄｎ'ｔｓｅｅ.Ｙｏｕｕｎｄｅｒｓｔａｎｄｔｈａｔ?ＷｈａｔＩｄｉｄｎ'ｔｓｅｅ.Ｉｎａｌｌｔｈａｔｓｐｒａｗｌｉｎｇｃｉｔｙｔｈｅｒｅｗａｓｅｖｅｒｙｔｈｉｎｇｅｘｃｅｐｔａｎｅｎｄ.Ｔｈｅｒｅｗａｓｎｏｅｎｄ.ＷｈａｔＩｄｉｄｎｏｔｓｅｅｗａｓｗｈｅｒｅｔｈｅｗｈｏｌｅｔｈｉｎｇｃａｍｅｔｏａｎｅｎｄ.Ｔｈｅｅｎｄｏｆｔｈｅｗｏｒｌｄ.男主人公在说这番话的时候ꎬ充满了对不确定未来的焦虑与不安ꎬ因此ꎬ在翻译的过程当中ꎬ要从字里行间ꎬ表达出这种内在的心理层面的变化ꎮ这段话可以翻译为: 在那个世界ꎬ你很难看到它的尽头ꎬ尽头ꎬ你能告诉我尽７２英文电影字幕翻译的技巧探析头在哪儿吗?我看不到ꎬ你能理解吗ꎬ你能理解我什么看不到吗?在那个熙熙攘攘的世界里面ꎬ什么都有就是没有尽头ꎬ我看不到一切都将在哪里结束ꎬ我看不到世界的尽头ꎮ 从这一段的翻译可以看出ꎬ好的翻译不一定就是优美的语句ꎬ有的时候ꎬ简单的㊁朴实的语言更有打动人心的力量ꎮ所以ꎬ在英文电影字幕翻译的过程当中ꎬ忠于字幕的原文采用简单的直接的表达也是一种重要的翻译技巧ꎮ其次ꎬ间接翻译ꎮ在英文电影字幕翻译的过程当中ꎬ除了通过直接的翻译来进行字面的表达之外ꎬ还需要结合电影字幕所要表达的含义以及中西方文化之间的差异采取间接的翻译的技巧ꎮ间接翻译的主要出发点有两个方面ꎮ一方面是英文电影字幕本身存在着一定的潜台词ꎬ如果直接翻译将导致观众难以理解字幕所要表达的真实意思ꎮ另一方面ꎬ某些英文电影对白直接翻译中国的观众不容易理解ꎮ在涉及这一类的英文电影字幕的翻译的时候ꎬ间接翻译是一种比较常见的英文电影字幕的技巧ꎮ例如ꎬ在电影«当幸福来敲门»中ꎬ黑人老爸有一句经典的台词ꎬ如果仅仅从字面的意思上来翻译将会影响翻译的效果ꎬ因此ꎬ需要借助间接翻译的技巧ꎮＴｈｅｒｅｉｓａｎＩｉｎ ｈａｐｐｉｎｅｓｓ ꎬＴｈｅｒｅｉｓｎｏＹｉｎ ｈａｐｐｉｎｅｓｓ ꎬＩｔ'ｓａｎＩ ꎬ幸福的幸里面是一个 幸 ꎬ不是一个 辛 ꎮ或者理解成ꎬＹ＝Ｗｈｙ＝为什么ꎬＩ＝我ꎮ幸福里面没有为什么ꎬ只有我ꎮ从这个例子中可以看出ꎬ在英文电影翻译的过程当中ꎬ有一些的字幕内容与中文的语言体系之间是存在着一定的差距的ꎮ例如ꎬ在宗教与信仰方面ꎬ中西之间是存在着比较大的差距的ꎮ因此ꎬ为了达到更好的电影字幕的翻译效果ꎬ需要借助间接的方式来进行相应的翻译ꎮ最后ꎬ综合翻译ꎮ在英文电影字幕翻译的过程当中ꎬ由于诸多方面的原因ꎬ其字幕的内容会呈现出多元化的特点ꎮ因此ꎬ在这一背景下ꎬ进行英文电影字幕的翻译ꎬ不能简单地机械地使用某一种翻译技巧ꎬ例如ꎬ直接翻译或者间接翻译ꎬ而是需要将两者进行有机的结合ꎮ发挥直接翻译与间接翻译所具有的各自优势ꎬ来达到更好的翻译效果ꎮ总之ꎬ在英文电影字幕翻译的过程当中ꎬ科学地选择与应用翻译技巧所具有的作用正在不断地凸显ꎮ正如在翻译领域所流行的一句话所说的一样:翻译有法ꎬ但无定法ꎮ因此ꎬ在今后的英文电影字幕翻译的过程当中ꎬ应该根据英文电影字幕的特点来科学地选择相应的翻译技巧ꎮ只有这样ꎬ英文电影字幕翻译才会朝向更加科学的方向发展ꎮ四、英文电影字幕翻译提升策略在上文中主要探讨了英文电影字幕对翻译提出的具体要求ꎮ为了更好地提高英文电影字幕翻译的技巧水平ꎬ本文尝试从以下几个方面来进行探讨ꎮ首先ꎬ要考虑英文电影字幕翻译的文化性ꎮ电影是文化的表现形式ꎬ也是文化的载体ꎮ在今后进行英文电影字幕翻译的过程当中ꎬ要充分考虑电影背后所具有的文化特质ꎮ大量的英文电影在表达的过程当中ꎬ都带有一定的主题文化性色彩ꎮ所以ꎬ在英文电影字幕翻译的过程当中ꎬ要将字面翻译与电影本身所具有的文化底蕴与内涵有机地结合在一起ꎮ只有建立在一定的文化基础上的英文电影字幕翻译才会达到理想的效果ꎮ在今后的英文电影的字幕翻译的过程当中ꎬ无论是使用直接翻译的技巧ꎬ还是使用间接翻译的技巧ꎬ都应该重视中西之间在文化层面的差异性ꎬ在追求准确翻译的同时ꎬ提升翻译的文化性水平ꎬ从而助力电影在中西方文化交流中作用的发挥ꎮ伴随着世界一体化进程的加快ꎬ文化的共同发展也成为包括英文电影在内的诸多的文化载体所承载的重要使命ꎮ其次ꎬ要注意英文电影字幕翻译的本土化ꎮ目前ꎬ我国已经成为世界上主要的电影商品输入国ꎮ每年ꎬ我国都会引进大量的欧美大片ꎮ中国市场也正在引起世界上更多电影生产企业的重视ꎮ因此ꎬ做好英文电影字幕翻译ꎬ也是很多英文电影生产厂家所关注的主要问题ꎮ在进行英文电影字幕翻译过程当中ꎬ不仅要从字面的意思出发ꎬ进行准确的表达ꎬ还应该充分地结合英文电影字幕所要表达的主题来不断进行本土化发展ꎮ例如ꎬ有的英文电影在字幕翻译的过程当中ꎬ加入了很多中国特色的俚语和方言ꎬ让整个英文电影的幽默性和夸张效果得到了更好的彰显ꎮ在今后的英文电影字幕的翻译过程当中ꎬ只有不断使英文电影字幕翻译实现本土化发展ꎬ其所具有的翻译效果才会得到更好的提升ꎮ再次ꎬ要提高英文电影翻译者的综合知识储备能力ꎮ在英文电影字幕的翻译过程当中ꎬ翻译者所具有的综合知识能力水平高低ꎬ直接决定和影响着英文电影字幕翻译的水平ꎮ英语翻译本身就是一个复杂的翻译体系ꎮ英文电影字幕翻译者不仅要具备某一方面知识ꎬ还应该根据翻译对象的不同来对相应学科知识进行充电ꎮ比如ꎬ在科幻电影«地心引力»字幕的翻译过程当中ꎬ译者需要了解相关的太空航天术语ꎮ在涉及医学电影翻译时ꎬ也应该学习相关的医学术语ꎮ例如ꎬ奥斯卡获奖电影«海边的曼彻斯特»中有很多令人感伤的句子ꎮ在其字幕翻译的过程当中ꎬ还要结合主人公的心理译出那种孤独的凄凉ꎮ在翻译大型战争电影ꎬ例如«敦刻尔克»的时候ꎬ也要注重语言的历史标志性ꎮ所以ꎬ在英文电影字幕翻译的过程当中ꎬ要不断地提高翻译工作人员自身的综合文化素养以及相关词汇的广博性ꎮ这也是提高英文电影字幕翻译水平的题中应有之义ꎮ最后ꎬ要在实践基础上不断提升ꎮ在今后英文电影字幕翻译过程当中ꎬ要从整个翻译的效果性出发ꎬ不断地选择最佳的翻译方案ꎬ最终实现 信㊁达㊁雅 的翻译技巧的综合体现ꎮ在英文电影字幕翻译水平与技巧提升过程当中ꎬ要充分认识到:英文电影字幕翻译是一个反复的过程ꎮ(下转第２６页)随着时间的变化以及社会的不断进步与发展ꎬ尤其是在互联网科技不断发展的今天ꎬ大量的网络热词和流行语也逐渐成为习语来源的主要组成部分ꎮ英语习语作为英语语言体系的一部分ꎬ也不例外ꎮ尤其是随着现代网络社交媒体的快速发展ꎬ大量的网络流行语逐渐并入英语的习语体系ꎬ使得整个英语习语的总量处于一个动态的发展之中ꎮ所以ꎬ在今后的英语习语的学习与应用的过程当中ꎬ应该拥有更为开放的心态ꎬ对新生的习语有着更多的包容性ꎬ不断扩展自己的习语的范围ꎬ在创新的学习过程当中去感受英语习语与西方文化之间的深刻渊源ꎮ四㊁结语本文对英语习语和西方文化的关系的总结可以为今后英语习语的学习提供必要的借鉴ꎮ当然ꎬ由于研究的水平有限ꎬ在论述的过程当中ꎬ对于习语的界定与分类还需要进一步确定与完善ꎬ恳请相关的专家予以批评指正ꎮ参考文献:[１]赵芬艳.试论英语习语的特点及文化内涵[Ｊ].太原大学教育学院学报ꎬ２０１４(２).[２]顾宝珠ꎬ张恒ꎬ王国辉.浅谈英语习语与英语国家节日民俗[Ｊ].承德石油高等专科学校学报ꎬ２０１４(３). [３]费广会.初探大学生学好英语习语的策略[Ｊ].学周刊ꎬ２０１４(１９).[４]崔超.浅谈风俗习惯对英语习语的影响[Ｊ].商业文化(下半月)ꎬ２０１２(１).[５]杨娟.浅议英语习语的特征及翻译[Ｊ].英语广场(学术研究)ꎬ２０１２(６).[６]沈刚.论英语习语的特点及其应用[Ｊ].阜阳师范学院学报(社会科学版)ꎬ２０１２(５).[７]贺音.文化差异下英语习语的翻译技巧[Ｊ].太原城市职业技术学院学报ꎬ２０１１(２).[８]董应武.试探英语习语之源[Ｊ].中国电力教育ꎬ２０１１(１１).[９]高晓薇.文化差异视域下英语习语的内涵解析及翻译策略研究[Ｊ].重庆科技学院学报(社会科学版)ꎬ２０１１(１２).[１０]王涛.英语习语初探[Ｊ].湖南农机ꎬ２０１１(５).责任编辑:韩㊀丹(上接第２８页)因此要允许犯错误并为其提供足够的空间来自由发挥ꎮ在这个过程当中ꎬ译者可以根据自己的翻译特点与名家的翻译结果进行比对ꎬ从而发现自己在英文电影字幕翻译中存在的不足ꎬ在此基础上进行相应的改进与提高ꎮ只有建立在反复实践㊁反复试错的基础上ꎬ英文电影字幕翻译水平才会得到相应的提升ꎮ另外ꎬ还应该积极引导英文电影字幕翻译学习者多实践㊁主动实践ꎮ通过翻译理论与翻译实践的良性互动来为今后英文电影字幕翻译水平的改观提供更大的支持与助力ꎮ总之ꎬ在今后的英文电影字幕的翻译过程当中ꎬ应该在翻译的文化性㊁翻译的本土化㊁翻译人员的综合素养以及翻译的实践水平上进行系统的改进与提升ꎮ我国对英文电影需求数量与需求质量的不断提升ꎬ对英文电影字幕翻译也提出了更高的要求ꎮ因此ꎬ在今后的英文学习以及英文电影字幕的翻译过程当中ꎬ如何从英文电影字幕翻译的需要出发来进行相应的改进ꎬ已经成为当前英语翻译研究与实践领域所关注的主要问题ꎮ五㊁结语本文主要探讨了英文电影字幕的特点以及对翻译的具体要求ꎮ如何有效地提高英文电影字幕翻译的水平是当前英语翻译应用领域研究的主要方向ꎮ希望本文的研究能够助力于英文电影字幕翻译研究理论的完善ꎮ参考文献:[１]王焰ꎬ郑贤贵.电影字幕翻译的微技巧探析[Ｊ].西南民族大学学报(人文社科版)ꎬ２００５ꎬ２６(１０):２９７－２９９.[２]李霞ꎬ熊东萍.英文电影的字幕翻译技巧探讨[Ｊ].电影文学ꎬ２００８ꎬＮｏ.４６４(１１):１１７－１１８. [３]韦运会.论英文电影字幕翻译的基本要素与方法[Ｊ].电影文学ꎬ２０１２ꎬＮｏ.５６１(１２):１５４－１５５. [４]何科育.论文化差异性与英文电影字幕翻译策略[Ｊ].电影文学ꎬ２０１１ꎬＮｏ.５３９(１４):１５５－１５６. [５]吕吉瑛.电影字幕翻译的策略 以英文电影汉译为例[Ｊ].电影文学ꎬ２００８ꎬＮｏ.４５８(５):１０９－１１０.责任编辑:韩㊀丹。

英语电影字幕英汉翻译探析随着时代的发展，中外文化交流不断加深，大量外国电影被引入中国，并受到了人们的喜爱，电影字幕翻译已经成为中外影视文化交流不可或缺的一部分。

虽然我国影视翻译的研究己经开始，但是还没有引起足够重视，还没有形成相应的理论体系，电影字幕翻译还存在一些问题，阻碍了中外影视文化交流。

因此，进行电影英汉翻译研究具有重要意义。

一、英语电影字幕翻译的特点影视剧字幕属于文学翻译的一个部分，与一般文学翻译有着共同特点，需要遵循文学翻译的一般原则。

但是，电影字幕英汉翻译在很大程度上受影视艺术特点的限制，有特殊性。

影视剧是一门综合性的特殊艺术，集文字、画面、剧场、音效、文学等于一体，以独特的视听效果和艺术魅力为观众带来了独特享受。

所以，在电影字幕的翻译中应努力表现出这些影视片的特点。

电影字幕的瞬时性和受众范围广的特征使电影字幕与一般文学作品存在一系列差别。

正常情况下的文学作品都是在纸上呈现出来的，让读者们可以一遍又一遍地阅读。

伴随电影对话的电影字幕在屏幕上稍瞬即逝，要求字幕更易于理解。

此外，电影作品是一种流行的艺术，为了方便观众欣赏与理解，要求电影的对话和字幕必须与普通观众的文化水平相一致，以便易于被大部分观众接受，使观众们能够从优美的字幕译文中领略电影本身的魅力并能够置身于电影世界中。

1.口语化所谓口语化，指不仅要实现语言的流利程度，而且要贴近生活，容易理解，符合目标语言受众的语言和文化习惯。

翻译家黄任曾说，在翻译外语的时候“既要吃透原意，又要恰当地用中文表现出来”，因此译者不仅应该理解英语源语的含义，还应该将其适当地用目的语中文表达出来，翻译成通俗易懂的口语。

电影本身的语言是由对话组成的，影片中的对话就是整个影片的核心，因此优秀的对话翻译应该遵循口语化特征，表现出口语的特征，即简短、直接、通俗、生动或带有语气词等。

如影片《冰雪奇缘》（Frozen）中的这句台词“Nothing is in my way.”不是直白地译成“道路上没有什么妨碍我的”，而是将其译为“那么地顺利”。