第一篇：目的论视角下的英语电影片名汉译研究
目的论视角下的英语电影片名汉译研究
摘要 4-5 Abstract 5-6
Introduction 8-12
Chapter One: Literature Review 12-19
1.1 Traditional Studies on Film Title Translation 12-14
1.2 Studies on Film Title Translation from the Cultural Perspective 14-16
1.3 Studies on Film Title Translation from the Communicative Perspective 16-17
1.4 Studies on Film Title Translation from the Perspective of Translators 17-19 Chapter Two: Theoretical Framework of the Research 19-25
2.1 Hans Vermeer: Skopos Theory and Beyond 19-20
2.2 Basic Concepts of Hans Vermeer's Skopostheorie 20-25 Chapter Three: Film Titles 25-41
3.1 Film genres 25-26
3.2 Features of Film Titles 26-31
3.3 The Functions of English Film Titles 31-35
3.4 Comparison between English and Chinese Film Titles 35-41
Chapter Four: Analysis of English Film Titles Translation from thePerspective of Skopos Theory 41-66
4.1 Application of Skopos Theory to English Film Title Translation 41-46
4.2 Analysis of English film Titles Translation from the Perspective of Skopos Theory 46-52
4.3 Key Elements Influencing the Translation of English Film Titles in Light of Skopos Theory 52-55
4.4 Translation Methods Adopted in the Practice of English Film Title Translation 55-66 Conclusion 66-69 Bibliography 69-71 Acknowledgements
目的论视角下英语旅游文本的英译汉研究 Abstract 6
摘要 7-10
Chapter One Introduction 10-14
1.1 Present Research Situation 10-11
1.2 Purpose and Significance 11-12
1.3 Structure of the Thesis 12-14
Chapter Two English-Chinese Translation of Tourist Text 14-29
2.1 English Tourist Text 15-21
2.1.1 Types of English Tourist Text 16
2.1.2 Function of English Tourist Text 16
2.1.3 Linguistic Characteristics of English Tourist Text 16-21
2.2 Problems in English-Chinese Translation of Tourist Text 21-25
2.2.1 Linguistic Level 21-24
2.2.2 Cultural Level 24-25
2.3 Causes of Existing Problems 25-29
2.3.1 Difference of Social Background 25-26
2.3.2 Difference of Thinking Mode 26-27
2.3.3 Difference of Value 27-29 Chapter Three The Skopos Theory 29-35
3.1 Definition and Development of Vermeer's Skopos Theory 29-32
3.1.1 Definition of the Skopos Theory 30
3.1.2 Behavior of Translation and Purpose of Translation 30-32
3.2 Three Translation Principles of the Skopos Theory 32-33
3.2.1 The Skopos Rule 32
3.2.2 The Coherence Rule 32-33
3.2.3 The Fidelity Rule 33
3.3 Second Generation of the Skopos Theory—Nord's Skopos Theory 33-35
Chapter Four Main Points and Strategy of E—C Translation of Tourist Text Based on Skopos Theory 35-51
4.1 Main Points and Strategy of E-C Translation of Tourist Text Based on Vermeer's the Skopos Rule 35-40
4.1.1 Reader-centered Translation 36-37
4.1.2 Translation with Purpose 37-40
4.2 Main Points and Strategy of E-C Translation of Tourist Text Based on Vermeer's Coherence Rule and Fidelity Rule 40-44
4.2.1 Intratextual Coherence 40-41
4.2.2 Intertextual Coherence 41-44
4.3 Skopos Rule as the Primary Principle in Conflict of the Three Rules 44-45
4.4 Main Points and Strategy of E-C Translation of Tourist Text Based on Nord's Theory 45-51
4.4.1 Understanding Literary Style of the Original Text 46-47
4.4.2 Understanding the Logic of the Original Text 47-48
4.4.3 Understanding Cultural Background of the Original Text 48-49
4.4.4 Understanding Meaning of the Words 49-50
4.4.5 Understanding Grammatical Structure 50-51 Chapter Five Conclusion
第二篇：目的论视角下的英语电影片名汉译——方艳霞
目的论视角下的英语电影片名汉译分析
方艳霞
摘要：随着全球化的快速发展，各国之间的跨文化交际活动也愈加频繁。而电影作为跨文化交际活动和文化传播的重要组成部分，电影的片名翻译也显得愈加重要。本文笔者将从德国功能学派目的论视角下讨论英语电影片名的翻译，并通过信息功能、审美功能和商业功能三个角度以及不同译本的比较和翻译策略分析，提出电影片名的翻译应当以目的论为依据，遵循翻译目的为最高原则，采取适当的翻译策略，最终形成相对比较恰当的电影片名翻译，以传达出电影片名的信息功能、审美功能和商业功能。
关键词：目的论；电影片名翻译；翻译原则；信息功能；审美功能；商业功能
一、导言
随着全球化的深入和快速发展，跨文化交际活动越来越频繁，成为各国文化交流和文化传播的重要途径。而电影作为文化传播的其中一种载体形式，也愈加备受重视。这之中，电影片名的翻译也显得愈加重要，如果没有处理好电影片名的翻译，就会直接影响译入语观众对电影内容和电影所承载的文化艺术的理解。因此，寻找好的恰当的电影片名翻译策略，不仅能很好的实现文化交际和文化传播功能，还能帮助电影制作商实现经济效益。在翻译过程之中更多的还要考虑译入语观众的理解水平、他们的文化形态和文化习惯以及一定的经济政治条件，要综合考虑多种因素，最后找到合适的翻译策略。
因此，本文中，笔者将首先简要介绍一下德国功能派目的论，重点介绍费米尔的目的论，然后将以一些典型的英文电影片名的翻译实例为例，从目的论的翻译三大法则出发讨论其中运用到的翻译策略，最终以目的论为概括，讨论目的论在电影片名翻译中的适用性，使片名实现以下三种功能：信息功能、审美功能和商业功能。
二、理论概述
二十世纪五六十年代，西方翻译理论主要研究的是语言学和对等理论, 从原文的角度来研究翻译的奥秘。到二十世纪七十年代，翻译研究中的语言学取向受到挑战, 德国的翻译学者摈弃了独霸译坛的结构主义刻板模式, 创立了功能派翻译理论。
功能派翻译理论的形成大体有三个阶段。首先，赖斯根据布勒的语言功能模式提出了文本类型理论，将文本类型分为信息型、表情型和操作型三种。译文与原文具有不同的功能，有时候“等值”是完全不可能实现的。赖斯认为译者要优先考虑译文的功能特征而不是对等原则。赖斯的研究可谓是翻译目的论的发端。其后, 费米尔以人类行为理论为基础创立了功能派的奠基理论:翻译目的论。他认为，翻译行为的实施是为了达到某种目的或者目标，强调译者的主观能动性。费米尔认为:“翻译时, 译者根据客户或委托人的要求, 结合翻译的目的和译文读者的特殊情况, 从原作所提供的多信息中进行 选择性的翻译。”随后, 曼塔利进一步发展了费米尔的“目的论”。三位学者的著作和文章奠定了以目的论为核心的功能派翻译理论。另一位德国学者克里斯蒂安·诺德系统地整理了功能派的思想，将翻译目的论纳入到功能派翻译理论的整体框架中, 建立了自己的翻译理论体系，即“功能+忠诚”理论，是德国功能学派目的论中的一个核心概念。
在这之中，费米尔的目的论是德国功能学派目的论的重要组成部分，他的目的论涉及三个主要概念，分别是翻译行为、委托人和翻译委托。翻译行为是由目的的活动，委托人则是翻译的发起者，翻译委托中会指明翻译的目的、交稿日期和译者的薪酬等等。他提出了翻译应遵循的三大原则，分别是目的原则、连贯原则和忠实原则。目的原则即翻译目的，要符合译入语读者的期待，翻译目的决定了翻译方法。连贯原则则是指语内连贯，让译入语读者能够理解。忠实原则则是译文要忠实于原文，忠实的程度则由委托人和译者根据译入语读者的期待决定，是一种语际连贯。目的原则最根本，是核心。连贯原则和忠实原则从属于目的原则。忠实原则又要从属于连贯原则。
在英语电影的英译中，同样要遵循以上的三大原则，在三个原则的基础上，采取合适的翻译策略，使片名实现以下三种功能：信息功能、审美功能和商业功能。
三、电影的分类
一般而言，电影可以分为以下三类，分别是科普片、教育片和故事片。科普片和教育片因为受众都是某一类群体，而且几乎没有商业性和娱乐性，采取的翻译策略一般就是翻译直译。而故事片的受众则是普罗大众，故事片细分下来的种类也很多，商业目的性强，故事片的娱乐功能和商业价值就决定了要采取“目的论”的翻译原则，具体的翻译策略也比较多样化。所以本文笔者将着重讨论故事片片名的翻译。
四、如何实现电影片名的三大功能
1、信息功能
信息功能，顾名思义，就是向观众传达电影的主要内容，传达的可能是故事主人公、故事梗概、故事发生时间、故事发生地点或者故事结局，一个电影片名传达的信息内容可以包括以上的一个部分或者所有，也就是说观众在看到片名后，会对电影相关的主题或者类型有所了解。因此，片名 是对整个电影故事的高度凝练，可以让观众一目了然，至少留给他们一定的猜测空间。基于此种信息功能，所以翻译这种比较具有强烈信息传递功能的电影片名，采取的方法一般是直译，当然也不排除个别例外。直译就是 基本上是对等的字对字翻译。
比如The King's Speech，中国大陆翻译成《国王的演讲》，而香港翻译的是《皇上无话儿》，台湾则翻译成《王者之声：宣战时刻》。
The King’s Speech讲述的是因为弟弟因爱舍皇位，约克郡公爵临危受命，成为乔治六世国王，在二战的背景之下，乔治六世面临着发表鼓舞人心的演讲的艰巨任务，为什么说艰巨，因为乔治六世患有口吃。为了克服口吃的毛病，乔治六世历经治疗，终于靠医生、家人和自己的毅力下，在二战成功发表了鼓舞人心的演讲。所以故事围绕的核心，众人为之努力的目标就是为了最后的演讲。英语片名，毋庸置疑，想传递的就是这种意思，所以大陆的翻译《国王的演讲》这种直译是很恰当的，国内的观众看到该片名，就大概了解了故事的主题核心就是关于一个国王的演讲。而反过来看台湾和香港的译本，为了追求语言的美感，有点过译了。《皇上无话儿》确实有模糊地表达出乔治六世口吃的状态，但是这种根据电影内容的编译或者说是意译，反而不如直译效果好，让人有点摸不着头脑，也不是整个故事的核心。香港的《王者之声：宣战时刻》听起来很有噱头，乍一看有点像是蝙蝠侠这种漫威英雄电影或者战争电影，会有一定的误解。可能在噱头方面比较有亮点，但是也是过译了，显得有点夸张，而且“声”和“speech”完全不能对等，只能说模糊地有点牵扯，可能比较有亮点的是“宣战”二字，因为故事背景就是二战，但是明明直译更省力，而且效果更好，为什么要化简为繁，大费周章的花式翻译。所以综合大陆版本和港台版本的对比，可以看出大陆版本的直译更加精确地传达出了电影内容。另外的例子像是The Boy in the Striped Pajamas《穿条纹睡衣的男孩》，The Butterfly Effect《蝴蝶效应》等，前者是电影故事的主人公；后者是电影故事的一个理论基础，将理论延伸至人类社会。像这种传达很明确信息的电影片名，直译无疑是最好的翻译策略。
综上所述，对于信息类，一般没有文化负载词的电影片名，不管采取何种具体的翻译策略，都是为了实现电影片名一定程度上的信息功能，而这时候，在目的论指导下采取的翻译策略，无论是直译还是策略，都是为了实现电影符合译入语观众的期待，观众是影响片名翻译的主体，即遵循了目的原则。
2、审美功能
审美感受更多的是一种艺术体验，内心的感觉。也就是在翻译电影片名的时候要考虑到观众的感受，尤其是美的感受。由于中西方文化的差异，译者在翻译电影片名时要从译者的角度克服一定的文化障碍，帮助读者实现最大程度的审美感觉。这个时候，一般处理的是不好直译，如果直译的话不符合中文阅读习惯和思维方式的电影片名，而为了实现这种以观众为中心的审美功能，采取的翻译策略肯定排除直译，一般是意译、增词、减词或调整语序等等，不管怎样，翻译策略的选择都是围绕着译入语观众的审美能力的。
比如Scent of a Woman翻译成《闻香识女人》，而不是其他的译法《女人香》或者《女人的芳香》。如果只为了信息功能而直译的话，也就是翻译成《女人香》或者《女人的芳香》的话，就没有《闻香识女人》这种只可意会不可言传的美感来得更加美、更加有内涵。《闻香识女人》在原文的基础上加了两个动词“闻”和“识”，多了这两个词，就多了一种朦胧而又模糊的立体美感，很能吸引观众的眼球，从这一方面来说，达到了翻译委托人也就是电影公司的目的，吸引观众，同时又符合译入语观众也就是中国观众的审美习惯和用语习惯。
另外一个例子就是Hilary and Jackie，分别有三种译本《希拉里与杰基》，《狂恋大提琴》和《她比烟花寂寞》，同样英文片名都是名词，也就是故事的两个主人公，一对姐妹希拉里和杰基。电影其实讲述的是一个寂寞的故事，妹妹拉大提琴天赋过人，却有着不为人知的内心无比寂寞的一面，她反而羡慕姐姐这种普普通通人的生活。妹妹的生活是在华丽背后的虚空与流离，流离在亲情和爱情之外，结局无异乎是悲剧的，与其说是故事片，不如说是文艺片，因此艺术性更强，导演想传达给我们的东西也更加晦涩难懂。如果像信息类的故事片名一样采取直译，也就是《希拉里与杰基》，虽然和英文的片名如出一辙，但是感觉不深刻，观众乍一看，不会想到讲的是更加有深度的东西。可以说，翻译成《她比烟花寂寞》，从某种程度上说，算是超越了英文标题Hilary and Jackie，不管是艺术性审美性还是给观众带来的直观冲击来讲，中文标题更胜一筹，中文标题算是译者自己的发挥，根据电影内容和电影含义的编译，给人一种寂寞空虚萧条的悲剧之感。从这一点来说，翻译成《她比烟花寂寞》审美效果确实很好。而《狂恋大提琴》虽然说也是译者自己的编译，也符合电影中妹妹的特点，但是就深度和广度而言，显然是不足的，比《她比烟花寂寞》稍逊一筹。
不管是《她比烟花寂寞》的翻译还是《闻香识女人》的翻译，从某种程度上都很好地实现了译者的主观能动性，都是为了更好地符合译入语观众的期待和符合译入语观众的审美要求和审美期待，译者在这里主观能动性很强，将译本和译入语读者放在了更重要的位置，因此也很符合目的论的目的原则以及连贯原则，而忠实原则的程度很大程度上也是取决于译者以及委托人的意愿的，以服务目的原则为宗旨实现的。因此以目的论为指导的电影片名的翻译，如果要实现一定的审美功能，则也是要以三大原则为依据的。
3、商业功能
电影的制作发行，传递到其他国家，不单单是为了文化交际和文化传播，更重要也更加主要的是实现电影的商业价值，这是电影制作发行的核心目的，尤其是在当今竞争激烈的电影市场上。所以电影片名的翻译应当要充分发挥起市场化和商业化的作用，要足够吸引观众的眼球、好奇心和观看欲望。而这主要考虑的是翻译委托人的意愿，要实现商业价值，其实也考虑到了译入语观众的心理需求，只不过为了符合他们的期待或者给他们制造期待，可能会过分放大原有的英文标题。
例如The Prestige大陆翻译成《致命魔术》，台湾翻译成《顶尖对决》，香港翻译成《死亡魔法》。其实跟原有的英文标题几乎毫不相关，算是一种根据电影内容的再创作。
电影内容其实是关于两个著名魔术师的明争暗斗，二人出招接招，一来一往，争斗在剧烈升级，友谊和道德都被抛诸脑后，一场血案在悄悄酝酿，电影剧情环环紧扣，扣人心弦，很是烧脑。要想表达出导演想要表达的意味以及剧情的内容，直译当然不可取。无论是《致命魔术》、《顶尖对决》还是《死亡魔法》其实都是抓住电影核心，主要的矛盾冲突然后加以理解翻译的。单从文字角度，不看对观众产生的影响的话，三个都各有特色，《致命魔术》无论是“致命”还是“魔术”，这两个词都紧扣住了电影的核心，“致命”暗示了结局，“魔术”则是手段；《顶尖对决》则着重强调两个主人公之间的你来我往争斗，只是却未点名关键的“魔术”二字；《死亡魔法》和《致命魔术》异曲同工，都是一样的意思，只是措辞不同，语气和措辞相较于《致命魔术》更加和缓。但是如果从观众的角度来看，《死亡魔法》肯定不行，像童话故事一样。而《顶尖对决》有种港片的即视感，不会联想到和魔术有关，而魔术作为该电影的重要元素，是不可或缺的。综合比较，无疑是《致命魔术》听起来更加酷炫，悬疑或者是残酷，会更有看头，观众也会更加喜欢，作为商业片而言，起码片名就很有市场，既不落俗，又不会太难懂。只要观众喜欢了，那么电影的商业价值就实现了。
电影片名的翻译实现商业功能仍旧需要以目的论为依据，考虑到翻译委托人的目的，即创造市场价值，以目的性原则为最高原则，这时候的忠实程度就可以根据目的需求具体看待了。
五、结语
随着电影市场多元化的发展，电影种类日益繁多，但是在翻译电影片名的时候，无论是中翻外语还是外语翻成中文，都应当以翻译目的论的三大原则为指导，处理好电影片名的翻译，以实现片名的信息功能、审美功能和商业功能。但是在此基础上为了实现更好的文化交际，还应具体问题具体分析，适当保持某种文化的特定特色，以促进世界文化的多元性，欣欣向荣和繁荣发展，促进文化交流以及文化传播。
参考文献：
［1］Nord, C.2001.Translating a s a Purposeful Activity: Functional Approaches Explained.Shanghai:Shanghai Foreign Language Education Press ［2］Eugene A.Nida.1993.Language, Culture and Translation.Shanghai: Shanghai Foreign Language Education Press ［3］Reiss，K & Vermeer.H.J.G.1984.Groundwork for a General Theory of Translation.Tubingen: Niemeye.［4］谭载喜，1999，《新编奈达论翻译》，北京:北京对外翻译出版 公司。［5］张美芳，2005，《翻译研究的功能途径》，上海：上海外语教育出版社。
第三篇：英语电影片名汉译论文
Research on English Film Title Translation and Translation Equivalence Theory Application
Author: Huo Yishuai Supervisor: Li Liping, Associate Professor
(College of Foreign Languages, Shandong Agricultural University, Tai’an 271018)
Abstract: This paper begins with the prevalence and impact of English film in China.It discusses the importance of English film title translation and the methods and theories of current title translation.And then propose translation equivalence concept to guide the title translation.Also, this paper summarized some of the methods.At last , the paper pointed out some of the principles in accordance with the process of translation in the use of translation equivalents theory
Key words: English film;title translation theory;translation equivalence;principle 英语电影片名汉译及翻译等值理论在其中的应用的研究
摘要：本文以英语电影在中国的流行及影响出发，论述了英语电影片名汉译的重要性及当前英语电影片名汉译形成的较常用的方法和理论，并指出了翻译过程中出现的问题。进而提出以翻译等值理论指导英语电影片名的汉译，也总结了相应的一些方法。同时，还指出在运用等值理论进行翻译的过程中还应遵循的一些原则。
关键词：英语电影；片名翻译；翻译等值理论；原则
1.Description of English films in China's current situation and the necessity of translation
Film can create miracles---just like all those people who sit in the theater thinking from reality to dream world know it.Fascinating story with perfect pictures, shocking music, and great close-up scenes make you forget yourself completely.The aftertaste of a classic film bring to you is endless.When you think of the screen which make you get goose bumps, an exciting or eager showing in your eyes.People call movies is the seventh art after the literature, drama, music, dance, painting and sculpture.But, it’s not just an art.It is an art that have lots of audiences, suit both refined and popular tastes and with commercial.Today, cross-cultural communication is more active than ever, the spirit of national culture and ideology is mainly characterized by the content in the film.Therefore movies become the main channel of cultural transmission, and its influence is so large that can't be matched by other art forms.On the one hand, economic and cultural development stimulates the emerging film and television-dubbing career to flourish.Its operations around the world, including draw the materials, translation and distribution.On the other hand, the popularity of cable television and home video, the improvement of the technology(video, VCD and DVD)also plays a role in fueling the film’s spreading.Since the first movie introduced to China in 1896, the Chinese film industry has undergone enormous changes.Shoot technology innovation make the film a great audio-visual impact to the audience, and watching movies has become very common and very stylish entertainment in people’s lives now.In addition, the demand for foreign films, especially English films, is growing highly.Facing to these foreign language films, the primary task is translated them into Chinese, and the translation of the film title is one of the most important part.The film title is a link connecting the audience and film;it has the enormous influence to the film box office.First, except actor's exquisite performing skill, philosophy dialogue as well as gorgeous picture, a good film why can attract the audience has the direct relation with a film title which is pregnant with meaning and make people think a lot.The film title is a film's brand trademark.In the multitudinous film advertisement newspaper, the film title is always in the extremely striking position, and it is playing the role which leads attention directly.As a film, the title is seen firstly by the audience.Therefore, every movie screenwriter and director will highly summarize his movie content, and takes one as the title for it can both express one's ideas expressively and appeal eyeball.Second, the film express certain ideas to the audience to pass certain information , and the film title should also highlight the video content , convey the theme information and establish the entire film emotional tone.Film titles can not only summarize the content of the film succinctly , reveals the theme of the film, and make the audience seize the film's style and substance , but also inspire the imagination of the audience and watching desires with its distinctive form of language.Excellent film titles like the outstanding literary works, should be concise the summary of the content of films, succinctly revealing the theme, and stimulate the audience's imagination.The perfect unity of a good title and the good content will allow the audience to get the influence of the arts and the joy of beauty.2.Film title translation Since the first English language film was introduced to China, there are already three decades till now.This period, the translator made constantly efforts and improvements, and formed some common translation methods.Currently, there are more and more English films introduced into China.The translation industry also formed a relatively fixed translation theory, specifically;there are the following three theories: 2.1 The literal translation or free translation Literal translation and free translation are two representative methods of translation in the history of translation.Due to variations in people's understanding of literal translation and free translation, there are someone accept both of these methods, someone accept just one, someone accept neither.However, in terms of the perspective of describing translation or transfer translation, literal translation and free translation is always meaningful.Literal translation and free translation is designed to faithfully express the ideological content of the original and reproduce the original art.Simply put, the literal translation means the translation methods and sentence structure is more similar to the original sentence, but does not rule out some adjustments at the phrase level.Free translation means discarded the original expression, and find a synonymous expression equivalent to the original, or make major changes or adjustments to the original sentence structure.2.1.1 Literal translation Carefully understands the literature name and film title, we can find different types.Therefore, the translation methods vary.The following types suit for the Literal translation 2.1.1.1 Protagonists name or description for the title.Such as:
Hamlet
HA MU LEI TE,(哈姆雷特)Othello
AO SAI LUO,(奥赛罗), King Lear
LI ER WANG，(李尔王), Macbeth
MAI KE BAI,(麦克白), Romeo and Juliet
LUO MI OU YIU ZHU LI YE,(罗密欧与朱丽叶)David Copperfield
DAI WEI KE BO FEI ER,(大为.科波菲尔), Jane
JIAN ,(简), Sister Carrie
JIA LI MEI MEI ,(嘉莉妹妹), Lucky Jim
XING YUN DE JI MU，(幸运的吉姆), a lonely Johnny
GU DU DE YUE HAN NI,(孤独的约翰尼), Julius
ZHU LI SI KAI SAI,(朱丽斯凯撒), Father and Son
FU YU ZI,(父与子), Sons and Lovers
ER ZI YU QING REN,(儿子与情人).2.1.1.2 The place where the story happen for title,Such as:
Wuthering Heights
HU XIAO SHAN ZHUANG,(呼啸山庄), Chicago
ZHI JIA GE,(芝加哥), Washington Square
HUA SHENG DUN GUNAG CHANG,(华盛顿广场), Boston
BO SHI DUN,(波士顿), The Secret Garden
MI MIO HUA YUAN，(秘密花园), in the Chinese screen
ZAI ZHONG GUO PING MU SHNAG,(在中国屏幕上).2.1.1.3 Stories for titles, such as: the merchant of Venice
WEI NI SI SHANG REN,(威尼斯商人), The Adventures of Tom Sawye TANG MU SUO YE LI XIAN JI ,(汤姆索也历险记), Gulliver's travels
GE LIE FO YOU JI,(格列佛游记), Alice s Adventures in Wonderland
AI LI SI MAN YOU XIAN JING,(爱丽丝漫游仙境)，Mansfield Park
MAN SI FEI ER DE YUAN,(曼斯菲尔德园).2.1.1.4 the other types, such as: Great Expectations
YUAN DA QIAN CHENG,(远大前程), The Mayor of Casterbridge
KA SI TE QIAO SHI ZHANG,(卡斯特桥市长), The Grapes of Wrath
FEN NU DE PU TAO,(愤怒的葡萄), the Godfather
JIAO FU,(教父), Five Classics
WU JING,(五经), a Midsummer Night s Dream
ZHONG XIA YE ZHI MENG,(仲夏夜之梦), Twelfth Night
DI SH ER YE,(第十二夜), Pride and Prejudice
AO MAN YU PIAN JIAN,(傲慢与偏见), time machine
SHI JIAN JI QI,(时间机器), The Call of The Wild
YE XING DE HU HUAN,(野性的呼唤), The Sea-wolf
HAI LANG,(海狼).These titles are just a few words, but they reveal the author's intention and the true state of mind.It represents the author's effort and reflected the monumental piece of substance and essence of the film.Therefore, for those that can be translated literally must be translated by literal to keep the work formerly original and make the title and content unite in harmony.Especially when it comes to the film named after the main character.The hero is the typical character live in specific times and specific environments that are created by the author, such as Shakespeare’s Hamlet and a-Q in the works of Lu Xun.They have a distinct character, image, and destiny.The principles and methods of translation of film title or translation of literary works are the same.Both of them take the breadth of its audience and the diversity of appreciation level into account, therefore, the translation should be simple and popular, easy catchy and implying the subtle meaning.Film title suitable for literal translation should be translate as literal as possible in order to convey the information formerly and maintain the perfect unity of the original title and content.That should be a basic principle and method of the film title translation.This type title just needs to be image, vivid, concise in the text, and it can fully reproduce the content of formerly.Such as: description of a walk in the clouds is the love story of a pair of young men and women filled with the vineyards of grapes flowers, so the film is literally translated as the Walk in the Clouds, while maintaining the formerly known as the meaning and full of poetic.Such cases are: the age of innocence(The Age of Innocence), natural born killers(Natural Born Killers), the perfect world(better world), death on the Nile(Death on the Nile)rain man(Rain Man)superman(superman), citizen(Citizen Kane), schindler’ s list(Schindler's List)2.1.2 free translation Certain English film title contains very few words and the language is simple.It is apparently lightly, but the connotation is actually rich and pregnant with meaning, does not reveal.If this kind of film title translates literally, it will be difficult to reach its contents, reveal its charm.Therefore, when translation must rest on the entire book content, the original book title intention, and unit the target language characteristic, sets up a new name.In order to concise its content to reflect its implication, and executes the literary talent slightly to make the translated name and the original work style coordinates.For example: Gone With the Wind
PIAO ,(飘)，Waterloo Bridge
HUN DUAN LAN QIAO,(魂断蓝桥), Blood and Sand
BI XIE HUNAG SHA,(碧血黄沙), The Bathing Beauty
CHU SHUI FU RONG,(出水芙蓉), Polsinney Harbour
YU XIANG JI DU QING,(渔乡几度情), Wines-burg Ohio
XIAO CHENG JI REN ,(小城畸人), Earthquake
JING HUN DUO MING,(惊魂夺命), The Red Shoes
HONG LING YAN ,(红菱艳)，Speed
SHENG SI SHI SU,(生死时速), Black Mask
HEI XIA ,(黑侠)，Black Beauty
HEI JUN MA ,(黑骏马)，Dr Jekyll and Mr.Hyde
HUA SHEN BO SHI ,(化身博士)and so on 2.2 Integration of literal translation and free translation
English and American films have a number of titles in simple and concise, but moral implication and difficult to grasp.In addition, some titles originated from allusions, meaning rich and obscure, hard to check.It is difficult to understand the implied meaning of the original title.People must think about the whole content or check allusions, carefully wondering and hashing, accurately understand the intent of author when translate them.Based on the foundation of literal translation of original titles ,translator plus word or change word to some key words to make translation semantic clearly , such as: a Farewell to Arms
YONG BIE LE ,ZHANG ZHNEG;(永别了，战争)，Ghost
REN GUI QING WEI LIAO；(人鬼情未了)One Flew Over The Cuckoos Nest
FEI YUE FENG REN YUAN;(飞越疯人院), On The Golden Pond
JIN SE CHI TANG;(金色池塘), Moonlighting
PI XING DAI YUE;(披星戴月), Who Shall Live and Who Shall Die
SHENG SI DA QUAN;(生死大权), Night Killer
LAI ZHE BU SHAN;(来者不善), Shooting First
XAIN FA ZHI REN;(先发制人).for Whom The Bell Tolls SANG ZHONG WEI SHUI ER MING;(丧钟为谁而鸣), 2.3 The literal translation adds the explanation
Due to the different style of film and different points between British and Chinese language, some titles translated by word will be too abstract, implicit and irrelevant with story content.People may feel dull, and it cannot make any guiding effects.Therefore, for these titles, translator should appropriately plus a text which can reflect hero image or film content when translate them.Based on the foundation of literal translation, according to the content of film, it will play a finishing touch to the characters and film content for example, Oscar(LIE QUAN AO SI KA CHUAN QI;猎犬奥丝卡传奇), it will bursting bald if literal translation for AO SI KA(奥丝卡), also will be easily confused with Oscar Ward.Adding the word of dog , it generally works very well.And Comeback(GU LI E MENG;故里噩梦), plus the word of nightmare ,it greatly enhance the attraction and literary character.Lime Light(WU TAI DENG GUNAG;舞台灯光), Patton(BA DUN JINAG JUN;巴顿将军), Legal Eagles(FA WANG SHNE YING;法网神鹰), The Piano(GANG QIN KE;钢琴课), The French Connection(FA GUO FAN DU WANG;法国贩毒网), Silas Marner(ZHI GONG MA NAN:织工马南), this is the case.Film title translation is not only the conversion of language but also a cultural exchange.Translation needs follow the correct principles and methods, needs more inspiration and rigorous attitude , in order to make the translation of well-known and widely accepted.In recent years, we widely introduce the foreign works and films, but the introduction of the original books and films are very scarce, these are mostly translated works.Taking the important role of a film title into account, the film producer make efforts to find a proper title that can lead full content, highlight the theme and must be simple and concise, have a profound message.Moreover, the producers try to make the title to be a pair of eyes that can reveal the individuality and give the deep impression to the audience.From the title, people can understand the content of the work, the hero's image, and have a desire for the whole film.People named the film like this, the same as the film title translation.Someone may think the translation of film names is an easy shot, but translating well was not an easy thing actually.It is necessary to conform to the language specification, and should be full of charm;it is necessary to be faithful to the original content of the title, and should be reflect to the original language features of the title.So the translation of film names is the artistic recreation.However, it is not until after more than 100 years of the introduction of first foreign films in China, translation of film names begin to get its due attention.Early research on the subject, such as Brief Discussion on Foreign Film Tittles Translations(Lin Qiuyun, 1996)and Discussion on the Translation of Film Names(Ning zhishou life, 1997), simply emphasizes the translation skills and ignore the cultural and commercial characteristics of the movie title.After entering the 21st century, based on the original translation theory, scholars began to study the features of the film titles from different perspectives.Fore example, He Ying(2001)analysis the characteristics of the movie title from the source of the movie title ,style , feature and category , and made a literal translation﹑free translation ﹑transliteration and another translation.Fang Yongbin, Wang Xiaotong(2005)study from the advertisement feature and cultural characteristics.Now, researchers increasingly attach importance to the film title value reflected in cultural exchanges, business profits and the artistic.3.Problems in the current film title translation Currently, the translation of film titles as a translation not in literary field has not yet attracted enough attention.There are more Chinese people watching films and TV series than reading the literature, but Chinese academia give the translation of literary more attention than the studies of film translation.“(Qian Shao-Chang, 2000: 61).In addition, there are many film titles mistranslations in the current film title translation.I find it mainly caused by the following two reasons after a brief analysis: 3.1 Lack of understanding of cultural connotation ”Title translation should be did after the completion of other translation tasks”.(Newark, 1988:12)Therefore, the translator should translate the movie's title based on watching the whole movie and fully understand the film.The culture is the specific lifestyles and modes of expression of the groups, which use a particular language as the expression “(Newmark, 1998:21).Clearly, the film titles also include certain cultural connotation.If the translator cannot be aware of or misunderstood the cultural connotation, it is likely to have the title caused by mistranslation.E.g1: American film: American Beauty, Mainland and Hong Kong have their own respective title translation version.Mainland translated as ”《美国美人》“, Hong Kong translated as ”《美国丽人》“.Unfortunately, these two simple versions of literal translation is mistranslation.According to the American Heritage Dictionary, American Beauty is a kind of roses, flower leaf length, purple.These beautiful and sacred flowers are symbol of divine love.In the film, the director used this flower as a symbol of a girl's love with the approach of association, Taiwan's translation is《美国心·玫瑰情》and it is more appropriate.3.2 Simply pursuit of business profits
As an entertainment industry, film should to not only entertain the public but also earn the box office revenue.Therefore, the translation of film titles will inevitably be subject to the influence of the marketing strategy of the entire film.To attract audiences, some film titles translation may not have any relationship with the film's storyline.Let us look at the following example:
E.g.: Original Sin(《原罪》)
《激情叛侣》
The Shaw shank Redemption
(《肖申克的救赎》)
《月黑高飞》
Pretty Woman(《漂亮女人》)
《风月俏佳人》
The Lives Of Others(《别人的生活》)
《窃听风暴》
If the readers have read the above-mentioned movies, they will find the second movie title translation far away from the original, and not consistent with the story.Now, there are still a lot of translators, simply pursuit of commercial profit, regardless of any translation principles, resulting in a lot of mistranslation.4.Translation equivalence concept Film is a form of art loved by peoples from all over the world.Excellent film has no national boundaries and it is a very good form of cultural exchange.When we introduce a foreign film, the first thing is to give it a proper name.Good title can make the target language audience eager to see the film faster and therefore, translation of film titles is very important.Zhou Jueliang had pointed out that translations vary based on the different types.Translation of the film title has its own characteristics(He Ming, 1998).From a linguistic point of view, film titles usually have a very simple constitute, usually only a few words.Compared with the other forms of language conversion, which are clearly not limited by deep level language such as sentences, paragraphs, text.However, due to special requirements on the functional, translation of film, titles show complex phenomenon to a certain degree, and it needs to be pointed out with translation theories and principles.Among all translation theory, translation equivalence can be used as important theoretical basis of movie title translations.Translation equivalence concept is a core issue in the modern translation theory in the West.1790, Alexander Fraser Tytler said ”good translations are fully moved advantage of original language to another, make the translate language people can clearly understand, strongly felt just like the original language people feel “in his Brief Discussion on Translation Theory.He first proposed the translation equivalence concept in the history.(Zhang Ling, 1994).America linguistics and translation theorist, Jacobson believes that all human languages have equal expressive power, but in the translation process, we must first overcome the structural differences between the original language and the target language to ensure that text equivalent.Eugene Nada the same as Jacobson, he stressed the commonality of language, but from the point of view of communication science and Informatics, he proposed, “the relationship between translation recipient and translation information should be basically the same as the relationship between the original recipient and the original information.” in 1964,(Jiang Zhiwen, and Wen Jun 2000).Newmark explore the ”reciprocal“ problem from the translation theory's point of view.He divided translation into ”semantic translation“ and ”communicative translation“.Semantic translation focuses on the semantic content of the original text, and communicative translation focused on the reader's understanding and response.Newmark thinks most of the translation of non-literary texts suitable for communicative translation(Newmark, 2001).Moreover, all about this, the center of attention is the function of the language, rather than the language feature, it emphasize the functional equivalence.When it comes to the translation of English film titles, the so-called ”equivalence“ refers that the effect of the film translate title to the target language country audience should be the same as the affect of the original title to the original language nation audience , thereby to created a watching desire and achieve the aim of cultural exchange.In accordance with the principles of equivalent translation, and combine with different actual situation, we can take the method of literal translation, transliteration, free translation in English film title translation.4.1 The literal translation or transliteration Literal translation or transliteration refers that when the title is easy to understand, we can directly translate it according to the literal meaning or pronunciation of the title.Such as:
Ｂｅａｕｔｙ ａｎｄ Ｔｈｅ Ｂｅａｓｔ
《美女与野兽》 Ｂｒａｖｅ Ｈｅａｒｔ
《勇敢的心》 Ｃｉｔｉｚｅｎ Ｋａｎｅ
《公民凯恩》 Ｔｈｅ Ｇｏｄｆａｔｈｅ
《教父》 Ａｍｅｒｉｃａｎ ｂｅａｕｔｙ
《美国丽人》 Ｃａｓａｂｌａｎｃａ
《卡萨布兰卡》 Ｊａｎｅ Ｅｙｒｅ
《简爱》 Ａｎｎｉｅｎ Ｈａｌ
《安妮・霍尔》 Ｊｕｒａｓｓｉｋ Ｐａｒｋ
《侏罗纪公园》 Ｓｏｕｎｄ ｏｆ Ｍｕｓｉｃ
《音乐之声》 Ｔｉｔａｎｉｃ
《泰坦尼克号》 Ｋｉｎｇ Ａｒｔｈｕｒ
《亚瑟王》 Ｓｃｈｉｎｄｌｅｒ’ｓ ｌｉｓｔ
《辛德勒名单》 Ｇｌａｄｉａｔｏｒ
《角斗士》 Ｌｏｖｅ ｏｆ Ｍａｙ
《五月之恋》
Here is to be noted that, when some names in English film titles are unimportant consonants, it can be omitted in the transliteration.Because if the name more than four words, it is not conducive to memory and Chinese audiences would be awkward to read.Therefore, it should comply with principle of brief.(Hua Xianfa, 1999:190).Annien translated as ”An(安)“, not ”An Nien(安尼恩“;Schindler translated as ”Xin Dele(辛德勒)“, not ”Si Xindele(斯辛德勒)“.Some of the masterpieces of the world, such as Jane Eyre, Juliet, Wuthering Heights, has a relatively fixed in Chinese translation, so the English film title translation should comply with established principles and translate respectively.Which is capable of maintaining the original charm and allows viewers to immediately think of the original works? In addition, the transliteration should used the certain words provided in the transliteration table, and not use the easy associative terms, so as not to cause misunderstanding or make a fool mistake(Hua Xianfa, 1999:190).Jurassic translate as ”ZHU LUO JI(侏罗纪)“, it cannot be translated into ”ZHU RU JI(侏儒纪)“.4.2 Free translation
As mentioned above, English film has massively use of the personal name or geographical names directly as the film title.If translates literally constantly, it is a string of meaningless character to the translated language audience possibility and does not play any attraction role.Therefore, this requests the translator fully understand the movie content and display their subjective initiative, to make the translated title to be faithful to the original content, and transmit the movie content ,and express one's ideas expressively(He Ning, 1998).4.2.1 Literal translation adds the explanation Ｓｌｅｅｐｌｅｓｓ ｉｎ Ｓｅａｔｔｌｅ 《西雅图不眠夜》 Ｔｈｅ Ｎｅｔ 《网络情缘》 Ｍｏｏｎｓｔｒｕｃｋ 《月色撩人》 Ｓａｎｄ ａｎｄ Ｂｌｏｏｄ 《碧血黄沙》 Ｉｎｔｅｒｐｒｅｔｅｒ 《翻译**》
Ｅ．Ｔ． 《Ｅ．Ｔ．外星人》 Ｔｈｅ Ｆｕｇｉｔｉｖｅ 《亡命天涯》 Ｍｙ Ｆａｉｒ Ｌａｄｙ 《窈窕淑女》 Ｐｌａｔｏｏｎ 《野战排》 Ｏｎｃｅ Ｕｐｏｎ ａ Ｔｉｍｅ ｉｎ Ａｍｅｒｉｃａ 《美国往事》 Ｏｎ ｔｈｅ Ｗａｔｅｒｆｒｏｎｔ 《码头风云》 Ａｌｌ Ｑｕｉｅｔ ｏｎ ｔｈｅ Ｗｅｓｔ Ｆｒｏｎｔ 《西线无故事》 Ｆｉｒｓｔ Ｋｎｉｇｈｔ 《剑侠风流》 Ｄａｙｓ Ｔｏｕｃｈｅｄ ｂｙ Ｌｏｖｅ 《心动岁月》 4.2.2 Integration of transliteration and free translation Ｒｏｂｉｎｓｏｎ Ｃｒｕｓｏｅ 《鲁宾逊漂流记》 Ｐａｔｔｏｎ 《巴顿将军》 Ｓｈａｋｅｓｐｅａｒｅ ｉｎ Ｌｏｖｅ 《莎翁情史》 Ｂａｎｂｂｉ 《小鹿班比》 Ｎｏｔｔｉｎｇ Ｈｉｌｌ 《诺丁山情缘》 Ｐｈｉｌｌａｄｅｌｐｈｉａ 《费城故事》 Ｓｈｒｅｋ 《怪物史莱克》 Ａｎｎｅ Ｆｒａｎｋ 《安妮日记》 Ｔｈｅ Ｉｓｌａｎｄ 《神秘岛》 Ｔｈｅ Ｒｉｎｇ 《午夜凶铃》 Ｔｈｅ Ｙｅａｒ ｏｆ ｔｈｅ Ｙｅａｒ 《姚明年》 4.3 Modified translation
4.3.1 Reconstructing the cultural intention
Because of the film and its title always infiltrate into the nation’s certain culture system of literature, history, philosophy, religious, traditional, custom and legend, and plus the diaphragm of culture ring, it often can’t be known by people belongs to another culture system.Therefore, it became ”super language factors“ in language inter-conversion and understanding or communication obstacles.Without carefully consider, it is easily to cause misunderstanding.(Lin Qiuyun, 1996)Such as the film Hobson ' s Choice ,it is translated into the HUO BU XUN DE XUAN ZE(霍布逊的选择).It is about a shoe shopper named Hobson who not willing the eldest daughter married to a guy in the shop, but he give up because he is against by his three daughters’ alliance.Film actor named it Hobson, and does not have any problems apparently.However, Hobson is an English idiom, from the Observer Magazine(1712:509).Hobson is a United Kingdom Cambridge post boss in 16th century, and rental horse to their customers.However, he had a strange temper;he loves his horse very much and always insists on a fixed rotation of rental.When customers went to the stables to rent horse, they can only take the certain one even they do not like, and leave no room for negotiation.Later, people refer to the idiom, means ”there is no choice or room for negotiation“(Ma Gongru, 1997:243).Obviously, the HUO BU XUN DE XUAN ZE(霍布逊的选择)has not translated the pragmatic meaning of it, and unable to achieve functional equivalence with the original film, too.If we change the angle, switched to the culture of intention which Chinese audiences familiar with, and translated into the BIE WU XUAN ZE(别无选择),it will be better.Also Pumpkin Eater, it may be translated into the SHI NAN GUA DE REN(食南瓜的人).But it is derived from a popular nursery rhyme: ”Ｐｅｔｅｒ，Ｐｅｔｅｒ，ｐｕｍｐｋｉｎ ｅａｔｅｒ，ｈａｄ ａ ｗｉｆｅ ａｎｄ ｃｏｕｌｄｎ’ｔ ｋｅｅｐ ｈｅｒ． “So, according to the story, translate into the TAI TAI DE KU MEN(太太的苦闷)seems more appropriate.There are also a lot of success translations, such as the Waterloo Bridge(HUN DUAN LAN QIAO;魂断蓝桥), the Ghost(REN GUI QING WE LIAO:人鬼情未了), the Bridges of Madison County(LANG QIAO YI MENG:廊桥遗梦), The Red Shoes(HONG LING YAN;红菱艳), The Bathing Beauty(CHU SHUI FU RONG;出水芙蓉), Forrest Gump(A GAN ZHENG ZHUN;阿甘正传).These translations discard the literal meaning of the original title, instead of the culture of intention which the Chinese audiences familiar with.4.3.2 Adjusted according to the differences between Chinese and English language
Chinese belong to Sino-Tibetan language family, English belong to Indo-European family.As a consequence, the Chinese emphasis on the accent and English emphasis on the syntactic difference.Because of the influence of doctrine philosophy,Chinese aesthetics audience emphasis on the special balance in the words.Therefore, four-word phrases are extensively using(Chen Hongwei, 1997:28).English stressed the correct syntax, and some films even take a sentence as name.So, the translator should note the differences in Chinese and English language, and make some appropriate adjustments.So those, the translation reader can catch information according to their mode of thinking.Such as:
Ｓｏｕｎｄ ｏｆ Ｍｕｓｉｃ 《音乐之声》 Ｔｏｐ Ｇｕｎ 《壮志凌云》 Ｍｙ Ｆａｉｒ Ｌａｄｙ 《窈窕淑女》 Ｗｉｌｄ Ｗｉｌｄ Ｗｅｓｔ 《飚风战警》 Ｔｈｅ Ｗｉｚａｒｄ ｏｆ Ｏｚ 《绿野仙踪》 Ｔｈｅ Ａｇｅ ｏｆ Ｉｎｎｏｃｅｎｃｅ 《纯真年代》 Ｃｉｔｉｚｅｎ Ｋａｎｅ 《公民凯恩》 Ｂｌａｄｅ Ｒｕｎｎｅｒ 《银翼杀手》 Ｉｔ Ｈａｐｐｅｎｅｄ Ｏｎｅ Ｎｉｇｈｔ 《一夜风流》 Ｉｔ’ｓ ａ Ｗｏｎｄｅｒｆｕｌ Ｌｉｆｅ 《风云人物 Ｍｒ Ｄｅｅｄｓ Ｇｏｅｓ ｔｏ Ｔｏｗｎ 《富贵浮云》 Ｙｏｕ Ｃａｎ’ｔ Ｔａｋｅ ｉｔ Ｗｉｔｈ Ｙｏｕ 《民主万岁》
5.The principle that film titles translation should follow
5.1 Cater for the content of the original film, reflecting the themes of the original film, outstanding original film style
A good film should have a clear theme.Battle about cops and robbers or description of love, to reflect social ethics or science fiction.Film styles vary with different themes.Cops-and-gangsters films give a twist, such as
Speed、《生死 时速 》 The Rock、《石 破天 惊》 The French Connection;
《法国 贩 毒网 》 Romance or romantic lingering, or patience, often give the taste, such as Waterloo Bridge、《魂 断蓝桥》 The Bridges of Madison County、《廊 桥遗梦》 The Piano、《钢琴别恋 》 Ghost、《人 鬼情 未 了》
Shakespeare re in Love;
《恋爱 中 的莎 士 比亚 》 Social and ethical topics serious, warning or enlightenment to people, such as the Kramer VS Kramer、《克雷默夫妇》 Rain M an;
《雨人 》
Fantastic, fantasy, and horror and science fiction films are often set in one about the fantasy world that does not exist in the real world, such as
The E.T.、《外星人 》 Batman、《蝙蝠侠》
Jurassic Park.《侏罗纪公园》
Translations should be able to properly reflect the content of the original movie, its themes, and highlight their style.United States 1939 film taken of Waterloo Bridge Love Story about a pathetic: in 1914, during the first world war, in London, in an air raid alert, luoyi·kelaoning and ballet dancer Myra met Captain young military officers on Waterloo Bridge, they just clicked immediately, and soon fall in love.However, as the war lovers cannot become family members.The heroine buried on the Waterloo Bridge under the wheels, and eliminating kill.Translator translate title is relevant to the Waterloo Bridge movie content, reflects the original tragic, is just right.Translator use ”broken souls“ to make it more acceptable to the audience.United States comedy Mrs.Doubtfire, talking about a story of a divorced man Daniel Hillard dressed up as a fat old woman going to his ex-wife's domestic every day in order to be able to see the children.Comedy scenes continue to appear in the film did some marvelous impressions.The translation is FEI MA XIAN SHANG(肥妈先生).The use of ”MOM“ and ”Sir“ highlighted the comedy style very well.YUN ZHONG MAN BU(云中漫步),the translation of the United States film A Walk in the Clouds are rated as the best.Original title literally means ”in the cloud“.Description of a pair of young men and women filled with scent of grape vineyards in the moving story of love.Vineyards in the movie named ”cloud“ covers a wide, green a, enveloped, is like a dream, love the heroine walks in the park.How romantic and poetic!This translation is in line with the film theme of romantic love, to read ”full of poetic, one Kiss, saw a cloud-like grape flowers smell the aroma of melts your heart all into“ and ”translation of Jacob was decent, image better, meaning long“(He Yue sensitivity, 1997), really colorful, and dominated!
5.2 Concise, easy to remember
Film is an art suit for both refined and popular tastes, and it is a popular form of entertainment too.In a sense, it is a commodity should be widely circulated.In order to make it easier to spread, movie title should be concise and easy to remember.This probably is the “usefulness” said by He Yuemin.Actually many films translation is consistent with the requirements.Such as: Star Wars、《星球大战》
Forrest Gump、《阿甘正传 》
Superman、《超人》
Terminator、《未来战士》
Roman Holiday、《罗马假日》
My Fair Lady、《窈窕淑女》
The Sound of Music、《音乐之声》
For Whom the Bell Tolls、《战地钟声》
On the Golden Pond、《金色池塘》
Bathing Beauty
《出水芙蓉》
It is not difficult to see that these translations use only a few words to translate all the content and meaning of the original movie.Moreover, most of them only four words, just as Chinese idioms, reading full of rhythm, easy catchy and easy to remember and spread.Also some translation of the movie title failed to meet this requirement.Feng HuaZhan(1980), said he saw a movie called the Qipulian·Bolongbeisiku.This title makes him very disgusted, because it is hard to remember and struggled to speak.5.3 Film title conformed to the Chinese language standard, and suited to our viewers enjoys habit.It should be said that some films do not need translator design, just translate it with the corresponding Chinese according to the equivalence principle.Of course, the premise is not to cause the audiences understand difficulties and must conform to the Chinese language standard.For example, the American adventure spy film named North by Northwest.Someone will translate it to XI BEI PAIN BEI(西北偏北).Through the title, viewers do not know what the film about, and it is not in line with Chinese language specification.Therefore, this translation is not desirable.Another translation of the film DIE HAI FENG YUN(谍海风云)is a good translation.Which give the suspense, highlights the style of spy film, clear and concise, while correspond to the Chinese language specifications.English films always use the owner's name or location as the title of the story.There is also the case in our China film, but less.Chinese films’ habit is to use the title to summarize the content of substance.Therefore, the translation of English film Hamlet as HA MU LEI TE(哈姆雷特)is in line with our habits.Oliver Twist translated as WU DU GU ER(雾都孤儿)is better than translated as the AO LIE FU TUI SI TE(奥列佛 退斯特).Because the former give us the place where the story take place(fog city, London)and the identity of the main character(an orphan).The Chinese audience can accept it easily.The American film Gone with the Wind(LUAN SHI JIA REN;乱世佳人)based on the same name novel is a good example.The “LUAN SHI(乱世)” explain the background of the story(the civil war), “JIA REN” named the heroine of the movie and showed the heroine’s frustrated experience.Look at an example.There is a film about American campus life, called Mr.Holland's Opus, The film tells the story of a remarkable music teacher, Holland.Holland works hard for 30 years in his teaching positions.He was “not rich, not famous, but his achievements beyond fame and wealth ”.He influences every student of the school.He is the Orchestra's conductor, each student is his notes, and every student is his works(Opus).Name of the literal translation is the HE LAN XIAN SHENG DE ZUO PIN(贺兰先生的作品), but now it is translated into the CHUN FENG HUA YU(春风化雨).The new translation has a deeper meaning than the formerly and show the movie extraordinary story, allows viewers to experience a teacher’s permeated personality charm.(Cai Weidong, 2000:104-105).At the same time, wonderful translation is like a piece of art, for people to enjoy the beauty of art.6.The conclusion
When the importance of English film titles translation increasingly be reflected, when the shortcomings of the current English film titles translation theory and method is revealed, and when the relevant problems are getting cause the attention of people, I believe that people will intensify research on this area of expertise, moreover, the translation equivalent theory and attention principles I mentioned in paper will make some significances on the development and improvement of the title translation.After continuous efforts, the present translation problems will be gradually resolved, the translation of English film titles will be more standardization, and the usefulness, the literariness and the scientific nature of the translation will greatly enhance.Bibliography ．
[1] Jones, Gareth Stedman.Languages of Class [M].Cambridge: Cambridge University
Press.1983.101.[2] Saussure, Ferdinand de.Course in General Linguistics [M].London: Peter Owen Limited.1960.23, 67, 77, 20, 21, 22, 16.[3] Searle, John R.Speech Acts [M].Cambridge: Cambridge University Press.1969.75.[4] 贺莺．电影片名的翻译理论和方法［Ｊ］．外语教学，２００１（１）[5] 林秋云．外国电影片名翻译简论［Ｊ］．上海科技翻译，１９９６（３）[6] 陆谷孙.英汉大词典[M].上海：上海译文出版社.1991.[7] 顾冠华, 沈广斌.中国传统文化与高等教育[ M ] 北京: 海洋出 版社, 1999 10 [8] 陈炼，陈育．外国电影片名的翻译［Ｊ］．湖南商学院学报，２００３，（９）
Acknowledgments
After finishing my B.A thesis, I really felt that I had come a long way.Many teachers and classmates gave me supports and helps in the process of writing this paper.I’d like first to take this chance to express my sincere gratitude to my supervisor associate professor Li Liping, who generously gave me her kindly help and instructions during the whole process of my paper writing, for her patience and guidance for this thesis.I’d like to take this paper not only as the ending of my undergraduate life, but the beginning of my postgraduate study.Most important of all, I want to give my thanks to my mother university and all teachers in the College of Foreign Languages.
第四篇：目的论视角下的中文电影片名翻译
目的论视角下的中文电影片名翻译
摘要：目的论是功能翻译理论中最重要的理论。本文以目的论为依据，分析了电影片名翻译的目的性，尤其是中国电影片名翻译的重要性，因为电影片名的翻译直接关系到中国电影在海外的推广，而电影片名翻译必须由译文预期目的或功能来决定；并进一步指出，目的论强调目的原则是翻译的首要原则，并不是说要抛弃原电影，而进行随意翻译。还讨论了电影片名翻译过程中应遵守的原则，并指出了在翻译过程中应采取的方法和策略。
关键词：目的论电影片名翻译方法和策略
一、引言
20世纪二三十年代，中国电影在初创阶段就有了“走出去”的意识，许多电影都配有英文字幕，《渔光曲》还在前苏联获得大奖。但这种“走出去”已经不仅仅满足于当代中国电影市场在海外所需创造的商业价值，所以电影片名翻译是一种特殊的文学形式，电影为观众而创作，并以观众的接纳、欣赏和批判为生存的依据和标准。电影想要吸引观众，片名的翻译的确是重中之重。尝试在目的论指导下，进行电影片名翻译使我们具备了强有力的理论支持。翻译目的论是功能派翻译的重要理论，由德国功能派学者费米尔（Vermeer）和诺德（Nord）等创立。目的论认为翻译是一种交际行为，具有明确的目的和意图。翻译行为所要达到的目的决定整个翻译行为的过程，即“目的决定手段”，翻译策略必须根据翻译的目的来确定，即“结果决定方法”。这个“目的”有三种解释：译者的目的（如赚钱）；译文的交际目的（如启迪读者）；和使用某种特殊翻译手段所要达到的目的（如为了说明某种语言中语法结构的特殊之处而采用按其结构直译的方法）。（仲伟合，1991：45）
二、目的论遵循的原则
根据目的论，所有翻译应遵循三个法则：1.目的法则。它是目的论的首要法则。该法则认为整个翻译过程，包括翻译方法和翻译策略的选择，都是由翻译行为所需要达到的目的决定的。2.连贯性法则。它指的是译文必须符合语内连贯的标准。所谓语内连贯是指译文必须能让接受者理解，并在目的语文化以及使用译文的交际环境中有意义。3.忠实性法则。它指原文与译文之间应该存在语际连贯一致。语际连贯类似于通常所说的忠实于原文，而忠实的程度和形式则由译文目的和译者对原文的理解决定。忠实性法则从属于连贯性法则，而连贯性法则和忠实性法则都从属于目的法则。如果目的法则要求原文和译文功能不同，忠实性法则就不再适用；如果目的法则要求译文不需要通畅，那么连贯性法则就不再适用。目的论与传统翻译理论相比有一个显著的特点，即源语地位的降低，提高了译者的主体性，也对翻译实践（尤其对电影片名翻译这种目的性较强的翻译）具有指导意义。
三、中文电影在海外市场的现状
研究数据显示，超过三成的海外观众对中国电影不了解。2011年2月22日，中国文化国际传播研究院在北京公布的2011中国电影国际影响力全球调研数据显示，中国电影目前在国际上传播乏力、影响非常有限。这也是国内首次面向外国观众进行的关于中国电影的调研。调研共发放问卷1450份，有效回收1308份，覆盖了美国、英国、法国、德国、加拿大、澳大利亚、印度、日本、韩国等国家，由此深入了解了中国电影文化和价值观在国际传播的现实状况。而作为软实力重要象征的电影文化，与发达国家相比，缺乏足够的竞争力与影响力，所以电影翻译是亟待解决的问题。
四、目的论在中文电影片名翻译中的指导意义
从目的论角度来看，翻译的目的是要实现译文在目的语文化中的预期功能。电影片名翻译要实现的预期功能正是在一个新的文化环境中再现原片名在源语言文化中所具备的各种功能。即突出影片内容，揭示影片主题，从而更好地向观众传达影片信息，给他们提供审美愉悦，吸引观众，争取丰厚的利润回报，使影片在海外市场取得商业成功，以达到影片制作商的目的。这是电影片名翻译的首要原则，也是电影片名翻译的主要目的。当然，推广中国电影不仅仅能够创造经济效益，更重要的是把中国五千年的悠久文化通过电影这个媒体传递到国际上去，不仅让不了解中国的西方观众看到一个真实的中国，还可以让我们的价值观、我们的话语权拥有一席之地。
另外，目的论使译者主体性在电影片名翻译中得以更充分地发挥，即目的论从译者的角度来阐释翻译活动，赋予译者更大的自主权。译者可根据译文的预期功能和目的调整具体的翻译方法，灵活处理原文。查明建和田雨为“译者主体性”作了以下界定：“译者主体性是指作为翻译主体的译者在尊重翻译对象的前提下，为实现翻译目的而在翻译活动中表现出的主体能动性，其基本特征是翻译主体自觉的文化意识、人文品格和文化审美创造性。译者主体性贯穿于翻译活动的全过程，译者主体性不仅体现在译者对作品的理解、阐释和语言层面上的艺术再创造，也体现在对翻译文本的选择、翻译的文化目的、翻译策略和在译本中对译作预期文化效应的操纵等方面。”(查明建、田雨，2003：19～24）Vermeer认为“翻译意味着在特定环境里，由于特定的目的，为特定的接受者进行翻译”（Vermeer，1987：25～33）。因此，以目的论为理论指导，在电影片名翻译这样一个特殊的翻译领域中，译者的主体性得到最大的发挥。在电影片名翻译时，译者应对目标读者做出估量，以受众为中心，从市场效应角度着眼，具体问题具体分析，采用符合目的语的语言规范及目的语国家观众的审美习惯的表达方式，使其作品最大限度地实现其商业价值。
五、电影片名的翻译方法及策略
目的论认为翻译是一种行为，任何一种行为都有其目的，翻译行为的目的决定了翻译所应采取的方法与策略。电影片名翻译的目的是更好地吸引观众，所以任何一种能达到此目的的翻译方法都可以被采纳，这就使得电影片名的翻译方法趋于多样化。
（一）直译
直译指的是在翻译过程中按原文逐字逐句地翻译。按照片名的字面意思可以直接翻译。如：《卧虎藏龙》的英文名是“Counching Tiger Hidden Dragon”，这里采用直译能更好地传播中国文化，即“龙”在中国的象征。
（二）意译
意译要求译文能正确表达原文内容，但可以不拘泥原文的形式。在直译和意译的选择上应遵循这样的原则：能直译时便直译，不能直译时用意译，直译为主，意译为辅，意译作为直译的补充。如：《非诚勿扰》可译为“If you are the one”；《侠肝义胆》可译为“Alone in the Dark”；《南京！南京！》可译为“The city of Life and Death”，用“life”和“death”两个对立意象的冲突来表现影片中的复杂情感，不仅表达到位，而且能更好地吸引观众的眼球。
（三）音译
音译是用一种语言读写出另一种语言的词或词组的发音的翻译方法。这是电影片名最简单、最方便的翻译方法。如：《红高粱》就是纯粹的音译，即“Hong Gao Liang”，这样的翻译更好地向欧美观众输出了中国的传统文化，也获得了影片在海外的成功。
六、结语
作为一种特殊的文学形式，电影为观众而创作，并以观众的接纳、欣赏和评判为生存的依据和标准。电影要想吸引外国观众，片名的翻译是重中之重。根据目的论，电影片名翻译的预期目的是要实现原名在目标语中的可接受性。译者应根据影片的思想内容，充分考虑东西方文化的异同以及翻译的目的，根据原电影片名灵活地采用翻译策略，但最重要的是要保证观众能理解其内涵，最大限度地实现译名的艺术特色及商业价值。
（本文为湖南省社科基金外语科研联合项目“言外之意翻译的关联理论视角研究”[项目编号：12WLH48]；湖南省教改项目“跨文化交际能力培养与大学英语教学”[项目编号：2005（280）]；中南大学研究生培养办项目“文化翻译学学科建设的理论与实践”[项目编号：71333000408]的阶段性成果。）
参考文献：
[1]仲伟合.德国的功能派翻译理论[J].中国翻译，1991，（3）.[2]查明建，田雨.论译者的主体性[J].中国翻译，2003，（1）：
19～24.[3]Vermeer.What does it mean to translate?[J].Indian
Journal of Applied Linguistics,1987,(2)：25～33.[4]李延林.文化翻译学教程（修订版）[M].长沙：中南大学出版
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