论文：英语电影片名的翻译（合集5篇）

第一篇：论文：英语电影片名的翻译

中文文摘

电影是一种集艺术性和商业性于一体的艺术形式，是最具有影响力的媒体之一。越来越多的英语电影被引入中国，促进了中西方文化交流。电影片名作为电影的重要组成部份之一，具有传达信息，表现美感和吸引观众的功能。在过去的二三十年里，影视翻译取得了很大的发展，但作为翻译领域一个重要组成部份，电影片名的研究工作还做得远远不够。目前似乎还没有人提出一套比较完整可行的原则指导片名翻译。目前英语片名翻译的问题主要表现为译名不统一，呈现出“一名多译，良荞不齐”的状况。

本文以新兴的功能翻译理论作为研究基础，大力提倡以观众为取向的英语片名翻译方法。功能翻译理论不同于传统的翻译理论，它强调了翻译及目的文本在其文化中的功能。作为功能翻译理论的“目的论”认为，翻译是一种有目的行为，“目的”决定所有翻译行为。根据“目的论”，决定翻译目的的最重要因素之一就是译文的接受对象，他们作为译文预期的接受者有其各自特定的文化背景和不同的交际需求。此外，功能理论还赋予译者更高的地位和更多的自由，认为为了达到翻译的目的与功能，译者可以最大限度地利用原文的文本信息，并在实践中采用行之有效的不同翻译策略。这也符合了当今影视翻译鼓励 译者具有一定个性和创造性的趋势。

在以上理论研究的基础上，文章将功能理论应用于分析英语电影片名翻译的现象，对英语片名的翻译进行了深入系统而全面的描述与分析，探讨了功能翻译理论指导电影片名翻译的合理性与可行性，以及在该理论指导下英语电影片名翻译的一些策略。全文共分五早。

论文第一章首先介绍了英文电影片名的重要性，阐明了本文的写作目的、研究方法和组织结构。

第二章主要介绍了本研究的理论基础一功能翻译理论。本章首先介绍了功能翻译理论的发展;其次介绍了指导功能翻译理论的三大法则，即目的性法则，连贯性法则和忠诚性法则。指出功能翻译理论的评价标准是“合适”，而不是“对等”。该理论作为对传统翻译理论的一个重大突破和翻译理论研究的重要补充，为电影片名翻译的理论研究开辟了一个新视角。

第三章介绍了电影的分类，定义了电影片名，分析了电影片名的功能和特点。并指出片名翻译的最终目的和主要功能是激发观众的观看欲望。电影片名不仅是物质产品，同时又是精神产品。为了更好地实现片名翻译的最终目的，译者不仅要使得电影译名具有导看功能，即片名能给观众提供影片的基本信息，还要使观众获得美感并受到感召，最终采取行动。这也就是要求译者在译文中努力实现电影片名的三种基本功能，即信息功能，美感功能和祈使功能。

III

第四章是理论与实践相结合的一个章节，即将功能翻译理论结合到具体的片名翻译实践中。作者分析了英语电影片名翻译的主要方法和策略，即音译、直译、意译及改译，以及各种方法的优势和不足，指出了各种翻译方法密不可分，优势互补。本文引用了大量丰富的例子来探讨功能翻译策略在电影片名翻译中的运用，认为原英语片名只是信息提供者之一。除了原电影片名，电影本身也可能提供信息。因此，译名与原名是否对等并不十分重要，充分满足信息、美感、祈使三个功能的要求才是英语电影片名翻译的首要标准。

第五章总结全文，指出电影片名翻译的功能能否实现是英语电影片名汉译的基本原则。要实现电影片名翻译的功能，就要求译者要明确片名翻译的目的，了解电影的类型及主要内容，并基于此选择适当的翻译策略来实现电影片名翻译的功能。

IV

Synopsis

The film, a particular art with both artistic and commercial values, is one of the most influential mass media with large quantities of English films being introduced into China.The film title, as an important part of the film, is of referential, expressive and appellative functions and its translation is a challenging job.Although film translation has been developing quickly in the past two or three decades, film title translation is a far less explored field.Up till now, no systematic and feasible theory on English film title translation has been put forward.Actually, film title translation is very problematic in that it is in a state of disunity.From the aspects of the functions and skopos of film titles, the author makes an analysis of the translation of film titles.Skopos theory, a newly developed theory, is adopted as the theoretical background of this thesis and an audience-oriented film title translation approach is highly advocated.Functionalism sheds new lights on the translation field.It reflects a shift from traditional linguistic and formal translation theories to a more functionally and socio-culturally oriented concept of translation.As a kernel of functionalism, Skopos theory holds that translation is an intentional action, and the skopos is the prime principle to determine the overall translational action.According to Skopos theory, one of the most important factors determines the purpose of a translation is the target receivers with their culture-specific backgrounds, their expectations and communicative needs.Moreover, functionalism gives the translator much more freedom than ever.The translator is encouraged to make good use of the source information and enjoys the freedom of choosing what strategy to follow to achieve the expected functions of the translation.In this thesis, the author applies the functionalist approaches to explain the phenomena of film title translation.The thesis makes an intensive and comprehensive study of the translation of English film titles.It proves the rationality and applicability of the functionalist approach and probes into the translation strategies of translation of English film titles under the guideline of functionalism.The thesis is divided into five chapters.The first chapter serves as an introduction.It presents the significance of the study, and also describes the skopos, research methodology and the structure of thesis.V

Chapter Two elaborates the theoretical basis—the functionalist approach, on

which the present study is founded.This chapter first introduces the historical views of the functional translation theory.After this, the chapter illuminates the three rules for any translation under the framework of functionalism: the skopos rule, the coherence rule and the fidelity rule;and indicates that criterion for translation evaluation is “adequacy”.Therefore, the functionalist theory has given a new perspective to the study of the translation of film title.Chapter Three introduces the genre of films, defines the film title to be examined in this thesis and discusses the features and functions of film titles.It points out that the ultimate purpose of film title translation is to induce the audience to see the film.But unlike commercial advertisement, the film title is not only a commercial product, but a spiritual product as well.In order to achieve the purpose, the title not only has to provide necessary information about the film to the audience but to entertain the audience and attract them.Only when the audience have been entertained and attracted by the title will they be persuaded to go to the cinema.That is to say, a translator should try to achieve three basic functions in target translation, namely thereferential, expressive and appellative functions.Chapter Four discusses the combination of theory with practice.This chapter applies the functionalist approach explain to the English film title translation.It first uses the functionalist approaches to the phenomena of film title translation.And it elaborates the strategies mainly applied in English film title translation, namely transliteration, literal translation, liberal translation and adaption, and discusses the merits and limitations of each method.This thesis argues that all the translation strategies are indispensable and supplementary to each other.It holds that equivalence to the original is not very important but the translation's adequacy to the requirement of the three functions is just the first and foremost criterion for the fulfillment of the skopos of reproducing the referential, expressive and appellative functions of original film titles Chapter Five is the conclusion that summarizes the whole thesis.It reaffirms that the translator should translate the English film titles under the basic principle of fulfilling the specific functions of it by applying translation methods in a flexible way.VI

Table of Contents 中文摘要........................................................................................................................I

Abstract........................................................................................................................II

中文文摘.....................................................................................................................III

Synopsis........................................................................................................................V

Chapter One Introduction........................................................................................1 1.1 Research Background..............................................................................................1 1.2 Data and Methodology.............................................................................................2 1.3 The Structure of the Thesis.....................................................................................2

Chapter Two Literature Review..............................................................................4 2.1 The Emergence of Functional Approaches..............................................................4 2.2 Functionalist Translation Theory.............................................................................5 2.2.1 Development of Functionalist Translation Theory...............................................5 2.2.2 Basic Concepts of Skopos Theory........................................................................6 2.2.3 Adequacy, Standard of Evaluation.......................................................................6 2.2.4 Translation Brief..................................................................................................6 2.2.5 Merits of Skopos Theory......................................................................................7

Chapter Three A Profile of Film Title Translation................................................8 3.1 Genre of Film...........................................................................................................8 3.2 Definition of Film Titles..........................................................................................8 3.3 Sources of Film Titles..............................................................................................8 3.3.1 The Indication of the Subject...............................................................…….........9 3.3.2 The Indication of the Object/Clue........................................................…….........9 3.3.3 The Indication of the Background........................................................................9 3.3.4 The Indication of the Plot....................................................................................10 3.3.5 The Indication of the Theme........................................................................…...10 3.4 Features of Film Titles...........................................................................................10 3.5 Functions of Film Titles........................................................................................11

VII

3.6 Skopos of Film Title Translation...........................................................................11

Chapter Four Application of the Functionalist Approach to the English Film Title Translation.....................................................................................................13 4.1 Strategies Employed in the Translation of English Film Titles.............................13 4.2 Strategies Employed in the Translation of Film TItles..........................................13 4.3 Summary................................................................................................................13

Chapter Five Conclusion.......................................................................................15 5.1 Summary and Conclusion of the Research...........................................................15 5.2 Limitations and Suggestions of the Research........................................................15

References...................................................……........................................................17

VIII

Chapter One Introduction

1.1 Research background

The year 1895 witnessed the first film in world history in France.Having developed for over a century, the film has become one of the most popular ways of entertainment for people.Additionally, it is also a means of expression as well as a vehicle for cultural communication.The film has included so much of various historical periods that people believe that by watching films of various types from various times and various countries, they can learn many aspects of history.The film is, so to speak, an acting and talking encyclopedia of culture and society.With the increasing pace of China's opening to the outside world as well as the development of cultural communication between China and English-speaking countries, more and more English films have entered Chinese market.In order to enable the audience to understand and appreciate the film, the whole film should be translated.Thus, there is an urgent demand for the translation of films.And because the film, as a specific form of literature and audio-visual art, is bound to have promising prospects in our age, it is of great significance to study and develop film-translating too.Film translation is the translating of languages and cultures, and the promotion of cross-cultural exchanges.And the film title, like the title to a literary text, delivers the most important information about the film to the audience.Therefore, as an indispensable part of the film translation, the film title translation naturally becomes an important branch of the general translation study.Whether the film is appealing or not, the title is one and the first deciding factor, for it is often the first that comes into the potential viewer's attention.It is expected to be eye-catching, ear-pleasing and curiosity-stimulating.The film titles generally bear three principal functions: the referential function, the expressive function, and the appellative function.The referential function means that the translation informs the audience the background and the plots of the film.It tells the audience as much of the information of the film as it can within several words and help them have a basic understanding of the film.The expressive function means that the translation sets the feeling-tone reflected in each film genre, which is very important to its communicative effectiveness;The appellative function means

that the translation must be written in a language that is immediately comprehensible to the audience so as to attract their attention, and triggerthem to enter the cinema to appreciate the film.And the film title, being short in form but rich in meaning, has its own linguistic, aesthetic, cultural and commercial features, all of which contribute a lot to the charm and the success of the film.Nowadays, the film title translation has attracted the attentions of many scholars.Many thesises of this topic could be seen in various kinds of academic periodicals.However, the studies in this field are not adequate and comprehensive enough.In this thesis, the author will try to make some theoretical explanations by examples which are taken from original texts and published translations.1.2 Data and Methodology

The present research is a descriptive analysis of English film title translation.It mainly focuses on the feature films which carry a greater variety than documentary films and science and educational films.They are usually intended to attract wide and varied audience.Thus, various feature film titles are collected from various sources such as books, journals, DVDs and the Internet for this research.The research is carried out in the light of the functionalist approaches to discover the principles of film title translation, and to see how the translation strategies are adequate to the requirements of the three functions in serving the skopos of film title translation.1.3 The Structure of the thesis

The thesis consists of five chapters: l)introduction, 2)literature review, 3)a profile of filmtitle translation, 4)an analysis of the film title translation from the functional perspective, 5)conclusion.The first chapter introduces the background and methodology of this research.The second chapter is the literature review which introduces the Skopos theory, including its development, basic concepts, basic rules and its influence on translation.The third chapter makes a profile of film titles.It introduces the genre of films, defines the film titles, analyzes its features and functions, and points out that the

skopos of English film title translation is to win the heart of the audience and be rewarded by a great box-office hit.The fourth chapter is the practical part of my thesis, where English film title translations are collected, reviewed and analyzed, for the purpose of discussing how the Chinese translation in various strategies are feasible in serving the skopos of entertaining the audiences and promoting the box-office.The fifth chapter is the last part.It summarizes the research conducted in the thesis to draw a conclusion.Chapter two

Literature Review 2.1 The Emergence of functionalist approaches The functional approaches originated in Germany in 1970s.Before its emergence, those linguistic-oriented theories had a great influence on translation.Many definitions of translation emphasized the linguistic aspect.For example, Catford thought translation is “the replacement of textual material in a language(SL)by equivalent material in another language(TL)”(cf.Nord, 2001:7);and according to Nida and Taber, the process of translation is “reproducing in the receptor language the closest natural equivalent of the source-language message”(Eugene A.Nida & Charles R.Taber, 2004:12).Because the linguistic approaches basically saw translation as a procedure of trans-coding, “equivalence” seems to be basic and somewhat indispensable.Werner Koller even indicated that the translation must preserve the source-language content, form, style, function, or “at least must seek to preserve them as far as possible”(cf.Nord, 2001:7).It declared the target text which is not equivalent to the source text to be a failed translation.Though many theorists still emphasize the equivalence in translation, they have to recognize that there may be non-equivalence in translation caused by the culture differences.Just as Koller stated in his recent work, “adaptation may be appropriate, or even inevitable, in order to make the translation reach its audience.(cf.Nord, 2001:7)And as for some pragmatic texts, such as advertisements and products instructions, ”equivalence“ can't be well applied for them.Thus, some translation scholars shift their focus from equivalence-based approaches to functionalist approaches, and ”a new theory was called for“.(Nord, 2001:8)

”The emergence of a functionalist translation theory marks an important moment in the evolution of translation theory by breaking the two-thousand-year old chain of theory revolving around the faithful vs.freeaxis.”

(Gentzler, 2004: 71)

Functionalism is a broad term for various theories that approach translation in this way.The major contribution to functionalism is the functionalist translation theory with the Skopos theory to its core.2.2 Functionalist Translation Theory 2.2.1 Development of functionalist translation theory The development of the functionalist translation theory experienced four stages, with Katharina Reiss, Hans J.Vermeer, Holz-Manttari and Christiane Nord as the main representatives.2.2.2 Basic Concepts of Skopos theory

“Skopos is the Greek word for „aim‟ or „purpose' and was introduced into translation theory in the 1970 by Hans J.Vermeer as a technical term for the purpose of a translation and of the action of translating.”

(Munday, 2001:78-79)

Nord indicates that the main idea of Skopos theory is that translation should be purpose-oriented.Vermeer has divided the purpose of translation into three possible kinds, including “the general purpose aimed at by the translator in the translation process”(cf.Nord, 2001;27), “the communicative purpose aimed at by the target text situation”(ibid: 27), and “purpose aimed at by a particular translation strategy or procedure”(ibid:28).And the term Skopos usually refers to the purpose of the target text.Except the term Skopos, Vermeer also uses some related words aim, purpose, intention and function in his theory:

1.„Aim’is defined as the final results an agent intends to achieve勿means of an action.2.„Purpose' is defined as a provisional stage in the process of attaining an aim.3.„Function' refers to what a text means or is intended to mean from the receiver's point of view, whereas the aim is the purpose for which it is needed or supposed to be need.4.„Intention' is conceived as aim-oriented plan of action.(cf.Nord,2001: 28)

He considers teleological concepts of these words to be equivalent, subsuming them under the generic concept of Skopos.However, Christiane proposed a basic distinction between intention and function, which is particularly useful in translation.Because the sender and the receiver usually belong to different cultural and situational settings, “intention and function may have to be analyzed from two different angles”.(Nord, 2001:29)2.2.3 Adequacy, Standard of Evaluation

Instead of equivalence, “adequacy” is highly emphasized within the framework of skopos theory.According to Skopos theory, the intended purposes of the target text determine the translation strategies, and criterion for translation evaluation is “adequacy”, which refers to “the qualities of a target text with regard to the translation brief'(Nord, 2001:35), which will be discussed later in this chapter.The translation should be ”adequate to“the requirements of the brief'.(Nord, 2001:35).“'Adequate' is a dynamic concept related to the process of translational action and referring to the “goal-oriented” selection of signs that are considered appropriate for the communicative purpose defined in the translation assignment.”

(cf.Nord, 2001:35)

The skopos of the translation determines the form of equivalence required for an adequate translation.Therefore, equivalence means adequacy to a skopos that requires that the target text serves the same communicative function or functions as the source text,山us preserving invariance of function between source and target text.That is, the concept of equivalence is reduced to “functional equivalence” on the text level of what Reiss refers to as “communicative translation”.(cf.Nord, 2001:36)2.2.4 Translation Brief

The translation brief indicates the text type, format or terminology of a translation.In the professional practice of translation, translators seldom start a translating activity out of their own reasons.Translation is usually done by assignment;that is, a client needs a text for a particular purpose and calls upon the translator for a translation.In the process of translational action, the initiator decides the communicative purpose.However, on real occasions, clients do not give the translators an explicit translation brief,they often do not know that a good brief spells a better translation.Based on the source text in the source settings, an experienced translator is able to infer the brief himself and make some variations upon the target text, in order to make

it meaningful to target culture receivers.In addition, the translation brief does not tell the translator how to go about their translation job, what translation strategy to use, or what translation type to choose.These decisions depend entirely on the translator's responsibility and competence.(Nord, 2001:30)

In terms of Skopos theory, the variability of the brief depends on the circumstances of the target culture, not on the source culture.Since translation has been defined as a translational action involving a source text, the source is usually a part of the brief.In terms of action theory, agents(sender, receiver, initiator, translator)play the most important parts.2.2.5 Merits of Skopos theory

Compared with traditional translation theory prevailing before 1970s, Skopos theory has so many distinctive characteristics that it becomes a trigger of revolution in translation studies.“The two most important shifts in theoretical developments in translation theory overthe past two decades have been(1)the shift from source-text oriented theories to target-text oriented theories and(2)the shift to include cultural factors as well as linguistic elements in the translation training models.Those advocating functionalist approaches have been pioneers in both areas.”

(Gentzler, 2004:70)

And the theory is also considered by Nord exactly as the translation model that is needed.Nord summarizes the advantages of it as ”pragmatic, culture-oriented and consistent“.(cf.Quan Xunlian, 2006)

Chapter Three

A Profile of English Film Title

The film title, like the title to a literary text, delivers the most important information about the film to the audience.A good film title can grip the attention of the audience and contribute a lot in box-office.Film title translation is an important job which is full of creation.It seems to be a simple and easy task, but actually it is complicated.It has its own features and unique functions all of which deserve the attention of translation scholars.A brief survey of English film titles will be conducted in this chapter before coming to the application stage.3.1 Genre of film In film theory, ”genre“ refers to the primary method of film categorization based on similarities in the narrative elements from which films are constructed.Just like literary genres, there are many types of films, but the most significant categories are feature films, documentary films, educational films, experimental and animated films as suggested in The Complete Film Dictionary.(cf.Xu Lin, 2005)

3.2 Definition of film titles

The title, according to The Complete Film Dictionary, means any words that appear on the screen not as part of the scene but as a means of conveying information to the audience.”Credit titles“ appear at the start and conclusion of a film to cite the various personnel responsible for the motion picture;”the main title“ gives the name of the film;”subtitle“ are placed at the bottom of the scene to translate foreign languages;”the end title“ tells the audience that the film is concluded and ”end titles“ give us the credits.(cf.Xu Lin, 2005)The thesis will discuss the ”main title“ which gives the name of the film.3.3 Sources of film titles The film title usually summarizes the main idea of the film and exposes the theme.If a translator wants to grasp the full meaning of the original title, and translate the film titles properly, he should first identify the sources of film titles.That means, he should know on what bases the films are named.The sources can be roughly

categorized into five types: 1)subject;2)objecbclue;3)background;4)plot;5)theme.(He Ying, 2001)3.3.1 The Indication of the Subject

The subject here refers to the protagonist-hero or heroine of the film.More often than not, the screenwriters either adopt the names of the main characters as the film titles, or entitle the film with the characteristics of the protagonist.Following are some examples of this type of source:

Romeo and Juliet Batman Alexander The Fantastic Four

3.3.2 The Indication of the

The clue or the most important object appearing in the film serving to be the thread that connects the whole plot is often adopted as the title.Following are some examples of this type of source:

Schindler's List 7axi Golden Eye A Clockwork Orange

3.3.3 The Indication of the Background

The background, which plays a very important part in the developing the plot, conveying the theme and portraying the characters, also serves as one of the chief sources for naming a film.This type of source originates from the place or time that is crucial for the development of the plot and the portrait of the protagonists, providing the audience with some basic background information of the film.Following are some examples of this type of source:Troy The Longest Day Mr.Bean's Holiday Air Force One

《特洛伊》 《最长的一天》 《憨豆先生的假期》 《空军一号》

《辛德勒名单》 《的士速递》 《黄金眼》 《发条橙》

《罗密欧与茱丽叶》

《蝙蝠侠》

《亚历山大帝》

《神奇四侠》

3.3.4 The Indication of the Plot

It's the most common type of source of film titles.The title always provides a glimpse of the film plot, or summarizes the content of the film.Following are some examples of this type of source:

Around the World in 80 days Kill Bill Star War Saving Private Ryan

3.3.5 The Indication of the Theme

Some of the films are entitled with the theme that the film intended to convey.Such titles are comparatively abstract, but contain much more symbolized meanings than the other types.They are very thought-provoking, profound and far-reaching in mood.Following are some examples of this type of source:

Pride and Prejudice Brave Heart Top Gun The Sound of the Music

《傲慢与偏见》 《勇敢的心》 《壮志凌云》 《音乐之声》

《环游世界80天》 《杀死比尔》 《星球大战》 《拯救大兵莱恩》

3.4 Features of film titles

Film titles are commonly short and brief to be eye-catching for people.And because the intended addressee of film titles is the general public, the language should be popular and comprehensive.Many rhetoric devices, such as simile, metaphor and oxymoron are employed in the film title to make them vivid and attractive, therefore, they can grab the audience's attention, arouse their curiosity and trigger their action.The overall features of the English film titles will be approached from linguistic, aesthetic, cultural and commercial aspects as follows.In general, English film titles are simple, concise and compact.A lot of film titles employ only one word, which are usually to be nouns.They may be the main character, the place or the time when the story takes place.For example, Speed, Mummy, Titanic and so on.Although there are some long film titles, such as When a Man Loves a Woman and It happened One Night, they are just a small number.Additionally, phrases enjoy the great popularity in the film titles.Most of them are noun phrases, verb phrases and prepositional phrases.3.5 Functions of film titles

”Function“ is a topic largely discussed by the translation scholars.Vermeer defines ction as ”what a text means or is intended to mean from the receiver's point of view".(Nord, 1:28).Each text is produced for a certain function and work this function.The station of a text should also be intended to function for the target receivers.Functionalism draws on Karl Biihler's organon(1934)about the text function.Biihler proposed that there were three basic text functions: referential, expressive and appellative functions.And because the film is a material product as well as a spiritual product, this dual decides that film titles have both functions of artistic appreciation and commercial advertisement, therefore the titles should bear the aesthetic function as well.3.6 Skopos of film title translation

The film is more than just an entertaining system.It is also a means of expression as well as a vehicle for cultural communication.According to Vermeer's Skopos theory, the possible purposes in the translational action can be divided into three kinds: the general purpose aimed at by the translator, the communicative purpose aimed at by the target text, and the purpose aimed at by a particular translation strategy or procedure.(cf.Nord,2001:27-28)Applying this classification in film title translation, we can see that the general purpose of a translator of film title translation is to earn living;the communicative purpose of film title translation is to induce the audience to go the cinema;and the purpose of using particular strategies in film title translation is to preserve or recreate the referential function, expressive function and appellative function to please the audience, regardless of whether the immediately feeling is amusement(comedy), fear(horror)or anything else.Among the three purposes, the communicative purpose is the most important one.A successful film title should be the one that can attract people to the cinema and contribute a lot to the box office.That is to say, the skopos of film title translation is to add the viewer with a translated film title, which can contribute to a good

understanding of the contents of the film, provide information of the background and the plots of the film, set the feeling-tone of the film, increase the title's artistic appeal, win the heart of the audience and promote the box-office.Generally speaking, to make a hit on box-office is the ultimate goal of film title translation..In order to fulfill this purpose, the translator's task is to apply suitable strategies of translation, to provide the clear and concise film titles and induce the audience to watch the film.Chapter Four

Application of the Functionalist Approach to the English

Film Title Translation

4.1 Strategies Employed in the Translation of Film Titles

There is no single translation strategy that can solve all the problems in film title translation.According to the three functions of film title, which we have discussed in chapter three, four main types of strategies can be applied in film title translation.They are transliteration, literal translation, liberal translation and adaption.The following part discusses the four strategies applied in film title translation with rich examples to see how they are adequate to the translation brief, that is the requirements of the referential function, the expressive function, and the appellative as an integrated whole in fulfilling the purpose of entertaining the Chinese audience and promoting the box-office.4.2 Strategies Employed in the translation of Film Titles

There is no single translation strategy that can solve all the problems in film title translation.According to the three functions of film title, which we have discussed in chapter three, four main types of strategies can be applied in film title translation.They are transliteration, literal translation, liberal translation and adaption.The following part discusses the four strategies applied in film title translation with rich examples to see how they are adequate to the translation brief, that is the requirements of the referential function, the expressive function, and the appellative as an integrated whole in fulfilling the purpose of entertaining the Chinese audience and promoting the box-office.4.3 Summary

From the analysis above, we can draw a conclusion that the translation of English film titles doesn't simply mean copying the content and the form of the original title.It a re-creative process based on the functional theories.There isn't a sole method for the film title translation.All methods has its limitations.When one

method does not work owing to linguistic, customary, cultural or other factors, naturally the translator must at once turn to the other means for help.He should have a better understanding of the type and the content of the original film, then he can choose a method which is adequate to the translation brief and well reproduces the referential, expressive and appellative functions of the film title.Chapter Five

Conclusion

5.1 Summary and Conclusion of the Research

In this thesis, we have conducted a study into the application of the functionalist approaches to the translation of English film titles.The film is one of the most influential mass media products.As China' film market's potential becomes larger and larger, more and more English films have entered Chinese market and held a very important position in Chinese people's recreational life.So the translation of film products has become an important part of international economic and cultural exchanges.The study of the translation of film titles is not only necessary but also urgent.That is the reason why the author attempts to make an analysis of the basic strategies applicable to the translation of English film titles from a functionalist perspective.The author elaborates on the functionalist approach that emerged in the 1970s in Germany.The functionalist approach made a breakthrough in the field of translation, which had been dominated by the equivalence theory for a long time.The functionalist approach is a shift from the source-text orientation to target-text orientation.It attaches greatest importance to the skopos, and points out that the prime principle determining the translation action is the skopos(purpose)of the target text.In this sense, the functionalist approach is the most suitable and practicable theory to guide the film title translation.For the Chinese audience, they watch the film for the purpose of entertainment.And as an essential part of the films, the film titles naturally should not only serve the skopos of entertainment, but also the skopos of inducing the audience to see the film.The referential function, the expressive function and the appellative function are defined as the translation brief in achieving this skopos.Various kinds of strategies are employed such as transliteration, literal translation, liberal translation and adaption to fulfill this skopos.All the translation strategies adopted by the translator serve to realize the ultimate purpose of film title translation by highlighting one or two or three of these three functions.Simultaneously meeting the requirements of the three functions achieves the skopos well while meeting the requirements of one or two functions may affect the degree of entertainment.For example, the audience may not feel the specific atmosphere of the film easily due to the translation's failure to meet the requirement of the expressive

function.Therefore, to produce a successful film title under the guidance of the Skopos theory, the translator should first make clear of the skopos of the film title translation, then, he is supposed to fully understand the differences between Chinese film titles and English film titles in culture-specificity, in referential and expressive functions.Finally it is important for the translator to choose appropriate strategy that can best serve the particular function and finally realize the skopos of the translation.The thesis cites rich examples to examine the specific strategies the translator has chosen when translating different kinds of English film titles.The purpose of this study is to analyze whether and how the translators translate in a way that enables the translation to reproduce the referential, expressive and appellative function of the original title.5.2 Limitations and Suggestions of the Research

The present research is a tentative study of English film title translation.However, it is only target receiver-oriented and cannot cover all the aspects of the translation of English film titles due to the limited time and sources.Therefore, there is still much to be investigated in great depth in the translation of English film titles from other aspects.References Christiane Nord.2001.Translating as a Purposeful Activity-Functionalist Approaches Explained, Shanghai: Shanghai Foreign Language Education Press Edwin Gentlzer.2004.Contemporary Translation Theories(Revised Second Edition)Shanghai: Shanghai Foreign Language Education Press Eugene A.Nida & Charles R.Taber.2004.The Theory and Practice of Translation, Shanghai: Shanghai Foreign Language Education Press Eugene A.Nida.2001.Language, Culture and Translation, Shanghai: Shanghai Foreign Language EducationPress Gideon Toury.2001.Descriptive Translation Studies and Beyond, Shanghai: Shanghai Foreign Language Education Press Gutt, Ernest-August.2001.Translation and Relevance, Shanghai: Shanghai Foreign Language Education Press Katharina Reiss.2004.Translation Criticism-The Potentials & Limitations, Shanghai: Shanghai Foreign Language Education Press Mark Shuttleworth & Moira, Cowie.2004.Dictionary of Translation Studies, Shanghai: Shanghai Foreign Language Education Press Mary Snell-Hornby.2001.Translation Studies-An Integrated Approach, Shanghai: Shanghai Foreign Language Education Press Mona Baker.2004.Routledge Encyclopedia of Translation Studies, Shanghai: Shanghai Foreign LanguageEducation Press Munday Jeremy.2001.Introducing Translation Studies-Theory and Applications, London: Routledge Peter Newmark.2001.A Textbook of Translation, Shanghai: Shanghai Foreign Language Education Press Peter Newmark.1988.Approaches to Translation.Cambridge: Cambridge University Press.Peter Newmark.2006.About Translation Beijing: Foreign Language Teaching and Research Press.Quan Xunlian, 2006, A Functionalist Approach to the Translation of Film Titles, Unpublished MA.dissertation, Anhui University

Bian Jianhua, Cui Yonglu[卞建华，崔永禄].2006，功能主义目的论在中国的引进，应用与研究(1987-2005),《解放军外国语学院学报》，5:82-87 Duan Zili[段自力]，2000，翻译目的论介评，《渝州大学学报》(社会科学版)，2:

81-84 He Ying [贺莺]，2001，电影片名的翻译理论和方法，《外语教学》，1:56-60 He Yuemin[何跃敏],1997，当前西片译名中的问题与对策，《中国翻译》，4:41-43 He Ning[何宁]，1998，英语电影片名翻译纵横谈，《上海科技翻译》，3:37-38 Jia Wenbo[贾文波]，2004,《应用翻译功能论》，北京:中国对外翻译出版公司 Jiang Hong [蒋宏〕，2007，翻译目的论原则与电影片名的翻译，《天津市经理学院学报》，2:63-64 Jeremy Munday[杰里米.芒迪〕，(李德凤等译)，2006,《翻译学导论一理论与实践》，北京:商务印书馆

Li Changshuan〔李长栓l，2004,《非文学翻译理论与实践》，北京:中国对外翻译出版公司

Li Qun[李群],2002，片名翻译对“忠实”的颠覆一电影片名翻译的现状及理论依据，《北京第二外国语

学院学报》，5:41-45 Liu Baiyu [刘白玉]，2007，英文电影片名翻译方法研究，《电影评介》19 :63-64 Liu Xiaohui, Cao Ning〔柳晓晖，曹宁]],2006，目的论与电影片名翻译，《湖南科技学院学报》，3:82-84 Long Qianhong「龙千红]，2003，英语电影片名佳译赏析一兼谈电影翻译对译者的要求，《西安外国语学院学报》，3:22-24 Mao Fasheng[毛发生], 2002，两岸三地外语影片片名的翻译比较，《西安外国语学院学报》，4:19-23 Mao Xianhui[毛显辉], 2001，电影片名及相关术语的翻译，《中国科技翻译》,3:56-57 Ning Dongxing〔宁东兴]，2007，浅析英文电影片名的基本特点，《电影评介》，7:.55-56 Ren Hong[任虹]，2007,《翻译引论》，南京:东南大学出版社

Wang Zhao, Jing Yon自ie「王拓，井永洁]，2007，文化语境顺应与英语电影片名的翻译，《西安外国语大学学报》，1:85-87 Wang Yongsheng, Zhao Pengliang【王永胜，赵朋亮]，2007，英文电影作品片名 翻译方法比较研究，《渤海大学学报》6:141-144 Zhang Lizhu, Ren Jingsheng [张立柱，任静生」，2007，浅析英文电影片名汉译中的变译，《合肥工业大学学报》，3: 155-159 Zhang Meihuang [张美芳]，2005,《翻译研究的功能途径》，上海:上海外语教育出版社

Zhao Yushan, Jin Pengsun【赵玉闪，金朋荪]，2007，电影片名翻译策略的目的论

视角，《电影评介》,9:55转60 Zhong Weihe, Zhong Yu[仲伟合，钟钮〕，1999，德国的功能派翻译理论，《中国翻译》，3: 47-49 Zhu Xingjun, Song Jingsong[朱湘军，宋京松], 2001，从东西方不同的哲学思维看英汉电影片名，《怀化师专学报》，6:71-72

第二篇：电影片名翻译研究

最新英语专业全英原创毕业论文，都是近期写作

《红字》中的丁梅斯代尔和齐灵渥斯谁更“恶”？ 中外汽车文化对比研究

从谷歌和百度两大企业的管理方式看中美企业文化的差异

边缘人群的孤独与无奈——对《夜访吸血鬼》中路易斯的研究 身体语言在跨文化交际中的重要作用 浅谈进口商品商标的翻译

论美国文学中的自然主义产生的社会文化根源 《推销员之死》中美国梦破灭的主要原因

On the Aesthetic Connotation of the Death in For Whom the Bell Tolls by Hemingway An Interpretation of Feminism in Byatt’s Possession

文档所公布均英语专业全英原创毕业论文。原创Q 799 75 79 38 葛浩文英译《红高粱家族》的翻译策略研究 浅析中西饮食文化的差异

A Comparison of the English Color Terms 关联理论视角下英语广告双关语的解读

目的论指导下《页岩》英译汉中的词类转译现象

《马克•吐温—美国的镜子》中的中英文衔接手段的对比和翻译 从最佳关联原则看口译中的“归化”和“异化” 从《动物庄园》看乔治·奥威尔反极权主义思想 从关联理论看电影字幕翻译策略

An Analysis of Hamlet’s Delay of Revenge in Hamlet 从功能翻译论的角度探讨品牌名称的翻译 中西方茶文化对比研究——以红茶为例 论旅游指南的翻译

浅谈《欲望号街车》所阐述的欲望

Resonant Effect of Dialogues in Lolita on Readers A Comparison of the English Color Terms 在仙境中成长——《爱丽丝梦游仙境》的主题研究 从关联翻译理论看《圣经》汉译过程中的关联缺失 从《飘》中人物性格分析看适者生存的道理

The Impact of High and Low Context on Intercultural Communication 论《少奶奶的扇子》中的扇子

群体隐私和个体隐私——中美家庭中隐私观念的对比研究

To Obey or Rebel –A Study of Female Characters in Moment in Peking 《闻香识女人》角色分析

言语行为理论视角下的商务索赔信函话语分析 由《麦琪的礼物》看欧亨利写作特色

Gender Difference in Daily English Conversation 从校园官方网站角度对比研究中美校园文化 英汉礼貌用语对比研究

论简奥斯汀小说中的反讽艺术

跨文化交际中身势语的研究

从《实习医生格蕾》浅析美剧所反映的文化背景和趋势 对中西方传统节日之文化差异的研究

A Probe into Three Phases for Effective Business Negotiations 对张爱玲与简•奥斯汀作品的比较性研究 论商务谈判口译员的角色

Cultural Influences on Business Negotiation between China and Japan 高中学生英语课堂口语交际活动的错误分析 从用餐礼仪看中美核心价值观差异

从《唐顿庄园》看一战对英国庄园经济文化的影响 阶级矛盾导致的爱情悲剧―<<呼啸山庄>>解读 试论英语中的歧义与翻译

从小飞侠彼得•潘浅析詹姆斯•巴里的悲剧人生

美国战争电影的人性和文化透视－－以《拯救大兵瑞恩》为例 《宠儿》中塞斯的性格分析

英汉味觉词“酸甜苦辣”的比较分析 目的论视角下旅游文本的翻译

An Analysis of Jane Eyre’s Contradictory Character

A Probe into For Whom the Bell Tolls: the Eco-awareness of Hemingway 中英死亡委婉语翻译的跨文化研究

Analysis of the Female Characters in Oliver Twist

浅析英语谚语中的性别歧视现象及其成因

论英语习语的语言和文化功用 存在主义与海明威的“硬汉形象” 方位介词“over”的隐喻含义研究

哥特式风格特征在《远大前程》中的诠释 初中英语词汇教学的有效方法

简单的深邃—论佛洛斯特诗歌的隐秘性

论田纳西•威廉斯《欲望号街车》中的逃遁主义

Slips of Tongue in English Learning as a Second Language 试析托尼•莫里森《爱娃》中的魔幻现实主义 商务英语中的缩略词研究

中国领导人讲话中中国特色词汇的汉英翻译 中西方对鬼怪认识的差异

从文化差异角度看中式菜单英译

Psychological Analysis of Holden in The Catcher in the Rye 英语词汇学习存在的问题及对策研究

从目的论视角下对比研究《哈利•波特与火焰杯》的两个中译本 商务英语信函中的礼貌原则

从功能对等角度分析英文电影片名汉译 中美乡土文学中人性美的文化差异分析 模糊语在国际商务谈判中的语用功能研究 谭恩美《灶神之妻》文化解读

法律语言特征和法律语言翻译 88 浅析奥斯丁的女性意识

浅析《德伯家的苔丝》中苔丝的反叛精神 90 从古至今的吸血鬼文化

A Comparison of the English Color Terms 92 从韦恩•布斯的修辞理论角度分析《爱玛》中的修辞手法 93 商务英语信函中的礼貌原则

试析《旅游巴士》中的犹太文化内涵 95 The Tragic Fate of Tess 96 Rationalism in The Mysterious Stranger 97 卡勒德·胡赛尼《追风筝的人》阿米尔的救赎分析 98 幽默元素在英语电影和电视剧中的翻译 99 浅谈英语影片名的翻译 100 商务信函中的介词用法

《威尼斯商人》中的种族及宗教冲突

The Application of Multi-media in Middle School English Teaching 103 从目的论角度看外宣翻译研究

从交际翻译理论看幽默对话翻译——以《老友记》第一季为例 105 模糊数词在英语习语中的构成形式及其修辞功能 106 重新诠释玛格丽特的人生悲剧根源

从爱伦·坡《黑猫》探讨人性的善良与邪恶 108 以姚木兰和斯嘉丽为例看东西方女性意识差异 109 中西跨文化交际中的礼貌问题之比较分析 110 从女性主义看《呼啸山庄》

从后殖民视角解读《孤独的割麦女》 112 论英语新课标下高中生跨文化意识的培养 113 浅析《红字》中象征手法的运用

English Teaching and Learning in China's Middle School 115 英文电影名汉译中的功能对等 116 论《小镇畸人》中人物的怪诞性

二元对立模型在伍尔夫《达洛卫夫人》中的应用 118 初中英语教学中的角色扮演 119 “误译”现象的合理性探析 120 如何有效地扩展大学生英语词汇

On Characteristic Features of the Main Characters in The Moon and Sixpence 122 观春潮：浅析“戏仿”背后海明威性格阴暗面 123 从归化与异化的角度研究《金锁记》的翻译策略 124 中西餐桌礼仪文化差异

A Naturalistic Approach to Jude’s Tragedy in Jude the Obscure 126 浅析托妮·莫里森《宠儿》中人物的身份建构 127 从社会符号学角度浅谈汉语“一”字成语翻译 128 从言语行为理论研究广告英语中的隐喻 129 《哈克贝利•费恩历险记》中阶级面面观

A Contrastive Study on Traditional Festivals in Chinese and Western Cultures—from the

Perspective of the Disparity between Spring Festival and Christmas Day 131 美国战争电影的人性和文化透视－－以《拯救大兵瑞恩》为例 132 中西建筑文化差异及其形成背景分析 133 通过会话原则分析手机短信语言

从目的论看《生活大爆炸》的字幕翻译 135 英语电影片名翻译策略研究

浅析《恋爱中的女人》的圣经意象原型——从原型批评角度解读 137 从情景喜剧《老友记》浅析美国俚语的幽默效果 138 英文电影题目翻译的异化与归化研究

“黑人会飞”——托妮•莫里森小说《所罗门之歌》中的黑人神话研究 140 从合作原则违反角度分析《破产姐妹》中的幽默话语 141 从《葡萄牙人的十四行诗集》探究布朗宁夫妇的爱情 142 Judy’s Double Character in Daddy-Long-Legs 143 从校园流行语看中美学生思维方式的差异 144 从麦当劳看美国快餐文化

论亨利•詹姆斯的世态小说的特征—以《黛西•米勒》和《贵妇画像》为例 146 论企业对员工过度压力的管理

论简·奥斯汀在《傲慢与偏见》中的婚姻观 148 从目的论的角度来看新闻英语中委婉语的翻译 149 目的论下进口汽车说明书的翻译研究 150 A Comparison of the English Color Terms 151 《傲慢与偏见》中的对立与统一

152平衡的维系——《天钧》中的道家思想 153 英语广告语中隐喻的研究 154 商务信函中的语气结构分析

155 论《永别了，武器》中战争对人物的影响 156 论被动句的翻译

157 从《蝙蝠侠：黑暗骑士》与《叶问》看中美电影中塑造英雄方式的差异 158 《红字》中替罪羊形象的分析

159 文化全球化语境下中英婚姻习俗的对比研究 160 从《爱玛》看简•奥斯丁的女性主义意识 161 从生态女性主义视角解读《喜福会》

162 《哈克贝里·费恩历险记》中哈克和吉姆的人物形象分析

163 A Contrastive Study on Language Features of Chinese and English Proverbs 164 李安电影中的文化融合现象

165 语音歧义和语义歧义的语言学分析 166 爱伦坡侦探小说中恐怖气氛的营造方法 167 大学英语课堂教学师生互动建构浅析

168 从唯美主义的角度论《道林.格蕾的画像》中的主要人物 169 英语幽默语的语用研究

170 解读《金色笔记》中的女性主义 171 论奥康纳短篇小说的创作特色

172 哈代的悲观主义和宿命论在《德伯家的苔丝》中的体现 173 《哈利•波特》系列作品中颜色的象征意义

174 《简爱》中女主人公的人生观分析 175 情景教学法在小学英语课堂中的运用

176 《基督山伯爵》与《肖申克的救赎》中男主人公的形象比较 177 普通话对英语语音的迁移作用 178 探析《夜访吸血鬼》中的孤独

179 试析英汉颜色习语折射出的中西文化异同 180 《红色英勇勋章》主人公刻画手法分析 181 商务英语信函中名词化结构的翻译

182 英语文学作品与改编电影的差异——以 《傲慢与偏见》及其版改编电影为例 183 学前英语游戏教学法

184 美国个人主义和中国集体主义的对比与分析

185 Living in the Crack: A Study of the Grotesques in Winesburg, Ohio 186 应用多媒体资源提高英语新闻听力 187 目的论指导下的导游词英译策略研究

188 从《看得见风景的房间》看女性身份的遗失和找寻 189 论西尔维娅•普拉斯诗歌中的死亡意象

190 从跨文化的视角分析美国动画“辛普森一家”中的习语现象 191 多媒体技术在英语语境教学中的应用

192 虽不起眼，但不可或缺：从《洛丽塔》中的小人物看亨伯特悲剧的必然性 193 The Tragic Color of Tender Is the Night 194 浅析《黛西米勒》中男女主人公矛盾情感背后的文化冲突 195 从女性意识的角度解读《荆棘鸟》中的女性形象 196 文明的樊笼—解读《野性的呼唤》 197 商务英语翻译中的隐喻研究

198 高中英语词汇教学中文化意识的培养 199 华盛顿•欧文与陶渊明逃遁思想对比研究 200 汉英礼貌原则对比浅析

第三篇：电影片名翻译赏析

中文电影片名翻译赏析

一、非诚勿扰 If You Are the One 剧情简介：秦奋(葛优饰)的天才发明被风险投资人(范伟饰)出天价买断。一夜暴富的这位“剩男”揣着家底开始了“征婚”旅程。漫漫“征途”上，各怀心事者纷至沓来，一段“人间喜剧”演出2008世间百态。几经周折后，秦奋终遇倾心佳人梁笑笑(舒淇饰)。无奈，美人心有所属。秦奋究竟如何逆流而上？几番悲欣交集后，有志者事竟成！秦奋终于带着他的真爱开始一段全新征程。

片名翻译赏析：本片主要开头就是主人公想找个人结婚，“the One”恰恰能够表明主人公想找到心目中的那个她的愿望。然而电影的线索是征婚，一个一个来试，所以英文片名翻译中加了“If”。中文名是从否定意义上说的：不诚恳，不适合就不要来打扰；英文名反了过来，从正面来假设：如果你合适。这两者有异曲同工之妙，着实为非常好的片名翻译。

二、101次求婚 Say Yes 剧情简介：乐团的大提琴手叶薰（林志玲 饰）因为三年前的未婚夫许卓（高以翔 饰）因车祸缺席婚礼而受到伤害，三年来美丽高雅的她虽然身边追求者不断，自己却无法再爱上一个人。不期然的是，黄达（黄渤 饰），一个平凡的不能再平凡，在相亲路上饱受挫折的包工头闯入她的生活，打破了叶薰原本宁静的生活。二人因为一次黄达帮叶薰解围了一场演变成闹剧的相亲而相识，叶薰更是帮黄达要回了被拖欠许久的工程款。在一来一往的相处中，黄达逐渐被叶薰独特的气质吸引，不顾一切的展开了对叶薰的爱情攻势。而叶薰也在想方设法的回绝黄达的过程中对这个执着的为自己付出的男人渐生情愫。然而就在叶薰为黄达的真情所动时，消失了三年的许卓重新出现在了她的生活中，成了二人感情的最大障碍„„

片名翻译赏析：中文名称直截了当地介绍了片中很重要的一个剧情，男主人公为了寻找爱情已经相了101次亲，而当他找到自己的真爱时，他渴望对方能够答应自己。西方的婚礼中很重要的一部分就是相互说“Yes, I do”，所以该片的英文名也很巧妙的使用了归化加意译的手法，点明主人公为了使女主角Say Yes而付出的艰辛努力。三、一代宗师 The Grandmaster 剧情简介：广东佛山人叶问（梁朝伟 饰），年少时家境优渥，师从咏春拳第三代传人陈华顺学习拳法，师傅“一条腰带一口气”的告诫，支持他走过兵荒马乱、朝代更迭的混乱年代。妻子张永成（宋慧乔 饰）泼辣干练，二人夫唱妇随，琴瑟合璧。

1936年，佛山武术界乱云激荡。八卦拳宗师宫羽田（王庆祥 饰）年事已高，承诺隐退。其所担任的中华武士会会长职位，自然引起武林高手的关注与觊觎。包括宫羽田的独生女宫二（章子怡 饰）在内，白猿马三（张晋 饰）、关东之鬼丁连山（赵本山 饰）、咏春叶问等高手无不将目光聚焦在正气凛然的宫羽田身上。拳有南北，国有南北乎？最有德行之人才堪会长重任，然这浮世虚名却引得无数迷乱之人狂醉奔忙，浪掷残生。生逢乱世，儿女情长埋藏心底，被冷若寒冰的车轮碾作碎泥„„

片名翻译赏析：片名直接点明影片的主要内容是关于一代德高望重的武术宗师的故事，主题鲜明，所以英文译名也采取了直译的手法，使得观影者一眼就能看明白这部影片讲述的内容，切合主题，不拖不沓，清楚明了。

四、听风者 The Silent War 剧情简介：1949年，新中国建立之初。江山初定，百废待兴，和平的表象下没有硝烟的战争早已拉开序幕。败逃台湾的国民党接连向大陆派出特工，伺机破坏。为了应对接二连三的破坏活动，中共成立情报部门701局与敌方展开连番较量。同年10月初，701局控制的侦听局莫名消失，为了查清消失电台的下落，701局负责人老鬼（王学兵 饰）授命代号二〇〇的张学宁（周迅 饰）去上海寻找耳力超群的钢琴调音师罗三耳。结果阴差阳错，学宁找到了罗德小徒弟——耳力同样超群的盲人调音师阿兵（梁朝伟 饰）。

阿兵不负众望，不仅通过层层严苛的考试，还在工作中一鸣惊人。在残酷的谍报战争中，阿兵和学宁之间某种情愫也暗暗滋生„„

片名翻译赏析：该片英文片名如果直译回汉语就是无声的战争，但实际上片中讲述的故事最为重要的一个元素就是电台中的声音。风几乎是悄无声息的，但总能有耳力超群的人能够听到，也可能是译者为了故意夸大，借“Silent”来表明主人公赢得这场战争的不易。总体来讲，此片名的翻译不好不坏。

五、中国合伙人American Dreams in China 剧情简介：20世纪80年代，三个怀有热情和梦想的年轻人在高等学府燕京大学的校园内相遇，从此展开了他们长达三十年的友谊和梦想征途。出生于留学世家的孟晓骏（邓超 饰）渴望站在美国的土地上改变世界，浪漫自由的王阳（佟大为 饰）尽情享受改革开放初期那蓬勃激昂的青春气息，曾两次高考落榜的农村青年成冬青（黄晓明 饰）以晓骏为目标努力求学，并收获了美好的爱情。然而三个好友最终只有晓骏获得美国签证，现实和梦想的巨大差距让冬青和王阳倍受打击。偶然机缘，被开除公职的冬青在王阳的帮助下办起了英语培训学校，开始品尝到成功的喜悦。在美国发展不顺的晓骏回国，并加入学校，无疑推动三个好友朝着梦想迈进了一大步。

只是随着成功的降临，他们的友情也开始承受严峻的考验„„ 片名翻译赏析：西方人对“American Dreams”是再熟悉不过了，本片名的翻译采取了归化的手法，把发生在中国通过奋斗而成功的故事译为发生在中国的美国梦。但个人认为，自改革开放以来，很多人都通过努力实现了各自的梦想，尤其是近期中国梦的提出更是呼应了这一主题，所以应译为“Chinese Dreams”更为恰当，同时这样也能更有力地向国外推广国内的文化。

第四篇：电影片名的翻译

归化：

My Best Friend's Wedding新娘不是我 “Leon”译为“这个杀手不太冷” Rock石破天惊

一片多名的问题较突出。由于大陆、香港、台湾三地在文化背景和思维习惯方面存在着一些差异,语言的使用受到一些影响。同样一部影片便有不同的译法。大陆根据影片内容和主题,一般采用顺译的办法,香港则倾向于重新取名。以影片Ghost的翻译为例,大陆译为《幽灵》,香港译为《人鬼情未了》台湾则译为《第六感生死恋》。为了吸引观众的注意力,过分追求票房效果,大肆进行商业炒作,在片名的翻译上商业味太浓。片名翻译中常用一些刺激、煽情的文字。如港台把海明威的名作The Sun Also Rises《太阳照样升起》译为《妾是朝阳又照君》,与原片名和影片内容风马牛不相及,影响了影片的艺术魅力。

反战电影Fahrenheit 9/11被毫无悬念的翻译成“华氏911”。2004年上映，一部记述伊拉克战争前后美国情势的纪录片。美国因何成为恐怖分子的袭击目标？为何乐于卷入战争？乔治布什的政策与9•11事件的爆发有何联系？而他和本•拉登之间关系怎样演变至宿敌？片中用真实的历史场景，从某个侧面提供了一种解读方式。除了关注美国国内，镜头也对准了伊拉克战场。厌倦了战争的美国士兵、被耻笑的伊拉克俘虏、饱受战乱之苦的当地人民，人人都在这场战争遭受着不同的痛苦和煎熬。美军家中的善良母亲，准备去前线服役的热血青年，都对布什的政策、对伊拉克战争，开始沉重的思考。一些熟悉美国科幻小说的人会联想到《华氏451度》Fahrenheit 451，该书于1953年出版，小说中描绘了一个丑陋的未来世界，政府不准公民有独立思考能力，居然命令消防员fireman充当纵火者烧毁了图书馆和民居楼里面的书籍。华氏451也就是攝氏centigrade233度就是书本燃烧的温度。导演迈克尔-摩尔说他之所以给电影取名“华氏911”是因为“在这个温度下，自由也会燃烧”。摩尔在影片中直接批评布什政府在反恐怖主义上的态度，指出布什取得的所谓“成就”不过是符合了他的自身利益。同时，他还揭露了布什家族与拉登家族之间不同寻常的政治和金融关系。华氏是美国人用来计量温度的单位，作为片名的一部分，异国风情跃然纸上。“华氏911”，这样的译名以最简单的方式为中国观众勾勒出对这部纪录片的认知路线图，是成功的异化翻译实践。

如1939年公映的美国影片“Gone with the Wind”有多种译名，有的直译为《随风而逝》，有的意译为《乱世佳人》和《飘》三种译名各有千秋，但意译片名《飘》更显绝妙。“飘”字更符合中国观众的心理，使中国观众产生美妙的幻想，“飘缥渺渺”的含蓄美呼之欲出。“飘”字也概括出影片的灵魂，观众的思绪随乱世中人们的命运而飘，随古老的南方文明而飘，随复杂的情感波折而飘，随外柔内刚的女主人公斯佳丽的成长与拼搏而飘。残酷的战争让一切美的东西随风逝去，“飘”字留给观众无尽的遐想，一个字足以显示中文的博大精深和丰富内涵。

You’veGot Mail1998公映，译为《电子情书》《网络奇缘》，无疑给影片赋予了浪漫主义的色调。乔（汤姆•汉克斯 Tom Hanks 饰）和凯瑟琳（梅格•瑞安 Meg Ryan 饰）是生意上的竞争对手。凯瑟琳经营着母亲留下来的小书店，那里温馨宜人，已有40年历史，为街坊所熟知。乔却是同街一间大书店的老板，凭着自身优势，一开业就搞低折扣、服务佳的策略。凯瑟琳十分排斥他的入侵，白天二人展开斗法。不料晚上却在互联网的虚拟时间中结为挚友，不知道彼此身份的夜谈，让他们感情迅速升温。

虽然他们都有自己的情侣，但网络中倾心的交往令他们决定要出来见见面。然而就在此时，乔却意外知道了这个网上知己的真实身份，从此对凯瑟琳有了全新的认识，暗暗忖度该如何接近佳人……。如果将这部影片译为《有你的邮件》或《你有了邮件》等，那将极大地损害原名给人们带来的想象力。

美国影片Sound of Music(1965)最初译为大陆译名采用顺译的办法译为《音乐之声》,非常直观;台湾译为《真善美》,比较宽泛;而香港的译名是《仙乐飘飘处处闻》,片名取材于唐朝诗人白居易的《长恨歌》:“郦宫高处入青云,仙乐飘飘处处闻”,旨在突出片中的音乐主题。“仙乐飘飘处处闻”或“真善美”，就不如后来按字面直译为《音乐之声》简明实，直入主题，更为平民化、口语化，此片也有首脍炙人口的曲贯穿始终并引领剧情向前发展，《音乐之声》已成为代表朴美的上乘佳作。采用直译的篇名还有很多如:Pearl Har（《珍珠港》），Water world（《水世界》），Dances with Wolves（《狼共舞》），Six Days Seven Nights（《六天七夜》），True Lies（《实的谎言》），Love Story（《爱情故事》），Scent of Women（《女香》），Roman Holiday（《罗马假日》），the Old Man and the S（《老人与海》），the Princess Diaries（《公主日记》），Taxi Dri（《的士司机》），the God Father（《教父》），The Jazz Singer（《爵歌手》），Rain Man（《雨人》），Sense and Sensibility（《理智与感》）等。

片名渲染惊险、恐怖的气氛,极具冲击力,如The Ring译为《午夜凶铃》, Scream译为《夺命狂 呼》。

Waterloo Bridge译为《魂断蓝桥》,语言可谓精致凝练,给观众提供了与原文内容有关的信息,同时又富含中国传统文化韵味。如果直译成“《滑铁卢桥》”则容易让观众错误地联想到那破仑兵败滑铁卢。原名富含西方文化色彩,因为在英国的确有一座名为Waterloo bridge的桥。根据剧情对原名做一定的修改,并保留其部分内容“桥”,可谓是让人叫绝的佳译。电影原名Waterloo Bridge,直译为《滑铁卢桥》,描写了一对英国青年男女在二战期间的爱情悲剧故事。女主人公玛亚因战争和英国社会带给她的种种不幸,在幸福即将来临时,惨死在伦敦滑铁卢桥上,留给男主人公罗伊无限的感伤。滑铁卢桥位于英国泰晤士河上,建于1817年,以纪念威灵顿公爵指挥英国军队打败拿破仑而取得滑铁卢战役的胜利。如果依据英文直译为《滑铁卢桥》,不仅不能传达影片的情节,而且还会误导观众产生先入为主的错误印象。观众一见“滑铁卢”三个字便以为这是部与拿破仑打仗或滑铁卢战役有关的纪录片。发行商为了让影片具有文化品味、凸显其感情色彩,借用《太平广记》蓝桥求浆典故,将“滑铁卢桥”转译为“蓝桥”,成功避免了中国观众由于地域文化差异、历史背景知识缺乏而引起的迷惑,点明爱情主题,再加上“魂断”二字,暗示悲剧性结局,实为佳译。

The Bridge of Madison County 1995《廊桥遗梦》如译为《麦迪逊之桥》则没有对影片内容进行最好的诠释,也未能给观众留出丰富的想象空间。姐弟两人都面临着家庭离异的困扰。这时母亲弗朗西斯卡去世的消息将他们召回了童年时生活的乡村。在母亲留下的一封长信中他们了解到了母亲深埋在心底的一段感情秘密„„1965年的一天，一家人都去了集市。弗朗西斯卡独自留在家中。摄影记者罗伯特·金凯的车停在了门前。他向她打听曼迪逊桥的所在。两人互相讲起了自己的婚姻家庭： 罗伯特与前妻离异，而弗朗西斯卡伴着丈夫和一儿一女过着单调而清寂的乡村生活。夜色降临，弗朗西斯卡在送走罗伯特后竟有一种依恋的心情。她终于下定决心驱车前往罗斯曼特桥，将一张纸条订在了桥头。第二天，工作了一天的罗伯特终于发现了纸条。他接受了弗朗西斯卡的邀请，两人在桥边一起工作，拍照。夜色再次降临，两人回到弗朗西斯卡的家中共进晚餐，在轻柔的音乐舞曲中，两人情不自禁地相拥共舞，最后一起走进了卧室。以后的两天两人整日厮守在一起。然而弗朗西斯卡却不愿舍弃家庭，两人痛苦地分手了。罗伯特走后，弗朗西斯卡收集了他所有的作品。在1982年3月，她得知了罗伯特的死讯，并收到了他的项链和手镯以及当年订在桥头的纸条。她把它们放在木盒中，每年生日翻看一次。1989年弗朗西斯卡过世了，她在遗嘱中要求子女们将她的骨灰撒在曼迪逊桥畔。卡洛琳和迈克都被母亲的感情故事和对家庭的责任心所感动。他们同情并理解自己的母亲。同时，他们也开始珍视目前的家庭，放弃了草率离婚的打算。

“Bridges of Madison County”译为“廊桥遗梦”,“遗梦”可以看作是一种双关的修辞手法,字面上可以理解为“(母亲)留下的梦”,也可以理解为“(母亲)遗憾的梦”,而“梦”本身又意味着母亲最后没有舍弃家庭的责任,而舍弃了爱情。同时母亲的“梦”又使她的儿女清醒,使他们意识到应该承担家庭的责任,而不是草率离婚。Singing in the Rain《雨中曲》,既有极佳的音韵效果,又符合中国文化传统,具有典雅的特征。在中国文化中,《渔光曲》、《摇篮曲》、《思乡曲》等都是人们喜闻乐见的曲名,《雨中曲》易为观众所接受。另外,“传”“正传”在汉语中表示传记。如“列传”、“别传”、“外传”以及“自传”等等。不少文艺作品以“传”作为其名称,像《水浒传》、《阿Q正传》。因此,一些以故事中的人物命名的影片, ，奥斯卡获奖影片American Beauty，对于绝大多数中国观众来说，这是一部难懂的作品。其中文译名有《美国丽人》、《美国大美人》、《美国心，玫瑰情》、《美丽有罪》等等，这些死扣字面、呆板直译出的译名从方面说明这部影片应该有着深厚的文化内涵。它讲述了郊区一个中产阶级家庭道德崩溃的故事。莱斯特（凯文-斯帕西）是标准的中产阶级，已至中年，生活索然无味，他的妻子卡洛琳（安奈特-贝宁）是地产经纪人，冷漠而野心勃勃。女儿珍妮是啦啦队员，早熟而混乱。莱斯特为了追求珍妮的同学性感的安杰拉而对女儿虚情假意。莱斯特开始处于分裂状态，他恍若回到了19岁，不断追求安杰拉，并不惜练健美、吸毒、辞去工作去餐厅像中学生一样打工她的妻子也与其他男人私通并被莱斯特撞见。而此时，他的女儿也正在策划与他人私奔。一个完美的标准的中产阶级家庭正处于崩溃中。最后，莱斯特的死亡使一切疯狂达到顶点。

《美国美人》整部电影充满烦躁喧嚣及病态幽默，处理中年危机及中产阶级家庭危机这一问题极具深度。American Beauty

本意是美国产的红蔷薇，实际上，American Beauty是中产阶级的一个标志，它高雅，又艳俗，欣欣向荣，又消极颓废。而影片主题正是批判没落的美国中产阶级，描述了一群生活在如萨特所描述的“地狱”中而又努力劝说自己一切都很好的人们。以上提到的译名都难让观众直接将American Beauty的文化含义美国红蔷薇对等起来，不利于这一文化含义在中国的传播，所以不如直译为《美国红蔷薇》，达到其信息功能和美感功能，从而实现祈使功能，让观众浸润在崭新的源语文化之中，从而建立源语文化的文化预设。

影片Lolita是的原著曾被列为禁书纳博科夫（Vladimir Nabokov。故事讲述一个中年男子带着对伦理的蔑视爱上了其再婚妻子的小女儿：放荡调皮而早熟的Lolita。叙述了一个中年男子与一个未成年少女的畸恋故事。虽然大陆文学界早已认同其音译名《洛莉塔》，但库布里克的Lolita搬上银幕时我国译者用诗句为这部惊世骇俗的电影取名为《一树梨花压海棠》。译名的出处据说是苏轼送给一对老夫少妻的一首诗：“十八新娘八十郎，苍苍白发对红妆。鸳鸯被里成双夜，一树梨花压海棠。”梨者，老也；海棠则娇艳欲滴。以梨花和海棠暗指白发与红颜，而“压”字连接两者，意境一成，主题鲜明。译者追求的是电影片名的信息功能和美感功能，从而激发了观众强烈的观赏欲望。

如美国电影Forrest Gump,它是以男主人公的名字来命名的个人传记性质的电影。主人公连同他的名字都是杜撰的,但影片穿插的是对美国历史影响至深的真实事件,其最终目的是引起人们对历史的反思。片中主人公作为一种精神象征,凝结了许多美国人的生活历程和性格特征。片名译为《阿甘正传》,既忠实传达了影片的切入视角和真实意图,又顺应了中国民俗文化。中国从《史记》开始就有“正传”、“外传”,还有中国观众熟悉的中国电影“阿Q正传”,同时汉语中“阿”字通常用在人名前,以表示亲近称呼,在江浙、闽南、粤南、港奥台至今仍然保留这种用法,“阿甘”二字合在一起,一个非常熟悉,就在你我身边的典型的普通百姓形象一跃而入脑海,从而对这部从拍摄手法到拍摄理念完全西方化的影片有了一些好感和认同,拉近了影片与观众的距离。

儿童影片Home Alone被译为《小鬼当家》,在中国儿童甚至成年观众中都引起了反响。“小鬼”在汉语中是一种呢称,表现了人们对智勇双全但又十分淘气的小孩的由衷喜爱,就像《小兵张嘎》里的嘎子,既足智多谋又调皮捣蛋。因为在中国人眼里,“小鬼”正是指像影片中的小主人公那样既足智多谋又淘气可爱的小家伙。《小鬼当家》符合中国人的审美取向,具有亲和力,能激起人们的观看欲望。另一部在全美及世界各地热播的影片Spiderman,在中国也引起了观众的喜爱。英文片名中的“man”译成“侠”,就是顺应了中国的民族文化。“侠”在中文中的意思是劫富济贫,侠骨柔肠的侠客形象,再加上影片的电脑特技,使影片更为观众所喜爱。

美国影片One Flew Over the Cuckoo’s Nest在台湾被译为《飞越杜鹃窝》，显然是没有理解影片内容的错译，而大陆根据其剧情改译为《飞越疯人院》就很准确。

美国影片The Shawshank Redemption在台湾被译为《刺激1995》，据说这样取名仅仅是因为该片上映时是1995年。而大陆直译为《肖申克的救赎》更为贴切些。相比之下，大陆译名更忠实于电影英文原名，多为直译，不附加其他多余成分。

《大话西游》系列在翻译时，并没有把重点放在中国文化层面上，将名字译为A Journey to the West，而是反其道而行，在名字上寻求中西方文化的对应。因此，其译名分别为Pandora’s Box（月光宝盒）与Cinderella（大圣娶亲）。这类译名在西方很容易被接受。

而影片《赤壁》的译名“Red Cliff”却引发了人们的质疑，这种译法很容易让人联想到《红岩》。也有人认为，“对于外国观众来说，单纯翻译成'Chibi'或者'Red Cliff'都不能传达这部作品的含义，译作'Burning Bank'，'The War of Chibi'，或者'Bloody Quay'比较合适。”在《三国演义》的英文版中，“赤壁”就已经译作“Red Cliff”了。片方回应，命名也由此得来。搞笑的翻译： 《花样年华》（In The Mood For Love）《ashes of time》——时间的灰烬（《东邪西毒》，《霸王别姬》=《Farewell My Concubine》——再见了，我的小老婆； 《甲方乙方》=《Dream Factory》——梦工厂；

《烈火金刚》=《Steel Meets Fire》——钢遇上了火； 《刘三姐》=《Third Sister Liu》——第三个姐姐刘；

《国产007》=《From Beijing with Love》——从北京带着爱； 《唐伯虎点秋香》=《Flirting Scholar》——正在调情的学者； 《鹿鼎记》（黄晓明版陈小春版梁朝伟版）=《Royal Tramp》——皇家流浪汉； 《英雄本色》=《A Better Tomorrow》——明天会更好

《Steal Happiness》——偷喜（《没事偷着乐》，直接联想到了“偷欢”，以为是限制级的）

《In the Heat of the Sun》——在炎热的太阳下（《阳光灿烂的日子》，原文的“阳光灿烂”可有寓意啊。译文让JEWAYS想起中学语文第几课来着——祥子拉着人力车在街上走）

《Far Far Place》——很远很远的地方（《在那遥远的地方》，想起LONG LONG AGO）

《Once Upon a Time in China》——从前在中国（《黄飞鸿》，大而无边）

《Twin Warriors》——孪生勇士（《太极张三丰》，张三丰是双胞胎吗？）

《A Man Called Hero》——一个叫做英雄的男人（《中华英雄》，译者偷懒，照抄影评的第一句）

《Funeral of the Famous Star, The》――明星的葬礼（淡出鸟来，《大腕》）《Treatment, The》――治疗（《刮痧》，如果美国法律这么认为就好了 《Woman-Demon-Human》――女人-恶魔-人类（《人鬼情》，失恋中的译者）

第五篇：论文大纲-英语电影片名的翻译

The Translation of English Film Titles Chapter One Introduction

Clarify the research background and meaning, theoretical frame and organization structure of this thesis.Chapter Two The analysis of English movie titles I.Types of film

II.General features of English film titles i.Language characteristic ii.Artistry

iii.culturality(文化性)ⅳ.Commercial III.The principles of English film titles translation i.Information value principle ii.Aesthetic principles iii.Goal orientation principle ⅳ.Cultural value principle Chapter Three The function and role of English film titles I.Correspond with the film and be easily understood II.Concise and easy to be remembered III.Attract audience and increase the box-office income Chapter Four The translation methods and skills of English film titles I.Translation methods of English film titles i.Literal translation ii.Free translation

II.Translation skills of English film titles

i.Combination of literal translation and free translation ii.Compiling method Chapter Five Conclusion

Summarize the whole passage, put forward some suggestions to the translation of film titles.Also points out the limitation of essay writing and bring up some suggestions in future research.第一章 绪论

阐明本文的研究背景、写作目的、理论框架和组织结构。第二章 英语电影片名的分析

对英语电影片名做了一个总体分析:介绍了电影的种类，分析了电影片名的基本特点和原则，为探讨其翻译方法奠定了基础。2.1电影的种类

根据电影的不同内容和性质,我们大致可将其分为爱情片、战争片、伦理片、科幻片、悬疑片等。

2.2英语电影片名的基本特点 2.2.1语言特色 2.2.2艺术性 2.2.3文化性 2.2.4 商业性

2.3 英语电影片名翻译的原则 2.3.1信息价值原则 2.3.2美学欣赏原则 2.3.3 目标取向原则 2.3.4文化价值原则

第三章

英语电影片名的功能及作用

本章具体探讨了电影片名所具有的三种基本功能，即1)切合原影片的内容、反映原影片的主题、突出原影片的风格;2)言简意赅、便于记忆;3)吸引观众、增加票房收入。

3.1切合影片，通俗易懂 3.2言简意赅，便于记忆 3.3吸引观众，增加票房收入

第四章

英语电影片名翻译的方法及技巧 4.1英语电影片名的翻译方法 4.1.1直译 4.1.2意译

4.2英语电影片名的技巧 4.2.1直译意译结合 4.2.2编译法 第五章

结论

结论部分，对全文进行了总结，对电影片名的翻译提出了一些建议，同时也指出了论文写作的局限性并对今后的研究提出了一些建议。