Though different from its counterpart ---literal translation, the subtitling translation is no doubt a component of the translation field, and hence, such kind is supposed to accord with the general rules and methods adopted by the circle of translation. Certainly, that is not to say we would ignore the differentia. On the contrary, the type of the movie, the response from the target audience as well as the acoustical effect and the like, signaling the subtitling translation, should be taken into serious consideration and translated through special methods. The principle of “Faithfulness, Expressiveness, Elegance” in the translation, put forward by the famous ancient Chinese Mr.Yanfu has been always thought highly among the scholars. Accordingly, that also can be used to translate lines in foreign movies but may differ in the understanding and specific methods due to the particularities of film translation.
2.2 How to Adhere to the Principles of “Faithfulness, Expressiveness, Elegance” in Translation
Firstly, as to the respect of subtitling transl毕业论文http://www.youerw.comation, the principle of Faithfulness means the lines’ translation is requested to be loyal to the movie itself, rather than try to make translation correspond to every line in the screen to a 100％ degree. Or, in other words, Faithfulness can be understood as movie-oriented in the film translation. Moreover, taking into account of the commercial value as well as the aesthetic faculties, subtitling translation enjoys more freedom relative to the other types, so we may come across some sentences that appear to completely dissimilar with the actors’ words when watching a movie. Yet, no matter what methods are employed, the translation must reflect the movie’s content, theme and style instead of making random choices. Since the lines stand in the heart of a film, hence only when the translators get a clear picture of what the films want to convey to the audience can they make the translation of lines reach the standard of Faithfulness. Otherwise, the effect would turn in the opposite way.
Secondly, the principle of Expressiveness here refers to the translation should favor the target audience, either the contents or the structure. In other words, Expressiveness, which particularly attains much attention from Mr.Yanfu, equals to the demand of audience-oriented in the subtitling translation. As the audience is the most important factor to measure the quality of a translated foreign film, this principle should be given top priority. Before that, it is surely a wise choice for us to get a clear picture of the lines in the movie. It goes without saying that lines function as a way of depicting the story, coloring the character and reflecting the inner mind of impersonators. The authentic manifestation of the social communication witnesses the artistic charm of the lines, which may penetrate into the audience’s hearts. Based on that, the lines’ translation should not only be flowing and transpicuous but deserves more concern over the response of target audience, such as whether the audience may misunderstand or feel confused. Certainly, during such a persisting process towards the level of Expressiveness, the biggest obstacle that faces the translator lies in how to deal with the expressive manner bearing with the obvious English cultural phenomenon. Also here another factor not expected to neglect is the language characteristic of the film translation –the lip rounding. It is vital to take this into consideration in order to realize the Expressiveness, for different languages vary in the utterance of speech. The translation should accord with the speed, the length of the words from actors. Perhaps such consideration just demonstrates the particularity of subtitling translation in terms of Expressiveness.
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