The translation of movie title 电影名翻译.doc

The translation of movie title 电影名翻译音译Jane Eyre 简. 爱Casablanca 卡萨布兰卡 Billy Elliot 比利.艾略特Evelyn 伊芙琳Garfield 加菲猫Harry Potter 哈里.波特Hannibal 汉尼拔KingKong 金刚直译The Godfather 教父Mr. and Mrs. Smith 史密斯夫妇 史密斯夫决战史密斯妇Fahrenheit 9/11 华氏911Gosford Park 高斯福德庄园 Gladiator 角斗士Hotel Rwanda 卢旺达饭店Kill Bill 杀死比尔Basic Instinct 本能意译The Waterloo Bridge 魂断蓝桥The Bridges of Madison Country 廊桥遗梦Lolita 一树梨花压海棠Leon the Professional 这个杀手不太冷 LethalWeapon 轰天炮 Impossible Mission 碟中谍E.T 外星人Bridget Jones BJ单身日记Bruce Almighty 冒牌天神The Matrix (1999) 黑客帝国The Matrix Reloaded (2003) (重装上阵) The Matrix Revolutions (2003) (矩阵革命) Going On 30 女孩梦三十Holes 别有洞天The Interpreter 翻译风波Home Alone 小鬼当家混译Schindlers List 辛德勒的名单Sissi 西西公主Elizabeth 伊丽莎白女王Forrest Gump 阿甘正传Joe Dirt 乔-德特历险记Kangaroo Jack 抢钱袋鼠 Lost in Translation 迷失东京Shakespeare In Love 莎翁情史中国电影的英文译名FarewellMyConcubine 霸王别姬 BeThereorBeSquare 不见不散 SeventeenYears 回家过年 AshesofTime 东邪西毒 AllMenAreBrothers:BloodoftheLeopard水浒传 ChineseOdyssey1:PandorasBox中国的奥德赛1：潘多拉宝盒（大话西游之月光宝盒ChineseOdyssey2:Cinderella 灰姑娘（大话西游之仙履奇缘 FuneraloftheFamousStar大腕明星的葬礼港台电影译名Legally Blonde台湾翻译：金法尤物 香港翻译：律政可人儿 Moulin Rouge 台湾翻译：红磨坊 香港翻译：情陷红磨坊The One宇宙追缉令 台湾翻译：救世主 香港翻译：最后一强Pay It Forward 浮世因缘 台湾翻译：让爱传出去 香港翻译：拉阔爱的人 Amelie艾梅丽台湾翻译：艾蜜莉的异想世界 香港翻译：天使爱美丽Rush Hour台湾翻译：尖峰时刻 香港翻译：火并时速 Chocolate 台湾翻译：浓情巧克力 香港翻译：情迷朱古力 Tomb Raider古墓丽影 台湾翻译：古墓奇兵 香港翻译：盗墓者罗拉 Cats &Dogs 台湾翻译：猫狗大战 香港翻译：猫狗斗一番Dr. Dolittle 台湾翻译：怪医杜立德香港翻译：D老笃日记American Sweethearts 台湾翻译：美国甜心 香港翻译：甜心人 Billy Elliot 芭蕾之梦台湾翻译：舞动人生 香港翻译：跳出我天地On Translating English Film Titles from the Cultural Perspective IntroductionAs an audiovisual art, film is one of the most influential mass media, it follows and reflects peoples life and it is a product of particular culture. Over the past decades, with the increase in cultural exchanges, the western movies have gradually entered the Chinese market and held an important position in Chinese peoples recreational life. The film title, being short in form but rich in meaning, has its own cultural, linguistic, aesthetic features. A properly-translated English movie title should be concise, condensed and compact, which can grip the attention of the audience at their first sight and stimulate their association with the plot, reveal the theme or offer some clue. So they deserve careful investigation and consideration from the translator. However, as a branch of non-literary translation, it has not yet received due attention despite their importance. Therefore, in this thesis, I will introduce the general features and functions of English film titles, analyzing the translation techniques largely employed in film title translation. Furthermore, I will examine from the cultural perspective the different versions in Mainland, Hong Kong and Taiwan, and analyze the relevant strategies adopted and the effectiveness of these strategies. The social-cultural context of each region will be explored to find the factors resulting in this disunity in versions 作为一种视听艺术，电影是最有影响力的大众媒体，它遵循并反映人民群众的生命，它也是一种特别的文化产品。在过去的几十年，随着文化交流的增加，西方的电影已逐步进入中国市场，并在中国人民的娱乐生活中占有重要的位置。 影片标题，形式短小，但内涵丰富，包含了特有的的文化，语言和审美特征。翻译英文电影片名应简明扼要，浓缩，紧凑，为了可以抓住观众的第一印象，促进其对情节的联想，标题还应该揭示主题或是为观众提供一些线索。因此，翻译要建立在研究和考虑的基础上。但是，作为一个非文学的翻译部门，尚未受到应有的重视，尽管他很重要。 在这篇论文中，我将介绍英文电影的一般的面貌和功能，分析主要从事电影标题翻译的翻译技术。此外，我将在内地、香港和台湾这些在翻译上文化观点不同的地区进行调查，并分析相关的战略和这些战略的有效性。探究各地区社会文化背景将会找到造成这种版本不统一的因素。 Clint Eastwood always explores the darker side of human nature and the duality of man. His dark hero of Unforgiven, William Munny, tries to repent only to be thrust back into that violent world he knows so well. His regretful Frank Horrigan of In The Line Of Fire and his womanizing Steve Everett of True Crime also want redemption. Eastwoods Frankie Dunn of Million Dollar Baby is the most conflicted, weathered, and vulnerable hes ever played. When he weeps in a darkened church its like watching a house of cards begin to fall. This is a man whose had a regretful past and cant run away from the curve balls life has thrown at him. Frankie Dunn is like most of us where we eventually get punished for our good deeds. The funny thing is that Million Dollar Baby is not a boxing movie despite the way its being advertised like a female version of Rocky. Yes, Hilary Swanks Maggie trains to be a boxer under the guidance of Clint Eastwoods Frankie Dunn. Yes, Morgan Freeman is Scrap, Frankies tough friend and ex boxer. Yes, the bulk of it takes place in a boxing gym. Yes, there are numerous boxing matches. Despite all this its still not a boxing movie. When you see it youll be surprised by the utter humanity in the piece. This film runs very deep and you will care for the three main characters. Eastwood gives us something we rarely get in films today. He gives us real people. The film is about the triumph of the human spirit, the emotional world we try to hide from that eventually sucks us all in, our compassionate hearts, and the difficult decisions we face when it comes to those we care about. Its about friendship, trust, and the bonds of the heart that are unavoidable. It is a true masterpiece. Hilary Swank is all fire and guts as Maggie. Her intensity and commitment has guided her to another Academy Award. She knows shes poor, she accepts it, and she pushes forward despite her limitations. This is not to say she cant be hurt. We watch her eyes well up a few times and truly feel her pain despite the fact that she is as tough as they come. Morgan Freeman, who finally won a long overdue and well deserved Oscar, plays Scrap with the perfect combination of toughness and compassion. He knows the situation from every angle and his narration of the film rings true. See this film. It deserves its accolades because its about real characters and its directed with honesty, warmth, and true pain. Clint Eastwood gets better with age and his films reflect the days of real movie making. The sets are simple, the characters are complex, and the story moves in a pace closer to real life than any other director could reach. Eastwood has been called the Hemingway of Film making. You dont get more real than that. It was great seeing this natural storyteller take home his second Oscar for Best Director and Picture. Million Dollar Baby has great characters, but it doesnt glorify them. It has a wonderful story, but it never tries to impress you. The photography, score and direction is superb, but never distracting. What this movie is, if I have to call it something, is passion. Passion for film-making, passion for storytelling, passion for its characters, passion for its actors, and passion for its story and the means at which it will go to tell it. Amazing. Frankie Dunn (Clint Eastwood) owns a messy boxing gym which is populated, mostly, by downbeat losers who he spends some time training. He runs it with his friend and former student Eddie Scrap-Iron Dupris (Morgan Freeman), who now lives contently at a room in the gym. One day a young woman named Maggie (Hilary Swank) walks in, looking for a manager and trainer. Frankie shafts her immediately (girly, tough aint enough). Frankie has bigger things on his hands. Hes managing a fighter who has a shot at a title bout. But Frankie is old and weathered and not an appealing manager, so the fighter leaves him. Frankie is broken by this; it is another in a long line of rejections and separations. We can tell that, at this time in his life, he only gets really close with those hes training (Scrap is the only exception). We can tell that his loneliness and a bit of persuasion from Scrap cause him to agree to teach Maggie. Teach, that is the agreement, not manage. But, by the end of the film he will have devoted his life to her. So the rest of the story follows these two people. There is no real plot that you could describe in a trailer because it is constantly changingit is not the inspiring underdog story you may think of it as. No, what its about is these characters, and how they react to the circumstances around them, which change with each scene. Narrating the story is Scrap, speaking like hes looking back to a time long ago when everything has passed. His voice seems flat, deadpan, but there is a working of subtle sorrow in it. Scrap is a sad human being, he sees himself as the result of missed opportunities in the past, and so he spends his time helping the others, offering them his wise advice, with a tone of deadpan humor and even cockiness. Scrap knows what should be done, and what will happen regardless, and he is sort of okay with everything, in a sort of passive way. But the man also knows whats right and he has a deep, inner strength which is displayed in one scene in particular where you just have to cheer. It is an intriguing character, and personally I think its Freemans best performance. And Eastwoods best too. He is an elderly man; some might say too elderly to still be working. After all, most people are retired by his age. But if you had to guess when youre watching this film, you would never, ever say the man is seventy-four. You would say something closer to the sixties, because the man has such amazing energy and dedication, and above all, he has talent. Its been forty long years since A Fist Full of Dollars and film has come a long way, and so has this man. At seventy-four, passed all those years as an action hero, nearing whats could be the end of his career, Eastwood has made his best movie. I really, really hope he has time to make many more. As for Swank, well, she must have found something big that she shared with her character, because this is not acting, it is existing. Swank is Maggie. Thats all there is too it. This could be the movie she will be remembered for. So, Million Dollar Baby is a masterpiece. I saw it last night when it opened in my city, and everyone else was seeing White Noise, and I was shaking my head. Everyone who is even remotely interested in movies should see this one, just so they can know how movies are supposed to be made. Im trying to think, and there is not a single thing here where Eastwood went wrong. The acting, directing, writing, score, cinematographythey all accomplish precisely what theyre supposed to with sublime perfection. Many of these aspects will certainly receive Oscars and all of them should. You may cry through this film, you may cheer. Whatever the case, you will love it从归化和异化理论看英文电影片名的翻译摘要: 本文通过分析以往经典电影和近年来极受欢迎的英文片名的翻译案例, 对比归化理论和异化理论在电影片名翻译中的具体应用, 提出了在电影片名翻译中应该遵循的四个原则, 并试图找到一种符合中国人心理、文化接受能力和语言习得的翻译策略, 同时探讨了翻译理论。关键词: 电影片名翻译; 归化; 异化; 翻译原则; 翻译标准随着国人生活水平和审美情趣的不断提高, 英语电影在中国市场越来越受到消费者的青睐, 也涌现了许多耳熟能详的电影片名, 如Casablanca( 卡萨布兰卡) 、Pretty Woman (风月俏佳人)等。但在过去的二三十年中, 作为翻译领域的一个重要组成部分, 电影片名的研究工作还做得远远不够, 目前还没有一套比较完整可行的原则指导和描述片名翻译。面对这种跨文化传播现象, 电影片名翻译该如何处理两种文化、语言之间存在的巨大差异, 如何做到“信、达、雅”呢?在漫谈英文电影片名的翻译中, 作者认为,“片名翻译时, 也应深入理解片名内容蕴涵和风格,揣摩措辞用语, 力求准确把握原语与译语的表层意义和联想意义, 既要考虑对等, 更要考虑译名的传意性和可接受性。”1目的论在电影名翻译中的运用一文指出,“电影蕴涵的娱乐功能和商业价值, 就决定了在翻译过程中应适当摒弃传统的等效、接受美学等理论原则, 对电影名的翻译首先应该遵循目的论原则, 为实现电影的商业价值服务。刘庆云在等效原则下的片名翻译中指出,“为了得到观众对电影的最佳反应, 文学翻译中的忠实原则就不再适应有时还必须从整体着眼, 作较大的变动, 甚至是改写。这种灵活性在港台的影片翻译中尤为突出。以上论述表明了这样一种观点: 电影片名不同于一般的书名翻译, 它是一种因实际需要而故意加进原本没有的意义的一种传达方法, 有别于文学翻译那种严格依照作者本意、力求神似的方法。这是从英文电影片名信息接受者的角度考虑翻译策略的优劣, 和归化理论的要求比较一致。由于语言是文化的载体, 是文化的传播途径,因此在语言翻译中必须考虑如何处理源文化与目的语文化的差异。一般来说, 可分为两种对立的意见, 即所谓“异化”( alienation) 与“归化”( adaptation) 。温努提(Venuti) 说“译者可以选择归化或异化的方法, 前者是以民族主义为中心, 把国外的价值观归化到目的语文化之中, 把原文的作者请回家来; 后者则离经叛道地把外国文本中的语言和文化差异表现出来, 把读者送到外国去。”4因此在翻译英文电影片名时, 翻译工作者选择指导理论时应考虑诸多因素。电影片名往往以突显影片内容、传达主题信息、确立全片感情基调、提供审美愉悦、吸引观众、增加票房为其终极目标。片名佳译既可吸引观众,又能体现出译者深厚的文化内涵以及对两种语言驾驭自如的翻译功底。因此翻译者要特别注意电影目标受众群的反应, 考虑到观众的期待视野、审美情趣和接受水平, 从而达到理想的传播效果。如:Home Alone 译成( 小鬼当家) 就比直译为( 独自在家) 好。因为在汉语中“小鬼”是昵称,往往指的是聪明而又顽皮的小孩,而片中的小男孩正是如此。另如, Die Hard ( 虎胆龙威) 、Epicenter ( 浩劫惊魂) 、Twins( 龙兄鼠弟) 、Bean( 憨豆先生) 、LoveActually ( 真爱至上) 、Legend of Fall ( 燃情岁月) 、Lolita ( 一树梨花压海棠) 、Good WillHunting( 骄阳似我) 等都可称得上是译名佳作。上述这些以归化理论为原则翻译出的影片片名非常讲究文字的趣味性, 中文译名和英文片名都会有所偏离, 这种偏离依据的是影片内容, 其目的是要观众立刻注意到影片的精彩之处。经典女性主义电影Thelma and Louise 译为“末路狂花”或者“塞尔玛和路易斯”。影片讲述了两个女子塞尔玛和路易斯相约出游, 在塞尔玛杀了一名试图侵犯路易斯的男子之后, 两人走上了一条不归路。后一种译法忠实于原文, 交待了两名主人公的姓名。但不熟悉此片的人单纯从女子的名字根本无从了解影片将给他们带来的震撼。而前一种译法抛开原文的束缚, 以“花”代表女子, 看起来不合理的修饰词“狂”让我们对故事情节有了足够的心理准备, 同时“末路”在中文里则是悲剧的代名词。这部“公路电影”之所以在中国广为流传, 其中文译名起到了一定作用。在片名翻译中根据源语、目标语的特点, 最大限度地保留原片名的内容和形式, 这就是直译。当源语与目的语在功能上达到重合时, 这是最简单而行之有效的翻译方法, 也是我国传统译界认可的最佳译法。如: Romeo and Juliet(罗密欧与朱丽叶)、Titanic( 泰坦尼克号) 、Schindlers List( 辛德勒的名单) 、Perfect Storm ( 完美风暴) 、BrokebackMountain( 断背山) 、Princess Diary( 公主日记) 、Rain Man ( 雨人) 、Four Weddings and a Funeral( 四个婚礼和一个葬礼) 等, 这些或历史或科幻或言情或宗教或悬疑的英文电影, 它们的中文片名基本上采取鲁迅先生提倡的“硬译”翻译法, 保持了原文的风貌, 有的甚至是“字对字”翻译成中文。语言的首要功能就是传递信息。这里的信息不单指形式的消息, 它更包括原文的语气与风格, 因此一个贴切的译名不但要在意思上准确, 还要在风格和语气上忠实原题。美国电影One Flew over the Cuckoos Nest 在台湾被译为飞越杜鹃窝, 让人觉得很茫然。其实整部电影与杜鹃窝没什么关系, 讲的是一名男子在精神病院里的故事。“Cuckoo”的确是“杜鹃”的意思, 但这里的“cuckoos nest”却指的是一种特殊的医院精神病院。译为飞越疯人院就能更好地概括电影的内容, 并在中西方观众中产生相似的心理反应。但是片名翻译难以在语言层面上实现忠实性,并非一切片名都可以通过直译做到既能表达原片名语言功能特征, 又能与电影信息相符。比如美国电影American Beauty 在大陆多被直译为“美国丽人”, 这样的译名很容易让观众误以为是普通的爱情片。事实是, 影片通过美国中产阶级的家庭危机和中年危机探讨物质上的满足和精神上的愉悦这一无法平衡的矛盾。因而, 片名应该根据电影主题进行意译, 译成“美丽有罪”比较贴切主题(“美丽”喻指一切物质上的满足)。1995 年的一部心理惊悚片Seven 以强烈的视觉冲击和晦暗的背景叙述了一个极富哲学意味的犯罪故事: 一个疯狂的凶手自诩为上帝, 围绕天主教七大死罪的惩戒逐条杀人。Seven 这个在宗教上非常神秘的数字在这部电影里可谓无处不在, 七罪、七罚、七次下雨、故事发生在七天, 甚至结局也由罪犯定在第七天的下午七时, 无处不在的“7”暗示宿命的罪与罚。但是, 可以想象, 如果汉译为简单的一个“七”字, 中国观众绝不会产生同样的文化联想和认同, 所以影片公映时译为七宗罪, 点明故事主线和Seven 最为主要的宗教寓意, 可谓文化价值体现的经典范例。中国观众对电影片名的审美期待体现在形式和内容两个方面。从形式上来说, 西方人崇尚语言的简洁美, 而中国人讲究语言的对称和谐, 尤其喜欢那些表现力强、匀称悦耳的四字词组。大量西方电影的四字格中文译名受到了中国观众的喜爱, 如: ”Dance with Wolves( 与狼共舞) 、Forest Gump ( 阿甘正传) 、Entrapment ( 偷天陷阱) 、The Fugitive郁文: 从归化和异化理论看英文电影片名的翻译7山东水利职业学院院刊2008 年9 月第3 期( 亡命天涯) 等。经典音乐喜剧片Bathing Beauty 在中国有一个家喻户晓的名字出水芙蓉, 这是个非常迎合中国人的思维习惯和审美心理的译名。“芙蓉”在中国民间常用来形容举止文雅的女子, 而“出水”体现了“bathing”在片中的真正含义。气势磅礴的音乐响起, 数十个女孩在水中翩翩起舞。突然音乐转为柔和, 人群散了开来, 一颗新星从水中冉冉升起, 身上滴滴水珠晶莹剔透。霎那间, “出水芙蓉”的全部含义展现出来。这个片名的翻译就遵循了艺术性原则。根据同名畅销小说改编而成的电影The EnglishPatient, 讲述的是以二战为时代背景下男女主角一段超越道德界限、浪漫凄美的爱情故事。小说荣获英国布克文学奖, 在国际上享有盛誉。而香港当地观众对小说知之甚少, 若直译为“英国病人”, 反而显得索然无味, 译者因此将之另译为“别问我是谁”, 抒情意味浓厚, 又扣住了全片追寻英国病人身世的情节。而台湾译名“英伦情人”, 也抓住了影片凄婉的爱情主题。商业娱乐性原则的另一体现是片名强调新颖醒目, 善于制造悬念, 渲染气氛。比如将It HappensOne Night 译为“一夜风流”, Sister Act 译为“修女也疯狂”,The Net 译为“网络惊魂”, 就十分新颖别致,引人入胜。而惊险片The Rock 的大陆译名“勇闯夺命岛”, 港译“石破天惊”, 台译“绝地任务”也都雅俗共赏, 自然贴切, 悬念十足, 成功地体现了艺术性和商业性的结合。4 结论翻译实质是一种跨文化的交际活动, 因为两种语言都必然会显露两种文化意象和价值倾向。电影片名的翻译也是不同文化之间的语际交流, 是一个艰难的再创作过程。正如著名学者许渊冲指出的:“再创作是既见木又见林, 而非画蛇添足, 却能使人像读原作一样得到美感享受的译法。”10因此, 一味地纠缠于归化还是异化绝非良策,或者我们可以从诗歌翻译标准中得到一些启发。许渊冲主张意美音美形美, 辜正坤提出多元互补论,即“根据翻译标准多元互补原理, 多种标准, 多种选择, 各得其所, 各有所用, 相辅相成, 根据不同的时空条件与不同作者、译者、读者、出版者等各方面的具体要求而应机解难, 灵活处理”。11由此可见, 优秀的影片译名标准是既要符合目标受众群的文化心理, 又要在深层语义上与原片名实现功能上的对等。因此, 很难找到一种固定的模式翻译所有的片名。翻译工作者唯有积累经验, 随机应变, 遵循正确的翻译原则, 灵活运用各种翻译方法, 才能翻译出贴切传神的译名。（HubeiVocationalCollegeofEcologicalEngineering,Wuhan430200,China）Abstract:Film,oneofthemostimportantmassmedia,isanaudio-visualart.Itcreatesimages,narratesstories,expZHANG Lai-te（Hubei Vocational College of Ecological Engineering, Wuhan 430200, China）Abstract:Film, one of the most important mass media, is an audio-visual art. It creates images, narrates stories, expressesfeelings. Film is more direct and sensitive than any other form of art to keep pace with times. Ever since the adoption of thepolicy of reform and opening up to the outside world at the end of the 1970s, cultural exchanges have become increasinglyprevalent and the receptors of dubbed films have greatly expanded. However, being a special and significant part of films,film titles are far from being explored and there is a relative paucity of writings on film title translation. Film title translationis important and creative work. An excellent version may contribute a lot to the charm of the film and plays an importantpart in the introduction of a new film. Film title translation should not only be faithful to the original, but also cater to theiraesthetic taste of the target language spectators and satisfy their psychological needs. This paper mainly proves into the mostappropriate translation method in the process of the film title translation.Keywords:film titles, translation, culture, aesthetic tasteCLC number:H315.9 Document Code:A Article ID:0000-2157/SG（2010）02-0060-041 IntroductionFilm is one of the most influential mass media. As anaudiovisual art, it follows and reflects peoples life. It is aproduct of a particular culture. Although film was born inthe west, it is gaining ever-growing popularity and hasnow become a global art. Over the past decades of reformand opening up to the outside world, with Chinas morefrequent cultur