功能对等理论下电影《金陵十三钗》字幕翻译

[2]147Hefocusedonandunderlinedinthisdefinitionthatthetargetlanguagereaderandthesourcelanguagereadershouldhavethesamefeelings.Thetranslatorcanachievethissimilaritybylookingforequivalence,restructuringtheformandsemanticdeconstruction.Thissimilarityincludestranslationdefinition.Thereareclose,natureandequivalence.Closeandnaturehaveahighlyintricaterelationshipinfunctionalequivalence.Theadvicethatthetranslationshouldbeclosetothesourcelanguageappearstobenear.ButafterreadingworksofNidacarefully,itisnotdifficulttofindthatitwillcontainnature.Closeandnatureareliketwoendsofastraightline,standingfortwoextremes.Inactuality,theyhighlighttheincongruityofcontentandformintranslation.Closeandnaturalrepresentcontentandexpressionformrespectively.Inhisbook,Nidawentintomoredetailabouttheirconnection.Meaningcomesfirst,thenform.Themeaningistakenintoconsiderationbeforetheformbythetranslation.Thefundamentalconceptofthetheoryisequivalence.Thefunctionalequivalenceofexcellenttranslationsisrequired.Lexicalequivalence,syntacticequivalence,textualequivalent,andstylisticequivalencearethefourcomponentsoffunctionalequivalence.Toaccuratelytransferintothetargetlanguagetheculturalconnotationsofthesourcelanguage,thetranslatorshouldfollowthesefourguidelines.Nidastressedthatthereisnocompleteorabsoluteequivalence,andthenaturalandcloseequivalenceisstillfarfromtheoriginaltext.Equivalenceisthegoldenpointbetweentheclosestandthemostnaturalextremes.AccordingtoNida,findingacloseandnaturalexpressionoftheparentlanguageacrosslanguagesandculturesisthebestwaytoestablishfunctionalequivalence.2.2IntroductiontoSubtitleTranslationAcommontypeofaudio-visualtranslationissubtitletranslation.Aspartofamultimediatranslation,thevideo’sspokenwordsareconvertedintotextandshownalongsidetheaudio,typicallyatthebottomofthescreen.Thesubtitletranslatormustaccuratelytranslatethespeaker'smeaningwhilealsotakingtheon-screenvisualintoconsideration,andneedtomakecorrespondingadjustmentstodisplaythestyleofthefilmasmuchaspossible.Filmtranslationofsubtitlesandgeneralliterarytranslationarebothsubsetsofliterarytranslation.Theyshouldalsofollowgeneralliterarytranslationcriteriaandmeetsomerestrictions,sothattheaudiencecaneasilyreadandunderstandinformation.Thefilmisapopularartfortheaudiencetoappreciate.Thisrequiresthatthefilm’sdialogueandsubtitlesshouldmeettheaudience’sculturallevelandbeeasilyacceptedbytheaudience.Therefore,subtitletranslationshouldbecolloquialandpopular.Whenatranslationisspoken,itmustnotonlybeverballyfluidbutalsorealistic,simpletounderstand,andinlinewiththetargetaudience’slingoandculturalnorms;Thewidelyacceptedtranslationissimpletograspsinceitiswrittenintheeverydaylanguageusedinthetargetlanguageenvironment.Filmsubtitlescannotexistindependentlyofpicturesandsounds,andthedimensionsofphotographsforfilmandtelevisionmustadheretospecifiedrules.Thelengthofeachsubtitleisconstrainedasaresult.Becausethepictureisfleetingandthesubtitlesstayforashorttime,nottoomuchshouldbeincludedinthesubtitlestodiscourageviewersfromwatching.Therefore,thisalsodeterminesitslimitedtimestayandspacearrangementcharacteristics.Thefreedomofsubtitletranslationismoreconstrainedthanitisforothertypesoftexttranslationduetoanumberoffactors.Thefilmisoneofthewaystopresentculture,whichcarriesrichculturalconnotation.Thedirector’sfilmingisnottolettheaudiencecultivatesentimentandpassthetime,butmoreisakindofculturaltransmissionandinfluence.ForfilmsinforeignlanguagesflowingintoChinaorgoingabroad,subtitletranslationisindispensableifyouwanttheprofoundculturalconnotationbehindthefilmtoaffecttheaudienceandarouseresonance.However,unlikeotherliteraryforms,filmandtelevisionsubtitleshavealittleannotationontheexpressionofculturalcharacteristics.Toomuchtextwilloccupythescreenspace,causeunnecessaryburdentotheaudiencewhenunderstandingthefilmcontent,anddirectlyaffectthefilmviewingeffect.Therefore,subtitletranslationneedstodisplaytheculturecarriedbythefilmasmuchaspossiblewithoutpayingattention.AccordingtotranslationtheoryofEugeneA.Nida,translatorsmustrespecttheuniquequalitiesofthesourcelanguage,presentitasplainlyasyoucanwhilestillmaintainingitsculturalfeatureswithintheparametersofyourreaders’acceptanceandreadingpreferences.Insummary,thegoalofcinemasubtitlesistomakethetargetlanguageaudience’sknowledgeandenjoymentofthemoviecomparabletothatoftheaudiencespeakingtheoriginallanguage.Thetargetlanguageaudienceandtheaudienceofthesourcelanguagecanbothexperiencethesameemotions,accordingtothefunctionalequivalencetheory.Thetwoservethesamegoal,hencetheprincipleoffunctionalequivalencehasasignificantguidinginfluenceonthetranslationofmoviesubtitles.ChapterThreeApplicationofFunctionalEquivalenceTheoryinTheFlowersofWarWiththefallofNanjingduringtheAnti-JapaneseWarof1937andtheJapanesemurderofthecityasitsbackdrop,ZhangYimou’s2011historicalgenrefilmTheFlowersofWarisanadaptationofYanGeling’sbookofthesamename.Thesubtitletranslationinitisworthlearningfrom.Theapplicationoffunctionalequivalencytheoryisexaminedinthissectionintermsofvocabulary,grammar,andstyle.3.1LexicalEquivalenceinTheFlowersofWarLexicalequivalenceinvolvesnotjustfindingwordswithsimilarculturalconnotationsbutalsocompletelycomprehendingtheculturalsignificanceofthewordsandphrasesinquestion.Next,IwillanalyzethelexicalequivalenceinTheFlowersofWarfromtwoaspects:colloquialismanddialect.3.1.1LexicalEquivalenceofColloquialismCommonsayingsrefertowell-established,widelypopularandconcisesentences.Becauseofitsvividimage,itiseasytoreadandhasbeenwidelyusedinpeople’slife.Commonsayingsnotonlyhaveabroadpublicbase,butalsohaveexperiencedthescouringoftime.Theyarethetreasureofnationallanguages.Whentranslatingthesesayings,wemustfullyunderstandtheculturalmeaningbehindthem,soastoaccuratelytranslatethemandaccuratelyexpressthespeaker’srealideas.Evenifnotwowordsintwolanguageshavethesamemeaning,thesameconceptcanbeexpressedinmultiplewaysdependingonthelanguage.TherearenumerousspokenidiomswithChinesefeaturesthatareusedinthesubtitletranslationofthemovieTheFlowersofWar.Therefore,whiletranslating,theseimportanttermsshouldberenderedinamannerthatissimpleandaccessibletothetargetlanguage’saudience,vividandvividforeigncolloquialexpressionsthatcanconveytheinformationoftheoriginalwords,soastoachievelexicalequivalence.(1)装神弄鬼，不要理他。Anidiot.Don’tmindhim.Theidiom装神弄鬼originallymeanstopretendtobeaghosttofrightenpeople.Itisametaphorforfoolingpeoplebyplayingtricks,anddeliberatelymakingthingsmysteriousandunpredictable.Idiotmeanssomeoneisstupid,likeafool,whichisthebestchoice.(2)你软硬不吃是吧?Youwanttostartafight?Inthiscase,软硬不吃meansthatneitherofthetwomeansisacceptable.Itmeansthatpeoplearetoughanddifficulttodealwithandcontrol.Inthefilm,thiscontextshowsthatwhenMeiHuaandthefemalestudentsareinconflict,MeiHuashowsimpatiencewhenshecomesuptohelpHongLingfight,andthenfightswiththefemalestudents.Therefore,accordingtothecontext,thetranslatoradoptsthedomesticationtranslationmethodtotranslate软硬不吃intostartaright,whichmeansprovocation.(3)美花真不是个绣花枕头，还会背诗呢！Youarenotsofoolishafterall.I’mimpressed.Theidiom绣花枕头originallymeansabeautifulpillowembroideredwithflowers.Itisametaphorforpeoplewhohaveonlyappearancebutnointellectualability,andalsoforgoodswithgoodappearancebutpoorquality.IfwedonottakeintoaccountthecognitivedifferencesbetweenChineseandEnglishaudiences,thetranslationofapillowwithanembroideredcasewillmaketheEnglishaudienceveryconfused.Ifwekeeptheimageofpillow,Thetranslationdeviatesfromthecontextandlosestheessentialinformationbecausethetranslatoralsoneedstoelaborateonthecorrespondingallusions.Asaresult,thetranslatordecidestotranslatetheidiom’soriginalmeaningusingthedomesticatedtranslationmethod,leavingoutthetranslationofthevehicle.Althoughthevehicleislostandtheimageandvividnessarelost,ingeneral,thetargetlanguageaudienceisguaranteedtoobtainthesamemeaningunderstandingasthesourcelanguageaudience.(4)这洋鬼子妙手回春啊！Hecanturnbacktime.InhisRecordsoftheOfficialAppearance,LiBaojia,awriteroftheQingDynasty,usedtheword妙手回春whichalludestoBianQue,amiraculousphysicianoftheStateofQi,whosavedthecrownprinceoftheStateofGuoduringtheSpringandAutumnPeriod,referringtothesuperbmedicalskills.TheModernChineseDictionaryexplainstheidiomaspraisingthedoctorsfortheirexcellentmedicalskillsandcuringthedyingpatients.Inthiscase,妙手回春referstothereversaloftime.Thetranslatorreservesthemeaningof回春andtranslatesitintoturnbacktime,sothatthetranslationisnotdifficulttounderstand.3.1.2LexicalEquivalenceofDialectsThefilmhasastrongfeatureofNanjingdialect,whichposesagreatchallengetoitssubtitletranslation.ThefollowingtextselectssubtitletranslationwithobviouscharacteristicsofNanjingdialectinthefilm,andassessestherelatedtranslationunderthefunctionalequivalencetheory'slexicalequivalenceframework.(1)他人呢？自己颠了吧。害得我们穷等。Whereishe?Heranoff.Wewaitedandwaited.颠了isadialect,whichmeansrunaway.Theliteraltranslationof颠了shouldbeoverturned,butthistranslationwillcreateculturalbarriersandmisunderstandaudiencesinEnglish-speakingcountries.Whenthesourcelanguage’sandthetargetlanguage’sculturalbackgroundsdivergesignificantly,thetranslatoroftenadoptsthedomesticationtranslationmethodsuchasExample1totranslatewiththetargetlanguageaudienceasthecenter.(2)我们说话没分寸，从来都是嘴上不饶人。有些话你不要往心里头去。Wehavesharptonguesandwewereveryrude.Ihopeyoucanforgiveus.ChinesedialectsoftenhavestrongChinesecharacteristicsandareverycolloquial.Inthisexamplesentence,thewords说话没分寸,嘴上不饶人and有些话你不要往心里头去aretypicaldialects,whichmeansthatthereisaconflictwithpeopleinwords,andthewordsexceedtheappropriatelimit.Ihopethattheotherpartydoesn’ttakewhathejustsaidforamomenttooseriously.Whenthetranslatorisfacedwithsuchasentenceandwantstopresentitonthescreen,hemustdomesticateit,thatis,translatethemeaningofbeingmean,rudeandaskingforunderstanding,soastoavoidgivingtheaudienceofthetargetlanguageanoddimpressionandconfusingthem.ThetranslationofExample2doesthisverywell.(3)你说我们不拉不撒行吗？Wewonnotshitorpissinthere?Inthissentence,拉and撒aretheellipsisof拉屎and撒尿.Ifyoudirectlytranslate拉and撒intopullandscatteraccordingtotheliteralmeaningofasingleword,itwillnaturallymakepeopleconfused.Thetwocharacters拉and撒inChinesehavestrongdialectcharacteristics,whichthetranslatorhasnoticedverywell.TheyarealsoreproducedinEnglishwithshitandpisswithstrongdialectcharacteristics,andhaveachievedgoodresults.(4)拐着弯骂你呢。She’shumiliatingus.拐着弯骂你meanstoblameothersinamoreobscureandimplicitway.TheliteraltranslationshouldbetranslatedasTurnaroundandscoreyou,butitmeansthatsomepeoplesaidthingsthatmadethemfeelhumiliated,soitistranslatedashumanizinghere.3.2SyntacticEquivalenceinTheFlowersofWarFormalandsemanticequivalencearebothpartsofsyntacticequivalence.Thetheoryoffunctionalequivalence,whichisnotrestrictedtoformalequivalence,canbeborrowedwhentherearesubstantialdifferencesbetweenformandcontentandthesourcelanguage,butmoreattentionshouldbepaidtosemanticequivalence.3.2.1SyntacticEquivalenceofFormWithoutadoubt,syntacticequivalenceismoredifficulttounderstandthanlexicalequivalence.Inordertomaintainsyntacticequivalency,thesemanticsmustremainunaltered,thesourcelanguage’sstyleandcharacteristicsmustbeascloselyreplicatedasfeasible,andthetargetlanguage’sgrammaticalstructuremustpermitmaintainingconsistencywiththesourcelanguage’ssyntacticform.Byachievingformalequivalencebetweentwolanguages,onecanobtainfunctionalequivalenceratherthanrigidcorrespondenceonthetext’ssurface.FunctionalequivalencytheoryofNidacanbeusedwhenthetargetlanguage’sstructureandcontentdiffersignificantlyfromthesourcelanguage.(1)这时候南京已经没有抵抗能力，剩下来的就是逃命了。Nankingwasnolongerabletoputaflight,andthoseleftbehind,ranfortheirlives.(2)所以我老是幻想，幻想我再一次站在大窗户前头，看着她们走进来。So,Ialwaysimagine…Iimaginemyselfstandingbythelargeroundwindow,watchingthemwalkinonceagain.ThelengthofthesentencesinExamples1and2isaroundthesamethankstotheliteraltranslationtechnique,andtheplacementofthesubject,predicate,andobjectinChineseandEnglishphrasesisnearlysame,sothattheyachieveformalsyntacticequivalence.Thetwotranslationsmentionedabovenotonlyaccuratelyreflecttheoriginallanguage’smeaning,buttheyalsofollowitsgrammarrulesandconversationstructure.Theyareveryappropriate,andtheirsyntacticequivalenceisveryappropriate.3.2.2SyntacticEquivalenceofSemanticsThetranslationshouldfocusmoreonthesemanticandcontentequivalentratherthanjusttheformalequivalencewiththesourcetext.Inordertofindthesamemeaningbetweentwolanguagesthroughsemanticequivalenceinsyntax,themeaningofthesentenceitselfanditscontextmustbetakenintoaccount.AccordingtoNida,iftheaccuratesourcelanguageinformationcannotbeconveyedformally,thetranslatorshouldforegoformalequivalenceandinsteadconveythesourcelanguage’smeaningtothetargetlanguageaudienceasfullyaspossible.Thefollowingtranslationsemploysemanticsyntacticequivalencetoaidinclearunderstandingbytheintendedaudience.(1)这个你都数不过来，书娟她们三个没回来。Stopcounting.Shuandtwoothersaremissing.HereisthenumberoffemalestudentsthatGeorgeChencountedduringhisflight.Oneofthefemalestudentswasblaminghim,andherrealintentionwastosaythatshedidnotneedtocount.Therefore,thiscanbetranslatedasStopcounting,Shuandtwoothersaremissinginordertoeffectivelycommunicatethetruecontentofthefilmdialoguetothetargetaudienceandcreatetheeffectsofconcisenessandvividness.(2)当兵的躲在这算什么东西。Butifhehideshere,he’scoward.ThishighlightsamisunderstandingofChinesesoldiersinthefilm,especiallytheuseof算什么东西toexpresstheblameanddisdainforChinesesoldiers’fearofdeath.Thecowardinthetranslationwellexpressestheintentionoftheoriginaltext.Thatistosay,soldiersarejusthidingandfearingdeath,ratherthandestroyingtheenemy.Theyarecowards.Thisbetterexpressesthespeaker’sintention,andalsoallowsforeignaudiencestoexperiencethespeaker’sdissatisfactionwiththesoldierinthefilm.(3)拿我们的热脸贴人家冷屁股？Sacrificeourselvesforthem.Inthesourcedialogue,拿我们的热脸贴人家冷屁股isaChineseproverb,whichmeanstodeliberatelypleaseothers,butothersareungrateful.Ifitistranslatedliterally,thetargetaudiencewillbeconfusedandcannotbetterconveytheoriginalmeaningofthefilm.Thetranslationskillfullyborrowstheexpressionkissone’sass,whichhassimilarmeaninginEnglishculture,andfurtherexplainsitwithsacrifice,soastoexpressthemeaningofthedialoguemoreaccuratelyandclearlyinthelimitedtimeandspace.(4)死蚊子，那猫是你的命啊，非要上去找。DamnMosquito,hercatranoff.Shewentuptolookforit.ThisdialogueisawomanexpressingherconcernabouthercompanionMosquitoes.Amongthem,那猫是你的命啊isaveryauthenticChineseexpression,whicheffectivelyexpressesthespeaker’stoneandattitude.However,thereisnoverycorrespondingexpressioninEnglish,sothetranslationabandonsformalequivalenceandsimplystatesthefacts,butthemeaningofthesourcelanguagedialogueisfullyexpressed.3.3StylisticEquivalenceinTheFlowersofWarWhenusingstylisticequivalence,itisnecessarytoskillfullyusetwodifferentlanguages,anddifferentlanguagestylesmeanthatculturalfactorsarealsodifferent.Asaresult,thenextsectionwillexaminestylisticequivalentofTheFlowersofWarfromalanguageandculturalperspective.3.3.1StylisticEquivalenceattheLinguisticLevelUnderstandingthecompletetext’sstylisticelementsandmainideasisessentialwhiletranslatingbecausetheyaffecthowthetranslationwillturnoutoverall.Differenttranslationstyleshavetheirowndistinctivelinguistictraits.Theonlywayatranslatorcanproduceatranslationthataccuratelycapturesthestyleofthesourcelanguageisbysimultaneouslymasteringthequalitiesofthesourcelanguageandthetargetlanguageandusingbothlanguagesexpertly.Thetranslationshouldnotuselongsentences,soitisoftennecessarytodeleteoromitthetranslation.ThesubtitletranslationofTheFlowersofWarcapturesthis.(1)我也没办法，她们不讲理。Icouldn’tstopthem.TheQinHuaiRiverwomenbrokeintothechurchandcausedthefemalestudents’extremedisgust.Thepriest’sadoptedsonGeorgesaid,我也没办法，她们不讲理Literally,itmeans:IhavenoideaTheyareunreasonable.Actually,itmeans:Ican’tpreventthemfromenteringthecathedral.ThetranslationusesIcouldnotstopthemtoexpressthesamemeaning,andthelanguageismoreconcise.(2)要杀要剐姐姐们挡着。Wewillprotectyou.剐isdifferentfromkillinthatitmeanstocutthefleshandbone,andreferstothecruelpunishmentinthefeudalera.Ifwewanttomakeforeignaudiencesunderstandthemeaningof剐here,weneedtomakeanexplanation.Thisscenariodepictsagroupoffemalestudentsplanningtojumptotheirdeathsfromabuilding.Thewords姐姐们挡着saidbywomenintheQinHuaiRiverwhentheypersuadedthemtocomedown.Thisisthesamethingas剐.Thetranslationexpressesthismeaningbydeletion.Additionally,additionaltranslationandfreetranslationareoccasionallyrequiredtoensuresemanticequivalency.(3)他是我们在路上收留的，叫浦生，也是个孩子。Hewashomeless,soourtrooptookhimin.He’scalledPuSheng.He’sjustachild.InstructorLitooktheinjuredPuShengtothechurchcellarandsaidsuchwords.Hewashomelesswasaddedbeforewetookhimin.WhenPuShengappearedinfrontofthecamera,althoughwearingmilitaryuniform,hedidnotfightalongsidetheJapaneseandlackedfirearms.JustliketheChinesemilitary,hefollowedthem.Hewasnotasoldier.Inthefollowingplot,PuShengtoldCardamom:Myfamilyisdead.Theadditionaltranslationmethodhereechoesthepreviousandsubsequentplots.CalledPuSheng,alsoachildthathasalsoaddedthesubjectafterbeingtranslatedintoEnglish.IncontrasttoEnglishdeclarativestatements,manyChinesesentenceslackasubject.(4)死蚊子，那猫是你的命啊，非要上去找。DamnMosquito,hercatranoff.Shewentuptolookforit.那猫是你的命isnotexactlytranslatedasthecatisyourlife,butratherashercatranoff,whichisincongruouswiththeoriginalyetrelevanttothemeaningofthenextphrase,makingiteasierforforeignaudiencestounderstand.3.3.2StylisticEquivalenceattheCulturalLevelThemostchallengingaspectoftranslationisculturalconsiderations.Oneoftheimportantfunctionsoffilmsistospreadculture,however,itischallengingforinternationalaudiencestocomprehendChineseculturethroughfleetingsubtitleswithoutanyannotation.Thepurposeofculturalcommunicationinmoviescanonlybeachievedwhenbothpartiesreachaconsensus.Sinceeveryoneandeverylanguagehasitsownculturalcharacteristics,itischallengingtoattaincompleteparitybetweenthetwolanguages.Therefore,attheculturallevel,domesticationtranslationisoftenusedtoconveythemostinformationinthesimplestlanguage.(1)都是钓鱼巷的。什么钓鱼巷？就是妓院。They’refromthered-lightdistrict.What’sthat?Itmeansbrothel.Shortlyafterthebeginningofthestory,whenwomenfromtheQinHuaiRiverforcedintothechurch,thefemalestudentsinthechurchlookedatthemandsaidsuchdialogues.钓鱼巷isaplacenameinNanjing.Inancienttimes,brothelsgatherednearfishinglane.钓鱼巷alsoreferstotheplacewhereprostitutesgather.Ifthe钓鱼巷istranslateddirectlyintoaplacename,itcannotexpressitsspecialculturalconnotation.Thered-lightdistrictisusedinEnglishsubtitlesRedlightcomesfromtheAmericanlanguageandisatoolthatprostitutesputinfrontofthewindowtoattractcustomers.Thelocationwhereprostitutesresideisthereforereferredtoasthered-lightdistrict,whichhasthesameconnotationas钓鱼巷.(2)到底是秦淮河的头牌。NowondersheisthetopgirloftheQinHuaiRiver.头牌meansthatintheolddays,theactor’snamewaswrittenontheboardandhungonthetopoftheboard,whichisequivalenttoourcurrentleadingactor.Thenumberoneinthebrothelisthemostpopulargirl.Thetranslationoftopgirlhereisconciseandclear.(3)玉墨，用劲笑，让大鼻子上火。Mouseallofyourskills.Seducehim.上火originallyreferstotheimbalanceofyinandyangandtheexuberanceofinternalfirefromtheperspectiveoftraditionalChinesemedicine.Andbrothelwomenmakemen上火,ofcourse,isnottheoriginalmeaningoftheword,buttomakemeninterestedinher.Seduceaccuratelyexpressesthismeaning.Ofcourse,it’snotjustlaughterthatfascinatesmen,sothe用劲笑hereisnotjustuseyourcharmingsmile,butuseallyourskills.(4)是阎王爷在哭你呢。南京都死了这么多人，阎王爷都来不及收。It’sdeathweepingforyou.Somanypeoplehavedied.Eventhehellispacked.Inthetwolinesabove,阎王爷appears,onetranslatedintodeathandtheotherintohell.TheKingofHellistheBuddhistlanguageandthegodinchargeofhellinBuddhism.ThesceneofthefirstlineisthatPuShenghadanillusionwhenhewasdyingandheardtherain.YuMosaid:Itisthekingofhellwhoiscryingforyou.ItmeansthatPuShengisgoingtodie.ThesecondsentenceisthatYuMoadvisedstudentsnottojumpoffthebuildingtocommitsuicide.ManypeoplehavediedinNanjing.Itisbettertohighlightthenumberofdeadpeople,itismoreappropriatetousehellhere.ChapterFourSignificanceofFunctionalEquivalenceTheoryinFilmSubtitleTranslationTheaestheticimpactofthemovieisnotdiminishedbyfunctionalequivalencetheory,whichcanalsoassistthetargetlanguageaudienceinbettercomprehendingthefeelingsofthesourcelanguageaudience.Inordertominimizethediscrepanciesbetweensourcelanguageandtargetlanguageandenhancetheaestheticvalueoffilmsubtitletranslation,thissectionwillexaminethesignificanceoffunctionalequivalencetheoryincinemasubtitletranslationfromtwoperspectives.4.1ReductionofSourceLanguageandTargetLanguageDifferencesMoviesplayanimportantroleintransnationalculturalexchanges.Theymakeitpossibleformorepeoplefromdiversehistoricalandculturalbackgroundstocomprehendforeignculturesandhistoriesbetter.However,therewillbesignificantdisparitiesbetweenChineseandEnglishintermsofstructureandcontentexpressionduetothediversebackgroundsofChineseandforeigncultures.Thelanguagebarrierislikelytomakeforeignaudienceshaveacertaindeviationintheirunderstandingoftheconnotationandthemeofthefilm.Consideringtheessenceoftranslationfromalinguisticsperspective,EugeneA.Nidapresentedthefunctionalequivalencehypothesisinordertolessentheconversiondiscrepanciesbetweenthesourcelanguageandthetargetlanguage.Inthemovie,thereisasentence:豆蔻不要发骚了，人家小麻雀还没长全呢！ThetranslationisDou,cooloff.Hedoesn’tevenhavehairdownthere.Thisexampleinvolvessexualtopics,andChineseexpressionsonthistopicareusuallyrelativelyimplicitandobscure,whileaudiencesinEnglishspeakingcountriesarerelativelyopentothis.However,ifyoutranslate小麻雀literallyintolittlesparrow,whichcancauseobstaclestotheunderstandingoftheEnglishaudience.ThetranslatorturnstoHedoesn’tevenhavehairdownthere,whichnotonlyexpressesthatthelittleboyisstillyoungandimmature,butalsoreflectstheimplicitandimplicitnatureoftheoriginaltext.Functionalequivalencytheoryhasbeeneffectiveinloweringtheconversiondiscrepanciesbetweenthesourcelanguageandthetargetlanguage,soitshouldbestatedtobeaverygoodtreatment.4.2ImprovementoftheAestheticValueofFilmSubtitleTranslationUnlikeordinaryliteraryworks,filmisanartthatcombinespicturesandsounds.Thefilm’sbeautyisdiscernibletotheaudiencebothaestheticallyandaurally.Themostfundamentalpurposeofmoviesubtitlesistoprovideinformationandenablethelistenerstocomprehendthespeaker’smeaning.Itispossibletodescribetheprocessoftranslatingmoviesubtitlesasanaestheticreproduction.Nidasuggestedthattheformershouldbedroppedifthereisadisagreementbetweenthetranslation’sformandcontent.Therefore,thefunctionalequivalencytheorycanaidinachievingmeaningwhilealsomaintainingthefilm’saestheticimpression.Theapplicationoffunctionalequivalencetheorycanimprovetheaestheticvalueoffilmsubtitletranslation.金陵inthefilmtitle金陵十三钗referstoNanjing.钗originallymeansahairornamentforwomen,andlaterreferstowomen.十三钗referstothirteenromanticwomenfromtheQinHuaiRiver.ButthirteenisanunluckynumberintheWest,becausethelastdinnerJesushadwithhisdiscipleswasthirteenpeople,andJesuswasbetrayedbydiscipleJudas.IfthereisthirteenintheEnglishtitle,Westernersarelikelytobedisgustedbythefilm.TheEnglishnameofthefilmdoesnottranslate金陵intoaplacename,butthebackgroundofthestory,acruelwar;钗hasnotbeentranslatedintermsofwomen.ThenameofthefilmistranslatedasTheFlowersofWar,whichformsasharpcontrastwithwa