多模态视角下的字幕翻译研究-以电影《功夫熊猫3》为例

ChapterOneIntroductionInrecentyears,alargenumberoffilmshavebeenintroducedintoChinaandhavebecomeadirectandeffectivewayofcross-culturalcommunication,especiallyduringtheNewYearperiodwhenmanyChineseNewYearfilmsarescreenedincinemas,notonlydomesticproductionsbutalsomanyhigh-endfilmsimportedfromabroad,suchasHollywood,sosubtitletranslationisreceivingmoreandmoreattentionfromthetranslationcommunityathomeandabroad.1.1IntroductiontotheFilmKungFuPandaⅢInthisfilm,Po’slong-lostbiologicalfathersuddenlyshowsupandgetstogether,thefatherandsontraveltoanunknownpandahomelandafteralongabsence.Here,Pomeetsmanycuteandinterestingpandakindred,andlivingwiththemenablesPotofindouthowtobecomearealpanda.WhenKai,avillainwithmysteriousPowers,attemptstosweepacrossthelandandkillalltheKungFumasters,PofollowstheguidanceofMasterOogwayandgoestothemysteriousPandaVillagetosavethelandandsavethosewhohavebeenharmed.HeisabletoteachthepandasKungFuinthevillage,todealwiththeKaiandhisarmyofjadeitezombies,andeventuallyturnsthefun-loving,clumsypandasintoagroupofinvincibleKungFupandas.1.2IntroductiontoSubtitleTranslationThetranslationofsubtitlesisacomplexprocess,involvingvariousaspectsofthesourcelanguageandthecultureofthelanguageintowhichitistranslated,ratherthanasimpleconversionbetweentwolanguages.Thecorrectnessandappropriatenessofsubtitlinghasadirectimpactontheaudience’sexperienceofthefilm,andalsoonthesmoothnessofcross-culturalcommunication.However,duetothehugedifferencesbetweenChineseandforeignlanguagesandcultures,inordertoachieveamoreauthenticsubtitletranslation,thetranslatormuststartfrombothculturesanddigdeeperintotheprofoundmeaningbehindeachsceneofthefilmandthecontentthatthedirectorwantsthereadertoresonatewith.Agoodsubtitletranslationisessentialtoagoodfilmortelevisionproduction,anditensuresthatotherforeignaudiencescanbedeeplyabsorbedinthefilmortelevisionproduction,andenhancesthework’simpactandstronglogic.ChapterTwoTheoreticalFoundationsofMultimodalDiscourseAnalysisMultimodaldiscoursebeganwiththegradualevolutionofsystemicfunctionallinguistictheory,andwiththesuccessofcognitivelinguistics,othertheorieshavebeenusedtoexploremultimodaldiscourse.Systemicfunctionallinguisticsisameaning-centredtheory,yetitembodiesmeaningnotonlyinlanguage,butalsoinothersignsystems.Cognitivelinguistics,althoughstudiedfromadifferentperspective,isalsoameaning-centredtheory.Atthesametime,thetwoarealsotoalargeextentcomplementary.Later,asresearchprogressed,scholarsfoundthatmultimodaldiscoursecouldalsobestudiedinawiderrangeofareas,includingthecommunicativefeaturesofmultimodaldiscoursefromasociologicalperspective,andtheprocessesbywhichthemeaningofmultimodaldiscourseoccursinthebrainfromapsychologicalperspective.2.1OverviewofMultimodalityMultimodaltheoryisatheorythatmakesthewayhumansperceiveandcognizetheworldmorecompleteandaccuratebyintegratinginformationfromdifferentsensorychannels.Undertheframeworkofmultimodaltheory,wecanbetterunderstandthenatureofhumanperceptionandcognition,andcanapplymultimodaltheorytosolvereal-lifeproblems,suchashuman-computerinteraction,virtualreality,multimediateachingandlearning.Atthesametime,multimodaltheorycanalsohelpustobetterunderstandthemechanismsandprocessesofhumanlinguisticcommunication,providingnewperspectivesforresearchinthefieldsoflinguisticsandtranslation.Inconclusion,multimodaltheoryhasimportantapplicationsinseveralfieldsandwillplayanimportantroleinfutureresearch.2.2OverviewofMultimodalDiscourseAnalysisMultimodaldiscoursereferstotheanalysisandstudyofconversationallanguagenotonlyfromalinguisticPointofview,butalsothroughtheuseofthefivesensesandacombinationofspeech,sound,imageandmovement.Fromancienttimestothepresentday,thisphenomenoniscommoninourdailylives,forexample,bodylanguageisusedtoexpressmeaningwhenwearespeaking,gesturescanreplacesomeofthewords,differenttonesofvoiceareusedtoexpressdifferentmeaningsinthesamesentence,differentbackgroundmusicisaddedtofilmandtelevisionproductionstosetthemood,andnarrationisoftenaddedtosketchestomakethestorymorecompleteandthree-dimensional.Yetthemultimodalityofdiscoursehasnotreceivedmuchattentionuntilnow,whensomeresearchershavestartedtoconductresearchinthisareaasaseparateacademicfield.MultimodaldiscourseanalysisisaninterdisciplinarytheorythatextendsfromsystemicfunctionallinguisticstheoryandevolvesfromHalliday’sideaof“languageassocialsign”inthefieldoflinguistics.Itisaparticularapproachtothestudyoflanguagebasedonanunderstandingoftheconceptsofmodality,medium,andexternalenvironment.“Multimodaldiscourseanalysisoriginatedabroad,firstlybyR.Barthesin1977inhispaper‘TheRhetoricofImages’,whichexploredtheinteractionbetweenimagesandlanguageinexpressingmeaning.Kress&vanLeeuwen,studiedtherelationshipbetweenmodalityandmedia,specificallystudiedthephenomenonofmultimodalphenomenatoexpressmeaningregularly.”[10]24Kress&vanLeeuwencreateavisualdesigngrammar.ThestudyofmultimodaldiscourseanalysisinChinaismuchmorerecent,havingfirstbegunin2003,andhasbeeninfullswingformorethanadecadenow.Manyscholarshavepromptlyreviewedtheorigins,researchmethodsandresearchareasofmultimodaldiscourseanalysisresearchinChina.“Themostapplicabletheoreticalmodelformultimodaldiscourseissystemicfunctionallinguistictheory.”[10]25Thereislittledifferencebetweenunimodalandmultimodalcommunicationintermsofcontextual,communicativeanddiscoursemeaninglevels.Basedoncontinuousin-depthresearchandintroduction,ProfessorZhangDeludiscoveredthatmultimodaldiscoursecanbestudiedfrommultiplelevelsandperspectives,suchasculture,situation,grammar,discoursemeaning,andmedia.ItwasbasedonProfessorHalliday’ssystemicfunctionallinguistictheoryandLim’sframeworkforstudyingmultimodaldiscourseformedbypicturesandlanguageandProfessorZhangDeluproposedacomprehensivetheoreticalframeworkformultimodaldiscourseanalysisin2009.Theintegratedtheoreticalframeworkformultimodaldiscourseanalysisisdividedintofourlevels:culturallevel,contextuallevel,contentlevelandexpressionlevel,whicharefoundtointeractandinfluenceeachothertoachievethebasicinterpretationofthecompletemeaningthespeakerwantstoexpressinmostcases.ChapterThreeSubtitleTranslationofKungFuPandaⅢinthePerspectiveofMultimodalDiscourseAnalysis3.1RepresentationofRelationshipsbetweenFormsofMultimodalDiscourseAsasinglemodalityisnotsufficienttoexpressthecommunicator’smeaning,anothermodalityisneededtoemphasisandcomplementeachother.TherelationshipbetweenthedifferentmodalitiesisdividedbyProfessorZhangDeluintocomplementaryandnon-complementaryrelationships.3.1.1ComplementaryRelationsAcomplementaryrelationshipiswhenonemooddoesnotfullyexpressthefullmeaningorintentionofthespeakerandanothermoodorothermoodisneededtocomplementit.Atthesametime,thisrelationshipisdividedintotwotypes:reinforcingandnon-reinforcing.(i)ReinforcingrelationsWhenonemodalityistheprimarymodeofcommunicationandanotherorothermodalityplaysasecondaryroleinthecommunication,thisisknownasareinforcementrelationship.Inastrengtheningrelationship,oneformofmodalityprovidesonlybackgroundinformationtotheaudience.Intheatre,forexample,thevoiceofspeechisintheforegroundandthebackgroundofthesceneisinthebackground,sothatthewordsspokenarehighlighted.Reinforcingrelationsincludeintrusion,primaryandsecondaryrelations,andextendedrelations.Extract1:Kaidescendstothemortalrealm“Ah.IfIsteppedonyou,wouldyoudie?”（如果我踩上你一脚，你会死吗？）“Yes.”（会的吧。）ThisexcerptdepictsKai’sarrivalinthemortalrealmaftertakingMasterOogway’sChiinthespiritworld.Kaiisavillainouscharacterwhohasbeendormantformanyyears,heandMasterOogwaywerecomradesinarmslongago.Duringawar,MasterOogwaywasbadlywounded,KaicarriedMasterOogwaytothemysteriousPandaVillage,andthePandavillagersusedChitohealMasterOogway’swound.Later,KaidiscoveredthatChicouldbebothgivenandtakenaway,thenhesetouttoplundertheChiofallKungFumastersinordertobecomethemostpowerfulmanintheworld.Noneoftheselectionissubtitled,butthehorroroftheKaicanbehighlightedbythebackgroundmusic,thetoneofthewholesceneandthereactionsofthesmallanimals.Theflashinggreenlightcreatesaneerieatmosphereandisreinforcedbytheeeriebackgroundmusicthatplaysatthesametime,foreshadowingthearrivaloftheKaiinthemortalrealmlateronandtheirarrivalinthelandofthegods.ThisbackgroundmusicisrecalledlaterinthefilmwhenevertheKaiareencounteredinanappearance,andhearingthefamiliarbackgroundmusicreinforcestherenderingoftheKaiasacharacter.Thetwosmallanimalsareclearlyseenwiththeirhandsclutchingrakesandhoes,theirpupilsdilatedandtheirbodiestense,showingthattheyarestartledbytheappearanceofKaioutofnowhere.Kaiappearsandaskstheanimalsafewquestions,“IfIsteppedonyou,wouldyoudie?”,whichscaresthetwoanimalsintoclingingtogether,andthegooseissoscaredthatitkeepslayingeggs.ThecontrastisstarkandhighlightsKai’sterror.Theclipissetagainstadarkgreenbackgroundfrombeginningtoend.Althoughthereisonlyonesubtitle,thebackgroundmusicandthebodylanguageoftheanimalsbringthewholesettingoftheclipintofocus.Italsousesreinforcementmethods,mainlyfocusingontheconstructionandlayoutofthepicture.Althoughthereareonlytwoshortlinesofdialogue,butitcreatesatenseandscaryatmosphere,perfectlyshapingtheroleofKaiastheantagonist.ThisistheperfectwaytoemphasizethepowerofKaiandpavethewayforPoandthepandasofthevillagetoworktogethertodefeathimandsavetheMasters.(ii)Not-ReinforcedAnon-reinforcingrelationshipisoneinwhichtwomodalitiesorseveralmodalitiescomplementeachother.Moreover,onecannotbewithouttheother,especiallywhenauditoryandvisualarecombined.Non-reinforcingrelationsincludecoordinationrelations,jointrelationsandcross-relations.Inthecoordinationrelation,thedifferentmodalitiesworktogethertoconveythefullmeaningofthespeaker.Withtheabsenceofonemood,themeaningofthediscourseisincomplete.Differenttypesofmediacanformajointrelationtoconstructtheoverallmeaningundertheconditionthatallthemodalitiesbelongtothesamemodality.Athirdphenomenonofnon-reinforcingrelationsistheintersectionoftwoormoremodalitiestoexpressthewholemeaning.Extract2:PoteachesallanimalsChiafterlearningitThisextractisaboutwhenPo,afterdefeatingKaiwiththehelpofallthepeople,learnsChiinthespiritworld,findshistrueselfandbecomestherealDragonWarrior.Andhereturnstothemortalworld,wherehestandsonaplatformandteachesallthepeopletolearnKungFuanduseChi.Thereisnodialoguethroughoutthissection,thewholetimeissettobackgroundmusicshowingPoleadingthecrowdinlearningKungFu.Thenameofthebackgroundmusicforthissectionis“KungFuFighting”andyoucanseethatwhenKaiisdefeated,thelittleanimalsareinharmonyandhappy.Thesoundtrackissimple,catchyandmemorable,leavingtheviewerwithsomethingtolookbackonafterthefilmhasfinished.Inthisway,thevisualimagesandsoundcomplementeachotherwithouttheneedtoreinforcetheirrelationshiptoeachothertobuildthewholemeaning.Inthisexcerpt,neitherofthetwomainforms,visualimageandsound,canbeomitted.Ifoneisomitted,thecommunicativeeffectwillnotbesuccessfullyachieved.3.1.2Non-complementaryRelationsAlthoughtheexpressionofthesecondmoodpairdoesnotcontributeinanywaytothemeaningofthefirstmood,itstillappearsasamoodinthediscourse.Thisphenomenonisanon-complementaryrelation.Thetypesofassociationcontainthefollowingforms:overlap,inclusionandcontext-independentordependent.(i)OverlapandInclusionOverlapisthesimultaneousappearanceoftwoormoremorphologies,yetthereisnoreinforcingrelationshipbetweenthesepatterns.Forexample,aPPTshowswhatthepresenterisgoingtosay.AllthepresenterneedstodoistoreadwhatisonthePPT,whichaddsorsubtractsnothingfromthecontent.Thisisthephenomenonofredundancy,whichservesonlytofacilitatethereadingofthespeakerorthelistener.Inadditiontothephenomenonofredundancy,thereisthephenomenonofexclusionandoffsetting.Thisoverlapispassiveandirresistible.Forexample,whilesomeoneiswritingacomposition,anotherpersonwillcallhimorher.Sensoryandauditory,visualandauditoryformtwopairsofcontradictoryandmutuallyexclusiveforms.Inclusionisanothertypeofrelationshipunderthehierarchyofnon-complementaryrelationships.Inclusionmeansthatmultipleidenticalordifferentformscontributenothingnewtotheoverallmeaning,butonlyaddmoredetailedinformationtotheoverallmeaning.Therearetwotypesofinclusionrelations:abstract-concreterelationsandwhole-partrelations.Inthewhole-partrelationship,thesecondtypeofmoodonlyprovidespartialinformation,notadditionalinformation.Excerpt3:EmeraldscrollsshowOogway’slong-standingfeudwithKai.“Hesawthatwhatcouldbegivencouldalsobetaken.”（他发现气既能被给予，也能被夺走。）“HecanonlybestoppedbyatrueMasterofChi”（唯有真正的气功大师才能阻止他。）ThisextractisafterKaihasfoundOogway’sdisciples,whenKaiintroduceshimself,PoandhisgrouparetryingtofindoutwhoKaiis,whichleadstothestoryofMasterOogwayandKaifromlongago.AfteropeningthescrollastheMastershowsthescroll,thecontentsofthescrollarepresentedthroughoutthescene.Atthesametime,thevoiceofOogwayrecountinghisgrudgeagainstKaiappears.Accordingtothepreviousanalysis,theoverlappingphenomenonservestwopurposes.Ontheonehanditcanfacilitatecommunicationwiththeaudience,andontheotherhanditcanemphasizeimportantinformationthatthedirectordoesnotwanttheaudiencetooverlook.Therefore,theoverlappingofdifferentformsexpressingthesamemeaningemphasizesthefactthattheEmeraldScrollisveryimportantfortheconfrontationwithKaiandneedstobebroughttotheattentionoftheaudience.Theaboveanalysisshowsthatthecombinationofsubtitlesandmonologuesassoundwiththepicturesandtextinthescrollscancommunicatethesamemeaning.(ii)SituationIndependenceorDependenceContextcanbedirectlyengagedincommunication,butnotinanautonomousway.Themeaningofadiscourseisheavilydependentonthecontext,eventhoughthecontextdoesnotactivelyandautonomouslyparticipateinlinguisticcommunication.Consequently,discoursecommunicationthatisstronglycontext-dependentismultimodalincharacter,withthecontextusuallybeingthecommunicativeprocessinvolvedaccordingtothecommunicativepurposeandthecommunicativemeans.3.2ApplicationofanIntegratedFrameworkforMultimodalDiscourseAnalysis3.2.1SubtitleTranslationofKungFuPandaⅢatCulturalLevelThefilmKungFuPandaⅢisaChina-USco-productionofananimatedfilm,withoneofthefilm’sproducersbeingtheChina-USjointventureOrientalDreamworks.ThefilmnotonlygoesfurtherwiththeChinesestyleintermsofsetdesignandpaintingstyle,itisalsosetinancientChina,withaChinesefeatureineverythingfromthesettingofthepandaprotagonisttothechoiceoflandscape,sets,costumesandfood.ThefilmfeaturesthevoicesofbignamessuchasJackieChan,YangMiandJayChoufortheMandarinversionofthefilm.Thefilmfollowsthestyleoftheprevioustwofilms,withaChinesetraditionalinkandwashstyle,Chinesemartialartsfightingaction,Chineseclassicalmusic,occasionalshadowpuppetshowsastransitions,depictionsofclassicalChinesearchitecturalscenes,andtheEightDiagramsthroughoutthefilmallwithaChinesefeeling.ThemaincharacterinthefilmisPo,theDragonWarrior,anancientChinesemythologicalanimalandoneofthesymbolsoftheChinesenation,alongwiththePhoenixandtheQinlinmountain.Thedragonisasymbolofthespirit,andthusthenameDragonWarriorfitstheidealimageofaherointheChinesemind.Thegiantpanda,anationaltreasureofChina,islovedbyaudiencesaroundtheworldforitsclumsyandadorableappearance.Po’smasterisalsobasedonasmallraccoonthatgrewupinAsia,whiletheotherdisciplesofthemaster,the“Five”,correspondtothefivetraditionalChineseboxing.VariousdetailsinKungFuPandaⅢreflectthestrongChineseculturalheritage,forexample,“Oogway”refersto“乌龟大师”,specificallytheMasterOogway,andusing“tortoise”wouldnotemphasizetheimportanceofsettingthecharacter.TheChinesepronunciationof“Po”and“阿宝”isalsoretained,“MasterShifu”means“师傅”,“YinandYang”refersto“阴阳两极”.“Chi”refersto“气功”,whichisatraditionalChinesemethodofhealthcare,wellnessanddiseaseelimination.Itisbasedontheadjustmentofbreathing,physicalactivityandconsciousness,andthroughtheuseofself-suggestionasthecoremeans,theconsciousnessisinducedtoenterastateofastateofself-hypnosis.TheseareallwordsthatcannotbefoundinEnglishtoconveythesamemeaning,soinordertofitthemeaningoftheChineselanguage,theEnglishlanguagehastoadoptadirectphonetictranslationtopresentthecharacteristicsoftraditionalChineseculture.Thefilm’spandavillageisabeautiful,Chinese-inspiredsettinginspiredbytheQingchengMountainsinSichuanprovince.Beforeshootingthefilm,thedirectorledaproductionteamtothemountains,wherethecloudypeaks,lushwoodsandgreenmossontheroofswereusedinthedesignofthevillage.ThehanginghousesinwhichthepandavillagersliveinthePandaVillagearebuiltagainstthemountainsandwater,andareexquisitelyrusticwithstrongtraditionalChinesefeatures.“Inaddition,thepeachblossomforestwherethenewmotherpandaMeiMeilearnsKungFuinthefilmwastakenfromthepeachforestinDujiangyan,andtheropebridgethatPoandLiShancrosstoreturntothepandavillageisbasedontheAnLanropebridgeinDujiangyan.”[12]56-57InadditiontotheChinesescenesinthefilm,thestoryalsoincorporatesmanytraditionalChinesearts.Forexample,thesilkribbondancethatMeiMei,danceswhensheappearsisoneofthehighlightsofthefilm.ThesilkribbondancefirstappearedintheHanDynastyandwasnamedafterthedancerswhodancedwithsilkribbonsofdifferentcolorsandlengths.Notonlythat,butLiShan’sbuckethat,theshapeoftheJadePalace,theTaijimotifsseeneverywhere,thetemplefairinPandaVillage,thenunchakuusedbyMeiMei,thefirecrackerskickedbytheyoungpandasandsoonareallfullofChinesetradition.ThefilmasawholealsoincorporatesthetraditionalChinesevaluesofbrotherhoodandsolidarity.3.2.2SubtitleTranslationofKungFuPandaⅢatContextualLevelAccordingtoProfessorZhangDelu,inagivencontexts,thecontextualfactorswilldetermineandconstraincommunication.Contextualfactorsaredeterminedbythemannerofdiscourse,thetoneofdiscourseandthescopeofdiscourse.Culturedeterminescontext,sothatthecontextuallevelisareflectionoftheculturallevel.Agoodsubtitletranslationshouldbebasedonavarietyofcontextualelements,takingintoaccounttherealisticsocioculturalcontextoftheaudienceinadditiontothefilmcontext.Excerpt5:KaicallsTigresslittlekittenafterattackingemeraldpalace“Iamnotfit,littlekitten?”（我不配吗，小猫咪？）ThisexcerpttellsthestoryofKaiattackingtheJadePalacewhilePoisawayafterthecranesandmantishavehadtheirChitakenawaybyKai.WhenconfrontedbyTigresswhospeaksharshwords,Kaiprovokesandcallsherakitty.Thetranslationofthisextracttakesintoaccountthecontext,asitisobvioustotheaudiencefromtheaboveplotthatKaiisverypowerfulandthatMasterandthethreeofthemarenomatchforKai,sothistranslationbothfollowsonfromtheaboveandalsodoesthejobofsettingthesceneforMasterandthethreeofthemtobedefeatedsoonafterwards,thushighlightingtheurgencywithwhichPomustdefeatKaitosavetheworldandtheneedforhimtomasterChi.3.2.3SubtitleTranslationofKungFuPandaⅢatContentLevelAccordingtoProfessorZhangDelu’scomprehensiveframeworkformultimodaldiscourseanalysis,thecontentlevelincludesbothdiscoursemeaninganddiscourseform.Themeaningofthediscourseincludesconceptualmeaning,interpersonalmeaninganddiscoursemeaning.Assubtitlingislimitedbyspaceandtime,thetranslatorhastobeabletoadoptanappropriateapproachtomakethesubtitlesimplewhilemaintainingitsessence.However,inthisprocess,conceptualwordsarerarelypurelyabridged.Thediscourserequirestobeconsistentwiththecontext.Byreferringtoaspectsofsound,dialogueandgestureinfilmandtelevision,theaudiencecaneasilyunderstandthemeaningoftheentirediscourse.InthefilmKungFuPandaⅢ,manymodalparticlesareused.However,insubtitletranslations,modalauxiliariesareoftenomitted,astheomissionofmodalauxiliariesdoesnotpreventtheaudiencefromunderstandingtheoverallmeaningofthefilm.Theviewercanstillexplorethefocusofthefilmthroughthedevelopmentoftheplot,thebackgroundmusic,theemotionalchangesandexpressionsofthecharacters,etc.Excerpt6:PotouchesthescrollwithhishandafterlisteningtothemastertellthestoryofMasterOogwayandKai.“Thereisnochoice.Wefight.”（我们没别的选择，只能去战斗。）ThisexcerptiswherePolearnswhoKaiisandthathisaimistotakeawaytheChiofallthemastersintheworld.Herethereistheoff-screenvoiceofFivetalkingabouthowtodealwithKai,andatthisPointonthescreenPotouchesthescrollwithhishand,andyoucanseethroughhisexpressionthatPohopesverymuchthathecanlearnChianddefeatKai,protecteveryoneanddohisdutyastheDragonWarrior,forlaterPochoosestofollowLiShanbacktothepandavillagetolearnChitopavetheway.Excerpt7:MengMengsaysofPo:“你的毛好软”—“I’mMengMeng.”—“I’mShuaiShuai,hesmileslikecookie.”（—我是萌萌。—我是帅帅，我比你帅。）Inthisextract,whenPoreturnstothePandaVillageafterLiShan,MengMengliesonPo’sbody,strokeshisfurandrubshisfaceagainsthim,saying“Yourfurissosoft”.Thetranslationisomittedhere.AsChinesepeopleareveryusedtomakingcommentsonnewthingstheyhearorseeortouch,asawayofshowingtheirfirstfeelingswhentheyfirstseesomethingnew.Forexample,here,MengMengsaystoPo,“你的毛好软”,whichcanprofoundlyreflectMengMeng’sfondnessforPo,andinasmallway,canhighlightthefactthatPoiswellreceivedbythevillagersuponhisreturntothePandaVillage,andprovideanopportunityforthevillagerstotrustandactivelycooperatewhenPoteachesthemKungFulateron.3.2.4SubtitleTranslationofKungFuPandaⅢatExpressionLevelAccordingtoProfessorZhangDelu,theexpressionlevelreferstomedia.Inmostoccasions,thetranslatedsubtitlesappearatthebottomofthescreen,whilethesupplementaryinformationandannotationarepresentedatthetopofthescreen.Fortheaudiences,itisanecessitythatsubtitleshouldbesynchronizedwiththerelatedpicturesshownonthescreen,otherwise,thetextualmeaningandinterpersonalmeaningofthesubtitlecannotberealized.Firstly,KungFuPandaⅢissubtitledinbothChineseandEnglishasshownatthebottomofthescreen.TheChinesetranslationisplacedontopoftheEnglishtranslation.Asaresult,viewerscanreadthemquickly,whichishelpfulforthemtounderstandthefilm.Atthesametime,thesubtitlesarewithintheappropriatewordsizeandfitharmoniouslywiththepictures.Inaddition,thebilingualcontrastbetweentheChineseandEnglishsubtitlesisbeneficialtotheviewers’Englishlearning.Moreover,thetwodifferenttypesofsubtitlesstayonscreenlongenoughforviewerstograsptheinformation.AlmostallofthesubtitlesinKungFuPandaⅢareveryconcise,accurateandinstantlyunderstandable,whichcanbeconsideredagreatsuccess,andsomeofthemoreirrelevantinformationisomittedwithoutaffectingtheoverallmeaning.Secondly,asKungFuPandaⅢisananimatedfilm,theaudiencewillincludenotonlyadultsbutalsomanychildren,sothesubtitlesneedtobetranslatedinassimpleawayasPossiblesothattheyareeasytounderstand,especiallyforchildren.Inaddition,theChinesesubtitlesusealotofslangandfrequentuseoffour-characterwords,whichbothaccuratelyconveythemeaningofthefilmandsuittheaesthetictasteofChineseaudiences.Forexample:别闹了(comeon)，一无是处(loser)，四处闯荡(goingaround)，拳打脚踢(punchingandkicking)，饶我一命(pleasedon’tteachmetodeath)，乳名(thenameyouweregivenatbirth)，扯淡(rats)，我感觉脂肪在燃烧(Feelingtheburn)，你是我肚子里的蛔虫吗(getoutofmyhead)，我激动到尿了(IthinkIjustpeedalittle)，攸关成败(presencemissioncritical)，花容月貌(amazing)，美若天仙(sobeautiful)，卑躬屈膝(groveling)，好哥们(bestie)，袖手旁观(justletthathappen)，走你(Skadoosh)，怎么这么啰嗦啊(Chittychittychatchatchatchatchat)，废话连篇(Chitchat)，神龙摆尾(Buttslap)，etc.ChapterFourSignificanceofSubtitleTranslationResearchinaMultimodalPerspectiveThispaperusesProfessorZhangDelu'stheoreticalframeworkofmultimodaldiscourseanalysistoanalyzesomeclipsandsubtitlesofthefilmKungFuPandaⅢ.Thepapernotonlyanalysesthedifferentproblemsencounteredbythetranslatorsintheprocessofsubtitletranslation,butalsodiscussestheadvantagesandimplicationsofmultimodaldiscourseanalysistheoryinsubtitletranslat