第一篇：目的論視角下的英語電影片名漢譯研究

目的論視角下的英語電影片名漢譯研究

摘要 4-5 Abstract 5-6

Introduction 8-12

Chapter One: Literature Review 12-19

1.1 Traditional Studies on Film Title Translation 12-14

1.2 Studies on Film Title Translation from the Cultural Perspective 14-16

1.3 Studies on Film Title Translation from the Communicative Perspective 16-17

1.4 Studies on Film Title Translation from the Perspective of Translators 17-19 Chapter Two: Theoretical Framework of the Research 19-25

2.1 Hans Vermeer: Skopos Theory and Beyond 19-20

2.2 Basic Concepts of Hans Vermeer's Skopostheorie 20-25 Chapter Three: Film Titles 25-41

3.1 Film genres 25-26

3.2 Features of Film Titles 26-31

3.3 The Functions of English Film Titles 31-35

3.4 Comparison between English and Chinese Film Titles 35-41

Chapter Four: Analysis of English Film Titles Translation from thePerspective of Skopos Theory 41-66

4.1 Application of Skopos Theory to English Film Title Translation 41-46

4.2 Analysis of English film Titles Translation from the Perspective of Skopos Theory 46-52

4.3 Key Elements Influencing the Translation of English Film Titles in Light of Skopos Theory 52-55

4.4 Translation Methods Adopted in the Practice of English Film Title Translation 55-66 Conclusion 66-69 Bibliography 69-71 Acknowledgements

目的論視角下英語旅游文本的英譯漢研究 Abstract 6

摘要 7-10

Chapter One Introduction 10-14

1.1 Present Research Situation 10-11

1.2 Purpose and Significance 11-12

1.3 Structure of the Thesis 12-14

Chapter Two English-Chinese Translation of Tourist Text 14-29

2.1 English Tourist Text 15-21

2.1.1 Types of English Tourist Text 16

2.1.2 Function of English Tourist Text 16

2.1.3 Linguistic Characteristics of English Tourist Text 16-21

2.2 Problems in English-Chinese Translation of Tourist Text 21-25

2.2.1 Linguistic Level 21-24

2.2.2 Cultural Level 24-25

2.3 Causes of Existing Problems 25-29

2.3.1 Difference of Social Background 25-26

2.3.2 Difference of Thinking Mode 26-27

2.3.3 Difference of Value 27-29 Chapter Three The Skopos Theory 29-35

3.1 Definition and Development of Vermeer's Skopos Theory 29-32

3.1.1 Definition of the Skopos Theory 30

3.1.2 Behavior of Translation and Purpose of Translation 30-32

3.2 Three Translation Principles of the Skopos Theory 32-33

3.2.1 The Skopos Rule 32

3.2.2 The Coherence Rule 32-33

3.2.3 The Fidelity Rule 33

3.3 Second Generation of the Skopos Theory—Nord's Skopos Theory 33-35

Chapter Four Main Points and Strategy of E—C Translation of Tourist Text Based on Skopos Theory 35-51

4.1 Main Points and Strategy of E-C Translation of Tourist Text Based on Vermeer's the Skopos Rule 35-40

4.1.1 Reader-centered Translation 36-37

4.1.2 Translation with Purpose 37-40

4.2 Main Points and Strategy of E-C Translation of Tourist Text Based on Vermeer's Coherence Rule and Fidelity Rule 40-44

4.2.1 Intratextual Coherence 40-41

4.2.2 Intertextual Coherence 41-44

4.3 Skopos Rule as the Primary Principle in Conflict of the Three Rules 44-45

4.4 Main Points and Strategy of E-C Translation of Tourist Text Based on Nord's Theory 45-51

4.4.1 Understanding Literary Style of the Original Text 46-47

4.4.2 Understanding the Logic of the Original Text 47-48

4.4.3 Understanding Cultural Background of the Original Text 48-49

4.4.4 Understanding Meaning of the Words 49-50

4.4.5 Understanding Grammatical Structure 50-51 Chapter Five Conclusion

第二篇：目的論視角下的英語電影片名漢譯——方艷霞

目的論視角下的英語電影片名漢譯分析

方艷霞

摘要：隨著全球化的快速發(fā)展，各國之間的跨文化交際活動也愈加頻繁。而電影作為跨文化交際活動和文化傳播的重要組成部分，電影的片名翻譯也顯得愈加重要。本文筆者將從德國功能學派目的論視角下討論英語電影片名的翻譯，并通過信息功能、審美功能和商業(yè)功能三個角度以及不同譯本的比較和翻譯策略分析，提出電影片名的翻譯應當以目的論為依據(jù)，遵循翻譯目的為最高原則，采取適當?shù)姆g策略，最終形成相對比較恰當?shù)碾娪捌g，以傳達出電影片名的信息功能、審美功能和商業(yè)功能。

關(guān)鍵詞：目的論；電影片名翻譯；翻譯原則；信息功能；審美功能；商業(yè)功能

一、導言

隨著全球化的深入和快速發(fā)展，跨文化交際活動越來越頻繁，成為各國文化交流和文化傳播的重要途徑。而電影作為文化傳播的其中一種載體形式，也愈加備受重視。這之中，電影片名的翻譯也顯得愈加重要，如果沒有處理好電影片名的翻譯，就會直接影響譯入語觀眾對電影內(nèi)容和電影所承載的文化藝術(shù)的理解。因此，尋找好的恰當?shù)碾娪捌g策略，不僅能很好的實現(xiàn)文化交際和文化傳播功能，還能幫助電影制作商實現(xiàn)經(jīng)濟效益。在翻譯過程之中更多的還要考慮譯入語觀眾的理解水平、他們的文化形態(tài)和文化習慣以及一定的經(jīng)濟政治條件，要綜合考慮多種因素，最后找到合適的翻譯策略。

因此，本文中，筆者將首先簡要介紹一下德國功能派目的論，重點介紹費米爾的目的論，然后將以一些典型的英文電影片名的翻譯實例為例，從目的論的翻譯三大法則出發(fā)討論其中運用到的翻譯策略，最終以目的論為概括，討論目的論在電影片名翻譯中的適用性，使片名實現(xiàn)以下三種功能：信息功能、審美功能和商業(yè)功能。

二、理論概述

二十世紀五六十年代，西方翻譯理論主要研究的是語言學和對等理論, 從原文的角度來研究翻譯的奧秘。到二十世紀七十年代，翻譯研究中的語言學取向受到挑戰(zhàn), 德國的翻譯學者擯棄了獨霸譯壇的結(jié)構(gòu)主義刻板模式, 創(chuàng)立了功能派翻譯理論。

功能派翻譯理論的形成大體有三個階段。首先，賴斯根據(jù)布勒的語言功能模式提出了文本類型理論，將文本類型分為信息型、表情型和操作型三種。譯文與原文具有不同的功能，有時候“等值”是完全不可能實現(xiàn)的。賴斯認為譯者要優(yōu)先考慮譯文的功能特征而不是對等原則。賴斯的研究可謂是翻譯目的論的發(fā)端。其后, 費米爾以人類行為理論為基礎創(chuàng)立了功能派的奠基理論:翻譯目的論。他認為，翻譯行為的實施是為了達到某種目的或者目標，強調(diào)譯者的主觀能動性。費米爾認為:“翻譯時, 譯者根據(jù)客戶或委托人的要求, 結(jié)合翻譯的目的和譯文讀者的特殊情況, 從原作所提供的多信息中進行 選擇性的翻譯。”隨后, 曼塔利進一步發(fā)展了費米爾的“目的論”。三位學者的著作和文章奠定了以目的論為核心的功能派翻譯理論。另一位德國學者克里斯蒂安·諾德系統(tǒng)地整理了功能派的思想，將翻譯目的論納入到功能派翻譯理論的整體框架中, 建立了自己的翻譯理論體系，即“功能+忠誠”理論，是德國功能學派目的論中的一個核心概念。

在這之中，費米爾的目的論是德國功能學派目的論的重要組成部分，他的目的論涉及三個主要概念，分別是翻譯行為、委托人和翻譯委托。翻譯行為是由目的的活動，委托人則是翻譯的發(fā)起者，翻譯委托中會指明翻譯的目的、交稿日期和譯者的薪酬等等。他提出了翻譯應遵循的三大原則，分別是目的原則、連貫原則和忠實原則。目的原則即翻譯目的，要符合譯入語讀者的期待，翻譯目的決定了翻譯方法。連貫原則則是指語內(nèi)連貫，讓譯入語讀者能夠理解。忠實原則則是譯文要忠實于原文，忠實的程度則由委托人和譯者根據(jù)譯入語讀者的期待決定，是一種語際連貫。目的原則最根本，是核心。連貫原則和忠實原則從屬于目的原則。忠實原則又要從屬于連貫原則。

在英語電影的英譯中，同樣要遵循以上的三大原則，在三個原則的基礎上，采取合適的翻譯策略，使片名實現(xiàn)以下三種功能：信息功能、審美功能和商業(yè)功能。

三、電影的分類

一般而言，電影可以分為以下三類，分別是科普片、教育片和故事片。科普片和教育片因為受眾都是某一類群體，而且?guī)缀鯖]有商業(yè)性和娛樂性，采取的翻譯策略一般就是翻譯直譯。而故事片的受眾則是普羅大眾，故事片細分下來的種類也很多，商業(yè)目的性強，故事片的娛樂功能和商業(yè)價值就決定了要采取“目的論”的翻譯原則，具體的翻譯策略也比較多樣化。所以本文筆者將著重討論故事片片名的翻譯。

四、如何實現(xiàn)電影片名的三大功能

1、信息功能

信息功能，顧名思義，就是向觀眾傳達電影的主要內(nèi)容，傳達的可能是故事主人公、故事梗概、故事發(fā)生時間、故事發(fā)生地點或者故事結(jié)局，一個電影片名傳達的信息內(nèi)容可以包括以上的一個部分或者所有，也就是說觀眾在看到片名后，會對電影相關(guān)的主題或者類型有所了解。因此，片名 是對整個電影故事的高度凝練，可以讓觀眾一目了然，至少留給他們一定的猜測空間。基于此種信息功能，所以翻譯這種比較具有強烈信息傳遞功能的電影片名，采取的方法一般是直譯，當然也不排除個別例外。直譯就是 基本上是對等的字對字翻譯。

比如The King's Speech，中國大陸翻譯成《國王的演講》，而香港翻譯的是《皇上無話兒》，臺灣則翻譯成《王者之聲：宣戰(zhàn)時刻》。

The King’s Speech講述的是因為弟弟因愛舍皇位，約克郡公爵臨危受命，成為喬治六世國王，在二戰(zhàn)的背景之下，喬治六世面臨著發(fā)表鼓舞人心的演講的艱巨任務，為什么說艱巨，因為喬治六世患有口吃。為了克服口吃的毛病，喬治六世歷經(jīng)治療，終于靠醫(yī)生、家人和自己的毅力下，在二戰(zhàn)成功發(fā)表了鼓舞人心的演講。所以故事圍繞的核心，眾人為之努力的目標就是為了最后的演講。英語片名，毋庸置疑，想傳遞的就是這種意思，所以大陸的翻譯《國王的演講》這種直譯是很恰當?shù)模瑖鴥?nèi)的觀眾看到該片名，就大概了解了故事的主題核心就是關(guān)于一個國王的演講。而反過來看臺灣和香港的譯本，為了追求語言的美感，有點過譯了。《皇上無話兒》確實有模糊地表達出喬治六世口吃的狀態(tài)，但是這種根據(jù)電影內(nèi)容的編譯或者說是意譯，反而不如直譯效果好，讓人有點摸不著頭腦，也不是整個故事的核心。香港的《王者之聲：宣戰(zhàn)時刻》聽起來很有噱頭，乍一看有點像是蝙蝠俠這種漫威英雄電影或者戰(zhàn)爭電影，會有一定的誤解。可能在噱頭方面比較有亮點，但是也是過譯了，顯得有點夸張，而且“聲”和“speech”完全不能對等，只能說模糊地有點牽扯，可能比較有亮點的是“宣戰(zhàn)”二字，因為故事背景就是二戰(zhàn)，但是明明直譯更省力，而且效果更好，為什么要化簡為繁，大費周章的花式翻譯。所以綜合大陸版本和港臺版本的對比，可以看出大陸版本的直譯更加精確地傳達出了電影內(nèi)容。另外的例子像是The Boy in the Striped Pajamas《穿條紋睡衣的男孩》，The Butterfly Effect《蝴蝶效應》等，前者是電影故事的主人公；后者是電影故事的一個理論基礎，將理論延伸至人類社會。像這種傳達很明確信息的電影片名，直譯無疑是最好的翻譯策略。

綜上所述，對于信息類，一般沒有文化負載詞的電影片名，不管采取何種具體的翻譯策略，都是為了實現(xiàn)電影片名一定程度上的信息功能，而這時候，在目的論指導下采取的翻譯策略，無論是直譯還是策略，都是為了實現(xiàn)電影符合譯入語觀眾的期待，觀眾是影響片名翻譯的主體，即遵循了目的原則。

2、審美功能

審美感受更多的是一種藝術(shù)體驗，內(nèi)心的感覺。也就是在翻譯電影片名的時候要考慮到觀眾的感受，尤其是美的感受。由于中西方文化的差異，譯者在翻譯電影片名時要從譯者的角度克服一定的文化障礙，幫助讀者實現(xiàn)最大程度的審美感覺。這個時候，一般處理的是不好直譯，如果直譯的話不符合中文閱讀習慣和思維方式的電影片名，而為了實現(xiàn)這種以觀眾為中心的審美功能，采取的翻譯策略肯定排除直譯，一般是意譯、增詞、減詞或調(diào)整語序等等，不管怎樣，翻譯策略的選擇都是圍繞著譯入語觀眾的審美能力的。

比如Scent of a Woman翻譯成《聞香識女人》，而不是其他的譯法《女人香》或者《女人的芳香》。如果只為了信息功能而直譯的話，也就是翻譯成《女人香》或者《女人的芳香》的話，就沒有《聞香識女人》這種只可意會不可言傳的美感來得更加美、更加有內(nèi)涵。《聞香識女人》在原文的基礎上加了兩個動詞“聞”和“識”，多了這兩個詞，就多了一種朦朧而又模糊的立體美感，很能吸引觀眾的眼球，從這一方面來說，達到了翻譯委托人也就是電影公司的目的，吸引觀眾，同時又符合譯入語觀眾也就是中國觀眾的審美習慣和用語習慣。

另外一個例子就是Hilary and Jackie，分別有三種譯本《希拉里與杰基》，《狂戀大提琴》和《她比煙花寂寞》，同樣英文片名都是名詞，也就是故事的兩個主人公，一對姐妹希拉里和杰基。電影其實講述的是一個寂寞的故事，妹妹拉大提琴天賦過人，卻有著不為人知的內(nèi)心無比寂寞的一面，她反而羨慕姐姐這種普普通通人的生活。妹妹的生活是在華麗背后的虛空與流離，流離在親情和愛情之外，結(jié)局無異乎是悲劇的，與其說是故事片，不如說是文藝片，因此藝術(shù)性更強，導演想傳達給我們的東西也更加晦澀難懂。如果像信息類的故事片名一樣采取直譯，也就是《希拉里與杰基》，雖然和英文的片名如出一轍，但是感覺不深刻，觀眾乍一看，不會想到講的是更加有深度的東西。可以說，翻譯成《她比煙花寂寞》，從某種程度上說，算是超越了英文標題Hilary and Jackie，不管是藝術(shù)性審美性還是給觀眾帶來的直觀沖擊來講，中文標題更勝一籌，中文標題算是譯者自己的發(fā)揮，根據(jù)電影內(nèi)容和電影含義的編譯，給人一種寂寞空虛蕭條的悲劇之感。從這一點來說，翻譯成《她比煙花寂寞》審美效果確實很好。而《狂戀大提琴》雖然說也是譯者自己的編譯，也符合電影中妹妹的特點，但是就深度和廣度而言，顯然是不足的，比《她比煙花寂寞》稍遜一籌。

不管是《她比煙花寂寞》的翻譯還是《聞香識女人》的翻譯，從某種程度上都很好地實現(xiàn)了譯者的主觀能動性，都是為了更好地符合譯入語觀眾的期待和符合譯入語觀眾的審美要求和審美期待，譯者在這里主觀能動性很強，將譯本和譯入語讀者放在了更重要的位置，因此也很符合目的論的目的原則以及連貫原則，而忠實原則的程度很大程度上也是取決于譯者以及委托人的意愿的，以服務目的原則為宗旨實現(xiàn)的。因此以目的論為指導的電影片名的翻譯，如果要實現(xiàn)一定的審美功能，則也是要以三大原則為依據(jù)的。

3、商業(yè)功能

電影的制作發(fā)行，傳遞到其他國家，不單單是為了文化交際和文化傳播，更重要也更加主要的是實現(xiàn)電影的商業(yè)價值，這是電影制作發(fā)行的核心目的，尤其是在當今競爭激烈的電影市場上。所以電影片名的翻譯應當要充分發(fā)揮起市場化和商業(yè)化的作用，要足夠吸引觀眾的眼球、好奇心和觀看欲望。而這主要考慮的是翻譯委托人的意愿，要實現(xiàn)商業(yè)價值，其實也考慮到了譯入語觀眾的心理需求，只不過為了符合他們的期待或者給他們制造期待，可能會過分放大原有的英文標題。

例如The Prestige大陸翻譯成《致命魔術(shù)》，臺灣翻譯成《頂尖對決》，香港翻譯成《死亡魔法》。其實跟原有的英文標題幾乎毫不相關(guān)，算是一種根據(jù)電影內(nèi)容的再創(chuàng)作。

電影內(nèi)容其實是關(guān)于兩個著名魔術(shù)師的明爭暗斗，二人出招接招，一來一往，爭斗在劇烈升級，友誼和道德都被拋諸腦后，一場血案在悄悄醞釀，電影劇情環(huán)環(huán)緊扣，扣人心弦，很是燒腦。要想表達出導演想要表達的意味以及劇情的內(nèi)容，直譯當然不可取。無論是《致命魔術(shù)》、《頂尖對決》還是《死亡魔法》其實都是抓住電影核心，主要的矛盾沖突然后加以理解翻譯的。單從文字角度，不看對觀眾產(chǎn)生的影響的話，三個都各有特色，《致命魔術(shù)》無論是“致命”還是“魔術(shù)”，這兩個詞都緊扣住了電影的核心，“致命”暗示了結(jié)局，“魔術(shù)”則是手段；《頂尖對決》則著重強調(diào)兩個主人公之間的你來我往爭斗，只是卻未點名關(guān)鍵的“魔術(shù)”二字；《死亡魔法》和《致命魔術(shù)》異曲同工，都是一樣的意思，只是措辭不同，語氣和措辭相較于《致命魔術(shù)》更加和緩。但是如果從觀眾的角度來看，《死亡魔法》肯定不行，像童話故事一樣。而《頂尖對決》有種港片的即視感，不會聯(lián)想到和魔術(shù)有關(guān)，而魔術(shù)作為該電影的重要元素，是不可或缺的。綜合比較，無疑是《致命魔術(shù)》聽起來更加酷炫，懸疑或者是殘酷，會更有看頭，觀眾也會更加喜歡，作為商業(yè)片而言，起碼片名就很有市場，既不落俗，又不會太難懂。只要觀眾喜歡了，那么電影的商業(yè)價值就實現(xiàn)了。

電影片名的翻譯實現(xiàn)商業(yè)功能仍舊需要以目的論為依據(jù)，考慮到翻譯委托人的目的，即創(chuàng)造市場價值，以目的性原則為最高原則，這時候的忠實程度就可以根據(jù)目的需求具體看待了。

五、結(jié)語

隨著電影市場多元化的發(fā)展，電影種類日益繁多，但是在翻譯電影片名的時候，無論是中翻外語還是外語翻成中文，都應當以翻譯目的論的三大原則為指導，處理好電影片名的翻譯，以實現(xiàn)片名的信息功能、審美功能和商業(yè)功能。但是在此基礎上為了實現(xiàn)更好的文化交際，還應具體問題具體分析，適當保持某種文化的特定特色，以促進世界文化的多元性，欣欣向榮和繁榮發(fā)展，促進文化交流以及文化傳播。

參考文獻：

［1］Nord, C.2001.Translating a s a Purposeful Activity: Functional Approaches Explained.Shanghai:Shanghai Foreign Language Education Press ［2］Eugene A.Nida.1993.Language, Culture and Translation.Shanghai: Shanghai Foreign Language Education Press ［3］Reiss，K & Vermeer.H.J.G.1984.Groundwork for a General Theory of Translation.Tubingen: Niemeye.［4］譚載喜，1999，《新編奈達論翻譯》，北京:北京對外翻譯出版 公司。［5］張美芳，2005，《翻譯研究的功能途徑》，上海：上海外語教育出版社。

第三篇：英語電影片名漢譯論文

Research on English Film Title Translation and Translation Equivalence Theory Application

Author: Huo Yishuai Supervisor: Li Liping, Associate Professor

(College of Foreign Languages, Shandong Agricultural University, Tai’an 271018)

Abstract: This paper begins with the prevalence and impact of English film in China.It discusses the importance of English film title translation and the methods and theories of current title translation.And then propose translation equivalence concept to guide the title translation.Also, this paper summarized some of the methods.At last , the paper pointed out some of the principles in accordance with the process of translation in the use of translation equivalents theory

Key words: English film;title translation theory;translation equivalence;principle 英語電影片名漢譯及翻譯等值理論在其中的應用的研究

摘要：本文以英語電影在中國的流行及影響出發(fā)，論述了英語電影片名漢譯的重要性及當前英語電影片名漢譯形成的較常用的方法和理論，并指出了翻譯過程中出現(xiàn)的問題。進而提出以翻譯等值理論指導英語電影片名的漢譯，也總結(jié)了相應的一些方法。同時，還指出在運用等值理論進行翻譯的過程中還應遵循的一些原則。

關(guān)鍵詞：英語電影；片名翻譯；翻譯等值理論；原則

1.Description of English films in China's current situation and the necessity of translation

Film can create miracles---just like all those people who sit in the theater thinking from reality to dream world know it.Fascinating story with perfect pictures, shocking music, and great close-up scenes make you forget yourself completely.The aftertaste of a classic film bring to you is endless.When you think of the screen which make you get goose bumps, an exciting or eager showing in your eyes.People call movies is the seventh art after the literature, drama, music, dance, painting and sculpture.But, it’s not just an art.It is an art that have lots of audiences, suit both refined and popular tastes and with commercial.Today, cross-cultural communication is more active than ever, the spirit of national culture and ideology is mainly characterized by the content in the film.Therefore movies become the main channel of cultural transmission, and its influence is so large that can't be matched by other art forms.On the one hand, economic and cultural development stimulates the emerging film and television-dubbing career to flourish.Its operations around the world, including draw the materials, translation and distribution.On the other hand, the popularity of cable television and home video, the improvement of the technology(video, VCD and DVD)also plays a role in fueling the film’s spreading.Since the first movie introduced to China in 1896, the Chinese film industry has undergone enormous changes.Shoot technology innovation make the film a great audio-visual impact to the audience, and watching movies has become very common and very stylish entertainment in people’s lives now.In addition, the demand for foreign films, especially English films, is growing highly.Facing to these foreign language films, the primary task is translated them into Chinese, and the translation of the film title is one of the most important part.The film title is a link connecting the audience and film;it has the enormous influence to the film box office.First, except actor's exquisite performing skill, philosophy dialogue as well as gorgeous picture, a good film why can attract the audience has the direct relation with a film title which is pregnant with meaning and make people think a lot.The film title is a film's brand trademark.In the multitudinous film advertisement newspaper, the film title is always in the extremely striking position, and it is playing the role which leads attention directly.As a film, the title is seen firstly by the audience.Therefore, every movie screenwriter and director will highly summarize his movie content, and takes one as the title for it can both express one's ideas expressively and appeal eyeball.Second, the film express certain ideas to the audience to pass certain information , and the film title should also highlight the video content , convey the theme information and establish the entire film emotional tone.Film titles can not only summarize the content of the film succinctly , reveals the theme of the film, and make the audience seize the film's style and substance , but also inspire the imagination of the audience and watching desires with its distinctive form of language.Excellent film titles like the outstanding literary works, should be concise the summary of the content of films, succinctly revealing the theme, and stimulate the audience's imagination.The perfect unity of a good title and the good content will allow the audience to get the influence of the arts and the joy of beauty.2.Film title translation Since the first English language film was introduced to China, there are already three decades till now.This period, the translator made constantly efforts and improvements, and formed some common translation methods.Currently, there are more and more English films introduced into China.The translation industry also formed a relatively fixed translation theory, specifically;there are the following three theories: 2.1 The literal translation or free translation Literal translation and free translation are two representative methods of translation in the history of translation.Due to variations in people's understanding of literal translation and free translation, there are someone accept both of these methods, someone accept just one, someone accept neither.However, in terms of the perspective of describing translation or transfer translation, literal translation and free translation is always meaningful.Literal translation and free translation is designed to faithfully express the ideological content of the original and reproduce the original art.Simply put, the literal translation means the translation methods and sentence structure is more similar to the original sentence, but does not rule out some adjustments at the phrase level.Free translation means discarded the original expression, and find a synonymous expression equivalent to the original, or make major changes or adjustments to the original sentence structure.2.1.1 Literal translation Carefully understands the literature name and film title, we can find different types.Therefore, the translation methods vary.The following types suit for the Literal translation 2.1.1.1 Protagonists name or description for the title.Such as:

Hamlet

HA MU LEI TE,(哈姆雷特)Othello

AO SAI LUO,(奧賽羅), King Lear

LI ER WANG，(李爾王), Macbeth

MAI KE BAI,(麥克白), Romeo and Juliet

LUO MI OU YIU ZHU LI YE,(羅密歐與朱麗葉)David Copperfield

DAI WEI KE BO FEI ER,(大為.科波菲爾), Jane

JIAN ,(簡), Sister Carrie

JIA LI MEI MEI ,(嘉莉妹妹), Lucky Jim

XING YUN DE JI MU，(幸運的吉姆), a lonely Johnny

GU DU DE YUE HAN NI,(孤獨的約翰尼), Julius

ZHU LI SI KAI SAI,(朱麗斯凱撒), Father and Son

FU YU ZI,(父與子), Sons and Lovers

ER ZI YU QING REN,(兒子與情人).2.1.1.2 The place where the story happen for title,Such as:

Wuthering Heights

HU XIAO SHAN ZHUANG,(呼嘯山莊), Chicago

ZHI JIA GE,(芝加哥), Washington Square

HUA SHENG DUN GUNAG CHANG,(華盛頓廣場), Boston

BO SHI DUN,(波士頓), The Secret Garden

MI MIO HUA YUAN，(秘密花園), in the Chinese screen

ZAI ZHONG GUO PING MU SHNAG,(在中國屏幕上).2.1.1.3 Stories for titles, such as: the merchant of Venice

WEI NI SI SHANG REN,(威尼斯商人), The Adventures of Tom Sawye TANG MU SUO YE LI XIAN JI ,(湯姆索也歷險記), Gulliver's travels

GE LIE FO YOU JI,(格列佛游記), Alice s Adventures in Wonderland

AI LI SI MAN YOU XIAN JING,(愛麗絲漫游仙境)，Mansfield Park

MAN SI FEI ER DE YUAN,(曼斯菲爾德園).2.1.1.4 the other types, such as: Great Expectations

YUAN DA QIAN CHENG,(遠大前程), The Mayor of Casterbridge

KA SI TE QIAO SHI ZHANG,(卡斯特橋市長), The Grapes of Wrath

FEN NU DE PU TAO,(憤怒的葡萄), the Godfather

JIAO FU,(教父), Five Classics

WU JING,(五經(jīng)), a Midsummer Night s Dream

ZHONG XIA YE ZHI MENG,(仲夏夜之夢), Twelfth Night

DI SH ER YE,(第十二夜), Pride and Prejudice

AO MAN YU PIAN JIAN,(傲慢與偏見), time machine

SHI JIAN JI QI,(時間機器), The Call of The Wild

YE XING DE HU HUAN,(野性的呼喚), The Sea-wolf

HAI LANG,(海狼).These titles are just a few words, but they reveal the author's intention and the true state of mind.It represents the author's effort and reflected the monumental piece of substance and essence of the film.Therefore, for those that can be translated literally must be translated by literal to keep the work formerly original and make the title and content unite in harmony.Especially when it comes to the film named after the main character.The hero is the typical character live in specific times and specific environments that are created by the author, such as Shakespeare’s Hamlet and a-Q in the works of Lu Xun.They have a distinct character, image, and destiny.The principles and methods of translation of film title or translation of literary works are the same.Both of them take the breadth of its audience and the diversity of appreciation level into account, therefore, the translation should be simple and popular, easy catchy and implying the subtle meaning.Film title suitable for literal translation should be translate as literal as possible in order to convey the information formerly and maintain the perfect unity of the original title and content.That should be a basic principle and method of the film title translation.This type title just needs to be image, vivid, concise in the text, and it can fully reproduce the content of formerly.Such as: description of a walk in the clouds is the love story of a pair of young men and women filled with the vineyards of grapes flowers, so the film is literally translated as the Walk in the Clouds, while maintaining the formerly known as the meaning and full of poetic.Such cases are: the age of innocence(The Age of Innocence), natural born killers(Natural Born Killers), the perfect world(better world), death on the Nile(Death on the Nile)rain man(Rain Man)superman(superman), citizen(Citizen Kane), schindler’ s list(Schindler's List)2.1.2 free translation Certain English film title contains very few words and the language is simple.It is apparently lightly, but the connotation is actually rich and pregnant with meaning, does not reveal.If this kind of film title translates literally, it will be difficult to reach its contents, reveal its charm.Therefore, when translation must rest on the entire book content, the original book title intention, and unit the target language characteristic, sets up a new name.In order to concise its content to reflect its implication, and executes the literary talent slightly to make the translated name and the original work style coordinates.For example: Gone With the Wind

PIAO ,(飄)，Waterloo Bridge

HUN DUAN LAN QIAO,(魂斷藍橋), Blood and Sand

BI XIE HUNAG SHA,(碧血黃沙), The Bathing Beauty

CHU SHUI FU RONG,(出水芙蓉), Polsinney Harbour

YU XIANG JI DU QING,(漁鄉(xiāng)幾度情), Wines-burg Ohio

XIAO CHENG JI REN ,(小城畸人), Earthquake

JING HUN DUO MING,(驚魂奪命), The Red Shoes

HONG LING YAN ,(紅菱艷)，Speed

SHENG SI SHI SU,(生死時速), Black Mask

HEI XIA ,(黑俠)，Black Beauty

HEI JUN MA ,(黑駿馬)，Dr Jekyll and Mr.Hyde

HUA SHEN BO SHI ,(化身博士)and so on 2.2 Integration of literal translation and free translation

English and American films have a number of titles in simple and concise, but moral implication and difficult to grasp.In addition, some titles originated from allusions, meaning rich and obscure, hard to check.It is difficult to understand the implied meaning of the original title.People must think about the whole content or check allusions, carefully wondering and hashing, accurately understand the intent of author when translate them.Based on the foundation of literal translation of original titles ,translator plus word or change word to some key words to make translation semantic clearly , such as: a Farewell to Arms

YONG BIE LE ,ZHANG ZHNEG;(永別了，戰(zhàn)爭)，Ghost

REN GUI QING WEI LIAO；(人鬼情未了)One Flew Over The Cuckoos Nest

FEI YUE FENG REN YUAN;(飛越瘋?cè)嗽?, On The Golden Pond

JIN SE CHI TANG;(金色池塘), Moonlighting

PI XING DAI YUE;(披星戴月), Who Shall Live and Who Shall Die

SHENG SI DA QUAN;(生死大權(quán)), Night Killer

LAI ZHE BU SHAN;(來者不善), Shooting First

XAIN FA ZHI REN;(先發(fā)制人).for Whom The Bell Tolls SANG ZHONG WEI SHUI ER MING;(喪鐘為誰而鳴), 2.3 The literal translation adds the explanation

Due to the different style of film and different points between British and Chinese language, some titles translated by word will be too abstract, implicit and irrelevant with story content.People may feel dull, and it cannot make any guiding effects.Therefore, for these titles, translator should appropriately plus a text which can reflect hero image or film content when translate them.Based on the foundation of literal translation, according to the content of film, it will play a finishing touch to the characters and film content for example, Oscar(LIE QUAN AO SI KA CHUAN QI;獵犬奧絲卡傳奇), it will bursting bald if literal translation for AO SI KA(奧絲卡), also will be easily confused with Oscar Ward.Adding the word of dog , it generally works very well.And Comeback(GU LI E MENG;故里噩夢), plus the word of nightmare ,it greatly enhance the attraction and literary character.Lime Light(WU TAI DENG GUNAG;舞臺燈光), Patton(BA DUN JINAG JUN;巴頓將軍), Legal Eagles(FA WANG SHNE YING;法網(wǎng)神鷹), The Piano(GANG QIN KE;鋼琴課), The French Connection(FA GUO FAN DU WANG;法國販毒網(wǎng)), Silas Marner(ZHI GONG MA NAN:織工馬南), this is the case.Film title translation is not only the conversion of language but also a cultural exchange.Translation needs follow the correct principles and methods, needs more inspiration and rigorous attitude , in order to make the translation of well-known and widely accepted.In recent years, we widely introduce the foreign works and films, but the introduction of the original books and films are very scarce, these are mostly translated works.Taking the important role of a film title into account, the film producer make efforts to find a proper title that can lead full content, highlight the theme and must be simple and concise, have a profound message.Moreover, the producers try to make the title to be a pair of eyes that can reveal the individuality and give the deep impression to the audience.From the title, people can understand the content of the work, the hero's image, and have a desire for the whole film.People named the film like this, the same as the film title translation.Someone may think the translation of film names is an easy shot, but translating well was not an easy thing actually.It is necessary to conform to the language specification, and should be full of charm;it is necessary to be faithful to the original content of the title, and should be reflect to the original language features of the title.So the translation of film names is the artistic recreation.However, it is not until after more than 100 years of the introduction of first foreign films in China, translation of film names begin to get its due attention.Early research on the subject, such as Brief Discussion on Foreign Film Tittles Translations(Lin Qiuyun, 1996)and Discussion on the Translation of Film Names(Ning zhishou life, 1997), simply emphasizes the translation skills and ignore the cultural and commercial characteristics of the movie title.After entering the 21st century, based on the original translation theory, scholars began to study the features of the film titles from different perspectives.Fore example, He Ying(2001)analysis the characteristics of the movie title from the source of the movie title ,style , feature and category , and made a literal translation﹑free translation ﹑transliteration and another translation.Fang Yongbin, Wang Xiaotong(2005)study from the advertisement feature and cultural characteristics.Now, researchers increasingly attach importance to the film title value reflected in cultural exchanges, business profits and the artistic.3.Problems in the current film title translation Currently, the translation of film titles as a translation not in literary field has not yet attracted enough attention.There are more Chinese people watching films and TV series than reading the literature, but Chinese academia give the translation of literary more attention than the studies of film translation.“(Qian Shao-Chang, 2000: 61).In addition, there are many film titles mistranslations in the current film title translation.I find it mainly caused by the following two reasons after a brief analysis: 3.1 Lack of understanding of cultural connotation ”Title translation should be did after the completion of other translation tasks”.(Newark, 1988:12)Therefore, the translator should translate the movie's title based on watching the whole movie and fully understand the film.The culture is the specific lifestyles and modes of expression of the groups, which use a particular language as the expression “(Newmark, 1998:21).Clearly, the film titles also include certain cultural connotation.If the translator cannot be aware of or misunderstood the cultural connotation, it is likely to have the title caused by mistranslation.E.g1: American film: American Beauty, Mainland and Hong Kong have their own respective title translation version.Mainland translated as ”《美國美人》“, Hong Kong translated as ”《美國麗人》“.Unfortunately, these two simple versions of literal translation is mistranslation.According to the American Heritage Dictionary, American Beauty is a kind of roses, flower leaf length, purple.These beautiful and sacred flowers are symbol of divine love.In the film, the director used this flower as a symbol of a girl's love with the approach of association, Taiwan's translation is《美國心·玫瑰情》and it is more appropriate.3.2 Simply pursuit of business profits

As an entertainment industry, film should to not only entertain the public but also earn the box office revenue.Therefore, the translation of film titles will inevitably be subject to the influence of the marketing strategy of the entire film.To attract audiences, some film titles translation may not have any relationship with the film's storyline.Let us look at the following example:

E.g.: Original Sin(《原罪》)

《激情叛侶》

The Shaw shank Redemption

(《肖申克的救贖》)

《月黑高飛》

Pretty Woman(《漂亮女人》)

《風月俏佳人》

The Lives Of Others(《別人的生活》)

《竊聽風暴》

If the readers have read the above-mentioned movies, they will find the second movie title translation far away from the original, and not consistent with the story.Now, there are still a lot of translators, simply pursuit of commercial profit, regardless of any translation principles, resulting in a lot of mistranslation.4.Translation equivalence concept Film is a form of art loved by peoples from all over the world.Excellent film has no national boundaries and it is a very good form of cultural exchange.When we introduce a foreign film, the first thing is to give it a proper name.Good title can make the target language audience eager to see the film faster and therefore, translation of film titles is very important.Zhou Jueliang had pointed out that translations vary based on the different types.Translation of the film title has its own characteristics(He Ming, 1998).From a linguistic point of view, film titles usually have a very simple constitute, usually only a few words.Compared with the other forms of language conversion, which are clearly not limited by deep level language such as sentences, paragraphs, text.However, due to special requirements on the functional, translation of film, titles show complex phenomenon to a certain degree, and it needs to be pointed out with translation theories and principles.Among all translation theory, translation equivalence can be used as important theoretical basis of movie title translations.Translation equivalence concept is a core issue in the modern translation theory in the West.1790, Alexander Fraser Tytler said ”good translations are fully moved advantage of original language to another, make the translate language people can clearly understand, strongly felt just like the original language people feel “in his Brief Discussion on Translation Theory.He first proposed the translation equivalence concept in the history.(Zhang Ling, 1994).America linguistics and translation theorist, Jacobson believes that all human languages have equal expressive power, but in the translation process, we must first overcome the structural differences between the original language and the target language to ensure that text equivalent.Eugene Nada the same as Jacobson, he stressed the commonality of language, but from the point of view of communication science and Informatics, he proposed, “the relationship between translation recipient and translation information should be basically the same as the relationship between the original recipient and the original information.” in 1964,(Jiang Zhiwen, and Wen Jun 2000).Newmark explore the ”reciprocal“ problem from the translation theory's point of view.He divided translation into ”semantic translation“ and ”communicative translation“.Semantic translation focuses on the semantic content of the original text, and communicative translation focused on the reader's understanding and response.Newmark thinks most of the translation of non-literary texts suitable for communicative translation(Newmark, 2001).Moreover, all about this, the center of attention is the function of the language, rather than the language feature, it emphasize the functional equivalence.When it comes to the translation of English film titles, the so-called ”equivalence“ refers that the effect of the film translate title to the target language country audience should be the same as the affect of the original title to the original language nation audience , thereby to created a watching desire and achieve the aim of cultural exchange.In accordance with the principles of equivalent translation, and combine with different actual situation, we can take the method of literal translation, transliteration, free translation in English film title translation.4.1 The literal translation or transliteration Literal translation or transliteration refers that when the title is easy to understand, we can directly translate it according to the literal meaning or pronunciation of the title.Such as:

Ｂｅａｕｔｙ ａｎｄ Ｔｈｅ Ｂｅａｓｔ

《美女與野獸》 Ｂｒａｖｅ Ｈｅａｒｔ

《勇敢的心》 Ｃｉｔｉｚｅｎ Ｋａｎｅ

《公民凱恩》 Ｔｈｅ Ｇｏｄｆａｔｈｅ

《教父》 Ａｍｅｒｉｃａｎ ｂｅａｕｔｙ

《美國麗人》 Ｃａｓａｂｌａｎｃａ

《卡薩布蘭卡》 Ｊａｎｅ Ｅｙｒｅ

《簡愛》 Ａｎｎｉｅｎ Ｈａｌ

《安妮?霍爾》 Ｊｕｒａｓｓｉｋ Ｐａｒｋ

《侏羅紀公園》 Ｓｏｕｎｄ ｏｆ Ｍｕｓｉｃ

《音樂之聲》 Ｔｉｔａｎｉｃ

《泰坦尼克號》 Ｋｉｎｇ Ａｒｔｈｕｒ

《亞瑟王》 Ｓｃｈｉｎｄｌｅｒ’ｓ ｌｉｓｔ

《辛德勒名單》 Ｇｌａｄｉａｔｏｒ

《角斗士》 Ｌｏｖｅ ｏｆ Ｍａｙ

《五月之戀》

Here is to be noted that, when some names in English film titles are unimportant consonants, it can be omitted in the transliteration.Because if the name more than four words, it is not conducive to memory and Chinese audiences would be awkward to read.Therefore, it should comply with principle of brief.(Hua Xianfa, 1999:190).Annien translated as ”An(安)“, not ”An Nien(安尼恩“;Schindler translated as ”Xin Dele(辛德勒)“, not ”Si Xindele(斯辛德勒)“.Some of the masterpieces of the world, such as Jane Eyre, Juliet, Wuthering Heights, has a relatively fixed in Chinese translation, so the English film title translation should comply with established principles and translate respectively.Which is capable of maintaining the original charm and allows viewers to immediately think of the original works? In addition, the transliteration should used the certain words provided in the transliteration table, and not use the easy associative terms, so as not to cause misunderstanding or make a fool mistake(Hua Xianfa, 1999:190).Jurassic translate as ”ZHU LUO JI(侏羅紀)“, it cannot be translated into ”ZHU RU JI(侏儒紀)“.4.2 Free translation

As mentioned above, English film has massively use of the personal name or geographical names directly as the film title.If translates literally constantly, it is a string of meaningless character to the translated language audience possibility and does not play any attraction role.Therefore, this requests the translator fully understand the movie content and display their subjective initiative, to make the translated title to be faithful to the original content, and transmit the movie content ,and express one's ideas expressively(He Ning, 1998).4.2.1 Literal translation adds the explanation Ｓｌｅｅｐｌｅｓｓ ｉｎ Ｓｅａｔｔｌｅ 《西雅圖不眠夜》 Ｔｈｅ Ｎｅｔ 《網(wǎng)絡情緣》 Ｍｏｏｎｓｔｒｕｃｋ 《月色撩人》 Ｓａｎｄ ａｎｄ Ｂｌｏｏｄ 《碧血黃沙》 Ｉｎｔｅｒｐｒｅｔｅｒ 《翻譯**》

Ｅ．Ｔ． 《Ｅ．Ｔ．外星人》 Ｔｈｅ Ｆｕｇｉｔｉｖｅ 《亡命天涯》 Ｍｙ Ｆａｉｒ Ｌａｄｙ 《窈窕淑女》 Ｐｌａｔｏｏｎ 《野戰(zhàn)排》 Ｏｎｃｅ Ｕｐｏｎ ａ Ｔｉｍｅ ｉｎ Ａｍｅｒｉｃａ 《美國往事》 Ｏｎ ｔｈｅ Ｗａｔｅｒｆｒｏｎｔ 《碼頭風云》 Ａｌｌ Ｑｕｉｅｔ ｏｎ ｔｈｅ Ｗｅｓｔ Ｆｒｏｎｔ 《西線無故事》 Ｆｉｒｓｔ Ｋｎｉｇｈｔ 《劍俠風流》 Ｄａｙｓ Ｔｏｕｃｈｅｄ ｂｙ Ｌｏｖｅ 《心動歲月》 4.2.2 Integration of transliteration and free translation Ｒｏｂｉｎｓｏｎ Ｃｒｕｓｏｅ 《魯賓遜漂流記》 Ｐａｔｔｏｎ 《巴頓將軍》 Ｓｈａｋｅｓｐｅａｒｅ ｉｎ Ｌｏｖｅ 《莎翁情史》 Ｂａｎｂｂｉ 《小鹿班比》 Ｎｏｔｔｉｎｇ Ｈｉｌｌ 《諾丁山情緣》 Ｐｈｉｌｌａｄｅｌｐｈｉａ 《費城故事》 Ｓｈｒｅｋ 《怪物史萊克》 Ａｎｎｅ Ｆｒａｎｋ 《安妮日記》 Ｔｈｅ Ｉｓｌａｎｄ 《神秘島》 Ｔｈｅ Ｒｉｎｇ 《午夜兇鈴》 Ｔｈｅ Ｙｅａｒ ｏｆ ｔｈｅ Ｙｅａｒ 《姚明年》 4.3 Modified translation

4.3.1 Reconstructing the cultural intention

Because of the film and its title always infiltrate into the nation’s certain culture system of literature, history, philosophy, religious, traditional, custom and legend, and plus the diaphragm of culture ring, it often can’t be known by people belongs to another culture system.Therefore, it became ”super language factors“ in language inter-conversion and understanding or communication obstacles.Without carefully consider, it is easily to cause misunderstanding.(Lin Qiuyun, 1996)Such as the film Hobson ' s Choice ,it is translated into the HUO BU XUN DE XUAN ZE(霍布遜的選擇).It is about a shoe shopper named Hobson who not willing the eldest daughter married to a guy in the shop, but he give up because he is against by his three daughters’ alliance.Film actor named it Hobson, and does not have any problems apparently.However, Hobson is an English idiom, from the Observer Magazine(1712:509).Hobson is a United Kingdom Cambridge post boss in 16th century, and rental horse to their customers.However, he had a strange temper;he loves his horse very much and always insists on a fixed rotation of rental.When customers went to the stables to rent horse, they can only take the certain one even they do not like, and leave no room for negotiation.Later, people refer to the idiom, means ”there is no choice or room for negotiation“(Ma Gongru, 1997:243).Obviously, the HUO BU XUN DE XUAN ZE(霍布遜的選擇)has not translated the pragmatic meaning of it, and unable to achieve functional equivalence with the original film, too.If we change the angle, switched to the culture of intention which Chinese audiences familiar with, and translated into the BIE WU XUAN ZE(別無選擇),it will be better.Also Pumpkin Eater, it may be translated into the SHI NAN GUA DE REN(食南瓜的人).But it is derived from a popular nursery rhyme: ”Ｐｅｔｅｒ，Ｐｅｔｅｒ，ｐｕｍｐｋｉｎ ｅａｔｅｒ，ｈａｄ ａ ｗｉｆｅ ａｎｄ ｃｏｕｌｄｎ’ｔ ｋｅｅｐ ｈｅｒ． “So, according to the story, translate into the TAI TAI DE KU MEN(太太的苦悶)seems more appropriate.There are also a lot of success translations, such as the Waterloo Bridge(HUN DUAN LAN QIAO;魂斷藍橋), the Ghost(REN GUI QING WE LIAO:人鬼情未了), the Bridges of Madison County(LANG QIAO YI MENG:廊橋遺夢), The Red Shoes(HONG LING YAN;紅菱艷), The Bathing Beauty(CHU SHUI FU RONG;出水芙蓉), Forrest Gump(A GAN ZHENG ZHUN;阿甘正傳).These translations discard the literal meaning of the original title, instead of the culture of intention which the Chinese audiences familiar with.4.3.2 Adjusted according to the differences between Chinese and English language

Chinese belong to Sino-Tibetan language family, English belong to Indo-European family.As a consequence, the Chinese emphasis on the accent and English emphasis on the syntactic difference.Because of the influence of doctrine philosophy,Chinese aesthetics audience emphasis on the special balance in the words.Therefore, four-word phrases are extensively using(Chen Hongwei, 1997:28).English stressed the correct syntax, and some films even take a sentence as name.So, the translator should note the differences in Chinese and English language, and make some appropriate adjustments.So those, the translation reader can catch information according to their mode of thinking.Such as:

Ｓｏｕｎｄ ｏｆ Ｍｕｓｉｃ 《音樂之聲》 Ｔｏｐ Ｇｕｎ 《壯志凌云》 Ｍｙ Ｆａｉｒ Ｌａｄｙ 《窈窕淑女》 Ｗｉｌｄ Ｗｉｌｄ Ｗｅｓｔ 《飚風戰(zhàn)警》 Ｔｈｅ Ｗｉｚａｒｄ ｏｆ Ｏｚ 《綠野仙蹤》 Ｔｈｅ Ａｇｅ ｏｆ Ｉｎｎｏｃｅｎｃｅ 《純真年代》 Ｃｉｔｉｚｅｎ Ｋａｎｅ 《公民凱恩》 Ｂｌａｄｅ Ｒｕｎｎｅｒ 《銀翼殺手》 Ｉｔ Ｈａｐｐｅｎｅｄ Ｏｎｅ Ｎｉｇｈｔ 《一夜風流》 Ｉｔ’ｓ ａ Ｗｏｎｄｅｒｆｕｌ Ｌｉｆｅ 《風云人物 Ｍｒ Ｄｅｅｄｓ Ｇｏｅｓ ｔｏ Ｔｏｗｎ 《富貴浮云》 Ｙｏｕ Ｃａｎ’ｔ Ｔａｋｅ ｉｔ Ｗｉｔｈ Ｙｏｕ 《民主萬歲》

5.The principle that film titles translation should follow

5.1 Cater for the content of the original film, reflecting the themes of the original film, outstanding original film style

A good film should have a clear theme.Battle about cops and robbers or description of love, to reflect social ethics or science fiction.Film styles vary with different themes.Cops-and-gangsters films give a twist, such as

Speed、《生死 時速 》 The Rock、《石 破天 驚》 The French Connection;

《法國 販 毒網(wǎng) 》 Romance or romantic lingering, or patience, often give the taste, such as Waterloo Bridge、《魂 斷藍橋》 The Bridges of Madison County、《廊 橋遺夢》 The Piano、《鋼琴別戀 》 Ghost、《人 鬼情 未 了》

Shakespeare re in Love;

《戀愛 中 的莎 士 比亞 》 Social and ethical topics serious, warning or enlightenment to people, such as the Kramer VS Kramer、《克雷默夫婦》 Rain M an;

《雨人 》

Fantastic, fantasy, and horror and science fiction films are often set in one about the fantasy world that does not exist in the real world, such as

The E.T.、《外星人 》 Batman、《蝙蝠俠》

Jurassic Park.《侏羅紀公園》

Translations should be able to properly reflect the content of the original movie, its themes, and highlight their style.United States 1939 film taken of Waterloo Bridge Love Story about a pathetic: in 1914, during the first world war, in London, in an air raid alert, luoyi·kelaoning and ballet dancer Myra met Captain young military officers on Waterloo Bridge, they just clicked immediately, and soon fall in love.However, as the war lovers cannot become family members.The heroine buried on the Waterloo Bridge under the wheels, and eliminating kill.Translator translate title is relevant to the Waterloo Bridge movie content, reflects the original tragic, is just right.Translator use ”broken souls“ to make it more acceptable to the audience.United States comedy Mrs.Doubtfire, talking about a story of a divorced man Daniel Hillard dressed up as a fat old woman going to his ex-wife's domestic every day in order to be able to see the children.Comedy scenes continue to appear in the film did some marvelous impressions.The translation is FEI MA XIAN SHANG(肥媽先生).The use of ”MOM“ and ”Sir“ highlighted the comedy style very well.YUN ZHONG MAN BU(云中漫步),the translation of the United States film A Walk in the Clouds are rated as the best.Original title literally means ”in the cloud“.Description of a pair of young men and women filled with scent of grape vineyards in the moving story of love.Vineyards in the movie named ”cloud“ covers a wide, green a, enveloped, is like a dream, love the heroine walks in the park.How romantic and poetic!This translation is in line with the film theme of romantic love, to read ”full of poetic, one Kiss, saw a cloud-like grape flowers smell the aroma of melts your heart all into“ and ”translation of Jacob was decent, image better, meaning long“(He Yue sensitivity, 1997), really colorful, and dominated!

5.2 Concise, easy to remember

Film is an art suit for both refined and popular tastes, and it is a popular form of entertainment too.In a sense, it is a commodity should be widely circulated.In order to make it easier to spread, movie title should be concise and easy to remember.This probably is the “usefulness” said by He Yuemin.Actually many films translation is consistent with the requirements.Such as: Star Wars、《星球大戰(zhàn)》

Forrest Gump、《阿甘正傳 》

Superman、《超人》

Terminator、《未來戰(zhàn)士》

Roman Holiday、《羅馬假日》

My Fair Lady、《窈窕淑女》

The Sound of Music、《音樂之聲》

For Whom the Bell Tolls、《戰(zhàn)地鐘聲》

On the Golden Pond、《金色池塘》

Bathing Beauty

《出水芙蓉》

It is not difficult to see that these translations use only a few words to translate all the content and meaning of the original movie.Moreover, most of them only four words, just as Chinese idioms, reading full of rhythm, easy catchy and easy to remember and spread.Also some translation of the movie title failed to meet this requirement.Feng HuaZhan(1980), said he saw a movie called the Qipulian·Bolongbeisiku.This title makes him very disgusted, because it is hard to remember and struggled to speak.5.3 Film title conformed to the Chinese language standard, and suited to our viewers enjoys habit.It should be said that some films do not need translator design, just translate it with the corresponding Chinese according to the equivalence principle.Of course, the premise is not to cause the audiences understand difficulties and must conform to the Chinese language standard.For example, the American adventure spy film named North by Northwest.Someone will translate it to XI BEI PAIN BEI(西北偏北).Through the title, viewers do not know what the film about, and it is not in line with Chinese language specification.Therefore, this translation is not desirable.Another translation of the film DIE HAI FENG YUN(諜海風云)is a good translation.Which give the suspense, highlights the style of spy film, clear and concise, while correspond to the Chinese language specifications.English films always use the owner's name or location as the title of the story.There is also the case in our China film, but less.Chinese films’ habit is to use the title to summarize the content of substance.Therefore, the translation of English film Hamlet as HA MU LEI TE(哈姆雷特)is in line with our habits.Oliver Twist translated as WU DU GU ER(霧都孤兒)is better than translated as the AO LIE FU TUI SI TE(奧列佛 退斯特).Because the former give us the place where the story take place(fog city, London)and the identity of the main character(an orphan).The Chinese audience can accept it easily.The American film Gone with the Wind(LUAN SHI JIA REN;亂世佳人)based on the same name novel is a good example.The “LUAN SHI(亂世)” explain the background of the story(the civil war), “JIA REN” named the heroine of the movie and showed the heroine’s frustrated experience.Look at an example.There is a film about American campus life, called Mr.Holland's Opus, The film tells the story of a remarkable music teacher, Holland.Holland works hard for 30 years in his teaching positions.He was “not rich, not famous, but his achievements beyond fame and wealth ”.He influences every student of the school.He is the Orchestra's conductor, each student is his notes, and every student is his works(Opus).Name of the literal translation is the HE LAN XIAN SHENG DE ZUO PIN(賀蘭先生的作品), but now it is translated into the CHUN FENG HUA YU(春風化雨).The new translation has a deeper meaning than the formerly and show the movie extraordinary story, allows viewers to experience a teacher’s permeated personality charm.(Cai Weidong, 2000:104-105).At the same time, wonderful translation is like a piece of art, for people to enjoy the beauty of art.6.The conclusion

When the importance of English film titles translation increasingly be reflected, when the shortcomings of the current English film titles translation theory and method is revealed, and when the relevant problems are getting cause the attention of people, I believe that people will intensify research on this area of expertise, moreover, the translation equivalent theory and attention principles I mentioned in paper will make some significances on the development and improvement of the title translation.After continuous efforts, the present translation problems will be gradually resolved, the translation of English film titles will be more standardization, and the usefulness, the literariness and the scientific nature of the translation will greatly enhance.Bibliography ．

[1] Jones, Gareth Stedman.Languages of Class [M].Cambridge: Cambridge University

Press.1983.101.[2] Saussure, Ferdinand de.Course in General Linguistics [M].London: Peter Owen Limited.1960.23, 67, 77, 20, 21, 22, 16.[3] Searle, John R.Speech Acts [M].Cambridge: Cambridge University Press.1969.75.[4] 賀鶯．電影片名的翻譯理論和方法［Ｊ］．外語教學，２００１（１）[5] 林秋云．外國電影片名翻譯簡論［Ｊ］．上海科技翻譯，１９９６（３）[6] 陸谷孫.英漢大詞典[M].上海：上海譯文出版社.1991.[7] 顧冠華, 沈廣斌.中國傳統(tǒng)文化與高等教育[ M ] 北京: 海洋出 版社, 1999 10 [8] 陳煉，陳育．外國電影片名的翻譯［Ｊ］．湖南商學院學報，２００３，（９）

Acknowledgments

After finishing my B.A thesis, I really felt that I had come a long way.Many teachers and classmates gave me supports and helps in the process of writing this paper.I’d like first to take this chance to express my sincere gratitude to my supervisor associate professor Li Liping, who generously gave me her kindly help and instructions during the whole process of my paper writing, for her patience and guidance for this thesis.I’d like to take this paper not only as the ending of my undergraduate life, but the beginning of my postgraduate study.Most important of all, I want to give my thanks to my mother university and all teachers in the College of Foreign Languages.

第四篇：目的論視角下的中文電影片名翻譯

目的論視角下的中文電影片名翻譯

摘要：目的論是功能翻譯理論中最重要的理論。本文以目的論為依據(jù)，分析了電影片名翻譯的目的性，尤其是中國電影片名翻譯的重要性，因為電影片名的翻譯直接關(guān)系到中國電影在海外的推廣，而電影片名翻譯必須由譯文預期目的或功能來決定；并進一步指出，目的論強調(diào)目的原則是翻譯的首要原則，并不是說要拋棄原電影，而進行隨意翻譯。還討論了電影片名翻譯過程中應遵守的原則，并指出了在翻譯過程中應采取的方法和策略。

關(guān)鍵詞：目的論電影片名翻譯方法和策略

一、引言

20世紀二三十年代，中國電影在初創(chuàng)階段就有了“走出去”的意識，許多電影都配有英文字幕，《漁光曲》還在前蘇聯(lián)獲得大獎。但這種“走出去”已經(jīng)不僅僅滿足于當代中國電影市場在海外所需創(chuàng)造的商業(yè)價值，所以電影片名翻譯是一種特殊的文學形式，電影為觀眾而創(chuàng)作，并以觀眾的接納、欣賞和批判為生存的依據(jù)和標準。電影想要吸引觀眾，片名的翻譯的確是重中之重。嘗試在目的論指導下，進行電影片名翻譯使我們具備了強有力的理論支持。翻譯目的論是功能派翻譯的重要理論，由德國功能派學者費米爾（Vermeer）和諾德（Nord）等創(chuàng)立。目的論認為翻譯是一種交際行為，具有明確的目的和意圖。翻譯行為所要達到的目的決定整個翻譯行為的過程，即“目的決定手段”，翻譯策略必須根據(jù)翻譯的目的來確定，即“結(jié)果決定方法”。這個“目的”有三種解釋：譯者的目的（如賺錢）；譯文的交際目的（如啟迪讀者）；和使用某種特殊翻譯手段所要達到的目的（如為了說明某種語言中語法結(jié)構(gòu)的特殊之處而采用按其結(jié)構(gòu)直譯的方法）。（仲偉合，1991：45）

二、目的論遵循的原則

根據(jù)目的論，所有翻譯應遵循三個法則：1.目的法則。它是目的論的首要法則。該法則認為整個翻譯過程，包括翻譯方法和翻譯策略的選擇，都是由翻譯行為所需要達到的目的決定的。2.連貫性法則。它指的是譯文必須符合語內(nèi)連貫的標準。所謂語內(nèi)連貫是指譯文必須能讓接受者理解，并在目的語文化以及使用譯文的交際環(huán)境中有意義。3.忠實性法則。它指原文與譯文之間應該存在語際連貫一致。語際連貫類似于通常所說的忠實于原文，而忠實的程度和形式則由譯文目的和譯者對原文的理解決定。忠實性法則從屬于連貫性法則，而連貫性法則和忠實性法則都從屬于目的法則。如果目的法則要求原文和譯文功能不同，忠實性法則就不再適用；如果目的法則要求譯文不需要通暢，那么連貫性法則就不再適用。目的論與傳統(tǒng)翻譯理論相比有一個顯著的特點，即源語地位的降低，提高了譯者的主體性，也對翻譯實踐（尤其對電影片名翻譯這種目的性較強的翻譯）具有指導意義。

三、中文電影在海外市場的現(xiàn)狀

研究數(shù)據(jù)顯示，超過三成的海外觀眾對中國電影不了解。2011年2月22日，中國文化國際傳播研究院在北京公布的2011中國電影國際影響力全球調(diào)研數(shù)據(jù)顯示，中國電影目前在國際上傳播乏力、影響非常有限。這也是國內(nèi)首次面向外國觀眾進行的關(guān)于中國電影的調(diào)研。調(diào)研共發(fā)放問卷1450份，有效回收1308份，覆蓋了美國、英國、法國、德國、加拿大、澳大利亞、印度、日本、韓國等國家，由此深入了解了中國電影文化和價值觀在國際傳播的現(xiàn)實狀況。而作為軟實力重要象征的電影文化，與發(fā)達國家相比，缺乏足夠的競爭力與影響力，所以電影翻譯是亟待解決的問題。

四、目的論在中文電影片名翻譯中的指導意義

從目的論角度來看，翻譯的目的是要實現(xiàn)譯文在目的語文化中的預期功能。電影片名翻譯要實現(xiàn)的預期功能正是在一個新的文化環(huán)境中再現(xiàn)原片名在源語言文化中所具備的各種功能。即突出影片內(nèi)容，揭示影片主題，從而更好地向觀眾傳達影片信息，給他們提供審美愉悅，吸引觀眾，爭取豐厚的利潤回報，使影片在海外市場取得商業(yè)成功，以達到影片制作商的目的。這是電影片名翻譯的首要原則，也是電影片名翻譯的主要目的。當然，推廣中國電影不僅僅能夠創(chuàng)造經(jīng)濟效益，更重要的是把中國五千年的悠久文化通過電影這個媒體傳遞到國際上去，不僅讓不了解中國的西方觀眾看到一個真實的中國，還可以讓我們的價值觀、我們的話語權(quán)擁有一席之地。

另外，目的論使譯者主體性在電影片名翻譯中得以更充分地發(fā)揮，即目的論從譯者的角度來闡釋翻譯活動，賦予譯者更大的自主權(quán)。譯者可根據(jù)譯文的預期功能和目的調(diào)整具體的翻譯方法，靈活處理原文。查明建和田雨為“譯者主體性”作了以下界定：“譯者主體性是指作為翻譯主體的譯者在尊重翻譯對象的前提下，為實現(xiàn)翻譯目的而在翻譯活動中表現(xiàn)出的主體能動性，其基本特征是翻譯主體自覺的文化意識、人文品格和文化審美創(chuàng)造性。譯者主體性貫穿于翻譯活動的全過程，譯者主體性不僅體現(xiàn)在譯者對作品的理解、闡釋和語言層面上的藝術(shù)再創(chuàng)造，也體現(xiàn)在對翻譯文本的選擇、翻譯的文化目的、翻譯策略和在譯本中對譯作預期文化效應的操縱等方面。”(查明建、田雨，2003：19～24）Vermeer認為“翻譯意味著在特定環(huán)境里，由于特定的目的，為特定的接受者進行翻譯”（Vermeer，1987：25～33）。因此，以目的論為理論指導，在電影片名翻譯這樣一個特殊的翻譯領(lǐng)域中，譯者的主體性得到最大的發(fā)揮。在電影片名翻譯時，譯者應對目標讀者做出估量，以受眾為中心，從市場效應角度著眼，具體問題具體分析，采用符合目的語的語言規(guī)范及目的語國家觀眾的審美習慣的表達方式，使其作品最大限度地實現(xiàn)其商業(yè)價值。

五、電影片名的翻譯方法及策略

目的論認為翻譯是一種行為，任何一種行為都有其目的，翻譯行為的目的決定了翻譯所應采取的方法與策略。電影片名翻譯的目的是更好地吸引觀眾，所以任何一種能達到此目的的翻譯方法都可以被采納，這就使得電影片名的翻譯方法趨于多樣化。

（一）直譯

直譯指的是在翻譯過程中按原文逐字逐句地翻譯。按照片名的字面意思可以直接翻譯。如：《臥虎藏龍》的英文名是“Counching Tiger Hidden Dragon”，這里采用直譯能更好地傳播中國文化，即“龍”在中國的象征。

（二）意譯

意譯要求譯文能正確表達原文內(nèi)容，但可以不拘泥原文的形式。在直譯和意譯的選擇上應遵循這樣的原則：能直譯時便直譯，不能直譯時用意譯，直譯為主，意譯為輔，意譯作為直譯的補充。如：《非誠勿擾》可譯為“If you are the one”；《俠肝義膽》可譯為“Alone in the Dark”；《南京！南京！》可譯為“The city of Life and Death”，用“l(fā)ife”和“death”兩個對立意象的沖突來表現(xiàn)影片中的復雜情感，不僅表達到位，而且能更好地吸引觀眾的眼球。

（三）音譯

音譯是用一種語言讀寫出另一種語言的詞或詞組的發(fā)音的翻譯方法。這是電影片名最簡單、最方便的翻譯方法。如：《紅高粱》就是純粹的音譯，即“Hong Gao Liang”，這樣的翻譯更好地向歐美觀眾輸出了中國的傳統(tǒng)文化，也獲得了影片在海外的成功。

六、結(jié)語

作為一種特殊的文學形式，電影為觀眾而創(chuàng)作，并以觀眾的接納、欣賞和評判為生存的依據(jù)和標準。電影要想吸引外國觀眾，片名的翻譯是重中之重。根據(jù)目的論，電影片名翻譯的預期目的是要實現(xiàn)原名在目標語中的可接受性。譯者應根據(jù)影片的思想內(nèi)容，充分考慮東西方文化的異同以及翻譯的目的，根據(jù)原電影片名靈活地采用翻譯策略，但最重要的是要保證觀眾能理解其內(nèi)涵，最大限度地實現(xiàn)譯名的藝術(shù)特色及商業(yè)價值。

（本文為湖南省社科基金外語科研聯(lián)合項目“言外之意翻譯的關(guān)聯(lián)理論視角研究”[項目編號：12WLH48]；湖南省教改項目“跨文化交際能力培養(yǎng)與大學英語教學”[項目編號：2005（280）]；中南大學研究生培養(yǎng)辦項目“文化翻譯學學科建設的理論與實踐”[項目編號：71333000408]的階段性成果。）

參考文獻：

[1]仲偉合.德國的功能派翻譯理論[J].中國翻譯，1991，（3）.[2]查明建，田雨.論譯者的主體性[J].中國翻譯，2003，（1）：

19～24.[3]Vermeer.What does it mean to translate?[J].Indian

Journal of Applied Linguistics,1987,(2)：25～33.[4]李延林.文化翻譯學教程（修訂版）[M].長沙：中南大學出版

社，2006.

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