第一篇：論文：英語電影片名的翻譯

中文文摘

電影是一種集藝術性和商業性于一體的藝術形式，是最具有影響力的媒體之一。越來越多的英語電影被引入中國，促進了中西方文化交流。電影片名作為電影的重要組成部份之一，具有傳達信息，表現美感和吸引觀眾的功能。在過去的二三十年里，影視翻譯取得了很大的發展，但作為翻譯領域一個重要組成部份，電影片名的研究工作還做得遠遠不夠。目前似乎還沒有人提出一套比較完整可行的原則指導片名翻譯。目前英語片名翻譯的問題主要表現為譯名不統一，呈現出“一名多譯，良蕎不齊”的狀況。

本文以新興的功能翻譯理論作為研究基礎，大力提倡以觀眾為取向的英語片名翻譯方法。功能翻譯理論不同于傳統的翻譯理論，它強調了翻譯及目的文本在其文化中的功能。作為功能翻譯理論的“目的論”認為，翻譯是一種有目的行為，“目的”決定所有翻譯行為。根據“目的論”，決定翻譯目的的最重要因素之一就是譯文的接受對象，他們作為譯文預期的接受者有其各自特定的文化背景和不同的交際需求。此外，功能理論還賦予譯者更高的地位和更多的自由，認為為了達到翻譯的目的與功能，譯者可以最大限度地利用原文的文本信息，并在實踐中采用行之有效的不同翻譯策略。這也符合了當今影視翻譯鼓勵 譯者具有一定個性和創造性的趨勢。

在以上理論研究的基礎上，文章將功能理論應用于分析英語電影片名翻譯的現象，對英語片名的翻譯進行了深入系統而全面的描述與分析，探討了功能翻譯理論指導電影片名翻譯的合理性與可行性，以及在該理論指導下英語電影片名翻譯的一些策略。全文共分五早。

論文第一章首先介紹了英文電影片名的重要性，闡明了本文的寫作目的、研究方法和組織結構。

第二章主要介紹了本研究的理論基礎一功能翻譯理論。本章首先介紹了功能翻譯理論的發展;其次介紹了指導功能翻譯理論的三大法則，即目的性法則，連貫性法則和忠誠性法則。指出功能翻譯理論的評價標準是“合適”，而不是“對等”。該理論作為對傳統翻譯理論的一個重大突破和翻譯理論研究的重要補充，為電影片名翻譯的理論研究開辟了一個新視角。

第三章介紹了電影的分類，定義了電影片名，分析了電影片名的功能和特點。并指出片名翻譯的最終目的和主要功能是激發觀眾的觀看欲望。電影片名不僅是物質產品，同時又是精神產品。為了更好地實現片名翻譯的最終目的，譯者不僅要使得電影譯名具有導看功能，即片名能給觀眾提供影片的基本信息，還要使觀眾獲得美感并受到感召，最終采取行動。這也就是要求譯者在譯文中努力實現電影片名的三種基本功能，即信息功能，美感功能和祈使功能。

III

第四章是理論與實踐相結合的一個章節，即將功能翻譯理論結合到具體的片名翻譯實踐中。作者分析了英語電影片名翻譯的主要方法和策略，即音譯、直譯、意譯及改譯，以及各種方法的優勢和不足，指出了各種翻譯方法密不可分，優勢互補。本文引用了大量豐富的例子來探討功能翻譯策略在電影片名翻譯中的運用，認為原英語片名只是信息提供者之一。除了原電影片名，電影本身也可能提供信息。因此，譯名與原名是否對等并不十分重要，充分滿足信息、美感、祈使三個功能的要求才是英語電影片名翻譯的首要標準。

第五章總結全文，指出電影片名翻譯的功能能否實現是英語電影片名漢譯的基本原則。要實現電影片名翻譯的功能，就要求譯者要明確片名翻譯的目的，了解電影的類型及主要內容，并基于此選擇適當的翻譯策略來實現電影片名翻譯的功能。

IV

Synopsis

The film, a particular art with both artistic and commercial values, is one of the most influential mass media with large quantities of English films being introduced into China.The film title, as an important part of the film, is of referential, expressive and appellative functions and its translation is a challenging job.Although film translation has been developing quickly in the past two or three decades, film title translation is a far less explored field.Up till now, no systematic and feasible theory on English film title translation has been put forward.Actually, film title translation is very problematic in that it is in a state of disunity.From the aspects of the functions and skopos of film titles, the author makes an analysis of the translation of film titles.Skopos theory, a newly developed theory, is adopted as the theoretical background of this thesis and an audience-oriented film title translation approach is highly advocated.Functionalism sheds new lights on the translation field.It reflects a shift from traditional linguistic and formal translation theories to a more functionally and socio-culturally oriented concept of translation.As a kernel of functionalism, Skopos theory holds that translation is an intentional action, and the skopos is the prime principle to determine the overall translational action.According to Skopos theory, one of the most important factors determines the purpose of a translation is the target receivers with their culture-specific backgrounds, their expectations and communicative needs.Moreover, functionalism gives the translator much more freedom than ever.The translator is encouraged to make good use of the source information and enjoys the freedom of choosing what strategy to follow to achieve the expected functions of the translation.In this thesis, the author applies the functionalist approaches to explain the phenomena of film title translation.The thesis makes an intensive and comprehensive study of the translation of English film titles.It proves the rationality and applicability of the functionalist approach and probes into the translation strategies of translation of English film titles under the guideline of functionalism.The thesis is divided into five chapters.The first chapter serves as an introduction.It presents the significance of the study, and also describes the skopos, research methodology and the structure of thesis.V

Chapter Two elaborates the theoretical basis—the functionalist approach, on

which the present study is founded.This chapter first introduces the historical views of the functional translation theory.After this, the chapter illuminates the three rules for any translation under the framework of functionalism: the skopos rule, the coherence rule and the fidelity rule;and indicates that criterion for translation evaluation is “adequacy”.Therefore, the functionalist theory has given a new perspective to the study of the translation of film title.Chapter Three introduces the genre of films, defines the film title to be examined in this thesis and discusses the features and functions of film titles.It points out that the ultimate purpose of film title translation is to induce the audience to see the film.But unlike commercial advertisement, the film title is not only a commercial product, but a spiritual product as well.In order to achieve the purpose, the title not only has to provide necessary information about the film to the audience but to entertain the audience and attract them.Only when the audience have been entertained and attracted by the title will they be persuaded to go to the cinema.That is to say, a translator should try to achieve three basic functions in target translation, namely thereferential, expressive and appellative functions.Chapter Four discusses the combination of theory with practice.This chapter applies the functionalist approach explain to the English film title translation.It first uses the functionalist approaches to the phenomena of film title translation.And it elaborates the strategies mainly applied in English film title translation, namely transliteration, literal translation, liberal translation and adaption, and discusses the merits and limitations of each method.This thesis argues that all the translation strategies are indispensable and supplementary to each other.It holds that equivalence to the original is not very important but the translation's adequacy to the requirement of the three functions is just the first and foremost criterion for the fulfillment of the skopos of reproducing the referential, expressive and appellative functions of original film titles Chapter Five is the conclusion that summarizes the whole thesis.It reaffirms that the translator should translate the English film titles under the basic principle of fulfilling the specific functions of it by applying translation methods in a flexible way.VI

Table of Contents 中文摘要........................................................................................................................I

Abstract........................................................................................................................II

中文文摘.....................................................................................................................III

Synopsis........................................................................................................................V

Chapter One Introduction........................................................................................1 1.1 Research Background..............................................................................................1 1.2 Data and Methodology.............................................................................................2 1.3 The Structure of the Thesis.....................................................................................2

Chapter Two Literature Review..............................................................................4 2.1 The Emergence of Functional Approaches..............................................................4 2.2 Functionalist Translation Theory.............................................................................5 2.2.1 Development of Functionalist Translation Theory...............................................5 2.2.2 Basic Concepts of Skopos Theory........................................................................6 2.2.3 Adequacy, Standard of Evaluation.......................................................................6 2.2.4 Translation Brief..................................................................................................6 2.2.5 Merits of Skopos Theory......................................................................................7

Chapter Three A Profile of Film Title Translation................................................8 3.1 Genre of Film...........................................................................................................8 3.2 Definition of Film Titles..........................................................................................8 3.3 Sources of Film Titles..............................................................................................8 3.3.1 The Indication of the Subject...............................................................…….........9 3.3.2 The Indication of the Object/Clue........................................................…….........9 3.3.3 The Indication of the Background........................................................................9 3.3.4 The Indication of the Plot....................................................................................10 3.3.5 The Indication of the Theme........................................................................…...10 3.4 Features of Film Titles...........................................................................................10 3.5 Functions of Film Titles........................................................................................11

VII

3.6 Skopos of Film Title Translation...........................................................................11

Chapter Four Application of the Functionalist Approach to the English Film Title Translation.....................................................................................................13 4.1 Strategies Employed in the Translation of English Film Titles.............................13 4.2 Strategies Employed in the Translation of Film TItles..........................................13 4.3 Summary................................................................................................................13

Chapter Five Conclusion.......................................................................................15 5.1 Summary and Conclusion of the Research...........................................................15 5.2 Limitations and Suggestions of the Research........................................................15

References...................................................……........................................................17

VIII

Chapter One Introduction

1.1 Research background

The year 1895 witnessed the first film in world history in France.Having developed for over a century, the film has become one of the most popular ways of entertainment for people.Additionally, it is also a means of expression as well as a vehicle for cultural communication.The film has included so much of various historical periods that people believe that by watching films of various types from various times and various countries, they can learn many aspects of history.The film is, so to speak, an acting and talking encyclopedia of culture and society.With the increasing pace of China's opening to the outside world as well as the development of cultural communication between China and English-speaking countries, more and more English films have entered Chinese market.In order to enable the audience to understand and appreciate the film, the whole film should be translated.Thus, there is an urgent demand for the translation of films.And because the film, as a specific form of literature and audio-visual art, is bound to have promising prospects in our age, it is of great significance to study and develop film-translating too.Film translation is the translating of languages and cultures, and the promotion of cross-cultural exchanges.And the film title, like the title to a literary text, delivers the most important information about the film to the audience.Therefore, as an indispensable part of the film translation, the film title translation naturally becomes an important branch of the general translation study.Whether the film is appealing or not, the title is one and the first deciding factor, for it is often the first that comes into the potential viewer's attention.It is expected to be eye-catching, ear-pleasing and curiosity-stimulating.The film titles generally bear three principal functions: the referential function, the expressive function, and the appellative function.The referential function means that the translation informs the audience the background and the plots of the film.It tells the audience as much of the information of the film as it can within several words and help them have a basic understanding of the film.The expressive function means that the translation sets the feeling-tone reflected in each film genre, which is very important to its communicative effectiveness;The appellative function means

that the translation must be written in a language that is immediately comprehensible to the audience so as to attract their attention, and triggerthem to enter the cinema to appreciate the film.And the film title, being short in form but rich in meaning, has its own linguistic, aesthetic, cultural and commercial features, all of which contribute a lot to the charm and the success of the film.Nowadays, the film title translation has attracted the attentions of many scholars.Many thesises of this topic could be seen in various kinds of academic periodicals.However, the studies in this field are not adequate and comprehensive enough.In this thesis, the author will try to make some theoretical explanations by examples which are taken from original texts and published translations.1.2 Data and Methodology

The present research is a descriptive analysis of English film title translation.It mainly focuses on the feature films which carry a greater variety than documentary films and science and educational films.They are usually intended to attract wide and varied audience.Thus, various feature film titles are collected from various sources such as books, journals, DVDs and the Internet for this research.The research is carried out in the light of the functionalist approaches to discover the principles of film title translation, and to see how the translation strategies are adequate to the requirements of the three functions in serving the skopos of film title translation.1.3 The Structure of the thesis

The thesis consists of five chapters: l)introduction, 2)literature review, 3)a profile of filmtitle translation, 4)an analysis of the film title translation from the functional perspective, 5)conclusion.The first chapter introduces the background and methodology of this research.The second chapter is the literature review which introduces the Skopos theory, including its development, basic concepts, basic rules and its influence on translation.The third chapter makes a profile of film titles.It introduces the genre of films, defines the film titles, analyzes its features and functions, and points out that the

skopos of English film title translation is to win the heart of the audience and be rewarded by a great box-office hit.The fourth chapter is the practical part of my thesis, where English film title translations are collected, reviewed and analyzed, for the purpose of discussing how the Chinese translation in various strategies are feasible in serving the skopos of entertaining the audiences and promoting the box-office.The fifth chapter is the last part.It summarizes the research conducted in the thesis to draw a conclusion.Chapter two

Literature Review 2.1 The Emergence of functionalist approaches The functional approaches originated in Germany in 1970s.Before its emergence, those linguistic-oriented theories had a great influence on translation.Many definitions of translation emphasized the linguistic aspect.For example, Catford thought translation is “the replacement of textual material in a language(SL)by equivalent material in another language(TL)”(cf.Nord, 2001:7);and according to Nida and Taber, the process of translation is “reproducing in the receptor language the closest natural equivalent of the source-language message”(Eugene A.Nida & Charles R.Taber, 2004:12).Because the linguistic approaches basically saw translation as a procedure of trans-coding, “equivalence” seems to be basic and somewhat indispensable.Werner Koller even indicated that the translation must preserve the source-language content, form, style, function, or “at least must seek to preserve them as far as possible”(cf.Nord, 2001:7).It declared the target text which is not equivalent to the source text to be a failed translation.Though many theorists still emphasize the equivalence in translation, they have to recognize that there may be non-equivalence in translation caused by the culture differences.Just as Koller stated in his recent work, “adaptation may be appropriate, or even inevitable, in order to make the translation reach its audience.(cf.Nord, 2001:7)And as for some pragmatic texts, such as advertisements and products instructions, ”equivalence“ can't be well applied for them.Thus, some translation scholars shift their focus from equivalence-based approaches to functionalist approaches, and ”a new theory was called for“.(Nord, 2001:8)

”The emergence of a functionalist translation theory marks an important moment in the evolution of translation theory by breaking the two-thousand-year old chain of theory revolving around the faithful vs.freeaxis.”

(Gentzler, 2004: 71)

Functionalism is a broad term for various theories that approach translation in this way.The major contribution to functionalism is the functionalist translation theory with the Skopos theory to its core.2.2 Functionalist Translation Theory 2.2.1 Development of functionalist translation theory The development of the functionalist translation theory experienced four stages, with Katharina Reiss, Hans J.Vermeer, Holz-Manttari and Christiane Nord as the main representatives.2.2.2 Basic Concepts of Skopos theory

“Skopos is the Greek word for ?aim? or ?purpose' and was introduced into translation theory in the 1970 by Hans J.Vermeer as a technical term for the purpose of a translation and of the action of translating.”

(Munday, 2001:78-79)

Nord indicates that the main idea of Skopos theory is that translation should be purpose-oriented.Vermeer has divided the purpose of translation into three possible kinds, including “the general purpose aimed at by the translator in the translation process”(cf.Nord, 2001;27), “the communicative purpose aimed at by the target text situation”(ibid: 27), and “purpose aimed at by a particular translation strategy or procedure”(ibid:28).And the term Skopos usually refers to the purpose of the target text.Except the term Skopos, Vermeer also uses some related words aim, purpose, intention and function in his theory:

1.?Aim’is defined as the final results an agent intends to achieve勿means of an action.2.?Purpose' is defined as a provisional stage in the process of attaining an aim.3.?Function' refers to what a text means or is intended to mean from the receiver's point of view, whereas the aim is the purpose for which it is needed or supposed to be need.4.?Intention' is conceived as aim-oriented plan of action.(cf.Nord,2001: 28)

He considers teleological concepts of these words to be equivalent, subsuming them under the generic concept of Skopos.However, Christiane proposed a basic distinction between intention and function, which is particularly useful in translation.Because the sender and the receiver usually belong to different cultural and situational settings, “intention and function may have to be analyzed from two different angles”.(Nord, 2001:29)2.2.3 Adequacy, Standard of Evaluation

Instead of equivalence, “adequacy” is highly emphasized within the framework of skopos theory.According to Skopos theory, the intended purposes of the target text determine the translation strategies, and criterion for translation evaluation is “adequacy”, which refers to “the qualities of a target text with regard to the translation brief'(Nord, 2001:35), which will be discussed later in this chapter.The translation should be ”adequate to“the requirements of the brief'.(Nord, 2001:35).“'Adequate' is a dynamic concept related to the process of translational action and referring to the “goal-oriented” selection of signs that are considered appropriate for the communicative purpose defined in the translation assignment.”

(cf.Nord, 2001:35)

The skopos of the translation determines the form of equivalence required for an adequate translation.Therefore, equivalence means adequacy to a skopos that requires that the target text serves the same communicative function or functions as the source text,山us preserving invariance of function between source and target text.That is, the concept of equivalence is reduced to “functional equivalence” on the text level of what Reiss refers to as “communicative translation”.(cf.Nord, 2001:36)2.2.4 Translation Brief

The translation brief indicates the text type, format or terminology of a translation.In the professional practice of translation, translators seldom start a translating activity out of their own reasons.Translation is usually done by assignment;that is, a client needs a text for a particular purpose and calls upon the translator for a translation.In the process of translational action, the initiator decides the communicative purpose.However, on real occasions, clients do not give the translators an explicit translation brief,they often do not know that a good brief spells a better translation.Based on the source text in the source settings, an experienced translator is able to infer the brief himself and make some variations upon the target text, in order to make

it meaningful to target culture receivers.In addition, the translation brief does not tell the translator how to go about their translation job, what translation strategy to use, or what translation type to choose.These decisions depend entirely on the translator's responsibility and competence.(Nord, 2001:30)

In terms of Skopos theory, the variability of the brief depends on the circumstances of the target culture, not on the source culture.Since translation has been defined as a translational action involving a source text, the source is usually a part of the brief.In terms of action theory, agents(sender, receiver, initiator, translator)play the most important parts.2.2.5 Merits of Skopos theory

Compared with traditional translation theory prevailing before 1970s, Skopos theory has so many distinctive characteristics that it becomes a trigger of revolution in translation studies.“The two most important shifts in theoretical developments in translation theory overthe past two decades have been(1)the shift from source-text oriented theories to target-text oriented theories and(2)the shift to include cultural factors as well as linguistic elements in the translation training models.Those advocating functionalist approaches have been pioneers in both areas.”

(Gentzler, 2004:70)

And the theory is also considered by Nord exactly as the translation model that is needed.Nord summarizes the advantages of it as ”pragmatic, culture-oriented and consistent“.(cf.Quan Xunlian, 2006)

Chapter Three

A Profile of English Film Title

The film title, like the title to a literary text, delivers the most important information about the film to the audience.A good film title can grip the attention of the audience and contribute a lot in box-office.Film title translation is an important job which is full of creation.It seems to be a simple and easy task, but actually it is complicated.It has its own features and unique functions all of which deserve the attention of translation scholars.A brief survey of English film titles will be conducted in this chapter before coming to the application stage.3.1 Genre of film In film theory, ”genre“ refers to the primary method of film categorization based on similarities in the narrative elements from which films are constructed.Just like literary genres, there are many types of films, but the most significant categories are feature films, documentary films, educational films, experimental and animated films as suggested in The Complete Film Dictionary.(cf.Xu Lin, 2005)

3.2 Definition of film titles

The title, according to The Complete Film Dictionary, means any words that appear on the screen not as part of the scene but as a means of conveying information to the audience.”Credit titles“ appear at the start and conclusion of a film to cite the various personnel responsible for the motion picture;”the main title“ gives the name of the film;”subtitle“ are placed at the bottom of the scene to translate foreign languages;”the end title“ tells the audience that the film is concluded and ”end titles“ give us the credits.(cf.Xu Lin, 2005)The thesis will discuss the ”main title“ which gives the name of the film.3.3 Sources of film titles The film title usually summarizes the main idea of the film and exposes the theme.If a translator wants to grasp the full meaning of the original title, and translate the film titles properly, he should first identify the sources of film titles.That means, he should know on what bases the films are named.The sources can be roughly

categorized into five types: 1)subject;2)objecbclue;3)background;4)plot;5)theme.(He Ying, 2001)3.3.1 The Indication of the Subject

The subject here refers to the protagonist-hero or heroine of the film.More often than not, the screenwriters either adopt the names of the main characters as the film titles, or entitle the film with the characteristics of the protagonist.Following are some examples of this type of source:

Romeo and Juliet Batman Alexander The Fantastic Four

3.3.2 The Indication of the

The clue or the most important object appearing in the film serving to be the thread that connects the whole plot is often adopted as the title.Following are some examples of this type of source:

Schindler's List 7axi Golden Eye A Clockwork Orange

3.3.3 The Indication of the Background

The background, which plays a very important part in the developing the plot, conveying the theme and portraying the characters, also serves as one of the chief sources for naming a film.This type of source originates from the place or time that is crucial for the development of the plot and the portrait of the protagonists, providing the audience with some basic background information of the film.Following are some examples of this type of source:Troy The Longest Day Mr.Bean's Holiday Air Force One

《特洛伊》 《最長的一天》 《憨豆先生的假期》 《空軍一號》

《辛德勒名單》 《的士速遞》 《黃金眼》 《發條橙》

《羅密歐與茱麗葉》

《蝙蝠俠》

《亞歷山大帝》

《神奇四俠》

3.3.4 The Indication of the Plot

It's the most common type of source of film titles.The title always provides a glimpse of the film plot, or summarizes the content of the film.Following are some examples of this type of source:

Around the World in 80 days Kill Bill Star War Saving Private Ryan

3.3.5 The Indication of the Theme

Some of the films are entitled with the theme that the film intended to convey.Such titles are comparatively abstract, but contain much more symbolized meanings than the other types.They are very thought-provoking, profound and far-reaching in mood.Following are some examples of this type of source:

Pride and Prejudice Brave Heart Top Gun The Sound of the Music

《傲慢與偏見》 《勇敢的心》 《壯志凌云》 《音樂之聲》

《環游世界80天》 《殺死比爾》 《星球大戰》 《拯救大兵萊恩》

3.4 Features of film titles

Film titles are commonly short and brief to be eye-catching for people.And because the intended addressee of film titles is the general public, the language should be popular and comprehensive.Many rhetoric devices, such as simile, metaphor and oxymoron are employed in the film title to make them vivid and attractive, therefore, they can grab the audience's attention, arouse their curiosity and trigger their action.The overall features of the English film titles will be approached from linguistic, aesthetic, cultural and commercial aspects as follows.In general, English film titles are simple, concise and compact.A lot of film titles employ only one word, which are usually to be nouns.They may be the main character, the place or the time when the story takes place.For example, Speed, Mummy, Titanic and so on.Although there are some long film titles, such as When a Man Loves a Woman and It happened One Night, they are just a small number.Additionally, phrases enjoy the great popularity in the film titles.Most of them are noun phrases, verb phrases and prepositional phrases.3.5 Functions of film titles

”Function“ is a topic largely discussed by the translation scholars.Vermeer defines ction as ”what a text means or is intended to mean from the receiver's point of view".(Nord, 1:28).Each text is produced for a certain function and work this function.The station of a text should also be intended to function for the target receivers.Functionalism draws on Karl Biihler's organon(1934)about the text function.Biihler proposed that there were three basic text functions: referential, expressive and appellative functions.And because the film is a material product as well as a spiritual product, this dual decides that film titles have both functions of artistic appreciation and commercial advertisement, therefore the titles should bear the aesthetic function as well.3.6 Skopos of film title translation

The film is more than just an entertaining system.It is also a means of expression as well as a vehicle for cultural communication.According to Vermeer's Skopos theory, the possible purposes in the translational action can be divided into three kinds: the general purpose aimed at by the translator, the communicative purpose aimed at by the target text, and the purpose aimed at by a particular translation strategy or procedure.(cf.Nord,2001:27-28)Applying this classification in film title translation, we can see that the general purpose of a translator of film title translation is to earn living;the communicative purpose of film title translation is to induce the audience to go the cinema;and the purpose of using particular strategies in film title translation is to preserve or recreate the referential function, expressive function and appellative function to please the audience, regardless of whether the immediately feeling is amusement(comedy), fear(horror)or anything else.Among the three purposes, the communicative purpose is the most important one.A successful film title should be the one that can attract people to the cinema and contribute a lot to the box office.That is to say, the skopos of film title translation is to add the viewer with a translated film title, which can contribute to a good

understanding of the contents of the film, provide information of the background and the plots of the film, set the feeling-tone of the film, increase the title's artistic appeal, win the heart of the audience and promote the box-office.Generally speaking, to make a hit on box-office is the ultimate goal of film title translation..In order to fulfill this purpose, the translator's task is to apply suitable strategies of translation, to provide the clear and concise film titles and induce the audience to watch the film.Chapter Four

Application of the Functionalist Approach to the English

Film Title Translation

4.1 Strategies Employed in the Translation of Film Titles

There is no single translation strategy that can solve all the problems in film title translation.According to the three functions of film title, which we have discussed in chapter three, four main types of strategies can be applied in film title translation.They are transliteration, literal translation, liberal translation and adaption.The following part discusses the four strategies applied in film title translation with rich examples to see how they are adequate to the translation brief, that is the requirements of the referential function, the expressive function, and the appellative as an integrated whole in fulfilling the purpose of entertaining the Chinese audience and promoting the box-office.4.2 Strategies Employed in the translation of Film Titles

There is no single translation strategy that can solve all the problems in film title translation.According to the three functions of film title, which we have discussed in chapter three, four main types of strategies can be applied in film title translation.They are transliteration, literal translation, liberal translation and adaption.The following part discusses the four strategies applied in film title translation with rich examples to see how they are adequate to the translation brief, that is the requirements of the referential function, the expressive function, and the appellative as an integrated whole in fulfilling the purpose of entertaining the Chinese audience and promoting the box-office.4.3 Summary

From the analysis above, we can draw a conclusion that the translation of English film titles doesn't simply mean copying the content and the form of the original title.It a re-creative process based on the functional theories.There isn't a sole method for the film title translation.All methods has its limitations.When one

method does not work owing to linguistic, customary, cultural or other factors, naturally the translator must at once turn to the other means for help.He should have a better understanding of the type and the content of the original film, then he can choose a method which is adequate to the translation brief and well reproduces the referential, expressive and appellative functions of the film title.Chapter Five

Conclusion

5.1 Summary and Conclusion of the Research

In this thesis, we have conducted a study into the application of the functionalist approaches to the translation of English film titles.The film is one of the most influential mass media products.As China' film market's potential becomes larger and larger, more and more English films have entered Chinese market and held a very important position in Chinese people's recreational life.So the translation of film products has become an important part of international economic and cultural exchanges.The study of the translation of film titles is not only necessary but also urgent.That is the reason why the author attempts to make an analysis of the basic strategies applicable to the translation of English film titles from a functionalist perspective.The author elaborates on the functionalist approach that emerged in the 1970s in Germany.The functionalist approach made a breakthrough in the field of translation, which had been dominated by the equivalence theory for a long time.The functionalist approach is a shift from the source-text orientation to target-text orientation.It attaches greatest importance to the skopos, and points out that the prime principle determining the translation action is the skopos(purpose)of the target text.In this sense, the functionalist approach is the most suitable and practicable theory to guide the film title translation.For the Chinese audience, they watch the film for the purpose of entertainment.And as an essential part of the films, the film titles naturally should not only serve the skopos of entertainment, but also the skopos of inducing the audience to see the film.The referential function, the expressive function and the appellative function are defined as the translation brief in achieving this skopos.Various kinds of strategies are employed such as transliteration, literal translation, liberal translation and adaption to fulfill this skopos.All the translation strategies adopted by the translator serve to realize the ultimate purpose of film title translation by highlighting one or two or three of these three functions.Simultaneously meeting the requirements of the three functions achieves the skopos well while meeting the requirements of one or two functions may affect the degree of entertainment.For example, the audience may not feel the specific atmosphere of the film easily due to the translation's failure to meet the requirement of the expressive

function.Therefore, to produce a successful film title under the guidance of the Skopos theory, the translator should first make clear of the skopos of the film title translation, then, he is supposed to fully understand the differences between Chinese film titles and English film titles in culture-specificity, in referential and expressive functions.Finally it is important for the translator to choose appropriate strategy that can best serve the particular function and finally realize the skopos of the translation.The thesis cites rich examples to examine the specific strategies the translator has chosen when translating different kinds of English film titles.The purpose of this study is to analyze whether and how the translators translate in a way that enables the translation to reproduce the referential, expressive and appellative function of the original title.5.2 Limitations and Suggestions of the Research

The present research is a tentative study of English film title translation.However, it is only target receiver-oriented and cannot cover all the aspects of the translation of English film titles due to the limited time and sources.Therefore, there is still much to be investigated in great depth in the translation of English film titles from other aspects.References Christiane Nord.2001.Translating as a Purposeful Activity-Functionalist Approaches Explained, Shanghai: Shanghai Foreign Language Education Press Edwin Gentlzer.2004.Contemporary Translation Theories(Revised Second Edition)Shanghai: Shanghai Foreign Language Education Press Eugene A.Nida & Charles R.Taber.2004.The Theory and Practice of Translation, Shanghai: Shanghai Foreign Language Education Press Eugene A.Nida.2001.Language, Culture and Translation, Shanghai: Shanghai Foreign Language EducationPress Gideon Toury.2001.Descriptive Translation Studies and Beyond, Shanghai: Shanghai Foreign Language Education Press Gutt, Ernest-August.2001.Translation and Relevance, Shanghai: Shanghai Foreign Language Education Press Katharina Reiss.2004.Translation Criticism-The Potentials & Limitations, Shanghai: Shanghai Foreign Language Education Press Mark Shuttleworth & Moira, Cowie.2004.Dictionary of Translation Studies, Shanghai: Shanghai Foreign Language Education Press Mary Snell-Hornby.2001.Translation Studies-An Integrated Approach, Shanghai: Shanghai Foreign Language Education Press Mona Baker.2004.Routledge Encyclopedia of Translation Studies, Shanghai: Shanghai Foreign LanguageEducation Press Munday Jeremy.2001.Introducing Translation Studies-Theory and Applications, London: Routledge Peter Newmark.2001.A Textbook of Translation, Shanghai: Shanghai Foreign Language Education Press Peter Newmark.1988.Approaches to Translation.Cambridge: Cambridge University Press.Peter Newmark.2006.About Translation Beijing: Foreign Language Teaching and Research Press.Quan Xunlian, 2006, A Functionalist Approach to the Translation of Film Titles, Unpublished MA.dissertation, Anhui University

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第二篇：電影片名翻譯研究

最新英語專業全英原創畢業論文，都是近期寫作

《紅字》中的丁梅斯代爾和齊靈渥斯誰更“惡”？ 中外汽車文化對比研究

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論美國文學中的自然主義產生的社會文化根源 《推銷員之死》中美國夢破滅的主要原因

On the Aesthetic Connotation of the Death in For Whom the Bell Tolls by Hemingway An Interpretation of Feminism in Byatt’s Possession

文檔所公布均英語專業全英原創畢業論文。原創Q 799 75 79 38 葛浩文英譯《紅高粱家族》的翻譯策略研究 淺析中西飲食文化的差異

A Comparison of the English Color Terms 關聯理論視角下英語廣告雙關語的解讀

目的論指導下《頁巖》英譯漢中的詞類轉譯現象

《馬克?吐溫—美國的鏡子》中的中英文銜接手段的對比和翻譯 從最佳關聯原則看口譯中的“歸化”和“異化” 從《動物莊園》看喬治·奧威爾反極權主義思想 從關聯理論看電影字幕翻譯策略

An Analysis of Hamlet’s Delay of Revenge in Hamlet 從功能翻譯論的角度探討品牌名稱的翻譯 中西方茶文化對比研究——以紅茶為例 論旅游指南的翻譯

淺談《欲望號街車》所闡述的欲望

Resonant Effect of Dialogues in Lolita on Readers A Comparison of the English Color Terms 在仙境中成長——《愛麗絲夢游仙境》的主題研究 從關聯翻譯理論看《圣經》漢譯過程中的關聯缺失 從《飄》中人物性格分析看適者生存的道理

The Impact of High and Low Context on Intercultural Communication 論《少奶奶的扇子》中的扇子

群體隱私和個體隱私——中美家庭中隱私觀念的對比研究

To Obey or Rebel –A Study of Female Characters in Moment in Peking 《聞香識女人》角色分析

言語行為理論視角下的商務索賠信函話語分析 由《麥琪的禮物》看歐亨利寫作特色

Gender Difference in Daily English Conversation 從校園官方網站角度對比研究中美校園文化 英漢禮貌用語對比研究

論簡奧斯汀小說中的反諷藝術

跨文化交際中身勢語的研究

從《實習醫生格蕾》淺析美劇所反映的文化背景和趨勢 對中西方傳統節日之文化差異的研究

A Probe into Three Phases for Effective Business Negotiations 對張愛玲與簡?奧斯汀作品的比較性研究 論商務談判口譯員的角色

Cultural Influences on Business Negotiation between China and Japan 高中學生英語課堂口語交際活動的錯誤分析 從用餐禮儀看中美核心價值觀差異

從《唐頓莊園》看一戰對英國莊園經濟文化的影響 階級矛盾導致的愛情悲劇―<<呼嘯山莊>>解讀 試論英語中的歧義與翻譯

從小飛俠彼得?潘淺析詹姆斯?巴里的悲劇人生

美國戰爭電影的人性和文化透視－－以《拯救大兵瑞恩》為例 《寵兒》中塞斯的性格分析

英漢味覺詞“酸甜苦辣”的比較分析 目的論視角下旅游文本的翻譯

An Analysis of Jane Eyre’s Contradictory Character

A Probe into For Whom the Bell Tolls: the Eco-awareness of Hemingway 中英死亡委婉語翻譯的跨文化研究

Analysis of the Female Characters in Oliver Twist

淺析英語諺語中的性別歧視現象及其成因

論英語習語的語言和文化功用 存在主義與海明威的“硬漢形象” 方位介詞“over”的隱喻含義研究

哥特式風格特征在《遠大前程》中的詮釋 初中英語詞匯教學的有效方法

簡單的深邃—論佛洛斯特詩歌的隱秘性

論田納西?威廉斯《欲望號街車》中的逃遁主義

Slips of Tongue in English Learning as a Second Language 試析托尼?莫里森《愛娃》中的魔幻現實主義 商務英語中的縮略詞研究

中國領導人講話中中國特色詞匯的漢英翻譯 中西方對鬼怪認識的差異

從文化差異角度看中式菜單英譯

Psychological Analysis of Holden in The Catcher in the Rye 英語詞匯學習存在的問題及對策研究

從目的論視角下對比研究《哈利?波特與火焰杯》的兩個中譯本 商務英語信函中的禮貌原則

從功能對等角度分析英文電影片名漢譯 中美鄉土文學中人性美的文化差異分析 模糊語在國際商務談判中的語用功能研究 譚恩美《灶神之妻》文化解讀

法律語言特征和法律語言翻譯 88 淺析奧斯丁的女性意識

淺析《德伯家的苔絲》中苔絲的反叛精神 90 從古至今的吸血鬼文化

A Comparison of the English Color Terms 92 從韋恩?布斯的修辭理論角度分析《愛瑪》中的修辭手法 93 商務英語信函中的禮貌原則

試析《旅游巴士》中的猶太文化內涵 95 The Tragic Fate of Tess 96 Rationalism in The Mysterious Stranger 97 卡勒德·胡賽尼《追風箏的人》阿米爾的救贖分析 98 幽默元素在英語電影和電視劇中的翻譯 99 淺談英語影片名的翻譯 100 商務信函中的介詞用法

《威尼斯商人》中的種族及宗教沖突

The Application of Multi-media in Middle School English Teaching 103 從目的論角度看外宣翻譯研究

從交際翻譯理論看幽默對話翻譯——以《老友記》第一季為例 105 模糊數詞在英語習語中的構成形式及其修辭功能 106 重新詮釋瑪格麗特的人生悲劇根源

從愛倫·坡《黑貓》探討人性的善良與邪惡 108 以姚木蘭和斯嘉麗為例看東西方女性意識差異 109 中西跨文化交際中的禮貌問題之比較分析 110 從女性主義看《呼嘯山莊》

從后殖民視角解讀《孤獨的割麥女》 112 論英語新課標下高中生跨文化意識的培養 113 淺析《紅字》中象征手法的運用

English Teaching and Learning in China's Middle School 115 英文電影名漢譯中的功能對等 116 論《小鎮畸人》中人物的怪誕性

二元對立模型在伍爾夫《達洛衛夫人》中的應用 118 初中英語教學中的角色扮演 119 “誤譯”現象的合理性探析 120 如何有效地擴展大學生英語詞匯

On Characteristic Features of the Main Characters in The Moon and Sixpence 122 觀春潮：淺析“戲仿”背后海明威性格陰暗面 123 從歸化與異化的角度研究《金鎖記》的翻譯策略 124 中西餐桌禮儀文化差異

A Naturalistic Approach to Jude’s Tragedy in Jude the Obscure 126 淺析托妮·莫里森《寵兒》中人物的身份建構 127 從社會符號學角度淺談漢語“一”字成語翻譯 128 從言語行為理論研究廣告英語中的隱喻 129 《哈克貝利?費恩歷險記》中階級面面觀

A Contrastive Study on Traditional Festivals in Chinese and Western Cultures—from the

Perspective of the Disparity between Spring Festival and Christmas Day 131 美國戰爭電影的人性和文化透視－－以《拯救大兵瑞恩》為例 132 中西建筑文化差異及其形成背景分析 133 通過會話原則分析手機短信語言

從目的論看《生活大爆炸》的字幕翻譯 135 英語電影片名翻譯策略研究

淺析《戀愛中的女人》的圣經意象原型——從原型批評角度解讀 137 從情景喜劇《老友記》淺析美國俚語的幽默效果 138 英文電影題目翻譯的異化與歸化研究

“黑人會飛”——托妮?莫里森小說《所羅門之歌》中的黑人神話研究 140 從合作原則違反角度分析《破產姐妹》中的幽默話語 141 從《葡萄牙人的十四行詩集》探究布朗寧夫婦的愛情 142 Judy’s Double Character in Daddy-Long-Legs 143 從校園流行語看中美學生思維方式的差異 144 從麥當勞看美國快餐文化

論亨利?詹姆斯的世態小說的特征—以《黛西?米勒》和《貴婦畫像》為例 146 論企業對員工過度壓力的管理

論簡·奧斯汀在《傲慢與偏見》中的婚姻觀 148 從目的論的角度來看新聞英語中委婉語的翻譯 149 目的論下進口汽車說明書的翻譯研究 150 A Comparison of the English Color Terms 151 《傲慢與偏見》中的對立與統一

152平衡的維系——《天鈞》中的道家思想 153 英語廣告語中隱喻的研究 154 商務信函中的語氣結構分析

155 論《永別了，武器》中戰爭對人物的影響 156 論被動句的翻譯

157 從《蝙蝠俠：黑暗騎士》與《葉問》看中美電影中塑造英雄方式的差異 158 《紅字》中替罪羊形象的分析

159 文化全球化語境下中英婚姻習俗的對比研究 160 從《愛瑪》看簡?奧斯丁的女性主義意識 161 從生態女性主義視角解讀《喜福會》

162 《哈克貝里·費恩歷險記》中哈克和吉姆的人物形象分析

163 A Contrastive Study on Language Features of Chinese and English Proverbs 164 李安電影中的文化融合現象

165 語音歧義和語義歧義的語言學分析 166 愛倫坡偵探小說中恐怖氣氛的營造方法 167 大學英語課堂教學師生互動建構淺析

168 從唯美主義的角度論《道林.格蕾的畫像》中的主要人物 169 英語幽默語的語用研究

170 解讀《金色筆記》中的女性主義 171 論奧康納短篇小說的創作特色

172 哈代的悲觀主義和宿命論在《德伯家的苔絲》中的體現 173 《哈利?波特》系列作品中顏色的象征意義

174 《簡愛》中女主人公的人生觀分析 175 情景教學法在小學英語課堂中的運用

176 《基督山伯爵》與《肖申克的救贖》中男主人公的形象比較 177 普通話對英語語音的遷移作用 178 探析《夜訪吸血鬼》中的孤獨

179 試析英漢顏色習語折射出的中西文化異同 180 《紅色英勇勛章》主人公刻畫手法分析 181 商務英語信函中名詞化結構的翻譯

182 英語文學作品與改編電影的差異——以 《傲慢與偏見》及其版改編電影為例 183 學前英語游戲教學法

184 美國個人主義和中國集體主義的對比與分析

185 Living in the Crack: A Study of the Grotesques in Winesburg, Ohio 186 應用多媒體資源提高英語新聞聽力 187 目的論指導下的導游詞英譯策略研究

188 從《看得見風景的房間》看女性身份的遺失和找尋 189 論西爾維婭?普拉斯詩歌中的死亡意象

190 從跨文化的視角分析美國動畫“辛普森一家”中的習語現象 191 多媒體技術在英語語境教學中的應用

192 雖不起眼，但不可或缺：從《洛麗塔》中的小人物看亨伯特悲劇的必然性 193 The Tragic Color of Tender Is the Night 194 淺析《黛西米勒》中男女主人公矛盾情感背后的文化沖突 195 從女性意識的角度解讀《荊棘鳥》中的女性形象 196 文明的樊籠—解讀《野性的呼喚》 197 商務英語翻譯中的隱喻研究

198 高中英語詞匯教學中文化意識的培養 199 華盛頓?歐文與陶淵明逃遁思想對比研究 200 漢英禮貌原則對比淺析

第三篇：電影片名翻譯賞析

中文電影片名翻譯賞析

一、非誠勿擾 If You Are the One 劇情簡介：秦奮(葛優飾)的天才發明被風險投資人(范偉飾)出天價買斷。一夜暴富的這位“剩男”揣著家底開始了“征婚”旅程。漫漫“征途”上，各懷心事者紛至沓來，一段“人間喜劇”演出2008世間百態。幾經周折后，秦奮終遇傾心佳人梁笑笑(舒淇飾)。無奈，美人心有所屬。秦奮究竟如何逆流而上？幾番悲欣交集后，有志者事竟成！秦奮終于帶著他的真愛開始一段全新征程。

片名翻譯賞析：本片主要開頭就是主人公想找個人結婚，“the One”恰恰能夠表明主人公想找到心目中的那個她的愿望。然而電影的線索是征婚，一個一個來試，所以英文片名翻譯中加了“If”。中文名是從否定意義上說的：不誠懇，不適合就不要來打擾；英文名反了過來，從正面來假設：如果你合適。這兩者有異曲同工之妙，著實為非常好的片名翻譯。

二、101次求婚 Say Yes 劇情簡介：樂團的大提琴手葉薰（林志玲 飾）因為三年前的未婚夫許卓（高以翔 飾）因車禍缺席婚禮而受到傷害，三年來美麗高雅的她雖然身邊追求者不斷，自己卻無法再愛上一個人。不期然的是，黃達（黃渤 飾），一個平凡的不能再平凡，在相親路上飽受挫折的包工頭闖入她的生活，打破了葉薰原本寧靜的生活。二人因為一次黃達幫葉薰解圍了一場演變成鬧劇的相親而相識，葉薰更是幫黃達要回了被拖欠許久的工程款。在一來一往的相處中，黃達逐漸被葉薰獨特的氣質吸引，不顧一切的展開了對葉薰的愛情攻勢。而葉薰也在想方設法的回絕黃達的過程中對這個執著的為自己付出的男人漸生情愫。然而就在葉薰為黃達的真情所動時，消失了三年的許卓重新出現在了她的生活中，成了二人感情的最大障礙??

片名翻譯賞析：中文名稱直截了當地介紹了片中很重要的一個劇情，男主人公為了尋找愛情已經相了101次親，而當他找到自己的真愛時，他渴望對方能夠答應自己。西方的婚禮中很重要的一部分就是相互說“Yes, I do”，所以該片的英文名也很巧妙的使用了歸化加意譯的手法，點明主人公為了使女主角Say Yes而付出的艱辛努力。三、一代宗師 The Grandmaster 劇情簡介：廣東佛山人葉問（梁朝偉 飾），年少時家境優渥，師從詠春拳第三代傳人陳華順學習拳法，師傅“一條腰帶一口氣”的告誡，支持他走過兵荒馬亂、朝代更迭的混亂年代。妻子張永成（宋慧喬 飾）潑辣干練，二人夫唱婦隨，琴瑟合璧。

1936年，佛山武術界亂云激蕩。八卦拳宗師宮羽田（王慶祥 飾）年事已高，承諾隱退。其所擔任的中華武士會會長職位，自然引起武林高手的關注與覬覦。包括宮羽田的獨生女宮二（章子怡 飾）在內，白猿馬三（張晉 飾）、關東之鬼丁連山（趙本山 飾）、詠春葉問等高手無不將目光聚焦在正氣凜然的宮羽田身上。拳有南北，國有南北乎？最有德行之人才堪會長重任，然這浮世虛名卻引得無數迷亂之人狂醉奔忙，浪擲殘生。生逢亂世，兒女情長埋藏心底，被冷若寒冰的車輪碾作碎泥??

片名翻譯賞析：片名直接點明影片的主要內容是關于一代德高望重的武術宗師的故事，主題鮮明，所以英文譯名也采取了直譯的手法，使得觀影者一眼就能看明白這部影片講述的內容，切合主題，不拖不沓，清楚明了。

四、聽風者 The Silent War 劇情簡介：1949年，新中國建立之初。江山初定，百廢待興，和平的表象下沒有硝煙的戰爭早已拉開序幕。敗逃臺灣的國民黨接連向大陸派出特工，伺機破壞。為了應對接二連三的破壞活動，中共成立情報部門701局與敵方展開連番較量。同年10月初，701局控制的偵聽局莫名消失，為了查清消失電臺的下落，701局負責人老鬼（王學兵 飾）授命代號二〇〇的張學寧（周迅 飾）去上海尋找耳力超群的鋼琴調音師羅三耳。結果陰差陽錯，學寧找到了羅德小徒弟——耳力同樣超群的盲人調音師阿兵（梁朝偉 飾）。

阿兵不負眾望，不僅通過層層嚴苛的考試，還在工作中一鳴驚人。在殘酷的諜報戰爭中，阿兵和學寧之間某種情愫也暗暗滋生??

片名翻譯賞析：該片英文片名如果直譯回漢語就是無聲的戰爭，但實際上片中講述的故事最為重要的一個元素就是電臺中的聲音。風幾乎是悄無聲息的，但總能有耳力超群的人能夠聽到，也可能是譯者為了故意夸大，借“Silent”來表明主人公贏得這場戰爭的不易。總體來講，此片名的翻譯不好不壞。

五、中國合伙人American Dreams in China 劇情簡介：20世紀80年代，三個懷有熱情和夢想的年輕人在高等學府燕京大學的校園內相遇，從此展開了他們長達三十年的友誼和夢想征途。出生于留學世家的孟曉駿（鄧超 飾）渴望站在美國的土地上改變世界，浪漫自由的王陽（佟大為 飾）盡情享受改革開放初期那蓬勃激昂的青春氣息，曾兩次高考落榜的農村青年成冬青（黃曉明 飾）以曉駿為目標努力求學，并收獲了美好的愛情。然而三個好友最終只有曉駿獲得美國簽證，現實和夢想的巨大差距讓冬青和王陽倍受打擊。偶然機緣，被開除公職的冬青在王陽的幫助下辦起了英語培訓學校，開始品嘗到成功的喜悅。在美國發展不順的曉駿回國，并加入學校，無疑推動三個好友朝著夢想邁進了一大步。

只是隨著成功的降臨，他們的友情也開始承受嚴峻的考驗?? 片名翻譯賞析：西方人對“American Dreams”是再熟悉不過了，本片名的翻譯采取了歸化的手法，把發生在中國通過奮斗而成功的故事譯為發生在中國的美國夢。但個人認為，自改革開放以來，很多人都通過努力實現了各自的夢想，尤其是近期中國夢的提出更是呼應了這一主題，所以應譯為“Chinese Dreams”更為恰當，同時這樣也能更有力地向國外推廣國內的文化。

第四篇：電影片名的翻譯

歸化：

My Best Friend's Wedding新娘不是我 “Leon”譯為“這個殺手不太冷” Rock石破天驚

一片多名的問題較突出。由于大陸、香港、臺灣三地在文化背景和思維習慣方面存在著一些差異,語言的使用受到一些影響。同樣一部影片便有不同的譯法。大陸根據影片內容和主題,一般采用順譯的辦法,香港則傾向于重新取名。以影片Ghost的翻譯為例,大陸譯為《幽靈》,香港譯為《人鬼情未了》臺灣則譯為《第六感生死戀》。為了吸引觀眾的注意力,過分追求票房效果,大肆進行商業炒作,在片名的翻譯上商業味太濃。片名翻譯中常用一些刺激、煽情的文字。如港臺把海明威的名作The Sun Also Rises《太陽照樣升起》譯為《妾是朝陽又照君》,與原片名和影片內容風馬牛不相及,影響了影片的藝術魅力。

反戰電影Fahrenheit 9/11被毫無懸念的翻譯成“華氏911”。2004年上映，一部記述伊拉克戰爭前后美國情勢的紀錄片。美國因何成為恐怖分子的襲擊目標？為何樂于卷入戰爭？喬治布什的政策與9?11事件的爆發有何聯系？而他和本?拉登之間關系怎樣演變至宿敵？片中用真實的歷史場景，從某個側面提供了一種解讀方式。除了關注美國國內，鏡頭也對準了伊拉克戰場。厭倦了戰爭的美國士兵、被恥笑的伊拉克俘虜、飽受戰亂之苦的當地人民，人人都在這場戰爭遭受著不同的痛苦和煎熬。美軍家中的善良母親，準備去前線服役的熱血青年，都對布什的政策、對伊拉克戰爭，開始沉重的思考。一些熟悉美國科幻小說的人會聯想到《華氏451度》Fahrenheit 451，該書于1953年出版，小說中描繪了一個丑陋的未來世界，政府不準公民有獨立思考能力，居然命令消防員fireman充當縱火者燒毀了圖書館和民居樓里面的書籍。華氏451也就是攝氏centigrade233度就是書本燃燒的溫度。導演邁克爾-摩爾說他之所以給電影取名“華氏911”是因為“在這個溫度下，自由也會燃燒”。摩爾在影片中直接批評布什政府在反恐怖主義上的態度，指出布什取得的所謂“成就”不過是符合了他的自身利益。同時，他還揭露了布什家族與拉登家族之間不同尋常的政治和金融關系。華氏是美國人用來計量溫度的單位，作為片名的一部分，異國風情躍然紙上。“華氏911”，這樣的譯名以最簡單的方式為中國觀眾勾勒出對這部紀錄片的認知路線圖，是成功的異化翻譯實踐。

如1939年公映的美國影片“Gone with the Wind”有多種譯名，有的直譯為《隨風而逝》，有的意譯為《亂世佳人》和《飄》三種譯名各有千秋，但意譯片名《飄》更顯絕妙。“飄”字更符合中國觀眾的心理，使中國觀眾產生美妙的幻想，“飄縹渺渺”的含蓄美呼之欲出。“飄”字也概括出影片的靈魂，觀眾的思緒隨亂世中人們的命運而飄，隨古老的南方文明而飄，隨復雜的情感波折而飄，隨外柔內剛的女主人公斯佳麗的成長與拼搏而飄。殘酷的戰爭讓一切美的東西隨風逝去，“飄”字留給觀眾無盡的遐想，一個字足以顯示中文的博大精深和豐富內涵。

You’veGot Mail1998公映，譯為《電子情書》《網絡奇緣》，無疑給影片賦予了浪漫主義的色調。喬（湯姆?漢克斯 Tom Hanks 飾）和凱瑟琳（梅格?瑞安 Meg Ryan 飾）是生意上的競爭對手。凱瑟琳經營著母親留下來的小書店，那里溫馨宜人，已有40年歷史，為街坊所熟知。喬卻是同街一間大書店的老板，憑著自身優勢，一開業就搞低折扣、服務佳的策略。凱瑟琳十分排斥他的入侵，白天二人展開斗法。不料晚上卻在互聯網的虛擬時間中結為摯友，不知道彼此身份的夜談，讓他們感情迅速升溫。

雖然他們都有自己的情侶，但網絡中傾心的交往令他們決定要出來見見面。然而就在此時，喬卻意外知道了這個網上知己的真實身份，從此對凱瑟琳有了全新的認識，暗暗忖度該如何接近佳人……。如果將這部影片譯為《有你的郵件》或《你有了郵件》等，那將極大地損害原名給人們帶來的想象力。

美國影片Sound of Music(1965)最初譯為大陸譯名采用順譯的辦法譯為《音樂之聲》,非常直觀;臺灣譯為《真善美》,比較寬泛;而香港的譯名是《仙樂飄飄處處聞》,片名取材于唐朝詩人白居易的《長恨歌》:“酈宮高處入青云,仙樂飄飄處處聞”,旨在突出片中的音樂主題。“仙樂飄飄處處聞”或“真善美”，就不如后來按字面直譯為《音樂之聲》簡明實，直入主題，更為平民化、口語化，此片也有首膾炙人口的曲貫穿始終并引領劇情向前發展，《音樂之聲》已成為代表樸美的上乘佳作。采用直譯的篇名還有很多如:Pearl Har（《珍珠港》），Water world（《水世界》），Dances with Wolves（《狼共舞》），Six Days Seven Nights（《六天七夜》），True Lies（《實的謊言》），Love Story（《愛情故事》），Scent of Women（《女香》），Roman Holiday（《羅馬假日》），the Old Man and the S（《老人與海》），the Princess Diaries（《公主日記》），Taxi Dri（《的士司機》），the God Father（《教父》），The Jazz Singer（《爵歌手》），Rain Man（《雨人》），Sense and Sensibility（《理智與感》）等。

片名渲染驚險、恐怖的氣氛,極具沖擊力,如The Ring譯為《午夜兇鈴》, Scream譯為《奪命狂 呼》。

Waterloo Bridge譯為《魂斷藍橋》,語言可謂精致凝練,給觀眾提供了與原文內容有關的信息,同時又富含中國傳統文化韻味。如果直譯成“《滑鐵盧橋》”則容易讓觀眾錯誤地聯想到那破侖兵敗滑鐵盧。原名富含西方文化色彩,因為在英國的確有一座名為Waterloo bridge的橋。根據劇情對原名做一定的修改,并保留其部分內容“橋”,可謂是讓人叫絕的佳譯。電影原名Waterloo Bridge,直譯為《滑鐵盧橋》,描寫了一對英國青年男女在二戰期間的愛情悲劇故事。女主人公瑪亞因戰爭和英國社會帶給她的種種不幸,在幸福即將來臨時,慘死在倫敦滑鐵盧橋上,留給男主人公羅伊無限的感傷。滑鐵盧橋位于英國泰晤士河上,建于1817年,以紀念威靈頓公爵指揮英國軍隊打敗拿破侖而取得滑鐵盧戰役的勝利。如果依據英文直譯為《滑鐵盧橋》,不僅不能傳達影片的情節,而且還會誤導觀眾產生先入為主的錯誤印象。觀眾一見“滑鐵盧”三個字便以為這是部與拿破侖打仗或滑鐵盧戰役有關的紀錄片。發行商為了讓影片具有文化品味、凸顯其感情色彩,借用《太平廣記》藍橋求漿典故,將“滑鐵盧橋”轉譯為“藍橋”,成功避免了中國觀眾由于地域文化差異、歷史背景知識缺乏而引起的迷惑,點明愛情主題,再加上“魂斷”二字,暗示悲劇性結局,實為佳譯。

The Bridge of Madison County 1995《廊橋遺夢》如譯為《麥迪遜之橋》則沒有對影片內容進行最好的詮釋,也未能給觀眾留出豐富的想象空間。姐弟兩人都面臨著家庭離異的困擾。這時母親弗朗西斯卡去世的消息將他們召回了童年時生活的鄉村。在母親留下的一封長信中他們了解到了母親深埋在心底的一段感情秘密??1965年的一天，一家人都去了集市。弗朗西斯卡獨自留在家中。攝影記者羅伯特·金凱的車停在了門前。他向她打聽曼迪遜橋的所在。兩人互相講起了自己的婚姻家庭： 羅伯特與前妻離異，而弗朗西斯卡伴著丈夫和一兒一女過著單調而清寂的鄉村生活。夜色降臨，弗朗西斯卡在送走羅伯特后竟有一種依戀的心情。她終于下定決心驅車前往羅斯曼特橋，將一張紙條訂在了橋頭。第二天，工作了一天的羅伯特終于發現了紙條。他接受了弗朗西斯卡的邀請，兩人在橋邊一起工作，拍照。夜色再次降臨，兩人回到弗朗西斯卡的家中共進晚餐，在輕柔的音樂舞曲中，兩人情不自禁地相擁共舞，最后一起走進了臥室。以后的兩天兩人整日廝守在一起。然而弗朗西斯卡卻不愿舍棄家庭，兩人痛苦地分手了。羅伯特走后，弗朗西斯卡收集了他所有的作品。在1982年3月，她得知了羅伯特的死訊，并收到了他的項鏈和手鐲以及當年訂在橋頭的紙條。她把它們放在木盒中，每年生日翻看一次。1989年弗朗西斯卡過世了，她在遺囑中要求子女們將她的骨灰撒在曼迪遜橋畔。卡洛琳和邁克都被母親的感情故事和對家庭的責任心所感動。他們同情并理解自己的母親。同時，他們也開始珍視目前的家庭，放棄了草率離婚的打算。

“Bridges of Madison County”譯為“廊橋遺夢”,“遺夢”可以看作是一種雙關的修辭手法,字面上可以理解為“(母親)留下的夢”,也可以理解為“(母親)遺憾的夢”,而“夢”本身又意味著母親最后沒有舍棄家庭的責任,而舍棄了愛情。同時母親的“夢”又使她的兒女清醒,使他們意識到應該承擔家庭的責任,而不是草率離婚。Singing in the Rain《雨中曲》,既有極佳的音韻效果,又符合中國文化傳統,具有典雅的特征。在中國文化中,《漁光曲》、《搖籃曲》、《思鄉曲》等都是人們喜聞樂見的曲名,《雨中曲》易為觀眾所接受。另外,“傳”“正傳”在漢語中表示傳記。如“列傳”、“別傳”、“外傳”以及“自傳”等等。不少文藝作品以“傳”作為其名稱,像《水滸傳》、《阿Q正傳》。因此,一些以故事中的人物命名的影片, ，奧斯卡獲獎影片American Beauty，對于絕大多數中國觀眾來說，這是一部難懂的作品。其中文譯名有《美國麗人》、《美國大美人》、《美國心，玫瑰情》、《美麗有罪》等等，這些死扣字面、呆板直譯出的譯名從方面說明這部影片應該有著深厚的文化內涵。它講述了郊區一個中產階級家庭道德崩潰的故事。萊斯特（凱文-斯帕西）是標準的中產階級，已至中年，生活索然無味，他的妻子卡洛琳（安奈特-貝寧）是地產經紀人，冷漠而野心勃勃。女兒珍妮是啦啦隊員，早熟而混亂。萊斯特為了追求珍妮的同學性感的安杰拉而對女兒虛情假意。萊斯特開始處于分裂狀態，他恍若回到了19歲，不斷追求安杰拉，并不惜練健美、吸毒、辭去工作去餐廳像中學生一樣打工她的妻子也與其他男人私通并被萊斯特撞見。而此時，他的女兒也正在策劃與他人私奔。一個完美的標準的中產階級家庭正處于崩潰中。最后，萊斯特的死亡使一切瘋狂達到頂點。

《美國美人》整部電影充滿煩躁喧囂及病態幽默，處理中年危機及中產階級家庭危機這一問題極具深度。American Beauty

本意是美國產的紅薔薇，實際上，American Beauty是中產階級的一個標志，它高雅，又艷俗，欣欣向榮，又消極頹廢。而影片主題正是批判沒落的美國中產階級，描述了一群生活在如薩特所描述的“地獄”中而又努力勸說自己一切都很好的人們。以上提到的譯名都難讓觀眾直接將American Beauty的文化含義美國紅薔薇對等起來，不利于這一文化含義在中國的傳播，所以不如直譯為《美國紅薔薇》，達到其信息功能和美感功能，從而實現祈使功能，讓觀眾浸潤在嶄新的源語文化之中，從而建立源語文化的文化預設。

影片Lolita是的原著曾被列為禁書納博科夫（Vladimir Nabokov。故事講述一個中年男子帶著對倫理的蔑視愛上了其再婚妻子的小女兒：放蕩調皮而早熟的Lolita。敘述了一個中年男子與一個未成年少女的畸戀故事。雖然大陸文學界早已認同其音譯名《洛莉塔》，但庫布里克的Lolita搬上銀幕時我國譯者用詩句為這部驚世駭俗的電影取名為《一樹梨花壓海棠》。譯名的出處據說是蘇軾送給一對老夫少妻的一首詩：“十八新娘八十郎，蒼蒼白發對紅妝。鴛鴦被里成雙夜，一樹梨花壓海棠。”梨者，老也；海棠則嬌艷欲滴。以梨花和海棠暗指白發與紅顏，而“壓”字連接兩者，意境一成，主題鮮明。譯者追求的是電影片名的信息功能和美感功能，從而激發了觀眾強烈的觀賞欲望。

如美國電影Forrest Gump,它是以男主人公的名字來命名的個人傳記性質的電影。主人公連同他的名字都是杜撰的,但影片穿插的是對美國歷史影響至深的真實事件,其最終目的是引起人們對歷史的反思。片中主人公作為一種精神象征,凝結了許多美國人的生活歷程和性格特征。片名譯為《阿甘正傳》,既忠實傳達了影片的切入視角和真實意圖,又順應了中國民俗文化。中國從《史記》開始就有“正傳”、“外傳”,還有中國觀眾熟悉的中國電影“阿Q正傳”,同時漢語中“阿”字通常用在人名前,以表示親近稱呼,在江浙、閩南、粵南、港奧臺至今仍然保留這種用法,“阿甘”二字合在一起,一個非常熟悉,就在你我身邊的典型的普通百姓形象一躍而入腦海,從而對這部從拍攝手法到拍攝理念完全西方化的影片有了一些好感和認同,拉近了影片與觀眾的距離。

兒童影片Home Alone被譯為《小鬼當家》,在中國兒童甚至成年觀眾中都引起了反響。“小鬼”在漢語中是一種呢稱,表現了人們對智勇雙全但又十分淘氣的小孩的由衷喜愛,就像《小兵張嘎》里的嘎子,既足智多謀又調皮搗蛋。因為在中國人眼里,“小鬼”正是指像影片中的小主人公那樣既足智多謀又淘氣可愛的小家伙。《小鬼當家》符合中國人的審美取向,具有親和力,能激起人們的觀看欲望。另一部在全美及世界各地熱播的影片Spiderman,在中國也引起了觀眾的喜愛。英文片名中的“man”譯成“俠”,就是順應了中國的民族文化。“俠”在中文中的意思是劫富濟貧,俠骨柔腸的俠客形象,再加上影片的電腦特技,使影片更為觀眾所喜愛。

美國影片One Flew Over the Cuckoo’s Nest在臺灣被譯為《飛越杜鵑窩》，顯然是沒有理解影片內容的錯譯，而大陸根據其劇情改譯為《飛越瘋人院》就很準確。

美國影片The Shawshank Redemption在臺灣被譯為《刺激1995》，據說這樣取名僅僅是因為該片上映時是1995年。而大陸直譯為《肖申克的救贖》更為貼切些。相比之下，大陸譯名更忠實于電影英文原名，多為直譯，不附加其他多余成分。

《大話西游》系列在翻譯時，并沒有把重點放在中國文化層面上，將名字譯為A Journey to the West，而是反其道而行，在名字上尋求中西方文化的對應。因此，其譯名分別為Pandora’s Box（月光寶盒）與Cinderella（大圣娶親）。這類譯名在西方很容易被接受。

而影片《赤壁》的譯名“Red Cliff”卻引發了人們的質疑，這種譯法很容易讓人聯想到《紅巖》。也有人認為，“對于外國觀眾來說，單純翻譯成'Chibi'或者'Red Cliff'都不能傳達這部作品的含義，譯作'Burning Bank'，'The War of Chibi'，或者'Bloody Quay'比較合適。”在《三國演義》的英文版中，“赤壁”就已經譯作“Red Cliff”了。片方回應，命名也由此得來。搞笑的翻譯： 《花樣年華》（In The Mood For Love）《ashes of time》——時間的灰燼（《東邪西毒》，《霸王別姬》=《Farewell My Concubine》——再見了，我的小老婆； 《甲方乙方》=《Dream Factory》——夢工廠；

《烈火金剛》=《Steel Meets Fire》——鋼遇上了火； 《劉三姐》=《Third Sister Liu》——第三個姐姐劉；

《國產007》=《From Beijing with Love》——從北京帶著愛； 《唐伯虎點秋香》=《Flirting Scholar》——正在調情的學者； 《鹿鼎記》（黃曉明版陳小春版梁朝偉版）=《Royal Tramp》——皇家流浪漢； 《英雄本色》=《A Better Tomorrow》——明天會更好

《Steal Happiness》——偷喜（《沒事偷著樂》，直接聯想到了“偷歡”，以為是限制級的）

《In the Heat of the Sun》——在炎熱的太陽下（《陽光燦爛的日子》，原文的“陽光燦爛”可有寓意啊。譯文讓JEWAYS想起中學語文第幾課來著——祥子拉著人力車在街上走）

《Far Far Place》——很遠很遠的地方（《在那遙遠的地方》，想起LONG LONG AGO）

《Once Upon a Time in China》——從前在中國（《黃飛鴻》，大而無邊）

《Twin Warriors》——孿生勇士（《太極張三豐》，張三豐是雙胞胎嗎？）

《A Man Called Hero》——一個叫做英雄的男人（《中華英雄》，譯者偷懶，照抄影評的第一句）

《Funeral of the Famous Star, The》――明星的葬禮（淡出鳥來，《大腕》）《Treatment, The》――治療（《刮痧》，如果美國法律這么認為就好了 《Woman-Demon-Human》――女人-惡魔-人類（《人鬼情》，失戀中的譯者）

第五篇：論文大綱-英語電影片名的翻譯

The Translation of English Film Titles Chapter One Introduction

Clarify the research background and meaning, theoretical frame and organization structure of this thesis.Chapter Two The analysis of English movie titles I.Types of film

II.General features of English film titles i.Language characteristic ii.Artistry

iii.culturality(文化性)ⅳ.Commercial III.The principles of English film titles translation i.Information value principle ii.Aesthetic principles iii.Goal orientation principle ⅳ.Cultural value principle Chapter Three The function and role of English film titles I.Correspond with the film and be easily understood II.Concise and easy to be remembered III.Attract audience and increase the box-office income Chapter Four The translation methods and skills of English film titles I.Translation methods of English film titles i.Literal translation ii.Free translation

II.Translation skills of English film titles

i.Combination of literal translation and free translation ii.Compiling method Chapter Five Conclusion

Summarize the whole passage, put forward some suggestions to the translation of film titles.Also points out the limitation of essay writing and bring up some suggestions in future research.第一章 緒論

闡明本文的研究背景、寫作目的、理論框架和組織結構。第二章 英語電影片名的分析

對英語電影片名做了一個總體分析:介紹了電影的種類，分析了電影片名的基本特點和原則，為探討其翻譯方法奠定了基礎。2.1電影的種類

根據電影的不同內容和性質,我們大致可將其分為愛情片、戰爭片、倫理片、科幻片、懸疑片等。

2.2英語電影片名的基本特點 2.2.1語言特色 2.2.2藝術性 2.2.3文化性 2.2.4 商業性

2.3 英語電影片名翻譯的原則 2.3.1信息價值原則 2.3.2美學欣賞原則 2.3.3 目標取向原則 2.3.4文化價值原則

第三章

英語電影片名的功能及作用

本章具體探討了電影片名所具有的三種基本功能，即1)切合原影片的內容、反映原影片的主題、突出原影片的風格;2)言簡意賅、便于記憶;3)吸引觀眾、增加票房收入。

3.1切合影片，通俗易懂 3.2言簡意賅，便于記憶 3.3吸引觀眾，增加票房收入

第四章

英語電影片名翻譯的方法及技巧 4.1英語電影片名的翻譯方法 4.1.1直譯 4.1.2意譯

4.2英語電影片名的技巧 4.2.1直譯意譯結合 4.2.2編譯法 第五章

結論

結論部分，對全文進行了總結，對電影片名的翻譯提出了一些建議，同時也指出了論文寫作的局限性并對今后的研究提出了一些建議。