Subtitling, Semiotics and Spirited Away

Lisa Sanders
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引用次数: 1

Abstract

When translating a film according to typical subtitling models, the focus is usually solely on the dialogue of the film. Furthermore, the resulting translations are often impoverished to a large extent due to the constraints of the medium. The combined effects of this result in a significant loss of equivalence between the subtitles and the original linguistic and extralinguistic information. A potential method of preventing this loss is the application of a semiotic model for translation during the subtitling process. To this end, an existing model for the semiotranslation of film was enhanced and applied to the subtitling of the wildly popular Japanese animated film Spirited Away (2001). The resulting subtitles were evaluated for equivalence with the source text (ST) against the existing subtitle track that was distributed on a DVD release of the film. It was found that much more information, both from dialogue and on-screen extralinguistic content, could be conveyed by the semiotic subtitles than those created following more traditional subtitling norms. Lay summary When subtitles are created for films, the translators usually focus only on the dialogue that is spoken. Subtitles also often tend to have missing information, and are not written word-by-word. This is due to the rules for subtitles regarding their length and how long they are allowed to remain on-screen. Because of the information that is left out, the translations can sometimes be inaccurate. Subtitles also often ignore other aspects of a film, such as symbolic details in the visuals as well as in the choice of certain words over others. In order to try to prevent the loss of these details, this article explores a way of translating films through examining and analysing the signs and symbols that are represented in the film, especially in the dialogue. This method was applied to the popular Japanese animated film Spirited Away (2001), and subtitles created according to it were compared with the subtitles that are available on a DVD of the film. The comparison shows that it is possible to explain more of the missing information by translating with a focus on the symbols used in the film instead of trying to rely only on a straightforward translation of the dialogue.
字幕,符号学和千与千寻
当根据典型的字幕模式翻译电影时,重点通常只放在电影的对话上。此外,由于媒介的限制,翻译结果往往在很大程度上是贫乏的。这种综合效应导致字幕与原始语言和语言外信息之间的等价性严重丧失。防止这种损失的一种潜在方法是在字幕翻译过程中应用符号学模型。为此,我们对现有的电影半翻译模式进行了改进,并将其应用于广受欢迎的日本动画电影《千与千寻》的字幕翻译中。对生成的字幕与源文本(ST)的等效性进行评估,以对照在电影DVD发行上分发的现有字幕轨道。研究发现,符号化字幕所传达的信息,无论是对白还是屏幕外语言内容,都比传统字幕所传达的信息要多得多。当为电影制作字幕时,译者通常只关注对白。字幕也经常有信息缺失,并且不是逐字逐句写出来的。这是由于字幕的长度和允许在屏幕上停留的时间的规定。由于遗漏的信息,翻译有时可能不准确。字幕也经常忽略电影的其他方面,比如视觉上的符号细节,以及某些词语的选择。为了避免这些细节的丢失,本文通过对电影中,尤其是对白中所表现的符号和符号的考察和分析,探索了一种翻译电影的方法。将这种方法应用于日本动画电影《千与千寻》(2001),并将根据该方法制作的字幕与该电影DVD上的字幕进行比较。通过比较可以看出,通过对电影中使用的符号进行翻译,而不是试图仅仅依靠对对话的直接翻译,可以解释更多缺失的信息。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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