第一篇：論文大綱-英語(yǔ)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(xiě)作目的、理論框架和組織結(jié)構(gòu)。第二章 英語(yǔ)電影片名的分析

對(duì)英語(yǔ)電影片名做了一個(gè)總體分析:介紹了電影的種類(lèi)，分析了電影片名的基本特點(diǎn)和原則，為探討其翻譯方法奠定了基礎(chǔ)。2.1電影的種類(lèi)

根據(jù)電影的不同內(nèi)容和性質(zhì),我們大致可將其分為愛(ài)情片、戰(zhàn)爭(zhēng)片、倫理片、科幻片、懸疑片等。

2.2英語(yǔ)電影片名的基本特點(diǎn) 2.2.1語(yǔ)言特色 2.2.2藝術(shù)性 2.2.3文化性 2.2.4 商業(yè)性

2.3 英語(yǔ)電影片名翻譯的原則 2.3.1信息價(jià)值原則 2.3.2美學(xué)欣賞原則 2.3.3 目標(biāo)取向原則 2.3.4文化價(jià)值原則

第三章

英語(yǔ)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(nèi)容、反映原影片的主題、突出原影片的風(fēng)格;2)言簡(jiǎn)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(jiǎn)意賅，便于記憶 3.3吸引觀眾，增加票房收入

第四章

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

4.2英語(yǔ)電影片名的技巧 4.2.1直譯意譯結(jié)合 4.2.2編譯法 第五章

結(jié)論

結(jié)論部分，對(duì)全文進(jìn)行了總結(jié)，對(duì)電影片名的翻譯提出了一些建議，同時(shí)也指出了論文寫(xiě)作的局限性并對(duì)今后的研究提出了一些建議。

第二篇：論文：英語(yǔ)電影片名的翻譯

中文文摘

電影是一種集藝術(shù)性和商業(yè)性于一體的藝術(shù)形式，是最具有影響力的媒體之一。越來(lái)越多的英語(yǔ)電影被引入中國(guó)，促進(jìn)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(dá)信息，表現(xiàn)美感和吸引觀眾的功能。在過(guò)去的二三十年里，影視翻譯取得了很大的發(fā)展，但作為翻譯領(lǐng)域一個(gè)重要組成部份，電影片名的研究工作還做得遠(yuǎn)遠(yuǎn)不夠。目前似乎還沒(méi)有人提出一套比較完整可行的原則指導(dǎo)片名翻譯。目前英語(yǔ)片名翻譯的問(wèn)題主要表現(xiàn)為譯名不統(tǒng)一，呈現(xiàn)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(chǔ)，大力提倡以觀眾為取向的英語(yǔ)片名翻譯方法。功能翻譯理論不同于傳統(tǒng)的翻譯理論，它強(qiáng)調(diào)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(rèn)為，翻譯是一種有目的行為，“目的”決定所有翻譯行為。根據(jù)“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(duì)象，他們作為譯文預(yù)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(rèn)為為了達(dá)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(shí)踐中采用行之有效的不同翻譯策略。這也符合了當(dāng)今影視翻譯鼓勵(lì) 譯者具有一定個(gè)性和創(chuàng)造性的趨勢(shì)。

在以上理論研究的基礎(chǔ)上，文章將功能理論應(yīng)用于分析英語(yǔ)電影片名翻譯的現(xiàn)象，對(duì)英語(yǔ)片名的翻譯進(jìn)行了深入系統(tǒng)而全面的描述與分析，探討了功能翻譯理論指導(dǎo)電影片名翻譯的合理性與可行性，以及在該理論指導(dǎo)下英語(yǔ)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(xiě)作目的、研究方法和組織結(jié)構(gòu)。

第二章主要介紹了本研究的理論基礎(chǔ)一功能翻譯理論。本章首先介紹了功能翻譯理論的發(fā)展;其次介紹了指導(dǎo)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(chéng)性法則。指出功能翻譯理論的評(píng)價(jià)標(biāo)準(zhǔn)是“合適”，而不是“對(duì)等”。該理論作為對(duì)傳統(tǒng)翻譯理論的一個(gè)重大突破和翻譯理論研究的重要補(bǔ)充，為電影片名翻譯的理論研究開(kāi)辟了一個(gè)新視角。

第三章介紹了電影的分類(lèi)，定義了電影片名，分析了電影片名的功能和特點(diǎn)。并指出片名翻譯的最終目的和主要功能是激發(fā)觀眾的觀看欲望。電影片名不僅是物質(zhì)產(chǎn)品，同時(shí)又是精神產(chǎn)品。為了更好地實(shí)現(xiàn)片名翻譯的最終目的，譯者不僅要使得電影譯名具有導(dǎo)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(dòng)。這也就是要求譯者在譯文中努力實(shí)現(xiàn)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(shí)踐相結(jié)合的一個(gè)章節(jié)，即將功能翻譯理論結(jié)合到具體的片名翻譯實(shí)踐中。作者分析了英語(yǔ)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(yōu)勢(shì)和不足，指出了各種翻譯方法密不可分，優(yōu)勢(shì)互補(bǔ)。本文引用了大量豐富的例子來(lái)探討功能翻譯策略在電影片名翻譯中的運(yùn)用，認(rèn)為原英語(yǔ)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(duì)等并不十分重要，充分滿(mǎn)足信息、美感、祈使三個(gè)功能的要求才是英語(yǔ)電影片名翻譯的首要標(biāo)準(zhǔn)。

第五章總結(jié)全文，指出電影片名翻譯的功能能否實(shí)現(xiàn)是英語(yǔ)電影片名漢譯的基本原則。要實(shí)現(xiàn)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(lèi)型及主要內(nèi)容，并基于此選擇適當(dāng)?shù)姆g策略來(lái)實(shí)現(xiàn)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(zhǎng)的一天》 《憨豆先生的假期》 《空軍一號(hào)》

《辛德勒名單》 《的士速遞》 《黃金眼》 《發(fā)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(jiàn)》 《勇敢的心》 《壯志凌云》 《音樂(lè)之聲》

《環(huán)游世界80天》 《殺死比爾》 《星球大戰(zhàn)》 《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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第三篇：淺析最新電影片名翻譯

淺析最新電影片名翻譯

摘要：近年來(lái)，有關(guān)電影片名翻譯的文章大量涌現(xiàn)。表明中國(guó)的片名翻譯正逐步成為翻譯研究的熱點(diǎn)。片名是電影內(nèi)容的眼睛與靈魂，它直接起到“導(dǎo)視”的作用。優(yōu)秀的影視片名，應(yīng)順應(yīng)觀眾民族文化心理，突出電影主題；順應(yīng)不同語(yǔ)言習(xí)慣，發(fā)揮語(yǔ)言?xún)?yōu)勢(shì)；，慣應(yīng)電影商業(yè)特點(diǎn)，傳遞廣告信息，達(dá)到招徠人群，激發(fā)觀眾觀看欲望的目的。隨著電影產(chǎn)業(yè)的逐步擴(kuò)大，出現(xiàn)了大量的新詞翻譯，本文將從最新的資訊出發(fā)淺析商業(yè)背景下電影的翻譯策略。

引言：電影是一門(mén)藝術(shù)．它通過(guò)多種信息傳播媒體作用于人的感官進(jìn)而產(chǎn)生某種效果．而電影片名是一部電影的濃縮和靈魂所在，妙趣橫生、生動(dòng)活潑、獨(dú)特新奇的電影片名．是激發(fā)觀眾的欣賞欲望．決定一部好的影片能否成功的打開(kāi)國(guó)內(nèi)外市場(chǎng)．創(chuàng)造新的票房記錄的關(guān)鍵。但一個(gè)成功的譯名不同于其它體裁的翻譯．需要有一定的翻譯方法來(lái)進(jìn)行指導(dǎo)，有鑒于此．筆者根據(jù)電影片名的特點(diǎn)在分析具體譯例的基礎(chǔ)上對(duì)最新的英文以及中文電影片名常用的翻譯方法進(jìn)行了進(jìn)一步探討。

一． 電影片名的翻譯特點(diǎn) 1.歸化和異化

作為對(duì)傳統(tǒng)翻譯理論的一個(gè)重大突破，德國(guó)功能派的翻譯理論為翻譯理論的研究開(kāi)辟了一個(gè)新視角。該理論以目的論(Skopos theory)為中心，強(qiáng)調(diào)如何翻譯都有其目的性，即目的決定方法。翻譯方法和策略是由譯文的預(yù)期目的來(lái)決定的。目的論中的“目的性原則”為其基本原則，而其“連貫法則”和“忠實(shí)法則”必須服從于目的法則。這些觀點(diǎn)為一些不符合傳統(tǒng)翻譯標(biāo)準(zhǔn)的翻譯方法提供了有力的理論支撐，尤其適用于影片名這種有明確目的性的文體的翻譯。影片名是影片內(nèi)容的濃縮和精髓，簡(jiǎn)短、生動(dòng)的語(yǔ)言承載了豐富的文化內(nèi)涵。影片名的翻譯不僅是語(yǔ)言的翻譯，而且還包含著文化上的轉(zhuǎn)換。由于中西方語(yǔ)言和文化存在著巨大的差異，在翻譯過(guò)程中，譯者首先要考慮英語(yǔ)國(guó)家的語(yǔ)言模式和文化特色，英語(yǔ)國(guó)家觀眾的文化習(xí)慣和審美意識(shí)，以加深對(duì)片名文化內(nèi)涵的理解。更為重要的是，譯者還必須考慮本國(guó)觀眾的接受能力，要適當(dāng)融入本國(guó)文化，然后通過(guò)適當(dāng)?shù)姆绞綄⑵g為形神兼?zhèn)洌潘坠操p的文字，以達(dá)到吸引觀眾、傳播文化的目的。以此目的為指導(dǎo)，筆者認(rèn)為影片名的翻譯方法可以分為兩種：歸化和異化。例如，在2009年風(fēng)靡中國(guó)影視市場(chǎng)的電視劇《蝸居》，以其貼近社會(huì)現(xiàn)實(shí)的特點(diǎn)深深吸引著萬(wàn)千影迷。由此，網(wǎng)絡(luò)上也出現(xiàn)了很多關(guān)于蝸居片名的翻譯，a nutshell of a house，my humble residence, 以及還有，sex, house, and city.而電視劇蝸居事實(shí)上是講述的在房?jī)r(jià)飆升的現(xiàn)實(shí)社會(huì)中，人們都成為了房奴，生活的現(xiàn)實(shí)有時(shí)候讓人們偏離了原本的軌道，迷失了自己?；谶@樣的主題，筆者認(rèn)為蝸居是一部中國(guó)電視劇，那么英文的翻譯面向的就是外國(guó)觀眾，因此上述前兩種翻譯沒(méi)有很形象生動(dòng)的表現(xiàn)出蝸居的主題，當(dāng)外國(guó)觀眾看到a nutshell of a house，以及my humble residence的時(shí)候可能會(huì)感到迷惑，把這部電視劇理解為是講述蝸牛的房子或者是一個(gè)人的陋室，這就大大的降低了這部電視劇的深度。而最后一種翻譯sex, house, and city，會(huì)讓人第一時(shí)間想到寧外一部經(jīng)典的外國(guó)電影Sex and The City（欲望都市），觀眾就會(huì)明白這是一部關(guān)于都市生活的電視劇，實(shí)質(zhì)上其主題上與欲望都市也有著異曲同工之妙。

蝸居的翻譯可以稱(chēng)得上是一種歸化翻譯。歸化（domestication）是指在翻譯中采用透明，流暢的風(fēng)格，最大限度淡化原文的陌生感的翻譯策略（Shuttleworth&Cbwie, 1997;43-44）。它應(yīng)盡可能的源語(yǔ)文本所反映的世界接近目的語(yǔ)文化讀者的世界，從而達(dá)到源語(yǔ)文化與目的語(yǔ)文化的“文化對(duì)等”。而歸化也區(qū)別于意譯，意譯主要是局限于語(yǔ)言層面的價(jià)值取向，歸化則是立足于文化大語(yǔ)境下的價(jià)值取向。電影的片名翻譯是以宣傳目的來(lái)達(dá)到其商業(yè)目的，有時(shí)候歸化翻譯能很好的達(dá)到一定的商業(yè)效果，例如，Leon, 就有兩個(gè)版本的翻譯，一個(gè)是殺手里昂，寧一個(gè)是這個(gè)殺手不太冷，凡事看了這部電影的人都記住了第二個(gè)名字，雖然第一個(gè)譯名也沒(méi)有錯(cuò)，因?yàn)殡娪氨旧硪彩侵v的殺手里昂的故事，但是第二個(gè)譯名利用矛盾修辭法，讓我們讀到的這不僅僅是一部槍?xiě)?zhàn)片，也是一部表現(xiàn)溫情的電影，事實(shí)證明，里昂高大而善良的形象永遠(yuǎn)留在了觀眾的心里。這個(gè)殺手不太冷的片名的翻譯，讓大多偶然進(jìn)入電影院的人選擇了這部電影，這就是歸化的力量。當(dāng)然，也有歸化造成了相反的效果的，例如，gone with the wind的片名翻譯，筆者認(rèn)為電影翻譯為亂世佳人是有不妥，這部經(jīng)典的文學(xué)作品，意在表達(dá)戰(zhàn)爭(zhēng)讓人脫變的過(guò)程，如果僅僅翻譯為亂世佳人，讓人更加關(guān)注的是亂世和佳人，沒(méi)有變化這一說(shuō)，文學(xué)題目翻譯為飄，是比較經(jīng)典的，讓人有著無(wú)盡的聯(lián)想與回味。

電影片名翻譯中也多用到異化的方法。異化（foreignization）是指偏離本土主流價(jià)值觀，保留原文的語(yǔ)言和文化差異（Venti,2001）；或指在一定程度上保留原文的異域性，故意打破目標(biāo)語(yǔ)言常規(guī)的翻譯（Shuttleworth&Cbwie, 1997）。它主張?jiān)谧g文中保留源語(yǔ)文化，豐富目的語(yǔ)文化和目的語(yǔ)的語(yǔ)言表達(dá)形式。例如，英文電影“The Seven YearItch”是好萊塢影星瑪麗蓮．夢(mèng)露出演的一部影片。影片講述了一個(gè)這樣的故事：男主人公結(jié)婚剛7年，在妻子度假期間，被新搬來(lái)的一位漂亮的女房客吸引，整日想入非非，但最后幡然悔悟，重新回到妻子身邊。該片名在翻譯時(shí)保留了原語(yǔ)的語(yǔ)言形式，直接譯為<七年之癢>。實(shí)際上“七年之癢”是外來(lái)詞，傳說(shuō)古代羅馬人認(rèn)為人的健康狀況七年要改變一次，婚姻在第七年時(shí)也會(huì)出現(xiàn)危機(jī)。隨著該片在國(guó)內(nèi)的放映，這個(gè)詞在國(guó)內(nèi)也被廣泛使用，用來(lái)形容婚姻生活中出現(xiàn)的危機(jī)。并隨著時(shí)間的推移，其意義得到了延伸，泛指許多事情到第七年便可能出現(xiàn)危機(jī)。由此可見(jiàn)，這種異化不僅已得到中國(guó)觀眾的認(rèn)同，而且已成為漢語(yǔ)語(yǔ)言文化中的一員。同樣，異化也是有別于直譯的，直譯是注重完全的對(duì)等，例如Pirates of the Caribbean, Kung Fu Panda, 這些片名都屬于完全的直譯，而異化是在直譯的基礎(chǔ)予以染色加工，使之更具有美感和吸引力，卻又具有異國(guó)情調(diào)。

隨著中西方電影市場(chǎng)的不斷融合，單一的歸化或者異化在不斷的退化，為了適應(yīng)國(guó)際化的需求，如今大多數(shù)的片名翻譯都采用歸化和異化的融合法，例如，《魂斷藍(lán)橋》可謂是我國(guó)翻譯史上有口皆碑的佳譯電影譯名。原作題名是“WaterlBridge”，直譯是《滑鐵盧橋》?？芍袊?guó)觀眾提到“滑鐵盧”，必然會(huì)聯(lián)想到拿破侖，因?yàn)槟抢锸撬煌`頓打敗的地方。它位于比時(shí)的布魯塞爾附近，而片名中的滑鐵盧橋卻在倫敦。況且前者使人聯(lián)想到炮火連天，煙霧彌漫，而后者卻是一首幽怨動(dòng)人的愛(ài)情歌。根據(jù)內(nèi)容，譯者順應(yīng)了國(guó)人盡知的藍(lán)橋的民間故事，加上“魂斷”二字，既保存了題名的基本的形式，又非常貼切地表達(dá)出名的悲劇內(nèi)涵。2.音譯 音譯是使用一種語(yǔ)言讀寫(xiě)出另一種語(yǔ)言的詞或詞組發(fā)音的翻譯方法。在片名翻譯中．這種方法使用較少．但又不可或缺。對(duì)于片名中涉及到人名、地名，如果為觀眾所熟知，或具有重要的歷史文化意義，則應(yīng)當(dāng)音譯。反之則可予以歸化，采取意譯、另譯的方法加以處理。音譯保留了原片名的韻律節(jié)奏，以其濃郁的異域特色吸引廣大觀眾。如：《泰坦尼克號(hào)》(Titanic)、《卡薩布蘭卡》(Casablanca)、《賓赫傳》(&n Hut)、《居里夫人》(Madam Currie)、ZhouEnlai(《周恩來(lái)》)、Genghis Khan(《成吉思汗》)等。音譯也可看做是直譯的一種，但是更加朗朗上口，為人所記憶。比如轟動(dòng)全球的Harry Potter就是一種音譯，由于電影的成功讓片名變得很具商業(yè)效力。3.混譯

混譯，又叫兼譯，是指將音譯、直譯和意譯等翻譯方法融合成一體，兼顧使用。如果原片名具有濃厚的民族色彩。或者包含了一些陌生的專(zhuān)有名詞，如人名、地名等。采用音譯、直譯就可能不為觀眾理解。這種情況下就應(yīng)該采用混譯，對(duì)原片名作部分保留，或作適當(dāng)?shù)脑鲅a(bǔ)和修改。眼下比較火的美國(guó)情景劇The Big Bang, 譯為生活大爆炸，源語(yǔ)里面沒(méi)有涉及生活二字的意思，但是譯文里面譯出了，觀眾可從片名里面讀出生活情景的味道，加上爆炸的意思，可以想象出一定是一部不可多得的喜劇。

4、直譯意譯結(jié)合

有時(shí)會(huì)出現(xiàn)直譯、意譯都難以恰如其分地體現(xiàn)原片內(nèi)容，激發(fā)觀眾審美愉悅的情況。有些翻譯后，晦澀難懂，不倫不類(lèi)；另一些則平淡無(wú)奇，了無(wú)意趣。此時(shí)就需要拋開(kāi)原片名的形式和內(nèi)容，以原片內(nèi)容為基礎(chǔ)，另起爐灶，把譯語(yǔ)觀眾眼中平淡無(wú)奇的源語(yǔ)片名，用人們喜聞樂(lè)見(jiàn)的語(yǔ)言形式生動(dòng)形象地再現(xiàn)出來(lái)．比如，Ghost{{人鬼情未了》，初看Ghost有種恐懼感．想有個(gè)“鬼”題目的電影，一定是恐怖片，但電影是圍繞感情鋪張的，毫無(wú)恐懼感。描述了一段動(dòng)人的人和鬼之間蕩氣嘲腸的愛(ài)情故事。讓不知道情節(jié)的觀眾有去看的欲望，達(dá)到了理想的效果。

5．音譯意譯結(jié)合

由于東西方語(yǔ)言和文化的差異，采用人名、地名、事物名稱(chēng)作為片名的電影，除了可以根據(jù)觀眾是否熟知為原則分別采取音譯或意譯外，還可先音譯再結(jié)合影片內(nèi)容適當(dāng)增詞，以充分表現(xiàn)原片內(nèi)容，或更符合譯語(yǔ)習(xí)慣。如動(dòng)畫(huà)片Shrek，譯成《怪物史萊克》肯定比((史萊克》要好得多。因?yàn)閱渭儚淖置嫔吓袛嗖恢朗啡R克是什么東西，而“怪物”一方面，顯得生動(dòng)有趣，突出了動(dòng)畫(huà)片的風(fēng)格；另一方面，能勾起觀眾的好奇心。由此可見(jiàn)，盡管直譯法和音譯法在影片名的翻譯中占有主導(dǎo)地位，但電影翻譯不同于—般的書(shū)名翻譯，它其實(shí)足一種廣告翻譯，也就是一種因?yàn)閷?shí)際需要而故意灌進(jìn)原來(lái)沒(méi)有的意義的一種傳達(dá)方法。所以不盛嚴(yán)格追求“信、達(dá)，雅”的標(biāo)準(zhǔn)，只需要擇其善者而從之就可以了，其重點(diǎn)在于在翻譯允許的范疇內(nèi)最大程度的吸引觀眾。

二、恰當(dāng)?shù)挠捌奶攸c(diǎn)

以上我們探討了一些電影片名翻譯的方法，究竟什么樣的片名翻譯才是好的翻譯，我們下面就作者的見(jiàn)解以及電影的大眾評(píng)價(jià)作一些探討。

l、切合原影片的內(nèi)容，反映原影片的主題，突出原影片的風(fēng)格。一部好的電影作品應(yīng)該是主題鮮明的，或講述警匪之戰(zhàn)，或描寫(xiě)愛(ài)情、或反映社會(huì)倫理、或展開(kāi)科學(xué)幻想等等。不同主題的影片風(fēng)格各不相同。警匪片一般驚險(xiǎn)刺激，給人以懸念，如《生死時(shí)速》(speed)；愛(ài)情片或浪漫纏綿，或哀婉動(dòng)人，往往給人以回昧，如《鋼琴別戀))ffhePiano)；社會(huì)倫理片主題嚴(yán)肅，予人以警示或啟迪，如(雨人))(Rain Man)；而科幻片常常集荒誕、幻想和恐怖于一體，描寫(xiě)現(xiàn)實(shí)社會(huì)中不存在的幻想世界，如《外星人》(E．T．1，這些名應(yīng)能很好地反映原影片的內(nèi)容。又如美國(guó)喜劇片Mrs Doubffire，講的是一位離婚的男子Daniel Hiltard為了能天天見(jiàn)到孩子們，裝扮成一位肥胖的老太太去前妻家?guī)蛡虻墓适?。影片中喜劇?chǎng)面不斷出現(xiàn)，令人捧腹?！斗蕥屜壬愤@個(gè)譯名利用“媽”與“先生，這對(duì)矛盾的稱(chēng)呼語(yǔ)，很好地突出了影片的喜劇風(fēng)格。相反，如果譯為《道特菲爾太太》或《疑火太太》，則喜劇味就蕩然無(wú)存了。

2、言簡(jiǎn)意賅，便于記憶。電影是雅俗共賞的藝術(shù)，同時(shí)又是一種大眾娛樂(lè)形式。從某種意義上講它是一種商品應(yīng)該廣為流傳。為了便于傳播，電影片名當(dāng)言簡(jiǎn)意賅，便于記憶。簡(jiǎn)單地說(shuō)，就是要意義概括，用詞少。應(yīng)該說(shuō)很多影片的譯名是符合這一要求的。不難看出，這些譯名都僅用寥寥數(shù)字將原影片的內(nèi)容及內(nèi)涵譯出無(wú)遺，實(shí)屬言簡(jiǎn)意賅。而且，他們大都只有四個(gè)字，就像漢語(yǔ)成語(yǔ)，念起來(lái)富有節(jié)奏感，易于上口，便于記憶和傳播。有些影片譯名未能達(dá)到這一要求，在實(shí)用性上大打了折扣。有一部電影名字為《奇普里安·波隆貝斯庫(kù)》，這個(gè)片名使人非常反感，因?yàn)橛洸蛔?，講起來(lái)也很吃力。如果原名比較簡(jiǎn)潔，譯名做到簡(jiǎn)潔也許并不太難，難的是原名很長(zhǎng)，十分拗口，這時(shí)譯者的功力就非常重要了。有一部美國(guó)影片，片名長(zhǎng)得驚人，口q Everything You Always Wanted to Know About Sex But Afraid toAsk。如果直譯過(guò)來(lái)，譯名一定冗長(zhǎng)拖沓，難以記憶，此片在臺(tái)灣公映時(shí)譯為性愛(ài)寶典，既含蓄典雅，又簡(jiǎn)潔易記，不失為佳譯。再看一例，1995年美國(guó)拍了一部反映同性戀題材的電影，叫ne Incredibly True Adven—tures ofTwo Girls in Love，翻譯為《雙妹奇戀》，可以說(shuō)做到了高度概括，簡(jiǎn)潔明了。

3、符合漢語(yǔ)的語(yǔ)言規(guī)范，且適合我國(guó)觀眾的欣賞習(xí)慣。電影片名是電影制作者精心設(shè)計(jì)的。應(yīng)該說(shuō)，有些影片名并不需要譯者另行設(shè)計(jì)，只需將原片名按等值原則用對(duì)應(yīng)的中文直譯即可。當(dāng)然，這樣做的前提是不造成我國(guó)觀眾的理解困難，且必須符合漢語(yǔ)的語(yǔ)言規(guī)范。例如，有一部美國(guó)校園生活片，片名叫Mr．Holland’S Opus。影片講述了一位平凡的音樂(lè)教師賀蘭先生的故事。賀蘭先生在教學(xué)崗位上兢兢業(yè)業(yè)地干了30年，他不富有，也不出名，但他的成就超過(guò)了名和利，他所在學(xué)校的每個(gè)學(xué)生都受過(guò)他的影響，他就是交響樂(lè)團(tuán)的指揮，每一個(gè)學(xué)生都是他的音符，每一個(gè)學(xué)生都是他的作品(叩us)。片名直譯應(yīng)該是《賀蘭先生的作品》，現(xiàn)在譯為《春風(fēng)化雨》，譯名比原名有更深刻的主題意義，展示了影片看似平凡實(shí)際上不平凡的故事，這個(gè)譯名的妙處還在于它寓意深刻，得影片之神髓，讓觀眾產(chǎn)生美好的聯(lián)想。“春風(fēng)化雨”常用于比喻良好的教育，看到這個(gè)譯名，中國(guó)觀眾很容易聯(lián)想起古典詩(shī)詞名句“潤(rùn)物細(xì)無(wú)聲”，還會(huì)聯(lián)想“園丁”，從而對(duì)影片中的老師肅然起敬。美妙的譯名也像一件藝術(shù)精品，給人以美的藝術(shù)享受。

三、電影翻譯對(duì)譯者的要求

從翻譯的角度來(lái)講，片名翻譯的好壞是譯者功力和素養(yǎng)的見(jiàn)證。與任何翻譯一樣，片名翻譯也有理解和表達(dá)的問(wèn)題。譯者首先應(yīng)對(duì)影片內(nèi)容、背景有深刻了解。這樣才能準(zhǔn)確地理解原名，然后確切地用譯語(yǔ)表達(dá)出原名的含義，使譯出來(lái)的片名與影片內(nèi)容相吻合，這是片名翻譯最起碼的要求。要出佳譯，對(duì)譯者必須有更高的要求。筆者認(rèn)為。一個(gè)優(yōu)秀的電影翻譯工作者應(yīng)該具備以下素養(yǎng)。l、較強(qiáng)的電影審美鑒賞能力。譯者在譯片名之前必須先看電影(當(dāng)然也可以看劇本)來(lái)了解影片內(nèi)容，但譯者不是普通的觀眾，從某種意義上來(lái)說(shuō)，他是在為普通觀眾看電影，因?yàn)樗g的產(chǎn)品是為普通觀眾服務(wù)的。譯者是一個(gè)特殊的觀眾，其特殊之處在于他不只是“看”，而是要通過(guò)“看”來(lái)感知、理解，調(diào)動(dòng)情感，觸發(fā)聯(lián)想，進(jìn)入一種再創(chuàng)作的境界，即“審美鑒賞”。電影的審美鑒賞包括對(duì)電影文化特征(如電影的民族性、時(shí)代性和社會(huì)性)的審美鑒賞和對(duì)電影藝術(shù)特征(如電影藝術(shù)構(gòu)成手段和電影藝術(shù)風(fēng)格)的審美鑒賞，以求進(jìn)一步從看到的東西中解讀更豐富的內(nèi)涵。去破譯更深刻的藝術(shù)價(jià)值和社會(huì)價(jià)值。簡(jiǎn)單地說(shuō)，鑒賞電影的目的是要獲得對(duì)影片深層意義和真正意義的理解。這種理解對(duì)于譯者來(lái)說(shuō)是十分重要的，因?yàn)樗菧?zhǔn)確表達(dá)的前提。但是僅僅理解了還不能保證一定能準(zhǔn)確地表達(dá)，要做到準(zhǔn)確地表達(dá)，譯者還須有良好的文學(xué)功底。·

2、良好的文學(xué)功底。影視翻譯為文學(xué)翻譯之一部分??要求譯者對(duì)中文及外文均須有一定的根底，需要有文學(xué)家的靈感和藝術(shù)家的匠心，只有這樣的譯者才能夠恰如其分地把握原名的神韻并準(zhǔn)確地加以再現(xiàn)，甚至超越原名的藝術(shù)水準(zhǔn)，更好地體現(xiàn)影片的主題意義，生產(chǎn)出如《春風(fēng)化雨》、《魂斷藍(lán)橋》這樣的佳譯。

3、正確的翻譯心態(tài)。譯者應(yīng)本著對(duì)電影藝術(shù)和觀眾負(fù)責(zé)的態(tài)度去工作，既不能草率地翻譯，更不能為了追求物質(zhì)利益而亂譯，胡譯。翻譯中譯者尤其要把握好一個(gè)“度”的問(wèn)題，既不嘩眾取寵，也不低級(jí)媚俗。比如文藝片的片名一般認(rèn)為應(yīng)譯得文雅一些，娛樂(lè)片宜譯得通俗一些，但是文雅不等于故作高雅，通俗也并不等于媚俗，譯者不能一味地為迎合某種“品位”或追求某種利益而使譯名過(guò)“度”。

四．結(jié)束語(yǔ)

隨著電影產(chǎn)業(yè)的不斷擴(kuò)大，大眾對(duì)電影的質(zhì)量要求不斷提高，電影產(chǎn)業(yè)是一個(gè)商業(yè)化的產(chǎn)業(yè)，需要根據(jù)大眾的需求進(jìn)行不斷的自我提升，筆者這里研究的片名翻譯是一部電影的外包裝，外包裝的精美直接影響著其銷(xiāo)量的好壞，雖然外裝內(nèi)部的產(chǎn)品質(zhì)量才是重頭戲，但是在這個(gè)高速運(yùn)轉(zhuǎn)的社會(huì)，人們講求的是效率，好的片名就是高效率的基礎(chǔ)，所以筆者建議片名的翻譯應(yīng)該契合觀眾的口味，基于如此，我們就不能單單注重翻譯理論，理論應(yīng)該隨著實(shí)際不斷的變化。多種理論結(jié)合實(shí)際無(wú)疑不是未來(lái)片名翻譯的趨勢(shì)，同時(shí)，譯者的理解以及翻譯背景知識(shí)必須足夠的豐富，以使片名翻譯的準(zhǔn)確性和吸引性。筆者建議譯者應(yīng)該以尊重影片的內(nèi)容為基礎(chǔ)，不斷創(chuàng)造新的詞匯來(lái)應(yīng)對(duì)更復(fù)雜的片名翻譯。

參考文獻(xiàn)

黃澤萍，華南師范大學(xué) 南海校區(qū)，《 內(nèi)地與港臺(tái)三地影視翻譯比較 》

劉艷君，河南農(nóng)業(yè)大學(xué)外國(guó)語(yǔ)學(xué)院，《英語(yǔ)電影片名昀翻譯及其對(duì)譯者硇要求》 李彬，徐州工程學(xué)院外國(guó)語(yǔ)學(xué)院，《目的論指導(dǎo)下電影片名的翻譯》

第四篇：電影片名翻譯研究

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Psychological Analysis of Holden in The Catcher in the Rye 英語(yǔ)詞匯學(xué)習(xí)存在的問(wèn)題及對(duì)策研究

從目的論視角下對(duì)比研究《哈利?波特與火焰杯》的兩個(gè)中譯本 商務(wù)英語(yǔ)信函中的禮貌原則

從功能對(duì)等角度分析英文電影片名漢譯 中美鄉(xiāng)土文學(xué)中人性美的文化差異分析 模糊語(yǔ)在國(guó)際商務(wù)談判中的語(yǔ)用功能研究 譚恩美《灶神之妻》文化解讀

法律語(yǔ)言特征和法律語(yǔ)言翻譯 88 淺析奧斯丁的女性意識(shí)

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(ài)瑪》中的修辭手法 93 商務(wù)英語(yǔ)信函中的禮貌原則

試析《旅游巴士》中的猶太文化內(nèi)涵 95 The Tragic Fate of Tess 96 Rationalism in The Mysterious Stranger 97 卡勒德·胡賽尼《追風(fēng)箏的人》阿米爾的救贖分析 98 幽默元素在英語(yǔ)電影和電視劇中的翻譯 99 淺談?dòng)⒄Z(yǔ)影片名的翻譯 100 商務(wù)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(duì)話翻譯——以《老友記》第一季為例 105 模糊數(shù)詞在英語(yǔ)習(xí)語(yǔ)中的構(gòu)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(ài)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(shí)差異 109 中西跨文化交際中的禮貌問(wèn)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(dú)的割麥女》 112 論英語(yǔ)新課標(biāo)下高中生跨文化意識(shí)的培養(yǎng) 113 淺析《紅字》中象征手法的運(yùn)用

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

二元對(duì)立模型在伍爾夫《達(dá)洛衛(wèi)夫人》中的應(yīng)用 118 初中英語(yǔ)教學(xué)中的角色扮演 119 “誤譯”現(xiàn)象的合理性探析 120 如何有效地?cái)U(kuò)展大學(xué)生英語(yǔ)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(gòu) 127 從社會(huì)符號(hào)學(xué)角度淺談漢語(yǔ)“一”字成語(yǔ)翻譯 128 從言語(yǔ)行為理論研究廣告英語(yǔ)中的隱喻 129 《哈克貝利?費(fèi)恩歷險(xiǎn)記》中階級(jí)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(guó)戰(zhàn)爭(zhēng)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(guò)會(huì)話原則分析手機(jī)短信語(yǔ)言

從目的論看《生活大爆炸》的字幕翻譯 135 英語(yǔ)電影片名翻譯策略研究

淺析《戀愛(ài)中的女人》的圣經(jīng)意象原型——從原型批評(píng)角度解讀 137 從情景喜劇《老友記》淺析美國(guó)俚語(yǔ)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(huì)飛”——托妮?莫里森小說(shuō)《所羅門(mén)之歌》中的黑人神話研究 140 從合作原則違反角度分析《破產(chǎn)姐妹》中的幽默話語(yǔ) 141 從《葡萄牙人的十四行詩(shī)集》探究布朗寧夫婦的愛(ài)情 142 Judy’s Double Character in Daddy-Long-Legs 143 從校園流行語(yǔ)看中美學(xué)生思維方式的差異 144 從麥當(dāng)勞看美國(guó)快餐文化

論亨利?詹姆斯的世態(tài)小說(shuō)的特征—以《黛西?米勒》和《貴婦畫(huà)像》為例 146 論企業(yè)對(duì)員工過(guò)度壓力的管理

論簡(jiǎn)·奧斯汀在《傲慢與偏見(jiàn)》中的婚姻觀 148 從目的論的角度來(lái)看新聞?dòng)⒄Z(yǔ)中委婉語(yǔ)的翻譯 149 目的論下進(jìn)口汽車(chē)說(shuō)明書(shū)的翻譯研究 150 A Comparison of the English Color Terms 151 《傲慢與偏見(jiàn)》中的對(duì)立與統(tǒng)一

152平衡的維系——《天鈞》中的道家思想 153 英語(yǔ)廣告語(yǔ)中隱喻的研究 154 商務(wù)信函中的語(yǔ)氣結(jié)構(gòu)分析

155 論《永別了，武器》中戰(zhàn)爭(zhēng)對(duì)人物的影響 156 論被動(dòng)句的翻譯

157 從《蝙蝠俠：黑暗騎士》與《葉問(wèn)》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(yǔ)境下中英婚姻習(xí)俗的對(duì)比研究 160 從《愛(ài)瑪》看簡(jiǎn)?奧斯丁的女性主義意識(shí) 161 從生態(tài)女性主義視角解讀《喜福會(huì)》

162 《哈克貝里·費(fèi)恩歷險(xiǎn)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(xiàn)象

165 語(yǔ)音歧義和語(yǔ)義歧義的語(yǔ)言學(xué)分析 166 愛(ài)倫坡偵探小說(shuō)中恐怖氣氛的營(yíng)造方法 167 大學(xué)英語(yǔ)課堂教學(xué)師生互動(dòng)建構(gòu)淺析

168 從唯美主義的角度論《道林.格蕾的畫(huà)像》中的主要人物 169 英語(yǔ)幽默語(yǔ)的語(yǔ)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(shuō)的創(chuàng)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(xiàn) 173 《哈利?波特》系列作品中顏色的象征意義

174 《簡(jiǎn)愛(ài)》中女主人公的人生觀分析 175 情景教學(xué)法在小學(xué)英語(yǔ)課堂中的運(yùn)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(duì)英語(yǔ)語(yǔ)音的遷移作用 178 探析《夜訪吸血鬼》中的孤獨(dú)

179 試析英漢顏色習(xí)語(yǔ)折射出的中西文化異同 180 《紅色英勇勛章》主人公刻畫(huà)手法分析 181 商務(wù)英語(yǔ)信函中名詞化結(jié)構(gòu)的翻譯

182 英語(yǔ)文學(xué)作品與改編電影的差異——以 《傲慢與偏見(jiàn)》及其版改編電影為例 183 學(xué)前英語(yǔ)游戲教學(xué)法

184 美國(guó)個(gè)人主義和中國(guó)集體主義的對(duì)比與分析

185 Living in the Crack: A Study of the Grotesques in Winesburg, Ohio 186 應(yīng)用多媒體資源提高英語(yǔ)新聞聽(tīng)力 187 目的論指導(dǎo)下的導(dǎo)游詞英譯策略研究

188 從《看得見(jiàn)風(fēng)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(shī)歌中的死亡意象

190 從跨文化的視角分析美國(guó)動(dòng)畫(huà)“辛普森一家”中的習(xí)語(yǔ)現(xiàn)象 191 多媒體技術(shù)在英語(yǔ)語(yǔ)境教學(xué)中的應(yīng)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(shí)的角度解讀《荊棘鳥(niǎo)》中的女性形象 196 文明的樊籠—解讀《野性的呼喚》 197 商務(wù)英語(yǔ)翻譯中的隱喻研究

198 高中英語(yǔ)詞匯教學(xué)中文化意識(shí)的培養(yǎng) 199 華盛頓?歐文與陶淵明逃遁思想對(duì)比研究 200 漢英禮貌原則對(duì)比淺析

第五篇：電影片名翻譯賞析

中文電影片名翻譯賞析

一、非誠(chéng)勿擾 If You Are the One 劇情簡(jiǎn)介：秦奮(葛優(yōu)飾)的天才發(fā)明被風(fēng)險(xiǎn)投資人(范偉飾)出天價(jià)買(mǎi)斷。一夜暴富的這位“剩男”揣著家底開(kāi)始了“征婚”旅程。漫漫“征途”上，各懷心事者紛至沓來(lái)，一段“人間喜劇”演出2008世間百態(tài)。幾經(jīng)周折后，秦奮終遇傾心佳人梁笑笑(舒淇飾)。無(wú)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(ài)開(kāi)始一段全新征程。

片名翻譯賞析：本片主要開(kāi)頭就是主人公想找個(gè)人結(jié)婚，“the One”恰恰能夠表明主人公想找到心目中的那個(gè)她的愿望。然而電影的線索是征婚，一個(gè)一個(gè)來(lái)試，所以英文片名翻譯中加了“If”。中文名是從否定意義上說(shuō)的：不誠(chéng)懇，不適合就不要來(lái)打擾；英文名反了過(guò)來(lái)，從正面來(lái)假設(shè)：如果你合適。這兩者有異曲同工之妙，著實(shí)為非常好的片名翻譯。

二、101次求婚 Say Yes 劇情簡(jiǎn)介：樂(lè)團(tuán)的大提琴手葉薰（林志玲 飾）因?yàn)槿昵暗奈椿榉蛟S卓（高以翔 飾）因車(chē)禍缺席婚禮而受到傷害，三年來(lái)美麗高雅的她雖然身邊追求者不斷，自己卻無(wú)法再愛(ài)上一個(gè)人。不期然的是，黃達(dá)（黃渤 飾），一個(gè)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?kù)o的生活。二人因?yàn)橐淮吸S達(dá)幫葉薰解圍了一場(chǎng)演變成鬧劇的相親而相識(shí)，葉薰更是幫黃達(dá)要回了被拖欠許久的工程款。在一來(lái)一往的相處中，黃達(dá)逐漸被葉薰獨(dú)特的氣質(zhì)吸引，不顧一切的展開(kāi)了對(duì)葉薰的愛(ài)情攻勢(shì)。而葉薰也在想方設(shè)法的回絕黃達(dá)的過(guò)程中對(duì)這個(gè)執(zhí)著的為自己付出的男人漸生情愫。然而就在葉薰為黃達(dá)的真情所動(dòng)時(shí)，消失了三年的許卓重新出現(xiàn)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(chēng)直截了當(dāng)?shù)亟榻B了片中很重要的一個(gè)劇情，男主人公為了尋找愛(ài)情已經(jīng)相了101次親，而當(dāng)他找到自己的真愛(ài)時(shí)，他渴望對(duì)方能夠答應(yīng)自己。西方的婚禮中很重要的一部分就是相互說(shuō)“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(diǎn)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(jiǎn)介：廣東佛山人葉問(wèn)（梁朝偉 飾），年少時(shí)家境優(yōu)渥，師從詠春拳第三代傳人陳華順學(xué)習(xí)拳法，師傅“一條腰帶一口氣”的告誡，支持他走過(guò)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(shù)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(dān)任的中華武士會(huì)會(huì)長(zhǎng)職位，自然引起武林高手的關(guān)注與覬覦。包括宮羽田的獨(dú)生女宮二（章子怡 飾）在內(nèi)，白猿馬三（張晉 飾）、關(guān)東之鬼丁連山（趙本山 飾）、詠春葉問(wèn)等高手無(wú)不將目光聚焦在正氣凜然的宮羽田身上。拳有南北，國(guó)有南北乎？最有德行之人才堪會(huì)長(zhǎng)重任，然這浮世虛名卻引得無(wú)數(shù)迷亂之人狂醉奔忙，浪擲殘生。生逢亂世，兒女情長(zhǎng)埋藏心底，被冷若寒冰的車(chē)輪碾作碎泥??

片名翻譯賞析：片名直接點(diǎn)明影片的主要內(nèi)容是關(guān)于一代德高望重的武術(shù)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(nèi)容，切合主題，不拖不沓，清楚明了。

四、聽(tīng)風(fēng)者 The Silent War 劇情簡(jiǎn)介：1949年，新中國(guó)建立之初。江山初定，百?gòu)U待興，和平的表象下沒(méi)有硝煙的戰(zhàn)爭(zhēng)早已拉開(kāi)序幕。敗逃臺(tái)灣的國(guó)民黨接連向大陸派出特工，伺機(jī)破壞。為了應(yīng)對(duì)接二連三的破壞活動(dòng)，中共成立情報(bào)部門(mén)701局與敵方展開(kāi)連番較量。同年10月初，701局控制的偵聽(tīng)局莫名消失，為了查清消失電臺(tái)的下落，701局負(fù)責(zé)人老鬼（王學(xué)兵 飾）授命代號(hào)二〇〇的張學(xué)寧（周迅 飾）去上海尋找耳力超群的鋼琴調(diào)音師羅三耳。結(jié)果陰差陽(yáng)錯(cuò)，學(xué)寧找到了羅德小徒弟——耳力同樣超群的盲人調(diào)音師阿兵（梁朝偉 飾）。

阿兵不負(fù)眾望，不僅通過(guò)層層嚴(yán)苛的考試，還在工作中一鳴驚人。在殘酷的諜報(bào)戰(zhàn)爭(zhēng)中，阿兵和學(xué)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(yǔ)就是無(wú)聲的戰(zhàn)爭(zhēng)，但實(shí)際上片中講述的故事最為重要的一個(gè)元素就是電臺(tái)中的聲音。風(fēng)幾乎是悄無(wú)聲息的，但總能有耳力超群的人能夠聽(tīng)到，也可能是譯者為了故意夸大，借“Silent”來(lái)表明主人公贏得這場(chǎng)戰(zhàn)爭(zhēng)的不易?？傮w來(lái)講，此片名的翻譯不好不壞。

五、中國(guó)合伙人American Dreams in China 劇情簡(jiǎn)介：20世紀(jì)80年代，三個(gè)懷有熱情和夢(mèng)想的年輕人在高等學(xué)府燕京大學(xué)的校園內(nèi)相遇，從此展開(kāi)了他們長(zhǎng)達(dá)三十年的友誼和夢(mèng)想征途。出生于留學(xué)世家的孟曉駿（鄧超 飾）渴望站在美國(guó)的土地上改變世界，浪漫自由的王陽(yáng)（佟大為 飾）盡情享受改革開(kāi)放初期那蓬勃激昂的青春氣息，曾兩次高考落榜的農(nóng)村青年成冬青（黃曉明 飾）以曉駿為目標(biāo)努力求學(xué)，并收獲了美好的愛(ài)情。然而三個(gè)好友最終只有曉駿獲得美國(guó)簽證，現(xiàn)實(shí)和夢(mèng)想的巨大差距讓冬青和王陽(yáng)倍受打擊。偶然機(jī)緣，被開(kāi)除公職的冬青在王陽(yáng)的幫助下辦起了英語(yǔ)培訓(xùn)學(xué)校，開(kāi)始品嘗到成功的喜悅。在美國(guó)發(fā)展不順的曉駿回國(guó)，并加入學(xué)校，無(wú)疑推動(dòng)三個(gè)好友朝著夢(mèng)想邁進(jìn)了一大步。

只是隨著成功的降臨，他們的友情也開(kāi)始承受?chē)?yán)峻的考驗(yàn)?? 片名翻譯賞析：西方人對(duì)“American Dreams”是再熟悉不過(guò)了，本片名的翻譯采取了歸化的手法，把發(fā)生在中國(guó)通過(guò)奮斗而成功的故事譯為發(fā)生在中國(guó)的美國(guó)夢(mèng)。但個(gè)人認(rèn)為，自改革開(kāi)放以來(lái)，很多人都通過(guò)努力實(shí)現(xiàn)了各自的夢(mèng)想，尤其是近期中國(guó)夢(mèng)的提出更是呼應(yīng)了這一主題，所以應(yīng)譯為“Chinese Dreams”更為恰當(dāng)，同時(shí)這樣也能更有力地向國(guó)外推廣國(guó)內(nèi)的文化。