Translation Studies on Chinese Films and TV Shows PDF
Preview Translation Studies on Chinese Films and TV Shows
Feng Yue Editor Translation Studies on Chinese Films and TV Shows Translation Studies on Chinese Films and TV Shows Feng Yue Editor Translation Studies on Chinese Films and TV Shows Editor Feng Yue School of Foreign Languages Fujian Normal University Fuzhou, Fujian, China Translated by Hanxiong Zhu Hui Li School of Foreign Languages School of Foreign Languages Wuhan University of Technology Wuhan University of Technology Wuhan, China Wuhan, China Kaixuan Wang Faculty of Education and Social Work University of Auckland Auckland, New Zealand ISBN 978-981-19-5999-8 ISBN 978-981-19-6000-0 (eBook) https://doi.org/10.1007/978-981-19-6000-0 Jointly published with China Social Sciences Press The print edition is not for sale in China (Mainland). Customers from China (Mainland) please order the print book from: China Social Sciences Press. © China Social Sciences Press 2022 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publishers, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publishers nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publishers remain neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Springer imprint is published by the registered company Springer Nature Singapore Pte Ltd. The registered company address is: 152 Beach Road, #21-01/04 Gateway East, Singapore 189721, Singapore Chief Editor Feng Yue Preface I worked for Fujian TV Station continually from 1992 to 2005, first as a translator and then as a proofreader of translations. I had many discussions with my language consultants, who were native speakers of English, and felt strongly that one man’s meat could be another man’s poison, both linguistically and culturally speaking. The journalist intends to present his or her thought in a piece of news to audience in one way, while people from another culture comprehend it in another through translation. There will always be problems in this because people from different cultures have different needs and schema. When I was proofreading translations, I was constantly mediating between translators, who more or less represent the writers of the source texts, and the target audience by revising the translations to make both sides happy. With increasing international influence, China has a stronger desire to disseminate Chinese culture. Historically, Chinese culture had worldwide influence, such Chinese elements as Confucian classics, Chinese Kongfu or traditional Chinese medicine are popular in some circles. While the Chinese have keen cultural consciousness, the international audience, according to our recent research, have a strong tendency for deculturalization. They may like Kongfu, but they don’t care which school the Kongfu belongs to or whether the Kongfu maters are Chinese, Japanese, Korean or of any other nation. Chinese Kongfu films are sometimes set in ancient times, which includes numerous Chinese elements such as official titles. These are particularly unwelcome, not because they are Chinese, but because they are so culturally specific that they are difficult to understand. Audience complain that cultural elements hinder their understanding. So translators need to think about serving the purposes of both Chinese films and international audience. This book consists of five parts. The first is a statistics-based survey on the export of the Chinese film industry. The world influence of Chinese films has been soaring these years, but the audience in developed countries are mostly overseas Chinese. Outside China, Chinese films are shown mostly for free. Chinese films are accepted, but not yet embraced by international audience. Chinese films have not yet taken root on the international stage. The second part is the cultural studies of subtitle translation. Some translators try to reproduce all cultural elements, which are often vii viii Preface poorly received by international audience. Some translators simplify or even elimi- nate certain cultural elements, which is criticized by researchers at home. Hollywood blockbuster Kungfu Panda managed to strike the balance, throwing light on the direc- tion for our film industry. With a strong intention to disseminate a culture so alien to the target audience, the translator risks putting off the audience. The mainstream of deculturalization seems to entrap translators in a Catch-22. Balancing between the purpose of the film and the taste of international audience is a delicate art. The third part is the linguistic study of subtitle translations. All agree that translators should be encouraged to tap into their creativity. But to what extent? The fourth part is the study of film title translation. The fifth part is the study of translation for TV programs, which comes close to film translation. But it could involve more ideolog- ical elements since it is regularly related with news and documentaries. A conscious translator keeps ideological differences in mind and bridge the difference through proper diction. Finally, people come to movie houses to be entertained. What really counts on an international stage is the success of the film art, including technology-based special effects. The audience need to be attracted to the movies before they can learn something about the Chinese culture. Fuzhou, China Feng Yue Acknowledgements Yue Feng, Ph.D., professor at the School of Foreign Languages of Fujian Normal University, Ph.D. supervisor, and postdoctoral mobile station co-supervisor, is the project leader. He designed and reviewed the entire book. He is the author of Chap. 11. Zhou Qinchao is a lecturer in the Department of Foreign Languages, Concord University College, Fujian Normal University. He is the author of Chap. 1. Xie Yuchao, MA, served on the Executive Committee of the Silk Road Interna- tional Film Festival and wrote Chap. 10. Han Lanhua, MA, a teacher at Fuzhou Tongpan Middle School. She is the author of Chap. 6. Gao Qingyun, MA, deputy the director of the Free Trade Office of the Management Committee of Jiangyin Gangcheng Economic Zone, Fuzhou, wrote Chap. 2. Lai Liping, MA, a teacher at the Experimental High School Subsidiary of Xiamen University, wrote Chap. 3. Wang Jianxiong, MA, a teacher at Fuzhou Liren Middle School, wrote Chap. 5. Zhu Lanting, MA, a teacher at Putian No. 1 Middle School, wrote Chap. 8. Weng Rong, MA, a teacher at Fuzhou Dongsheng Primary School, wrote Chap. 7. Chen Yan, MA, working for Newland Technology Group. She wrote Chap. 4. Sun Hongjuan, MA, a teacher at Mudanjiang No. 1 High School, wrote Chap. 9. Acknowledgements also go to the 2017 MTI students of the College of Foreign Languages. ix Contents 1 Review of China’s Film and TV Drama Export in Recent Years .... 1 Qinchao Zhou 2 Cultural Default and Translation Compensation in the English Translation of Chinese Films: Taking Ang Lee’s Family Trilogy as an Example ......................................... 21 Qingyun Gao 3 On Subtitle Translation from the Perspectives of Semantic Translation and Communicative Translation ..................... 61 Liping Lai 4 Cultural Default and Transmission of Martial Arts Imagery: The Translation of Cultural-Loaded Words in the Grandmaster .... 93 Yan Chen 5 On Film Subtitle Translation from the Perspective of Skopos Theory: Taking Black Coal, Thin Ice as an Example .............. 137 Jianxiong Wang 6 On Feng’s Humor from the Perspective of Equivalent Effect Translation: Taking Feng Xiaogang’s New Year Comedies as an Example ................................................ 151 Lanhua Han 7 On the English Translation of Culture-Loaded Words in Finding Mr. Right from the Perspective of Manipulation Theory ....................................................... 193 Rong Weng 8 Translation of Culture-Loaded Words in Audiovisual Translation—Taking Empresses in the Palace as an Example ...... 213 Lanting Zhu xi xii Contents 9 Meme Transmission and Domestication and Foreignization in the CE Translation of Film Titles ............................. 241 Hongjuan Sun 10 Translation for International Film Festival Under the Guidance of Functional Equivalence Theory ................. 265 Yuchao Xie 11 Considerations for CE Translation of TV News and Production of Foreign-Related TV ......................................... 283 Feng Yue Bibliography ...................................................... 291
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