ChapterOneIntroductionAsamedium,moviesandtelevisionhaveawideraudience,alargernumber,andawidersocialimpact.However,theirstatusinthetranslationindustryandsocietyinChinaisfarinferiortothatofmoviesandtelevision.Thetranslationofmoviesandtelevisionfilms,inabroadersense,includessubtitles,dubbing,andtranslationbeyondlanguage.Onthisbasis,ananalysiswasconductedonmovies,TVdramas,TVdramas,movies,andTVdramas,andcorrespondingsolutionswereproposed.WiththecontinuousinfluxofforeignfilmsandTVdramas,theissueofsubtitletranslationinChinesefilmsandTVdramashasalsoattractedincreasingattention.Inmoviesandtelevisionprograms,twomethodsarecommonlyused:“domestication”and“foreignization”.Throughanalysis,wecanconcludethatnofilmortelevisionworkhasthedistinctionbetween"completelocalization"and"completealienation".Therefore,onthepremiseofimprovingthequalityofthetranslationandimprovingthequalityofthetranslation,itisnecessarytoorganicallyintegratethetwotranslations,comprehensivelyconsidervariousinfluences,inordertomakethetranslationmoreaccurateinexpressingthemeaningoftheoriginaltextandbetterinexpressingthemeaningoftheoriginaltext.Withtheintegrationoftheinternationalcommunityandtheincreasingdevelopmentoftheinternet,foreignmoviesandTVdramashavenovelthemes,richconnotations,excitingstories,andnovelplot,whicharedeeplylovedbythevastaudience.Therefore,foreignmoviesandTVdramashaveenteredtheChinesemarketoneafteranother.WiththecontinuousdevelopmentofmoviesandTVdramas,thesubtitlesofmoviesandTVdramasarealsoconstantlyimproving,andthesubtitletranslationofmoviesandTVdramasisalsoconstantlyimproving.Inmoviesandtelevisionprograms,twomethodsarecommonlyused:“domestication”and“foreignization”.Thebestsubtitletranslationinmovies,movies,andTVdramasmustchoosethemostsuitabletranslationmethodbasedondifferentbackgrounds,audienceacceptance,andtheculturalconnotationsthatthetranslatorwantstoexpress.ChapterTwoIntroductiontoSubtitlingforFilmandTelevisionSubtitlingistheprocessofprovidingsimultaneousillustrationofthedialogueofafilmortelevisionplaybypresentingthescriptofthedialogueonscreenatthesametimeasthefilmortelevisiondialogue.Subtitlingisabridgebetweentheaudienceandthefilmandplaysanessentialsupportingrole.2.1IntroductiontotheDevelopmentofSubtitleTranslationIfagoodfilmandtelevisionworkwantstobeappreciatedbyaudiencesaroundtheworld,subtitlesareveryimportant.Thissubtitletranslationshouldconformtotheaudience’scustomsandculturallevels.Inrecentyears,thetranslationofmanyfilmandtelevisionworkshasbecomeincreasinglycolloquial,entertaining,andtrendy.Thetranslationoftelevisionfilmsandtelevisionfilmshasshiftedfromemphasizingthe"onetoone"aspectof“one”to“two”,andthentothe“two”aspectsof“one”and“two”.Atpresent,manyfilmandtelevisionworkstrytousewordswithethniccolors,andalargenumberofwordssuchasonlineslangandpopularslangarealsoused.Duringthetranslationprocess,attentionshouldbepaidtolanguageformtomakethetranslationmorecolloquialandinlinewiththepublic'sviewinglevel.Onthebasicrequirementofensuringthecoherenceandfluencyoflanguageandwriting,trytoensurethecolloquialismoflanguageasmuchaspossible.Thesubtitlelanguageisshort,clear,andvivid;Thiskindofnurturinglanguageismoreacceptabletotheaudienceandcanbringthemasenseofimmersion.Theviewingprocessoffilmandtelevisionworkscanprovideviewerswithacertainlevelofrelaxation,physicalandmentalpleasure.ThisfeatureisalsoreflectedinmoviesandTVdramas,whichareentertainingtoacertainextent.Intermsoflanguageform,itisrelativelyeasyandcomfortable.IntheEnglishtranslationoffilmcharacters,attentionshouldbepaidtothedevelopmenttrendoffilmcharacters.Duringthetranslationprocess,trytomakeitaseasytounderstandaspossible,whilealsolackingthetextualnatureoffilmandtelevisionlanguage.Ofcourse,thistrendalsoabsorbstheinfluenceoffactorssuchaslocalizationandnetworking.Thepurposeoflocalizationandnetworkingistomakesubtitlelanguagetrendy,withoutlackingthecontextandculturalbackgroundofthetargetlanguage.2.2FeaturesofSubtitleTranslationSubtitlespresentthedialogueornarrationofafilmintextualformsothatviewerscanfollowtheplotbetter.Onthisbasis,throughthetranslationofthesubtitles,thetargetaudiencecangetthesamevisualexperienceastheoriginalaudience.Subtitletranslationisabranchofliterarytranslationandhasmanyofthesameaspectsasliterarytranslation,butduetotheartisticeffectoffilmandtelevisiononthelimitationsofsubtitletranslation,filmandtelevisionsubtitletranslationalsohasitsownuniquefeatures,namely“transience”“l(fā)imitations”“colloquiality”.2.2.1TransienceTemporaltransiencemeansthatsubtitleshavealimitedtimetostayonscreenandmustbesynchronisedwiththelanguageandimagesofthefilm’scharacters.Unlikeprintedtextmaterial,thereaderhasonlyafewsecondstoskimthroughthesubtitlesandcannotreadthemcarefullyinareastheydonotunderstand,soifthedurationofthesubtitlesisnothandledproperly,itwillinevitablyaffecttheaudience’sviewingexperience.2.2.2LimitationsSpatiallimitationsrefertothelocationofthecaptionsandthenumberofcharacters.Theyusuallyappearatthebottomofthescreenandareoftenonlyoneoratmosttwolineslong,sotoomuchtextatthesametimenotonlyaffectsthepicture,butalsomakesthetextmaterialmoredifficulttounderstand.Therefore,combiningthesetwocharacteristics,whentranslatingsubtitles,translatorsarerequiredtousecommonlyusedwordsandcharacters,andtouseshort,conciseandflexiblesentencesinordertoachievethemessageinalimitedamountoftimeandspace.2.2.3PopularityThisislinguisticaccessibility,meaningthatthelanguageusedinsubtitletranslationsmustbeclear,conciseandeasytounderstand.Asamass-cultureconsumerproduct,theaudienceforafilmortelevisionproductionisthegeneralpublic,therefore,thetranslationmustbeabletomeettheaestheticneedsofthepublic.Thesubtitlesaresynchronisedwiththeimageanddisappearassoonastheimageends,leavinglittletimefortheaudiencetothinkanddigest,sothetextusedinthesubtitlesmustbesimpleandnatural,inlinewitheverydayconversation.ChapterThreeIntroductiontoDomesticationandForeignizationStrategiesInOnDifferentApproachestoTranslation,Schleiermacherpointsoutthat“thereareonlytwowaystotranslate:oneistolettheauthorresideasstillaspossiblewhileleadingthereadertotheauthor,andtheotheristoletthereaderresideasstillaspossiblewhileleadingtheauthortothereader”.InspiredbySchleiermacher,Wernutifirstnamedthesetwoapproachestotranslationasdomesticationandforeignizationin1995.Domesticationtranslationisatranslationstrategybasedonthetargetlanguage,wherethetranslatorconvertsthesourcelanguageintothetargetlanguage.Ontheotherhand,“foreignization”referstotheconsciousviolationofthelanguagerulesofthesourcelanguagewhilemaintainingsomefactorsintheoriginalwork.Foreignizationtranslationisatranslationstrategybasedonthesourcelanguage,wherethetranslatorusuallytriestoretaintheoriginalflavouroftheoriginalwork,sothatthelinguisticforms,customsandculturaltraditionsofthesourcelanguagearepreservedandperpetuated.3.1BasicConceptsofDomesticationandForeignizationWiththetranslationstrategyofdomesticationandforeignization,domesticationisintendedtomakethetranslationsmoothandfluentsothatthereaderofthetranslatedlanguagecanreadthetextandfeelasifitwereanoriginalworkinthelanguageintowhichitistranslated.Foreignization,ontheotherhand,attemptstopreservetheforeigncultureinthesourcelanguagesothatthereadercanfeeltheculturalflavourofthesourcelanguageandmakethetargettextreadlikeaworkinthesourcelanguage.Astwotranslationstrategies,itisnotfeasibleintranslationpracticetouseonlythedomesticationtranslationstrategyortochooseonlytheforeignizationtranslationstrategy;acombinationofthetwoshouldbeused.3.1.1DefinitionofDomesticationDomesticationmeanstoadoptaneasyandfluentwayinthetranslationtoreducetheheterogeneityintheoriginalwork,soastomaketherealenvironmentembodiedintheoriginalworkclosertotherealityofthereaders’lifeinthetargetlanguage,soastoachievetheculturalequivalencebetweenthesourcelanguageandthetargetlanguage.Domesticationisaboutlocalizingthesourcelanguage,targetingthereadershipandusingtheexpressionstheyareusedtoinordertoconveythecontentoftheoriginaltext.Domesticationrequiresthetranslatortobeatthesamelevelasthereadersofthelanguageheorsheistranslating,andtospeakinthewaytheyspeak.3.1.2DefinitionofForeignizationTheso-called“Foreignization”istobreakawayfromthedominantvaluesofforeigncountriesandmaintainthedifferencebetweenthesourcelanguageandthesourcelanguage,orinasense,inordertobreakthroughthetraditionofthesourcelanguageandmaintaintheexoticcustomsofthesourcelanguage.Thispaperholdsthat,intheprocessofEnglish-Chinesetranslation,weshouldtryourbesttomaintaintheculturalcharacteristicsofthesourcelanguageinordertoenrichtheculturalconnotationofthetargetlanguageandonthisbasistobettershowthecharacteristicsofthetargetlanguage.Foreignizationisatranslationstrategyguidedbythecultureofthesourcelanguage,whichfocusesonmakingthereaderunderstandthecultureoftheauthor’scountry.Thepurposeoftheforeignizationstrategyistopreserveandreflectthecharacteristicsofforeignnationalitiesandlinguisticstyles,andtopreservetheexoticismfortranslationauthors.Inageneralsense,domesticationreferstotherelationshipbetweenthetranslatorandthetargettext,whichrealizestheunderstandingofthetargettextthroughthelanguageexpressionofthetargettext.Intheprocessoftranslation,itisnecessaryforthetranslatortobeclosetotheoriginalandusethecorrespondinglanguagetoconveythemessageoftheoriginal.3.2TwoLevelsofDomesticationandForeignizationTranslationhastwolevels:languageleveltranslationandculturalleveltranslation.Howtoeffectivelytranslateatthesetwolevels,revealtheprofoundculturalconnotationsofthesourcelanguage,whentofocusonwhichleveloftranslation,andwhatproblemstoavoidwhentranslatingatthesetwolevelshavebecomeissuesthatsometranslatorsandscholarsstudyingtranslationarefocusingonexploring.3.2.1CulturalLevelAtthelevelofculturalcontent,domesticationandforeignizationisacomparisonoftheculturalcomponentsreflectedinthetranslationwiththosereflectedinthesourcelanguage.Cultureistheinterrelatedpatternofhumanknowledge,beliefs,andbehavior.Thecompositionofcultureincludeslanguage,concepts,beliefs,customs,etiquette,andotherrelatedaspects.Forexample,translatingtheEnglishwords“Thanks”or“Thankyou”into“謝謝”or“謝謝你”,thereisnoforeignizationattheleveloflanguageeducation.Theusageofthesetwoidiomsineachlanguagehasbothsimilaritiesanddifferences.Forexample,expressinggratitudeforothers'helpisthesamething;whileexpressinggratitudeforotherspraiseisahabitinEnglish.However,inChinesecultureitisalienated,becauseinChineseculture,itiscommonlyusedtopraiseotherswithphrasessuchas“哪里哪里”“過獎過獎”.Forexample,whenwritingaletter,youoftenuse“Yourtruth”or“Yoursincerity”inEnglishattheend.TranslatedintoChineseas“您忠實的”or“您忠誠的”,thereisnolanguageformofalienation,butintermsofthelanguagenormsofChineseletterwriting,thismethodcanbeconsideredforeignizationed.3.2.2LinguisticLevelWhenanationallanguagehasnotyetmatured,thefocusisontheforeignizationofthelinguisticform,supplementedbythedomesticationofthelinguisticform;oncethenationallanguagehasmatured,theforeignizationofthelinguisticformhascompleteditshistoricalmissionandtheobjectofforeignizationshouldthereforebeshiftedtotheculture,supplementedbytheday-to-dayadaptationofculturalfactors.Translationisacomplexactivity,andthereisnodefinitewaytomakeitmoreeffective.ChapterFourApplicationofDomesticationandForeignizationinFilmandTelevisionSubtitleTranslationTherearemanytranslationmethodsfordomesticationandforeignizationinfilmandtelevisionsubtitletranslation.Themethodsoftranslationunderdomesticationareparaphrasing,imitation,adaptationandcreation.Themethodsoftranslationunderforeignizationarezerotranslation,phonetictranslation,word-by-wordtranslationanddirecttranslation.4.1ApplicationofDomesticationTranslationStrategyLanguageisthecarrierofcultureandhasstrongethniccharacteristics.Themainpurposeoffilmsubtitlesistoconveythestoryandconnotationofthefilmtothetargetlanguageaudience,sothatthetargetlanguageaudiencecangetthesameviewingexperienceastheoriginallanguageaudience.Forsomeobscureanddifficulttounderstandwords,domesticationtranslationstrategiesareadoptedtomakethetranslationmeettheappreciationlevelofmosttargetlanguageaudiences,conformingtoethniccharacteristics,therebynarrowingthedistancebetweenthefilmandtheaudience.4.1.1FreeTranslationFreetranslationreferstoawaytomaintaintheoriginallanguagewithoutchangingthelanguageformoftheoriginal.ThesemanticsofEnglishandChineseexpressionsarequitedifferentandneedtobeexpressedaccordingtoChineseconventionstoavoidviolatingculturalconventions.Thefreetranslationmethodreferstothetranslator’suseofeasytounderstandlanguagebasedonthecontentandmeaningoftheoriginaltextduringthetranslationprocess,sothatthetranslationhasthecharacteristicsoffluency,smoothness,andcomprehensibility,therebyexpressingthemeaningandspiritoftheoriginaltexttothereader.ThefollowingexampleisfromthedomesticanimeNezha’sDemonChildComestoEarth.(1)對，這就是我，萬人敬仰的太乙真人.Iknowwhatyou’rethinking,who’sthatdashingrogueonthepig?Thatwouldbeme,TaiyiZhenren.ThislineisspokenduringtheappearanceofTaiyiZhenren,whoisportrayedasaTaoistpriestwithabigbellyandwearingaTaoistcostume,lyingsidewaysonhismount,whichisachangefromtheusualimageofagod.Thephrase“dashingrogue(迷人的家伙)”issemanticallyandstylisticallyappropriatetothefilm’sintendedmeaning,whichistoreflectthecharacter’s“narcissistic”characterinalight-heartedtone.(2)乖，到叔叔這里來!There’sagoodpearl.Comehere.Here,boy!Inthefilm,Taiyiisahumorouscharacterwhospeaksin“Trump”.ThisiswhathesaystotheHybridPearlashetriestosubdueit.TheshortChinesephraseistranslatedintofourcolloquialEnglishexpressions.Thephrases“There’sagoodpearl.”and“Here,boy!”fitperfectlywiththemeaningoftheChinesesentence,usingthecommonEnglishtechniqueofadultscoaxingchildrentoconveythesamemeaningasinChinese.Thephrases"There’sagoodpearl.(3)痛死老娘了Ican’ttakeit!ItisaphraseusedbyLadyYinduringthebirthofNezha,whensheissweatingprofuselyandfaintsfromthepain.Thephrase“Ican’ttakeit!”isaverycolloquialexpressioninChinese,using“老娘”todescribeherself,whichisverywittyandconveysLadyYin’simageasa“femininewoman”.ThetranslationofthissentencealsousestheauthenticEnglishcolloquialism“Ican’ttakeit!”(我受不了了),whichisinlinewiththecharactersandscenesintheplay,butalsoaccuratelyconveysthemeaningoftheoriginalsentencewithoutanysenseofincongruity,achievingtheaimofaudience-centredtranslation.(4)太失禮儀，有損斯文，成何體統(tǒng)。It’swrongtobehaveinsuchadisrespectfulmanner.It’swrong!ThissentenceisatypicalancientChineseexpressionthatLiJingsaidtohisstewardwhenhewaspunchingadrunkenTaiYiZheninthestomach.Thethreecommonfour-characterwordsoridiomsarelinkedtogethertoformatypicalancientChineseexpression,allofwhicharecriticismsofuncivilizedandimpolitebehaviour.TheuseofthreeconjunctionshereemphasisestheimportancethattheChineseattachtomanners,reflectingthefactthatChinahasbeena“stateofmanners”sinceancienttimes.Insteadoftranslatingeachofthethreewordsindividually,thesentenceistreatedasthreewholesentences,whicharelinkedtogethertoconveythemeaningofthefilm,especiallythelastsentence“It’swrong!”4.1.2ParodyTranslationTheso-called“parodytranslation”istoregarditasareferenceparadigmonthebasisof“imitation”.In“imitation”,itisnolongerconfinedtothespecificsemanticsofthetext,nortolanguage,grammarandsoon.Inordertomakethetranslationmorereadable,translatorsoftenadoptthewayof“abbreviation”,whichonlyfocusesonthegeneralidea,summaryormaincontentoftheoriginaltext(orselectivelytransformssomeofthecontents),oradds,deletesorexpandstheoriginaltexttoachievethepurposeof“emphasis”.Translateforeignwordsmorphemebymorphemeusingtheconstructionalmaterialofthenativelanguage,notonlyintroducingthemeaningoftheforeignwordbutalsoimitatingitsconstructionalrelations.ThefollowingexamplesarefromdomesticanimeseriesNezha’sDemonChildComestoEarthandDreamoftheRedChamber.(1)牛不喝水強(qiáng)按頭Youcanleadahorsetowater,butyoucannotmakehimdrink.InthetranslationofDreamoftheRedChamber,theBritishsinologistandredoubtableDavidHawkes(1923-2009)translated“牛不喝水強(qiáng)按頭”,apparentlyimitatingtheEnglishproverb“Youcanleadahorsetowater,butyoucannotmakehimdrink.”(2)嫁雞隨雞，嫁狗隨狗Marryacockandfollowthecock;marryadogandfollowthedogTheChineseproverb,“嫁雞隨雞，嫁狗隨狗”,istranslatedintheYangDaitranslationofDreamoftheRedChamberasAmetaphorforAmetaphor,withthemetaphorunchanged.IntheYang-DaitranslationofTheDreamoftheRedChamber,themetaphoristranslatedas“Marryacockandfollowthecock;marryadogandfollowthedog”.Althoughthemetaphoricalcharacterismaintained,itdoesnotconveytheculturalmeaningoftheoriginaltextverywell.TheEnglishlanguagedoesnotsee“cock”and“dog”asimagesof“l(fā)owstatusandlackoflife”.Obviously,themetaphoricalmeaningoftheoriginalsentence,“無論嫁給多么差的男人，女人都要認(rèn)命遵從”,isnotreflectedinthetranslation,buttheapproachofabandoningthemetaphoricalfeaturesoftheoriginalisalsoinappropriate.Thetranslationwasadjustedto“Whentheroostercrowsatbreakofday,allhishenfolkmustobey.Nochoiceforadog'swife.Buttomakethebestofadog'slife.Buttomakethebestofadog’slife.”However,Ithinkitwouldbeverydesirableifthemetaphoristranslatedassomethingotherthan“Oncethewifeofaparson,alwaysthewifeofaparson.”O(jiān)fcourse,ifonemimicstheEnglishtextandretainspartofthemetaphor,onemighttranslateitas"Oncethewifeofadog,alwaysfollowthedog.(3)日月同生,千靈重元,天地?zé)o量乾坤圈,急急如律Withthemouseofsunandmoonofseaandsand.Qiankunhoop,observemycommand!Inthemovie,thisisthemantrathatsummonsthe“乾坤圈”,whichcontainsalargeamountofimageryinformation.Completeequivalencetranslationcannotbeachievedinashortperiodoftimeforreaderstounderstand,Andsomeimages,suchas“千靈重元，天地?zé)o量”,donotconstitutetheessentialmeaningofthesentence.Therefore,thestrategyofimitationtranslationisadopted,andtheessenceofthesentencecanberoughlytranslatedbasedontheoriginaltext.TheEnglishtranslationofthissentenceis“withthemouseofsunandmoonofseaandsand.Qiankunhoop,observemycommand!”,whichcanquicklyhelptheaudienceunderstanditsmeaning,thatis,itisfirstusedasaspelltosummonheavenandearth,andinaddition,TheQiankunHillispowerful,integratingthepowerofsun,moon,mountainsandrivers.Theaudienceunderstandsitsmeaning,andthebasicpurposeoffilmscreentranslationisachieved.4.1.3ParaphraseTheparaphrasemethodreferstothenecessarymodifications,adjustments,andtransformationsmadetotheoriginaltextduringthetranslationprocesstomakethetranslationmoreinlinewiththelanguagehabits,culturalbackground,andreader'scognitivelevelofthetargetlanguage,aimingtomaintainthemeaningandflavoroftheoriginaltexttothemaximumextent,whilemakingthetranslationclearer,moreaccurate,andmorenatural.Theapplicationoftheadaptationmethodrequiresthatthetranslatorhasprofoundlanguageskillsandculturalliteracy,aswellasaccurateunderstandingandmasteryoftheoriginalandtargetlanguage.ThefollowingexampleisfromForrestGump.(1)President:Americaownsyouadebtofgratitude,son.Iunderstandyouwerewounded.Wherewereyouhit?F:Inthebuttocks,sir.President:Oh,thatmustbeasight,I’dliketoseethat.President:Goddamnson.總統(tǒng)：美因?qū)δ愕男袨樯畋砭磁?，年輕人。我知道你曾受傷，傷在哪兒呢？阿甘：在屁股，長官?？偨y(tǒng)：這一定值得一看，我很想看一看．總統(tǒng)：天啊，這年輕人。ThisiswhenForrestGumpreturnedfromtheVietnamWarandreceivedanawardfromthePresident.ThePresidentjokedthathewantedtoseeForrestGump’sinjuredbutt,butunexpectedlyForrestGumpreallytookoffhispantsandshowedhim.Thepresidentwasshockedbyhisbehaviorandcasuallysaidthevulgar“goddamn”(該死的).InWesternculture,itisnormalforthepresidenttojokewith“goddamn”attimes,butinourcountry,duetodifferentideologies,leaders’wordsandactionsarerolemodelsandcannotbetoocasual.Thesevulgarandindecentwordsneedtobepurifiedbythepresident.So,theChinesetranslationhasbecome“天啊”,bothpurifythelanguage,andperfectlyfittheChineseexpresssurprisetonecharacteristic.(2)1a.Man:Run,Youstupidsonofabitch!Run!2a.Man:Hemustbethestupidestsonofabitchalive,buthesureisfast.3a.Lt.Dan:Youcallthisastorm?Comeon,yousonofabitch!4a.Sergeant:Goddamnit,Gump!You'reagoddamngenius.That'sthemostoutstandinganswerI'veeverheard.YoumusthaveagoddamnIQof160.Youaregoddamngifted,PrivateGump.1b.男：跑，傻子，跑!2b.男：他一定是傻子之冠，但他真的跑得很快。3b.丹：這算是風(fēng)暴嗎?來吧，去你的！4b.中士：阿甘，你他媽真是天才！第一次聽到這么杰出的回答，你的智商起碼有160，你他媽是個天才，阿甘。WhenForrestGumpranveryfastintheschoolfootballmatch,theclassmatesstartedcursing.Westernersalwaysexpressemotionsverydirectly,unlikeEasternerswhoaresogentleandreserved.Here,if“stupidsonofabitch”isliterallytranslatedas“婊子的傻兒子”,itmayseemtoovulgar,andthequalityofthemoviewillalsodecreasesignificantly.Andtranslatedas“傻子”,heisnolongersoroughandeasytobeacceptedbyourChinesepeople.Thetranslationof“you,sonofabitch”into“去你的”alsotakesintoaccountthespeakinghabitsofthelocalpeople,makingvulgarwordsneutralwithoutweakeningtheirtoneofexpression.Inthefinalexample,thewordsusedintheoriginaltextbelongtoAmericanwords,andtheirpurposeisoftentoconveyamoreobscuremeaning.Inthissentence,theword“damn”isrepeatedoverandoveragain,emphasizingatoneofsarcasmandresentment.AccordingtoChineselanguagehabits,whentranslating,wetranslateitas“do”andcallit“do”forshort.Althoughheloweredhisvoice,heshowedthecharacterofasoldierincisivelyandvividly.4.1.4CreativeTranslationCreativetranslationistheprocessoffusingtranslationandcomposition,movingawayfromword-for-wordlevelconversionstoconveyinformationinotherlanguagesinordertoachievethesametone,styleandfeelastheoriginallanguage.Thecreativetranslationmethodreferstothetranslationofthesourcelanguage,whichisnotboundbythesemanticandphoneticconstraintsofthesourcelanguage,andiscarriedoutinacreativemannerinordertoachievefunctionaloreffectualequivalencebetweenthetranslatedlanguageandthesourcelanguage.Acreativetranslationisanyfreetranslationthatrequiresthecreativityofthetranslator.ThefollowingexampleisfromManinBlack3.(1)Itgetsupthereandbouncearoundthesatellites…and‘bangl’.無數(shù)信號發(fā)送到太空擊落了這個家伙，砰.”Theoriginallanguageisasimplesentence,butthetargetlanguageaddsabit,subtractsabit,adds“擊落了這個家伙”,butomits“bouncearoundthesatellites”.Evenifitisnotintheformoftheoriginallanguage,fromacontextualperspective,wealsoaccuratelyexpressthemeaningandartisticconception,whichisundoubtedlyacreativetranslationinlanguage.IftheYucharactercorrespondenceisachieved,althoughthemeaningisexpressed,itmaycauseinconsistenciesorrepetition.Thephrase“太空”hasalreadyrevealeditsposition,sothereisnoneedtoemphasize“繞于衛(wèi)星”.So,insteadofdoingthis,it'sbettertousecreativetranslationtobemorerefreshing.(2)IthinkIjustsawatoothinthatthing,orclaw,ahoof.我真懷疑他們用的是地溝油和瘦肉精.”Infact,thetranslatorcompletelysubverteditsmeaning.Theoriginalmeaningoftheoriginaltextshouldbe“我好像看到里面有顆牙,還是爪子,蹄子什么的.”Althoughthistranslationisfaithfultotheoriginalthetext,butitdidnotachievethehumorouseffectinthefilm,andthesubtitletranslationof“地溝油”and“瘦肉精”canpreciselyachievethisjoke.Weknowthattoday’sChinesegutteroilandleanmeatessenceareingredients.WeknowthatthecurrentincidentsofgutteroilandleanmeatpowderinChinaarerampant,andfoodqualityhasbecomeajokeinChina.Therefore,sincethefilmisabouteatingChinesetakeout,Wilsmith’simplicitintentionistosatirizetheotherparty’sfoodthatisnotclean,healthy,orhygienic.Theuseof“地溝油”and“瘦肉精”ismoreappropriateandwellknownandacceptedbyChineseaudiences.SomeChinesepeopleliketoeatchickenfeet,pigfeet,andsoon,soevenifthereareclawsorhooves,itcannotexpresstheoriginalmeaningoftheoriginaltext.Fromthis,itcanbeseenthatevenifthecreativetranslationmethodsubvertsthemeaningofwords,iteffectivelyavoidsmisunderstandingscausedbyculturalconflictsandalsoeffectiv