XXVIITranslationofWildChinaundertheGuidanceofMultimodalDiscourseAnalysisInthischapter,abriefintroductiontoWildChinawillfirstbeprovided.Followingthis,thecoordinationbetweentranslatedsubtitlesandmultimodalelementssuchasimages,sound,andactionswillbeanalyzedfromthecultural,context,content,andexpressiondimensions.Finally,therelationshipsamongdifferenttranslationstrategieswillbesummarized,andtheirimpactandroleinthesubtitletranslationofdocumentarieswillbediscussed.CultureTheculturallevelintheZhangDelu’sframeworkofMDAisactuallyaspecialcontext.Culture’smainformofexistenceisideologyandgenreasamodeofpotentialdiscoursechoice.However,theculturesbelongtothecovertsymbols.Consideringthatthemainpurposeofsubtitletranslationistohelpaudiencesunderstandthecontentoffilmandtelevisionworksinthecontextofcross-languageandcross-culture,whileretainingtheculturalconnotationandartisticvalueoftheoriginalworks,thetranslatorisrequiredtochoosesuitabletranslatingstrategiestohelpaudiencesunderstandthecertainmeaning.Cultureplaysthemainroleinsubtitletranslation,which,tosomeextent,determinesthetranslationstrategy.Thefollowingaresomeexamplesofsubtitletranslationontheculturallevel.E.g.1.ST:ThisisWildChina.(Episode1;02:05)TT:這就是美麗中國。FigureSEQFigure\*ARABIC1InChineseculture,theterm“美麗”isnotonlyusedtodescribetheaestheticappealofnaturallandscapesbutalsooftencarriesasenseofprideandadmirationforthenation,itspeople,anditsculture.Atthesametime,Chinesepeopletendtobemodestandpreferusingeuphemisticwords,sotheterm“美麗”betterreflectsChineseculturalvaluesandalignswiththeaestheticpreferencesofChineseaudiences.TraditionalChineseculturehasalwaysupheldtheconceptof“unityofheavenandmankind”,attachinggreatimportancetoreachingastateofharmoniouscoexistencebetweenmanandnature,ratherthantreatingnaturesimplyas“wilderness”or“uncivilized”.Inrecentyears,theChinesegovernmenthasbeenactivelyadvocatingtheconceptof“BeautifulChina”,emphasizingecologicalcivilizationandtheprotectionofthenaturalenvironment,thuspresentingthebeautyofnature,cultureanddevelopmentinChina.Incontrast,theEnglishwordwildfocusesontheuntamedandoriginalstateofnature,aswellasthelackofhumanintervention,However,ifitisdirectlytranslatedintoChineseas“savage”or“wilderness”,thenitwillprobablyhaveanegativeimpactintheChinesecontextbyimplyingdesolationandcan’tconveytheintentionsoftheadmirationofforeigners,andsuchatranslationwillnotbeabletofullypresentthemagnificenceanddiversityofChina’snaturallandscapesasdepictedinthedocumentary.DomesticatingWildChinainto《美麗中國》wouldalignswiththeaestheticpreferencesandculturalidentityoftheChineseaudience.Atthesametime,theEnglishmeaningofwildalsoalignswithWesternperceptionsofChina.Accordingtothedictionary,wildcanmeanexotic,livinginanaturalstate,notchangedorcontrolledbypeople,andveryenjoyableandexciting.Theuseofwildreflectsforeigners’impressionsofChinaasmysterious,fascinating,vast,andrichlyendowed,whilealsoshowcasingtheirpreferenceformorestraightforwardandenthusiasticexpressionsofpraise.Additionally,itcontinuesthetraditionoftheBBC’sWild-documentaryseries,justlikeWildAmerica，WildCaribbean，WildBrazil，WildEuropeandsoon,andtranslatethemintoChineseas“野性美國”,“野性加勒比”,“野性巴西”,“野性歐洲”presentingthebeautyoftheEasttoWesternaudiences.Indocumentaries,images,music,andnarrationbuildmeaningtogether.Whentranslatedinto《美麗中國》,theChinesetitleandthevisualelementsofthedocumentary,suchasnaturallandscapesandculturalpractices,createastrongerculturalresonance.Forexample,thelandscapesofGuilinandtheterracedricepaddiesofYunnaninthefilmcomplementtheword“beautiful”boostingtheChineseaudience’ssenseofculturalpride,andthedocumentary’snarrationandsoundtrackalsointeractwiththetranslationofthetitleonaculturallevel.TheChinesenarratormayusemorepoeticandsubtlelanguagetodescribethenaturallandscape,whilethebackgroundmusicmayincorporateelementsoftraditionalChinesemusicalinstrumentssuchastheguzhengandtheflute,enrichingtheculturalconnotationof《美麗中國》.Translationisnotjustaconversionoflanguage,butalsoare-creationofculture,andthetranslationofWildChinainto《美麗中國》showsthetranslator’sin-depthunderstandingoftheChineseculturalbackgroundandanaccurategraspofthetargetaudience’spsychology.Thisstrategicadjustmentmakesthedocumentarymoreamiableandappealingincross-culturalcommunication.Translation,asabridgeforcross-culturalcommunication,needstofindabalancebetweenthesourcecultureandthetargetculture.Thetranslation《美麗中國》retainstheoriginaldocumentary’spraisefornaturalbeautywhileintegratingtheuniquevaluesandaestheticorientationsofChineseculture,achievingeffectivecross-culturaldialogue.Therefore,thechoiceoftheterm“美麗”bettercapturesthecorethemeofthedocumentary,whichistoshowcasetheuniquecharmofChina’snatureandculture.E.g.2ST:Softshellturtlesareconsideredagod-madedelicacybymanyChinese.(EP01;39:32)TT:軟龜殼被許多中國人視為神賜之物。FigureSEQFigure\*ARABIC2Incertaincultures,specificanimalshavesymbolicmeanings,inotherculturestheymayhavelittlesymbolicmeaning.InChineseculture,theturtle,alongsidetheKylin,dragon,andphoenix,isreveredasoneoftheFourAuspiciousBeasts,symbolizinggoodfortune,longevity,protectionagainstevil,wardingoffmisfortune,disasterprevention,homesecurity,andwealthattraction.DuringtheShangandZhoudynasties,turtleshellswereoftenusedfordivinationthroughscorching,andtheNineTripodoftheHanDynasty,symbolsofimperialauthority,wereadornedwithturtlepatterns.However,thereisnosuchreverenceforthetortoiseinWesternculture,andthetortoisehasalmostnosymbolicsignificanceinWesternculture,andtheterm“God-madedelicious”ispreciselyameansofbridgingthisculturalgapthroughWesterners’beliefinthedivine.GiventheWesternbeliefintheexistenceofadivinebeing,theterm“god-madedelicacy”isusedtointerprettheelevatedstatusoftheturtleinChineseculture.Theword“delicacy”inEnglishrefersto“thespecialcareneededtodealwithsomethinginordertoavoidcausingtroubleoroffense;thequalityofneedingthisspecialcare.”Thus,thistermemphasizesthesacrednessandsupremestatusoftheturtleinChineseculture,makingitrelatabletoWesternaudienceswhoarefamiliarwiththeconceptofdivinecreation.TranslatedintoChineseas“神賜的饋贈”,itisimportanttonotethattheconceptof“god”doesnottraditionallyexistintheChineseculturalcontext.Thetranslationof“god-madedelicacy”as“神賜的饋贈”isacomprehensivestrategybasedonculturaladaptation,freetranslation,emotionalresonance,andsimplification.InWesternculture,“God-made”isdirectlyassociatedwith“God-created”or“God-given”,whichemphasizesthesacredandsupremestatus.AlthoughtheEnglishword“delicacy”canmean“exquisite”or“delicious”,thedirecttranslationmaymakeChinesereadersfeelawkwardorunnatural,thetranslatorchosetousetheword“饋贈”toreflectthepreciousness,rarityandvalueimpliedby“delicacy”.Thisapproachisnotjustadirecttranslation,butfocusesonconveyingthecoremeaningandemotionalessenceoftheoriginaltext.In“God-madedelicacy”,“delicacy”doesnotrefertofood,buttotheuniquestatusandsymbolicsignificanceofturtlesinChineseculture.Thetranslatordidnotdirectlytranslateitas“神造的精妙”or,butchose“饋贈”toemphasizethatthetortoiseisasacredgift,and“神造的珍饈”expressesthesacrednessofthetortoise,andalsoimpliesafeelingofgratitudeandreverence.ThisexpressioncantriggertheresonanceofChinesereaders,whoarefamiliarwithtraditionalChineseculture.ThiskindoffreetranslationismoresuitableforChineselanguagehabits,andatthesametimeeffectivelyconveystheculturalconnotationoftheoriginaltext,thistranslationmethod,naturalandfluent,accuratelyconveysthecoremeaningoftheoriginaltext,andtakesintoaccounttheculturalbackgroundofthetargetaudienceaswellasthelanguagepreferenceandproducesemotionalresonance.Inamultimodalcontext,thevisualrepresentationoftheturtleinChineseartandliterature,combinedwiththelinguisticterm“神賜的饋贈”,createsaninfluentialculturalsymbol,andthisinterplayenhancestheemotionalandculturalresonanceofthetranslatedtext,makingitmoreeasilyunderstoodbytheChineseaudience.E.g.3ST:YunnanbecametheirHolyGrail.(EP02;11:32)TT:云南成為了他們的圣杯。(HolyGrail是Jesus在最后的晚宴上使用的餐具據(jù)稱有不可思議的神奇力量)FigureSEQFigure\*ARABIC3Theoriginalsentence,“YunnanbecametheirHolyGrail,”isdirectlytranslatedas“云南成為了他們的圣杯”.Althoughthistranslationisliterallyaccurate,theconceptofthe“HolyGrail”isnotcommoninthecontextofChineseculture,andisveryreminiscentoftheChristiansymbolofthe“HolyGrail,”whichisthesymbolthatJesususedattheLastSupper.SuchadirecttranslationmayleadtoconfusionormisunderstandingamongChinesereaderswhoarenotfamiliarwithWesternculture.InWesternculture,“HolyGrail”notonlyreferstothephysicalcupbutalsosymbolizesanelusivegoalorultimatepursuit.Translatingitdirectlyas“圣杯”maycauseChinesereaderstomissthesymbolicmeaningbehindtheterm,therebyweakeningtheexpressivepoweroftheoriginaltext,sothetranslatoradoptedtheamplificationtomakethemunderstand.IntheChineseculturalcontext,thereisnoexactequivalenttothe“HolyGrail.”Therefore,adirecttranslationriskslosingculturalnuancesandfailingtoconveythedeepermeaningoftheoriginaltext.TheauthorfeelsthatinordertoconveythemeaningoftheoriginaltextmoreaccuratelyandtotakeintoaccounttheculturalbackgroundofChinesereaders,itisnecessarytoadoptthestrategyoffreetranslationorculturalsubstitution,andthefollowingaretwowaystoimprovetranslation.1.FreeTranslation:EmphasizingtheSymbolicMeaningofUltimateGoalTT:云南成為了他們的終極目標(biāo)。Thistranslationdirectlyemphasizesthesymbolicmeaningof“HolyGrail”inthecontext,showingclearlythatYunnanisanidealdestination,butalsoanelusivegoalforthemtopursue,whichavoidstheappearanceofcultureclashandallowsChinesereaderstounderstanditmoreeasily.2.CulturalSubstitution:ReplacingwithaCulturallyFamiliarSymbolTT:云南成為了他們的“桃花源”。IntheChineseculturalsystem,“桃花源”representsanidealparadiseorautopiathatishardtofind,andthistranslationadoptsthesymbolsthatChinesereadersarefamiliarwithtoreplacethe“HolyGrail”,whichretainsthesymbolicmeaningoftheoriginaltext.Thisretainsthesymbolismoftheoriginaltextandenhancestheinterculturalrelevance.ContextThecontextuallevelproposedbyProf.ZhangDeluincludesacontextualconfigurationconsistingoffield,tenorandmode,whichisakeyconceptinSystemicFunctionalLinguistics(SFL).Thethreeelementsoffield,tenorandmodetogetherdeterminetheformandmeaningoflanguageuse,andthefieldreferstothemainsubjectorfieldofthelinguisticactivitythattakesplace,i.e.“whatisactuallyhappening”or“whatisactuallybeingdiscussed”.Itrelatestothenatureoftheactivityitself,thegoalsofthoseinvolvedandtheterminologyused.Forexample,inthedocumentaryWildChina,theprimarypurposeistodisseminateChinesecultureanddeepenourunderstandingofthecountry’snaturalenvironment,whichiswhythelanguageusedisrelativelyhumorous.Tenorisabouttherelationshipbetweentheparticipants,whichinvolvestheirsocialroles,positions,attitudes,andemotions,andplaysadecisiveroleindeterminingthedegreeofformalityofthelanguage,thecharacteristicsofthetone,andthestyleoftheinteraction.Forexample,inthework“WildChina”,thegoalistoeducateandengagetheaudienceatthesametime,andthetoneofvoiceneedstobebothinformalandeducational.Modereferstothemediumandformoflanguageusedintheprocessofcommunication,whichincludesthespokenword,thewrittenform,ortheelectronicmedium,andsoon.Italsoinvolvestheorganizationofthelanguage,suchaswhetheritiscontext-dependentorinteractive.Forexample,face-to-faceconversationsarecolloquial,immediateandinteractive,whileacademicpapersarewritten,logicalandstructured,andnaturedocumentaries,suchasWildChina,combineacertaindegreeofrigorandwit,anduseoflanguage.Thesethreeelementsworktogethertodeterminethechoiceanduseoflanguage.Forexample,inthefieldofacademicconferences,thetoneofdiscussionbetweenexpertsisgenerallycarriedoutintheformofformalspeechesorwrittenreports,asopposedtoinformalverbalexchangesinfamilygatherings,wherepeoplecannotinteractwithoutconsideringthecontextualfactors,andthesamesentenceindifferentcontextswillhavedifferentmeaningsandeffects.Similarly,indocumentaries,thesurroundingcontextofsubtitletextsplaysasignificantrole.Therefore,translatorsneedtocarefullyconsiderthecontextualmeaningtoensurelogicalcoherenceandavoidmisinterpretationduringtranslation.E.g.1ST:Bamboo’stoughreputationissuchthatanotherbamboospecialistwasknownbytheChineseas“TheIronEatingAnimal”.(EP02;34:55-58)TT:竹子堅硬的名聲是如此的顯赫另一個食竹高手被認(rèn)為是中國的“攻堅專家”。FigureSEQFigure\*ARABIC4FigureSEQFigure\*ARABIC5Boththeoriginaltextandthetranslationrevolvearoundthetoughnatureofbambooandthecapabilitiesofpandas,whichfallsunderthethemeofanaturedocumentary.Thetranslatortookfullaccountofthecharacteristicsofthisfield,ensuringthatthetranslationalignswiththethemeoftheoriginaltextandconsidersthefieldofdiscourse.Atthesametime,theoriginaltextusesthehumorousexpression“TheIronEatingAnimal”tohighlightthespecialrelationshipbetweenpandasandbamboo.Thetranslationusestheslightlyexaggeratedterm“攻堅專家",whichretainsthehumoroftheoriginaltextandmakesiteasierforChineseviewerstounderstand.Asasubtitleforadocumentary,thetranslationhastoconveyaclearmessagewithinalimitedspace,andtheinterpreterhastomakeuseofthefreedomoftranslationaswellastoadjusttheexpression.Thetranslator,byfreetranslationandadjustingtheexpression,ensuresthatthetranslationisconciseandeasytounderstand,whilemaintainingthelogicandattractivenessoftheoriginaltext.Intheoriginaltext,“Bamboo’stoughreputation”isdirectlytranslatedas“竹子堅硬的名聲”(thetoughreputationofbamboo),retainingtheliteralmeaning.However,theterm“顯赫”isaddedthroughamplification,asthecontextsuggeststhenatureofbamboo—itsresilienceanditssymbolicstatusasagentlemaninChineseculture.“顯赫”istypicallyapositiveterm,whichbettersupplementsthemeaningmissingintheEnglishtext,helpingreadersunderstandthesignificance.“TheIronEatingAnimal”isfreelytranslatedas“攻堅專家,”aculturaladaptationstrategy.Thetranslatorlikelyconsideredthat“食鐵獸”mightbeunfamiliarorconfusingtoChinesereaders,sotheychose“攻堅專家,”whichismoreinlinewithChineseexpressionhabits.Thisretainsthecoremeaningsof“toughness”and“greatcapability”fromtheoriginaltextwhilemakingthetranslationmorerelatabletoChineseaudiences.E.g.2ST:Over3,000kilometerslong,theHimalayasareChina’srealGreatWall.(EP03;06:04-07)TT:喜馬拉雅山脈的長度超過了3000千米是中國真正意義上的長城。FigureSEQFigure\*ARABIC6FigureSEQFigure\*ARABIC7Thetranslationstrategycombinesliteraltranslationandfreetranslation.Thephrase“Over3,000kilometerslong”istranslatedliterallyas“長度超過了3000千米”,preservingtheoriginalmeaning.Ontheotherhand,“theHimalayasareChina’srealGreatWall”isfreelytranslatedas“是中國真正意義上的長城”,whichisaculturaladaptationstrategy.Byusingfreetranslation,thetranslatortransforms“GreatWall,”atermwithspecificculturalconnotations,intoanexpressionthatismoreeasilyunderstoodbyChinesereaders.While“GreatWall”canbedirectlytranslatedas“長城”inChinese,inChineseculture,“長城”isnotjustageographicalconceptbutalsoasymbolofChinesehistory,culture,andspirit.Byaddingthemodifier“真正意義上的”,thetranslatoremphasizesthesignificanceoftheHimalayasasanaturalbarrierwhiledrawingananalogytotheculturalsymboloftheGreatWall.Thegeographyandnaturallandscapeinvolvedintheoriginaltextareinlinewiththethemeofthenaturedocumentary,sothetranslationretainsthistheme.Withthehelpofculturalconversiontoadjustthecontent,translationismoresuitabletotheChineseaudience,andthetoneoftheoriginaltextismoresolemn,highlightingthekeypositionoftheHimalayas.Thetranslationretainsthissenseofsolemnityandalsoaddsalayerofculturaldepth,byvirtueoftheexpressionofthe“真正意義上的長城”.Theoriginaltextismoresolemnintone,highlightingthekeypositionoftheHimalayas,andthetranslationretainsthissolemnitybymeansoftheexpression“真正意義上的長城”,andaddsalayerofculturaldepth.Thetranslationmaintainslogicalclaritywhileensuringfluencyandreadability.Themeaningof“GreatWall”inthissentenceisasfollowed.1.SymbolofaNaturalBarrierTheoriginaltextuses“theGreatWall”asametaphortohighlightthecriticalnatureoftheHimalayasasanaturalbarrier.TheHimalayasstretchover3,000kilometers,justlikeanaturalbarrierthatprotectsChina’ssouthwesternborders,andthismetaphorhighlightsthegeographicsignificanceaswellasthestrategicsignificanceofthemountainrange.2.ExtensionofCulturalSymbolismInChineseculture,the“GreatWall”isnotonlyanage-oldfortification,butalsoasymboloftheresilienceandunityoftheChinesepeople.BycomparingtheHimalayastothe“GreatWall”,thetranslatorhasgivenitadeeperculturalsignificance,transformingitfromanaturallandscapetoasymbolofChinesespiritualityandculture.3.UseofRhetoricalDevicesTheoriginaltextusesthemetaphortoassociatetheHimalayaswiththeGreatWallinordertoenhancetheexpressivepowerofthelanguage,andthetranslationretainsthisrhetoricaleffectwiththeexpression“真正意義上的長城”andmakesthemetaphormoreinlinewiththeChineseexpression.Thistranslationstrategypresentsthetranslator’sin-depthunderstandingofthecontextandculture,whichensuresthatthetranslationisfaithfultotheoriginaltext,aswellasculturaldepthandexpressiveness.ContentWhendiscussingcontentlevels,thefocusisprimarilyontwoaspectsofdiscourse:meaningandform.Tobeginwith,discoursemeaningencompassesthreedimensions:conceptualmeaning,interpersonalmeaning,andtextualmeaning,allofwhichareshapedbysituationalcontext.Indocumentarysubtitletranslation,inviewoftimeandspaceconstraints,thetranslatorwillmostofthetimemodifythesubtitlesinaconciseandappropriatewayonthebasisofretainingthecoremeaning,amongthesedimensions,conceptualmeaningoccupiesthemostcrucialposition,whileinterpersonalandtextualmeaningsarerelativelylesscrucial,andtheconceptualmeaningwillbeanalyzedfirstinthissection.Intermsofform,itreferstothevarioussystemsofformsinwhichmeaningcanbeconveyed,whichincludesbothformalandrelationaldimensions,thelatterofwhichinvolvescomplementaryandnon-complementaryrelationships.InthesubtitlesofthedocumentaryWildChina,thedifferentformstogethervividlyconveytheintendedmeaning.E.g.1ST:Butitisfarfromlifelesswithcolorfulplaces,surprisingcreatures,amazingpeopleandstrangelandscapes.(EP04;00:37-1:00)TT:但是這塊多彩多姿的土地卻充滿了勃勃生機(jī),有著令人驚訝的生物、奇風(fēng)異俗的人民、以及獨特的景致。FigureSEQFigure\*ARABIC8FigureSEQFigure\*ARABIC9FigureSEQFigure\*ARABIC10FigureSEQFigure\*ARABIC11FigureSEQFigure\*ARABIC12Inthisscene,thecommentatorisintroducingtheNorthernChina,andtheEnglishsubtitleisshortandChineseversionshouldmatchit,sothetranslatoremployedChinesefour-characteridiomtodescribethemagicalworld.Inthedocumentary,theimagesshowavarietyofanimals,differentethnicgroupsanduniquelandscapes,andthesubtitles,withthehelpoffour-letteridiomsandparallelstructure,formastrongsynergywiththeimages.Forexample,“令人驚訝的生物”correspondstotheimagesofrareanimals,“奇風(fēng)異俗的人民”correspondstothedepictionofethniccustoms,andthebackgroundmusic,whichismainlycomposedoftraditionalmusicalinstruments,mirrorsthelinguisticstyleofthefour-letteridiomsandintensifiestheaudience’semotionalexperience.Thetranslationofthefour-letteridiomsperfectlyblendswiththevisualandauditorysenses,achievingamultimodalsynergythatallowstheaudiencetoenjoythecharmofnorthernChinathroughmultiplesensorychannels.InEnglish,“farfromlifeless”isausualphrase,whichisaformofunderstatement.However,ineverydayChinese,peopletendtopreferstraightforwardexpressions,especiallywhendescribingbeautifulandvibrantscenes.Therefore,translatingitinto“生機(jī)勃勃”makesthedescriptionmorevividandrelatabletoChinesereaders,allowingthemtobettersensethevitality.Here,thebiodiversity,includingtheanimals,thenations,isthemostimportantmode.Theslow-flowedimages,voice-over,themusicplayedinthebackground,perfectlymeshwiththeChinesefour-characteridioms,realizingtheaimofintroducingthevastterritorywithabundantresources.Bythisway,theaudiencecanhaveagoodknowledgeofNorthernChina.E.g.2ST:Thereisabouttobeanewadditiontothefamily.(EP04;13:10)TT:這一家將喜添新丁了。FigureSEQFigure\*ARABIC13TheChinesetranslationofthissentence,ifnotconsideringthecontextoftheprecedingscene(themodality),mightbemisinterpretedasreferringtoachild’shand,ratherthanareindeercalf.However,giventhecontextoftheprecedingscene,whereareindeeristiedtoatree,itisclearthatthereindeerisabouttogivebirth.Thisisfollowedbyasceneofassistinginthebirth.Beforethissubtitletranslation,thereisascenewheretwowomenfromtheEvenkicommunityarefeedingthereindeerandcheckingtheirpregnancies,whichsetsthestageforthebirthscene.Thephrase“喜添新丁”isahighlyculturallynuancedfour-characteridiomthatprovidesanewinterpretationof“newaddition.”Theoriginalmeaningof“newaddition”issomethingadded,which,iftranslateddirectly,wouldlackthewarmthandhumantouch.Inreality,reindeerareconsideredpartofthefamilybytheseethnicgroups,andthebirthofeachreindeerisajoyousoccasion.Thus,“喜添新丁”isbothafreetranslationandonethatalignswithChinesespeakinghabitsandculturalpractices.E.g.3ST:Butfornowitisdistracted.Intentoncuttingawayapieceofgrasshopper.Smallerenoughtocarrybackhome.Success!(Episode2;42:55-43:07）TT:現(xiàn)在的大黃蜂的心思都在蚱蜢身上，咬下一塊足夠小的蚱蜢肉，以便帶回蜂巢。終于成功了！FigureSEQFigure\*ARABIC14FigureSEQFigure\*ARABIC15FigureSEQFigure\*ARABIC16FigureSEQFigure\*ARABIC17Thelastsentencecontainsonlyasingleword.Thoughitisonlyoneword,itconveyseverythinginthecontext.Thevisualsprogressasthecommentatornarratestheentirehuntingprocess.Thereisanexclamationmarkattheend.WhenviewersfollowtheDaipeople’sstrategy,theymaybecomementallytense,fearingthatthehornetmightdiscoverthetruthandflyaway.However,theDaipeopleactsocautiouslyandmysteriouslythattheyultimatelysucceedinfoolingthehornet.Theentireprocessisintenseandmakestheaudiencefeelnervous.Moreover,thevisualsaresilentandslow.Toavoidalertingthehornet,theDaipeople’smovementsaregentleandcareful.Theseelementscreateanimmersiveexperiencefortheaudience,asiftheywereonthescene.Theword“Success!”powerfullyexpressestherelieffeltbyboththepeopleandthecommentatorwhenthehornetisfooled.Asinglewordcanbeaseffectiveasmanywords.TheChineseword“終于”capturestheemotionsofboththeaudienceandthecommentator.Giventhecontext,thetranslatorappropriatelyadded“終于”totheChinesesubtitle.Inthiscase,thereisnoneedformanywordstoconveythemeaning,asthevisuals,backgroundsounds,andpeople’sactionsarenon-verbalelementsthatplayasignificantrole.Here,theprimarymodesarevisualandaction-based,withsubtitlesbeingsecondarybutessential.ExpressionTheexpressionlevelisregardedaspartoftheformallevel,whichinvolvesthepresentationofvarioussymbolicresourcessuchaslanguage,imagesandsounds.Inthetranslationwork,thiscanbereflectedintheoptimizationofsentencestructure,theselectionofprecisevocabularyinlinewiththehabitsofChineseexpression,aswellasintheuseofrhetoricaltechniques,etc.Incomparison,theBBC’schoiceofwordsismoreinlinewiththelanguagehabitsofWesternaudiences,whichallowsthemtoappreciatethebeautyoftheEast.Documentaryisdifferentfrompureimageandtext,itcanusethecombinationofsound,backgroundmusic,colorandvisualeffectstoconveythedeepermeaningthatcannotbeexpressedinwords,forexample,manyclipsinWildChinapresentthemainideaandmeaningofthenarrativewiththehelpofhumanparticipation,thesubtitletranslationofthedocumentaryneedstocombinenon-verbalelements,suchasimages,backgroundsoundeffectsandhumanactions,inordertoimprovetheexpressivepowerofthemovie.Inthetranslationprocess,thetranslatorhastotakeintoaccountthetemporalandspatialconstraintsofsubtitling,thespecificcontentoftheimage,andtheculturalbackgroundoftheaudience.Theycanemploymethodssuchasadditionandreorderingtomakethetranslationmoreinlinewiththetargetlanguage’sexpressionhabits.Forexample,translatorscanadjustthevoiceoraddwordstobetterconveytheoriginalmeaning.InWildChina,thetranslatoraddedwordslike“終于”inthesubtitlestoexpressthesharedemotionsoftheaudienceandthecommentator.Thistranslationstrategyis