近年来,电影对“身体”的描写呈现出一种回归之势,诸如法国新极限电影(French Cinema du Corps)对身体和感官体验的极端呈现,其中具有广泛影响力的一种类型是身体恐怖电影中对身体恐惧(body panic)的描写。身体恐惧在早期好莱坞类型电影的创作中已经形成一种独特风格,并隐含着国家层面的政治隐喻,映照了美国政治社会的变迁。随着社会时代的发展,美国电影中身体恐惧的政治隐喻也在不断变化,从国家层面向个人层面转向并在21世纪全球化、信息化的复杂背景下呈现出对现实的一种超越和挑战。
由于视频软件的普及,电影字幕翻译需求不断增加,因此电影字幕翻译研究具有必要性。电影字幕具有口语化、简洁化、易懂化等特点,这些特点既彰显了其与书面翻译的不同,又束缚译者的主体性。加之国内现有的字幕翻译教学期刊数量较少,可为译者提供的参考有限,因此电影字幕翻译策略研究具有重要意义。在翻译电影字幕的过程中,译者需根据字幕特点,结合不同的翻译策略进行翻译。本论文以美国电影《情人眼里出西施》为例,分析译者在该影片中使用的归化与异化翻译策略及其如何体现字幕语言的五种特性。Due to the popularity of video software, the demand for film subtitle translation is increasing, so it is necessary to study film subtitle translation. Subtitle translation is colloquial, concise and easy to understand, which not only shows the differences between it and written translation, but also restricts the translators’ subjectivity. In addition, teaching journals of subtitle translation in China cannot provide enough related reference for translators. Therefore, the study of film subtitle translation strategies is of great significance. In the process of translating film subtitles, the translators need to combine different translation strategies according to the characteristics of subtitles. Taking the American film Shallow Hal as an example, the author analyzes the domestication and foreignization strategies used by the translator in the film and five characteristics of subtitling language.
