Contents
Acknowledgments
Abstract
摘要
Chapter One Introduction-1
1.1 Background of The Study-1
1.2 Significance of The Study-1
1.3 Structure of the Thesis-2
Chapter Two Literature Review-3
2.1 Lefevere’s Rewriting Theory-3
2.2 Previous Studies on Subtitle Translation-3
2.3 Previous Studies on Subtitle Translation and Rewriting-4
Chapter Three Entertainment-oriented Rewriting in English Film Subtitle Translation-5
3.1 Differences Between Entertainment-oriented Rewriting and Traditional Translation-5
3.2 Methods of Entertainment-oriented Rewriting-5
3.2.1 The Use of Catchwords-5
3.2.2 The Use of “Celebrities” Name-6
3.2.3 The Use of Poetry or Colloquialism-6
3.3 Influencing Factors of Entertainment-oriented Rewriting-7
3.3.1 Influenced by Ideology and Patronage-7
3.3.2 Influenced by Common Elements of Chinese Entertainment-oriented Films-8
Chapter Four Conclusion-9
References-10
Abstract
The film is a special carrier of the culture which should be spread and known by the translation in part. With the development of globalization, a large number of foreign films have entered the Chinese market. As an important tool to get the information, the subtitle translation has become even more and more important. A good subtitle translation can make a film better appreciated, and advance the spread and communication of different cultures. In recent years, the subtitle translation of films has followed a tendency of entertainment-oriented. And the translators have used quantities of Chinese ancient poetry or idioms to make the film more acceptable and comprehended for the audience.
This thesis takes Men in Black 3 and Madagascar 3 for examples, and discusses the concept and methods of entertainment-oriented rewriting in English film subtitle translation, including four methods of entertainment-oriented rewriting, such as the use of catchwords, the use of “celebrities” names, the use of ancient poetry or colloquialism and the replacement of the original text. Later, it deals with the significance of entertainment-oriented translation, and analyzes the influencing factors of the entertainment-oriented rewriting, including the influence of ideology and patronage, and the influence of common elements of Chinese entertainment-oriented films. Based on Andre Lefevere’s rewriting theory in translation, it also does some research on the influence of entertainment-oriented rewriting, and the difference between entertainment-oriented rewriting and traditional rewriting, which lies in mainly the treatment for humor.
Key words: subtitle translation of English film entertainment-oriented rewriting Lefevere’s theory
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