留學生畢業essay范文：Using two translated subtitling version of Man in Black III as the samples for this stu

Acknowledgements

　

　　　I am going to bid farewell to the three years postgraduate school life. My heart is sentimentally attached to our school and full of the cherish memory of my teachers and classmates. My sincere thanks go to the following people, who have helped me with this thesis.

　　　First, my special gratitude goes to my supervisor. Professor, who is so supportive at any time. And his learned knowledge has broadened my horizon. Without his guidance and valuable suggestions, and his support and encourage during my writing, it is almost impossible for me to finish this paper.

　　　Second my thanks go to my beloved classmates, thanks for their advice in the course of my writing. They have really provided some constructive comments for me. 

　　　The last but not the least, I want to thank my family for their endless love and whole-hearted help in all those years. Their encourage and assistant are also of significant support for me.

 

Abstract 

　　　

　　　Since May 25, 2012 the film Man in Black III was put on the Chinese cinemas, whose subtitle translation caused heated debate among the audiences .There are many catchwords from the internet such as “illegal cooking oil”,” lean meat powder”,”trick dad “,”cannot hold”,”be prone to getting hurt” etc and famous lines of ancient Chinese poems coming out of the mouth of the black suit man. The audiences have different opinions on such translation. Some think it is a good translation because it seems closely related to their daily life and “entertain” them a lot; while others think it is a “mistranslation”, failing to reflect the original style of the film. Nevertheless, such translation has changed the image of official subtitling translation. As a potential market for films, China attracts great attention from abroad. In recent years in order to attract more Chinese audiences, the subtitles of more and more imported films were translated in this “down to earth” manner, and Man in Black III is a typical example. Is it good or not?

　　　Using two translated subtitling version of Man in Black III ( JiaXiuyan's translation as the official one and the YYets' translation as the network-based one) as the samples for this study, this thesis attempts to explore the acceptability and expectability of the audiences towards film subtitle translation from the perspsective of the Reception Theory. It compares and analyzes the choice of diction in the two versions as a result of the different linguistic styles and translation strategies adopted, and reaches the following conclusion: first, both the official translation and the network-based translation have some limitations, compared with the official one the network-based one has more advantages, which make the quality of the network-based translation better. The official subtitle translation should improve the translation quality in addition to meeting the criteria for imported films. Second, the audiences' acceptance, their horizon of expectation, and the social background, economic elements, culture difference of the film all are influential factors to the choice of translation strategy. Among those factors, the audiences' acceptance of the cultural difference is more important. Third, the official version has made an effort to help the audiences understand the film, it is a new approach that should be encouraged, but not all the films can be translated in the same way, it depends on the style of the film. #p#分頁標題#e#

　　　The author hopes this thesis can contribute to some extent to film subtitling translation, and attract the scholars' interest in this field so as to improve the quality of film subtitle translation.

 

Key Words: Reception Theory; film subtitle translation; Man in Black III; constrains factors; translation strategy

Contents

 

Acknowledgements i

摘  要 ii

Abstract iii

Chapter One Introduction 1

1.1 Background of the Study 1

1.2 Purpose and Significance of the Study 4

1.3 Method of the Study 5

1.4 Structure of the Thesis 5

Chapter Two Literature Review 7

2.1 Definition of Subtitling 7

2.2. Previous Study on Film Subtitling 8

2.2.1 Previous Studies on Film Subtitling in the West 9

2.2.2 Previous Studies on Film Subtitling in China 10

2.2.3 Summary of the Previous Studies 13

Chapter Three Study of Man in Black III 14

3.1 Study of English Subtitling Translation of Man in Black III 14

3.2  Study of Jia Xiuyan's English Subtitling Translation of Man in Black III 16

3.2.1 Official Subtitling Translation and Network Subtitling Translation 16

3.2.2. Jia Xiuyan's English Subtitling Translation of Man in Black III 19

Chapter four Reception Theory 24

4.1Origin and Development of Reception Theory 24

4.2 Main Ideas in Reception Theory 26

4.3 Basic Strategies of Reception Theory #p#分頁標題#e#28

Chapter Five The official Subtitle Translation of Man in Black III Viewed from Reception Theory 29

5.1 Man in Black III and its subtitle features from the Reception Theory Perspective 29

5.1.1 Language Features of Man in Black III 29

5.1.2 Subtitle Translation Analysis of Man in Black III 32

5.2 Element Related to Man in Black III from the Reception Theory Perspective 35

5.2.1 Social Background 36

5.2.2 Commercial Motivation 37

5.2.3 Culture Differences 38

5.3 Strategies Guiding Subtitle Translation in Man in Black III from the Reception Theory Perspective 44

Chapter six Conclusion 46

6.1 Major Findings of the Study 46

6.2 Limitation of the Study and Suggestions for Further Research 47

Bibliography 49

Papers Published During the Study for M. A. Degree 53

 

Chapter One Introduction

　　　　　　　　　　　　　

1.1 Background of the Study

 

　　　At present, the culture exchange and communication between China and other countries become more and more important. In the modern world, films play an important role in promoting culture. Thanks to the fast-developing information technology quicken the spread of the films among different countries. With the development of the internet, people can see more foreign films according to their will. While the film subtitling translation become more and more important. The increase demand for film subtitling translation also promotes the related studies in film subtitles. Compared with the literature translation, film subtitling translation is a special kind of translation, which has its own features. So it develops not so fast as the literature translation.

　　　With the development of film industry, more and more scholars focus on the study of film subtitling translation. In recent years an increasing number of films were introduced into China, which becomes a bridge between China and foreign countries. It is a way for Chinese learners to learn foreign cultures and history. With the reform and opening of China, many famous films were translated into Chinese, in order to help Chinese audiences learn the foreign cultures and have a better understanding of the world. Subtitling translation becomes widely used to bridge the culture gap. So good subtitling translation can not only attract more audiences but also help the audiences to learn some knowledge of foreign cultures.#p#分頁標題#e#

　　　On December 28, 1895, the first film screened in a French cafes, from then on, the film began to come into our lives. In the early days, films are silent, so there is no problem of subtitle translation. Nowadays, film as a kind of important cultural carrier, is closely connected with our life. It provides us with ways to know the outside world, access to information, and become a major form of entertainment, cinema appeal millions of people around the world each year, if we take the audiences who saw the films through Internet or DVD into account, this amount will increase. Meanwhile, with the development of films with sound, and the influx of foreign films, subtitling translation also arises at the historic moment. Subtitling translation originated from Europe in the late 1850 s to 60 s, the rapid development of film and the film translation theory has been attracted unprecedented attentions, and formed many schools.

　　　Over these years, the theory study of subtitling translation is more extensive and in-depth in European and the United States. And they formed a certain consensus and the specification in terms of translation strategies and translation norms. The following reasons should be taken into consideration.:

　　　(l) The support from the European Union. In 1995 the council of Europe sponsored an audio-visual communication and language translation BBS, in order to celebrate the anniversary of the arrival of the French film. Since then, there were many speeches and communication in this field in some of the conference at Europe each year.

　　　(2) Thanks to the rapid development of new technologies and renovated.

　　　(3) The growth awareness of language and the establishment of language policy. Many small language countries gradually realized that the media can promote the strengthening of national language and cultural identity. At the same time, the development of film subtitle translation is inseparable from the support of government and nongovernmental organizations.

　　　Rapid development of information age and the fast pace of modern life makes people get information in a short period of time as far as possible. Film and television works is one of the important channels that broaden the audiences' horizons, but also a bridge of cultural exchange between China and western countries. Film and television translation play an important guiding role in effectively promoting the interaction of cultural communication. In general, there are two common translations in film translation: dubbing and subtitling translation. Film dubbing is a supplement to the hearing of the original film; The film subtitle translation is a supplement to the original film.

　　　The fundamental goal of both translations is to introduce a foreign film to their audience. In order to meet the needs of the audiences watching foreign films, foreign films often use their native language in dubbing, around 1946, dubbing the film began to popular in China. In the 1980s, the dubbing translation of film has entered a golden age in China. Since the reform and opening of China, with the rapid development of science and technology, intercultural communication increasingly frequent, more and more foreign films were introduced into China. At the same time, as people's life rhythm speeding up, people need to obtain large amounts of information in a relatively short period of time. As the improvement of people's English level they can appreciate the films with the help of film subtitles, at the same time, more and more people hope to appreciate the charm of a foreign culture while seeing a film. Therefore, subtitle translation won the favor of people. #p#分頁標題#e#

　　　Subtitling translation has more and more readers than before, as we all know that nowadays a great number of people prefer to see a film to read a book. So subtitling translation is a main way for the youth to learn foreign language and cultures. More audiences and less cost make subtitling translation become a part of film industry. Therefore, apart from the film directors and distributors, more and more scholars begin to pay attention to film subtitling.

　　However, many scholars paid their attention to the Chinese-English translation; less attention was paid to the English film translated into Chinese. Under such circumstance, this thesis attempts to examine the English to Chinese film subtitling translation, targeting at Chinese audience. How to introduce foreign cultures into China and make the Chinese audience better understand the film is very important for the subtitling translator. There is a need to do some researches on film subtitling from several different aspects. In this thesis the author uses a famous film Man in Black III as a case study, and employs the reception theory to analyze the subtitling translation.

　　　　　

 

1.2 Purpose and Significance of the Study

 

　　　This study aims to explore the gains and loss in subtitle translation through analyzing samplings from the subtitling in Man in Black III using reception theory. It examines the translation strategies used that might or might not be favored by the audience and explores the reasons behind them. This study attempts to provide insights on film subtitling translation from the perspective of reception theory and is expected to have some significance in both theoretical and practical aspects.

　　　In recent years there is an increasing tendency for Chinese to learn English, because of the fast development of film industry, film subtitling become a way of communication with people from other countries, especially from English-speaking countries. As a way of learning foreign cultures and enhances intercultural communication, many Chinese films have been exported to foreign countries while at the same time more and more foreign films have been introduced to China. Film subtitling received more attentions than before. so an inquiry in this field is necessary. Although subtitling practice has been in existence for more than decades, China is still left behind in its theoretical study and there are more we should do to catch up with our foreign counterparts. There are a lot of theories in relation to subtitling translation but this study employs only of the reception theory in its discuss. This study will analysis from the acceptance of the audiences. What' is more, by analyzing the film subtitling in the film Man in Black III, we can find out the problems in its translation and propose some suggestions to improve the strategies in subtitling translation. Last, the findings of this study can also enrich to some extent the literature of film subtitling translation.#p#分頁標題#e#

　　The film itself is also meaningful. Man in Black series is one of the masterpieces of Will Smith who is the black actor in Hollywood, The first two sets were launched in 1997 and 2002. But for many reasons the former two sets were not introduced to the Chinese audiences. The former two sets got one billion dollars all over the world, and the role agent K and agent J become the classic image in science fiction film history. So this time the introduction of Man in Black III on the big screen satisfy the fans' ten years' expectation. It can help the Chinese film director learn some experience in the science fiction film production. And it can improve the quality of film subtitling translation.

　　

1.3 Method of the Study

 

　　　The descriptive-explanatory method was used in this study. The author will use examples from Man in Black III to analyze the strategies used in its subtitling translation. Then try to find out the strategies that are widely accepted by the audiences from the perspective of reception theory. 

　　　This thesis will also use theoretical analysis and comparative study method. In this paper the author has found two different translation versions of the film Man in Black III (Jia xiuyan's translation as the official translation version, and YYets' translation as network-based translation version) and the author has compared the subtitles translation of the two different versions.

　　　 

1.4 Structure of the Thesis

 

　　　This thesis contains six chapters. The first chapter is introduction in which the author introduce the background of the study, the significant and purpose of study, next is the structure of the study. In the first chapter the author introduce the reasons why the film was chosen.

　　　The second chapter is literature review, in this chapter the author presents the previous studies on film subtitling, including the definition of subtitle, the function of screen subtitling, the features of film subtitling and the constraints of film subtitling translation. 

　　　The third chapter is the study of the film Man in Black III, in which the author introduces English subtitling translation of Man in black. The last part of this chapter is a study of Jia Xiuyan’s English subtitling translation of Man in Black III.

　　　The fourth chapter is theory foundation of this study. In this part the author presents the origin and development of reception theory, the main idea of the theory, and the basic aspect of the theory. 

　　　The fifth chapter is the main part of the whole theory. This part contains three sections. The first section is the subtitle features of the film from the perspective of reception theory, which including the language features of the film and the subtitle translation of this film. The second section is the presenting of the elements in relation to the film from the reception theory, which including the social background, commercial motivation, culture innate worth of common Americans and the reception theory in the source text. The third section is the strategies guiding subtitle translation from the reception theory perspective. #p#分頁標題#e#

　　　The sixth chapter is the last chapter of this thesis, which is the conclusion of the whole thesis. In this part the author summarizes the major findings of the study and points out its limitations. Then she puts forward some suggestions on how to improve the quality of film subtitling translation.

　　　　　　　　　　　　　　

                  Chapter Two Literature Review

　　　　　　　　　　　　　　

2.1 Definition of Subtitling

　　　

　　　Generally speaking when we talk about subtitles we refer to caption, which is the translation of TV, film dialogue, or video dialogues, presented at the bottom of the screen simultaneously with the original captions, including inter-lingual subtitling and intra-lingual subtitling. There were also many scholars who gave their definitions to subtitling.

　　　Shuttlewoth and Cowie describe subtitling as "it is a process which can provide synchronized captions for TV and film dialogue" in the Dictionary of Translation Studies (Shuttlewoth & Cowie, 1976: 161). While according to Baker subtitling are usually including of the performance of characters, which placed at the bottom of the picture (Baker, 2004: 245). According Henric Gottieb, one of the authoritative scholars in subtitling, subtitling is a kind of translation which including five elements written, additive, synchronous, fleeting and poly-semiotic (Henric Gottlied, 1992: 166). The first element means the subtitling translation is a written form; the second element refers the additive suggests which means adding the verbal material to the original in order to make the source-language discourse; the third element synchronous means the original work is offered at the same time with the translation; the fourth element fleeting refers that the discourse is appeared in a flowing manner without controlling of the audiences; the last element poly-semiotic means in the translation the target language reading only covers one of several interacting channels of communication.

　　　The subtitling can be both inter-lingual and intra-lingual. This thesis focuses on the inter-lingual translation, which means the subtitling is translated from one language into another, in the film Man in Black III ,the origin language is English, so the subtitling translation refers to translation of English subtitling into Chinese.

 

2.2. Previous Study on Film Subtitling

 

   There were two kinds of film translation: subtitling and dubbing .when the first sound films reached an international audience. The researchers of subtitling at home and broad have made great contributions to the development of subtitling translation.

　　According to Karl Buhler, language has three functions: representation, expression and appeal (Munday 2001.199). While in Karl's model there are three parts, the sender, the receiver and the states of affairs. Based on his theory Katharina Reiss (2000:25) divided text into three types: information text, the operation text, and the media text. Film subtitle is audio media text, in which the text is used as appellative function. That is to say, film subtitle is used to appeal the audiences. Because the text focuses on the receiver, the purpose of the text is communication.#p#分頁標題#e#

　　　Based on the above analysis, we can find that film subtitling has the following functions. The first function is information function, because it can give information to the audiences which make the audiences understand the film better. The second function of film subtitling is appellative function, as it can help the film appeal the audiences .The third function of film subtitling is expressive function. It is known to all the film directors tend to express his ideas through the language of the actors. So we can conclude that informative function, expressive function, and the appellative function make up the main functions of film subtitling

　　　As we all know that the film subtitling is mainly composed by dialogues. In the film Man in Black III the dialogues between agent J and agent K are regarded as one of the attractive points of the film. And most people think the words said by the Griffin are very philosophic. Each film has its own features. Such as funny, philosophic and so on. In this film the subtitling translator make the characters more humor and philosophy.

　　　There are some factors which can constrain the film subtitling translation. The first one is the shift from speech mode to writing mode, in order to make the audiences understand the actors or actress the translators should make what the actor says into written form, which is difficult. The second factor is that in the govern channel the meaning is conveyed. As a result of this reason the source text is reduced, which is also one of the constrains of film subtitling translation. The fourth factors is that the film subtitling must matching the visual image, so this requirement is also of the constrains.(Guo,2009:18) According to Gottlieb (1992) the subtitle should be synchronous with the visual image. In his opinion this kind of constrain is qualitative constraint. Different from literature translation film subtitling must match the image, which means the written words should be synchronous with the sound, because sometime the sound and the mouth of the characters will affect the translators to choose proper words that make the written subtitles be accordance with the sound. So it is neither too long nor too short, it should just match the actors visual image.

 

2.2.1 Previous Studies on Film Subtitling in the West

　　

　　Subtitling is developing with the film industry, especially in American and Europe, so the research on subtitling is also developed fast in those countries.

　　In the 1960s the publishing of the magazine Babel symbolizes the beginning of subtitling translation. A writer named Dollerup (1974) wrote an article " On Subtitles in Television Programs" in which he made a research on the errors appeared in the subtitling of TV program in 1974.

　　　In 1991 Luyken published the work "Overcoming Language barriers in Television Dubbing and Subtitling for the European Audience" with other four scholars, this work was the first detailed study on the quantity,cost and preference of audiences (Luyken,1991: 106). In this work Luyken explained the advantages of subtitling compared with dubbing from economic aspect.#p#分頁標題#e#

　　　Ivarsson gave us a full introduction to the history of subtitling from the technical aspects in his book Subtitling for the Media (Ivarsson, 1992). Another scholar Kovacic made a contribution to the subtitling strategies, in his book a Flexible Hierarchy of Priorities he made a research on subtitling translation from Halliday's function linguistic (Kovacic, 1996: 298). Heulwen James described the expectations of producer, scriptwriter, broadcaster and the audiences in Quality Control of Subtitles: Review or Preview (James, 2001:152). 

　　　The first study carried out tended to refer to film translation, but, with the development of the study in this field, television and video releases were also included in this field. By this time the term audiovisual translation was introduced into this field. Screen translation is another frequent used term in this field, it is designed to encompass all products distributed via a screen, such as a television, cinema, or computer screen. This term extended the study of subtitle translation. (Jorge, 2009: 193). 

　　　Another scholar Eithne (2010) analyzes the advantages and disadvantages of subtitling. The subtitling has three advantages: firstly, it is cheap and do not waste time; secondly, the original soundtrack may have an important role in language learning; thirdly, it is good to the hard-of hearing and, deaf, immigrants and tourists. But the subtitling also has some disadvantages: first one it contaminates the image with a greater loss of information due to compression. Second one is that the audiences' attention is distracted among image, soundtrack, and subtitles (Eithne, 2010: 16). 

　　　

2.2.2 Previous Studies on Film Subtitling in China

　　　

　　　The history of the film subtitling translation has a few stages. The first stage is the 1920s, China has just introduce foreign films into Chinese audience. In this period seeing a film is a kind of entertainment for the rich people. And the film was just invented, plus the limitation of the technology and the English level of the audience, most of the Chinese audiences did not understand English, so they only understand the film by the simple film subtitle present below the film. In this period the translation of the film has many problems. Such as the accurate of the translation and the level of the translation; and most of the scholars in China pay their attentions to the literature translation, and less attention were paid to film subtitling translation. The students Cheng Shuren who is major in film, introduced the translation strategy of film subtitling into China in this period.

　　　The second stage of the development of the film is dub period. In this period, with the development of the economic, Chinese film development very fast, and many foreign films were introduced into China. But the way of "translation" the film is mainly dub by the actors, and there were no subtitle under the film. At this time the scholars who studied on film subtitling translation were minority. There were only a few researchers who were major in the traditional translation theories, pay their attentions to the film subtitle translation in order to enlarge their studies.#p#分頁標題#e#

　　　The third stage is that there are Chinese subtitling in a few films. With the development of the reform and the improvement of the technology in China, the internet and TV become widely used, which enrich the spread media of the film. What's more the levels of the audience have also been improved; more and more foreign films were introduced into China. So there is a phenomenon the dub film and film with Chinese subtitle co-exist in this period. The former kind was most in the cinema, and the latter one was commonly saw in the internet. While the translation of the film subtitle mainly dependent on the web and forum. Most of the translators worked in groups, which attract the attention of many scholars. But the translation theories were still traditional theories.

　　　Compared with foreign countries, more attentions should be paid to film subtitling translation in china. There are some researches done in this field. 

　　　For example a scholar Zhang Chunbo (1998) in his article "Preliminary Discussion on Film Translation" holds that free translation should be advocated due to the features of audiovisual language. And as a subtitling translator Qian Shaochang (2000) points out that the film subtitling translation is becoming more and more important and the three-character translation principles put forward by Yan Fu is useful in film subtitling translation. Li Yunxing (2001) puts forward some translation strategies in his article "Strategies of Film Translation" based on the features of subtitling such as time and space factors, culture factor and so on. In Lu Bingqun's research the status and situations of film and TV shows are examined and some typical mistranslations and their causes are systematically analyzed. In addition,the important of translators’ professional ethic has been emphasized. (Lu Bingqun, 2002: 2). Li Yan (2005) conducts a research on subtitling translation from the perspectives culture. He thinks film subtitling translation is different from literature translation, so the requirement is also different. Using Skopos theory to study audiovisual translation, Yang Luping (2005) points out the usefulness of the German functionalist transalation approach in film subtitle translation.

　　　Nowadays there are new tendencies of film subtitle translation in China. To begin with, the position of the film subtitling translators is improved. In order to reach the translation target, the translator will make some effort in digging the artistic value of the film before they start to translate. In the process of translating, the director and the translator will compromise in the film; the translator will try his best to express his own style of translation and also keep the directors’ ideas will into consideration. 

　　　The second point of the new trend is that the translation of the film subtitling becomes more and more popular and common in the style. As it is known to all, film is a kind of mass media which is widely used, and the receivers were also widely. The source of the film is coming from real life. And the contents of the films also reflect the daily life of human. So when the translator begins to translate he will take all the factors into consideration. Such as the levels of the audience, the economic elements of the film, and the limitation of the technology and so on. As a result the film subtitling can satisfy the audiences. Thus more and more films subtitle begins to use oral English, which is easy for the audience to accept. So does the case in the film Man in Black III, the translator also use some words that are familiar to the chinese audience in her transaltion. Such as "地溝油illegal cooking oil", "瘦肉精lean meat powder".#p#分頁標題#e#

　　The third trend is that the film subtitling translation becomes more and more similar. The first reason of this may be the film is translated by the same translator; the second reason is that the films are of the same kind; the third reason is the films are played by the same actors or actress, so in order to keep coherence with other films; the subtitle will be translated in the same style.(pei,2010)

　　　The last point of the new trend is that the film subtitling translation becomes more and more entertaining than before. Apart from the informative function and educational function, the most important function of film is to entertain the audience. In the present society, people work under great pressures, and most of them want to be relaxed by seeing a film. So with the development of the internet, the film subtitling translation is also become more entertaining. The most important performance is that more network buzzwords and local words appeared in the film subtitle translation as is the case in the film Man in Black III.

 

 

2.2.3 Summary of the Previous Studies

 

　　　From the previous study on film subtitling translation in China, wet can find that most of the previous studies were focus on the strategies of film subtitle translation, or description of the film language feature. though there are a few studies using the Skopos theory. Therefore, much more studies are needed in this field. For this reason, this study attempts to use reception theory to explore the subtitling translation of Man in Black III in order to find out the advantages and disadvantages of the translation strategies used in the film as well as the basic principles in the subtitle translation of this type of films. 

　　　What's more, in this paper the author choose two subtitling translation versions as study samples, one is the official one, the other is the network-based one. By comparative study the author find out the advantages and disadvantages of both the translation version, which can help the translator to improve the quality of their translation.

 

              Chapter Three Study of Man in Black III

 

　　　In this part the author will introduces the subtitling translation of Man in Black III, which including some sentences that most audiences agree with. In the second section of this part, the author focus on Jia Xiuyan's English subtitling translation of the film. And the author analyzes the translation based on her opinion.

　　　

3.1 Study of English Subtitling Translation of Man in Black III

 

　　　Man in Black III is one of Will Smith's masterpieces in his career, who is one of the Afircan-American actors of Hollywood. At primary school his teacher gave him a nickname called "prince",. He added "fresh" before the name, since then "the fresh prince" was fames for his rap music and his performance in the film and TV series. He won four Grammy Awards. #p#分頁標題#e#

　　　In this film he plays agent J and Tommy Lee Jones plays agent K. There are many dialogues between them, and most of the audiences like the words said by agent J. Some of the audiences choose to see this film because of Will Smith and the role he has played. Agent J is a humor man, in his words there are many American humors, when the translator translates the film subtitling into Chinese, she did not lose the humor on the role. This is one of the factors that the film can success in China.

　　　Man in Black III was directed by Barry Sonnenfeld who is one of the most famous directors in American. Through a series of films Barry made commercial and artistic success. Such as Addams Family, Addams Family values, Men in Black I &II, Get Shorty, Wild Wild West, Big Trouble, RV, The Ladykillers, Lemony Snicket A Series of Unfortunate Events, Out of Sight, Enchanted, and Space Chimps and so on. He begins his career by the first film Blood Simple, then is Raising Arizona, Misery, and Miller's Crossing. 

　　　The main plot of the film is that: Aliens Boris played by Jemaine Clement escapes from the prison and aim to revenge to Agent K who cut his arm, he made a time machine and go back in 1969 killed the younger K who did not has much experience. As a result agent k failed to set the “A network” to protect the earth. The second day agent J found the old K has dead more than forty years. But no matter what the future like, K are connected with the fate of the earth. Without A network, the protection of the earth will be destroyed. So in order to prevent Boris' plan, agent J has to come back to 1969 to save the young K. In this process he discovered that there were secrets that k never told him. 

　　　The translation of the film subtitling also contributes to the success of this film in China, such as the dialogues between agent J and agent K:

　　　At the beginning when agent K want to eat something, agent J said; “seriously, I'm not event sure that are meat" the film subtitling translation is"我懷疑他們用的是地溝油，和瘦肉精".  Someone translated it as "我懷疑他們根本不是肉". It seems the latter one is more reasonable, but the translation loses the "smile effect". When agent J asked agent K:"How do you live such a happy life". Agent K answered "I don't ask question I don't want to know the answer too." the translation is "不去問不該問的問題"while there is another translation "對于我不想知道的答案，我從來不去問"。The former one is more concise. Apart from the words familiar to the Chinese audiences, there are also many ancient poetry in the film subtitling translation. For example when agent K drinks the coffee, he always said "It tastes like dirt", and agent J asked him what do you expect, his answer was "It was just ground this morning". There are also two kinds of translation, one is "這是今天早上現磨出來的", the other one is "如人飲水，甘苦自知". There are many other translations which make the film accepted by Chinese audience. Such as "Dad I am on earth, I need bail" translated as "嘿！爸！快到地球來交保釋金". When Boris escape from the prison and meet agent K, he said to him "That just not your full life" "你活得真不完整". All the subtitling was translated by a Chinese girl who named Jia Xiu yan.#p#分頁標題#e#

 

3.2  Study of Jia Xiuyan's English Subtitling Translation of Man in Black III

　　　

　　　In this part the author will give a brief introduction to the translator Jia Xiuyan and present the English subtitling translation of Man in Black III translated by her. Before this we should distinguish the official translation and the network translation.  Because the system of the translation would influence the language style and translation quality of the film. For example in the official subtitling translation after the translator finish his translation, the film will be send to the The State Administration of Radio Film and Television( SARFT). They will review whether the film subtitling translation conforms to the China's national conditions. So the language style of official subtitling translation is always serious, and some words can not appear in it. While the network-based one do not have these constrains. Second point is that there is no strict standard of the translator in official translation system. The level of the translator is different.

　　　　　

3.2.1 Official Subtitling Translation and Network Subtitling Translation

 

　　　In China the process of official translation including four steps: first step is introduce the film into China and have a trial show for the film; then distribute the film to the translator; the third step is translated the film subtitle and make the writing form coherence with the visual image; the last step is the final trial for the film. During this process the government may influence the translation of the film. So we should have a roughly image of the composition of the official translation system. It is including four parts. The first part is the introduction institutions which have the responsibility to introduce foreign films into China and distribution the film. The second part is the government which has the responsibility to supervise the introduction institutions to follow the law and some rules relevant to the film industry. The third part is the translation institution, which will be constrainted by the industry standard. The last part is the translator, who will try their best to satisfy the requirement of the director, the actor, and the style of the film. In order to better understand the process of the official translation of the film subtitle, the author use a table to show the process.  

 

Translation System

 

Introduction of      Government department  dubbed institutions      translator

Institutions         State council           dubbed center          director

China Film Group   SARFT                industry standard       captioner

Import and Export   Policies and regulations                        art of film

Company                                                     making

Introduction and

 Distribution

    

　　In China there are four official dubbed institutions: Changchun film Dubbing Studio, Shanghai Film Dubbed Studio, the film dubbing studio in Beijing and the Chinese People's Liberation Army August First Film Studio. The four veteran dubbed film studio which are located in three cities have glorious history in the last century, and their past achievements is praiseworthy so far.

　　The four veteran dubbed film studio translated the film subtitle in the same process: China Film Group Import and Export Company get the laminated subtitles Samples from the film production side,they will send it to the SARFT audit. After the SARFT approval, the film will be distributed to a studio. Then the studio specify the translation, director and subtitles member dubbing and at last they output two versions:the original subtitle version and Chinese dubbed version. After the retiral of  the SARFT, the two versions will be labeled the name of the dubbed film studio and finally released (Xuan , Ha 2012: 2).

　　　The aim of the first audit is to determine whether the film can be introduced.  China Film Group Import and Export Corporation has the final decision to the import and distribution of the films, the film that passed the first audit will be assigned to one of four dubbing studio. The company should buy the film rights in accordance with the terms of the economic and legal, so that it can legally be released in China. While during the pre-release the subtitling translator and the dubbed institutions still play a major role. Because they have the rights to determine how to translate the subtitling, whether there are lens, plot and screen needs to be clip. The government departments (SARFT, the State Council generally does not intervene in the dubbing work) will re-examine the dubbed film. This time not only to review the subtitles technical clearance, but also to examine whether the contents of the subtitles is qualified the films' plot. In general, this audit only need to examine the ideology, and do not care about the artistic quality of the dubbing itself. Subtitling translated as long as it does not conflict with the ideology, and according to Chinese habits are approved.

　　　In essence, this kind of dubbed mode have the strong nature of the country, although the four film dubbed studios have been restructuring, the monopoly of the economy is still state-owned units. In this mode, only three cities and hundreds of people have the access to participate in the subtitling translation. #p#分頁標題#e#

　　　However many problems existing in this translation system. First, all the four film dubbed studios are lacking of professional subtitling translators and most of the translators are part-time staff. Second the monopoly of the official subtitling translation is relatively obsoleted. Both the operation standard and access standard are relatively old, which can not meet the rapid development of the film industry. Third, the official subtitling translation are effected by the strong impact from the network subtitling translation. And the rise of the network subtitling translation changed people's dependence on official subtitling translation.

　　　The process of network subtitling translation also includes four steps: get the origin film, timeline, translation and proofreading, chat the subtitles and upload the film. While they can not obtain the origin film by introduction. The way of get the origin film thanks to a mysterious organization called "0day" abroad. But the member information and structure of this organization are not known to outsiders. When there are new film, the group will record the film source for the film lovers all over the world. And upload it on the internet. Then the network translator can download the film through FTP or BT for free. Sometimes there are CC subtitles in the origin films (CC subtitle is used for the hearing-impaired persons, which is a kind of pop subtitle ). They will get the CC subtitle while download the film to reduce the workload of the late translation. The second step is the timeline group; they need to cut off the advertising, revised CC subtitle and timeline and so on. After this the film will be move to the translation group and the group members will complete the draft subtitle translation. They will also check and confirm the timeline. After review the subtitles will be upload on the internet for free of charge.

　　　At present, the most famous network subtitle translation group are YDY, 1000fr, Ragbear, and YYets. While there are also many problems in network subtitling translation. First, the quality control of the subtitle translation, each of the group has their own standard. The second problem is the economic problems; they release the film subtitle for free. The third problem is the legality of their behaviors.

 

 3.2.2. Jia Xiuyan's English Subtitling Translation of Man in Black III

 

　　　Jia Xiuyan is a girl who was only 29 years old. And she graduated from the PLA Academy of Art and Literature, major in Chinese language and literature. She is a worker of AUGST FIRST FILM STUDIO, which is the only film studio of China. It is located in Beijing. And it was founded in early 1993, during the 18 years the base has taken over more than 2400 set of films and TV shows. 

　　　When the film Man in Black III was launched in China, she told his friend the subtitling is translated by her. All the people was surprise, because she is not major in English, although she has past CET-6 during university. Most people will ask why choose her as the translator, she did not have any translation certificate, and she is not the professional translator. But she has translate film subtitling for more than four years. She translated many films such as Hannah Montana. Because of her work she has the priority to access to the films.#p#分頁標題#e#

　　　 Jia Xiuyan's example tells us that English translation require the translator have comprehensive ability. As translator they need both good English and Chinese. Jia Xiuyan is one of this kind of person. So in her translation we can find there are many new ideas which are very creative. Translation is a process of recreation, especially in film subtitling translation, which is different from literature translation. The receivers is wide apart from the reader, and it is a kind of mass media, so when the translator translates film subtitle, he or she should take many factors into consideration, such as the social background, the economic element, and the culture element and so on.

　　　Man in Black series is the story about a secret organization named MIB. The organization monitors all the aliens in the United States. The MIB agent manages and refugees the aliens in order to protect the global. Since 1997, this serious of the film won broad response. Every one in the serious had got extremely high box office and praise, and belong to the top films in American business. By 2012, this serious of films were rolled out three, the main actor is a young agent J an K. In each film, agent J and agent K would punish a nefarious alien villain together. 

　　　Man in Black III  has a villain named Boris, whose arm was cut by agent K more than forty years ago, and being held in prison. Forty years after Boris successful escape from prison, he find the time machine back to past killed K, trying to change history. Agent J found this problem in the future, and he also return to the past. In the past, agent J and young agent K fought successfully blocked Boris' attempt. The plot of whole film is compact and full of American humor.

　　　On May 25, 2012, Man in Black III landed in North American and in China mainland at the same time. In order to meet the needs of audience to the origin subtitles, each cinema introduced Jia Xiuyan's subtitling translation of original film. Once the film was released, the subtitling translation cause the attention of many of the fans and the reports of newspaper and magazines. The official information presents that the film introduced by China Film Group Corporation, China film co., LTD. It was joint distribution by China film group and Huaxia film distribution co., LTD. Company. 

　　　When she translates the film subtitling she references some network words and ancient poetry. This is one of the features of his translation. Now the author will list some famous sentences that most audiences like, Such as the sentences from ancient poetry:

　　　 "天長地久有時盡，此恨綿綿無絕期" ("Lonelier too，since you are the last Bogladyte standing." ).

    2.  "如人飲水，甘苦自知" ("It was just ground this morning")

3.   "這就叫一失足成千古恨. "(well, that's just not living a full life.)#p#分頁標題#e#

There are some popular words in the network which is familiar for most of the young people in official translation. Such as:

"我懷疑他們用的是地溝油和瘦肉精" (Seriously, I am not even sure that are meat).

"售賣三無外星...食品". (Selling unlicensed extraterrestrial...foodstuff).

"安迪．沃霍爾你真是太坑爹了", "坑什么" (Slapping the shiznit out of Andy Warhol,. What ?).

 妄我這么敬重你原來你就是一坑爹的. (You know I have no problem pimp-slapping the shiznit out of Andy Warhol.)  坑什么？(What?)

There are some translation that very suitable for the actors' characters, make them very humor,. Such as: 

    1. K: "我可能把他烤的太久了， 我帶他出去清醒一下". (I might cooked him too long, thought I'd walked him out. )  J: "烤烤更健康" ( I put my pants on.). 

　　　2"我管女人都叫 'O', 我管男人都叫 'Ｋ', 當我看見一對時，我喜歡說 'OK'." (to me, O is femininity, K is for masculinity, when I see a couple, I like OK.)

　　　3. 讓我們拭目以待吧! (Let's agree to disagree!)

　　　4. 我說過幾遍了，別隨便吃路邊攤。我真懷疑他們用的是地溝油、瘦肉精. (Seriously, I am not sure that's meat. I think I just saw a tooth in that thing. Or a claw, or a hoof.)

　　　5. 在我與Z共事的四十年中他一心工作，從未請我吃飯。從未請我去過他家里一起看球賽，也從未和我探討過人生，情感和經歷. (I worked with Zed for over 40 years, and in all that time, he never invited me to dinner. He never asked me to his house to watch a game. He never shared a single detail of his personal life.)

In this film the actor Griffen's words were very meaningful such as:

     1. 最痛苦的真相也好過最甜蜜的謊言. (The bitterest truth is better than the sweetest lies.)

     2. 注定的死亡，在那個時空注定還是會發生. (Where there's death, there will always be death)

     3. 奇跡就是在你最不相信的時候發生了. (A miracle is what seems .impossible but happens anyway.)

     

　　　In Jia Xiuyan's view this way of subtitling translation should depend on the style of the film. If the film is humor and relax atmosphere, she will make the subtitling reflects the style of humor. While if the film is serious, she think this way of translation is not suitable. 

　　　There are different opinions to her translation. Some fans think Jia's translation has many mistranslations. For this problem some netizens post a passage on internet called "we just coming to catch the worm",in which lists all the mistranslation in Jia's subtitling translation. Almost 16 pages, even Jia Xiuyan have to reply to defend herself. Some of the internet users opposed Jia continues to translation Prometheus, the reason is that they con not bear Jia Xiuyan's mistranslation. They say they con not accept the "gutter oil, tang poetry counter attack in outer space". A few of them think she is a catastrophe for the fans. Some netizens said in order to avoid seeing her translation, it is better to go to Hong Kong to see the film. A senior translator Qian Shaochang talks about the film translation in an interview with the reporters. He claims that too many network language that improper use can make the film very tacky.#p#分頁標題#e#

　　　But there are also some voices that praise Jia Xiuyan's translation of Man in Black III. Many viewers said her translation make them feel very cordial, and the use of network language is very wonderful. What's more the ancient poetry references also increase the punchline. The director of Man in Black III Zhang Miao said Jia's translation has received the high praise in the future she will continue use this kind of translation. Lu Yaorong who is the translator of Shanghai film dubbed studio. She said the translation's work is a process of transformation. That is to say the translator has the responsibility to show the interesting point, and the origin style of the film. But if the translator really likes the film, he will try his best to restore the original film style as much as he can. The foreign film reflects the western cultures, so the film should not jinclude more Chinese style.

　　　For the agreement and disagreement of the audiences, Jia Xiuyan think there are different ways of translation for different film styles. But as translator one must loyal to the original film, even there are voices of question for her translation, she said she has try her best to remain loyal to the original film. On this basis, the translator can bring the audiences some entertainments, and this is the greatest pleasure of translation. Her style of translation is tendency to use more Chinese culture and words that familiar to the audience.

 

Chapter four Reception Theory

 

　　　In this chapter the author will present the information of the theory foundation, which including three parts. First is the origin and development of the reception theory, the second part is the main ideas of the theory, and the last part is the basic aspects of reception theory. 

　　　

4.1Origin and Development of Reception Theory

 

　　Reception theory is also called "reception and effect study", which is a type of literature criticism theory. It is a critical school represented by Wolfgang Iser (1978) and Hans Robert Jauss (1982). The reception theory originates in Germany. In 1960s a group of young scholars studied and taught in the University of Constance, so the reception theory also called Constance. The scholars of this group think the readers have the superiority to the literature reading, which is a challenge to the author-centered paradigm. The reception theory is a turn in literature study. The theory signifies that a process of the receivers' interpreting make the work achieved finally significance. 

　　　While in this process there are three factors they are author, work and receiver. According to Abrams the priority should be given to the receivers (Abrams, 1953:1-5). Jauss holds that "the author, work and public is just like a trangle, though the public is not passive, and without chain of mere reaction, it is an energy formative of history. The history life of a literary work can not be realized without the active of the readers" (Jauss,1982:19). That mainly because the process of the readers' mediation including the critical understanding and active reception can help the work comes into changing horizon of expectation. So the reception theory is an independent theoretical system, and the basic view of this theory is the important of readers' reception.    With the development of the literature critical theory, more and more critics realized that text-centered and author-centered paradigm separated the literature from the society, actual life, history, author and the reader (Jin,1988:2). Based on this situation most of the literature critics pay their attentions to the readers, so in the 1960s the reader criticism development very fast. Reception theory was one of those theories, in the middle of 1960s this theory was wide spread and developed.#p#分頁標題#e#

　　　In 1960s the most famous theories are Russia's formalism, Prague's structuralism, phenomenology, hermeneutics and the sociology of literature, of cause the reception theory will be influenced by those theories (Holub, 1984: 53-54). Among those theories the phenomenology and hermeneutics influence reception theory the most. Hans Robert Jauss and Wolfgang Iser(1972) put forward reception theory, which informs the reader as center. This different way of literature criticism marks a new turn in literature criticism theoretical. In April 1967，Hans Robert Jauss(1982) carried out his artical "What is and for what purpose does one study literary history?" as his inaugural address in Constance University. Later, he renamed the article as "Literary History as a Provocation for Literary Scholarship" Thus，this was the first time the idea of scope of reception appeared, and it made great influence throughout the literary circle of Germany. This was the announcement of Reception Theory (Chen, 2012:20).

　　　Another representative of this theory was Jauss, who also made great contributions to the reception theory. He taught us how to understanding the reception theory from four parts:

　　　First is the reception theory and the reconstruction of the literature history; the horizon of expectation: the backbone of reception theory as a kind of methodology in literary criticism; the third one is the experience of aesthetic perception including create, experience, and refine; the last parts is the interaction model of experience of aesthetic perception (Meng: 2002:473-484 see from Chen ).

　　　Both the two representatives thought the status of the reader is important in literature activities. So the foundation of the reception theory is the important of the readers. The former representative Iser learn the theory from micro scope perspective, he wants to make the relationship between text-center and reader-center clear. While the other representative Jauss pay his attention on the macro perspective, and his studies focus on the social problems and historical problems. So the theory are mainly focus on two aspect, one is the reception of the reader .the other one is the effect of the readers' reception. The reception is about the literature history and the analysis of living examples, while the effect point to the text as the premise of the reception.

　　　However there are deficiencies of this theory, with the development of literature theory, in 1980s, the two representatives begin to realize this. So they begin to do some improvement by shifting their attention from reader-centered to the text-reader relationship. From this we can conclude that the key of reception theory is the interaction between reception and creation. When the reader read literature it is a kind of communication activity (Eagleton, 1996: 70). This is the process of the reception theory became complete and development.

 #p#分頁標題#e#

4.2 Main Ideas in Reception Theory

 

　　　The main ponts of reception theory is the important role of the reader in literature activity, and focus on the reception of the text. From the previous studies of the literature theories, we can know that most of the theories focus on the text and author, while less attentions were payed to the response of the readers. As we all know that in reception theory there is no simple interpretation meaning of a text, and all the meaning should get from the readers' reading. In this theory there are many important terms, while in this thesis the author only presents several of them that in relation to the topic of this study.

　　　The first one is reader. Before reception theory most of the studies in literature paid their attentions to the text or the author, they do not think the reader reading the text is a process of developing the text, and they just regard this process as fun of understanding. While reception theory gave the reader important position in literature activities. They think the readers' reading response is the literary implication formation and meaning in reception theory. And the readers' reception to the literature work is a kind of recreation process. So in reception theory the importance of the readers position can be identified from the following three parts. The first one is that the reader is active part in literature activities; next is the significance of the literature work determined by the reader; the last one is the acceptance of the reader signified the importance of the literature work.

　　　The second main concept in reception theory that we should identify is horizon of expectation. In 1982, Jauss(1982) put forward this concept in his work Aesthetic Expectation and Literary Hermeneutics. In his opinion horizon refers to "an inter-subjective system or structure of expectation, a 'system of references' or a mindset that a hypothetical individual might bring to any text" (Holub, 1984: 59). And not refers to the range of vision that can see everything from a vantage point. It is point to the development of human knowledge and experience. Horizon of expectation is very important in literature. When a reader read a literature work, the literature work may disappoint the reader, or satisfy the reader. When the literature makes the reader feel disappoint, it will be difficult for the reader to accept. While is the literature work satisfy the reader, it will be easy to accept. So the most significance of horizon of expectation is emphasize the relationship between the text and reader..

　　　As we all know that when the reader read a literature work, he wants to get something new. That is to say the reader wants some information that lack in their original horizon of expectation.

　　　The third concept is that indeterminacy of the text, which is proposed by one of the representative Iser(1972). According to him the readers act of consciousness can make the inaugural object completed. The definition of indeterminacy is the distinctive feature of literature work. When the reader achieved the indeterminacy, the meaning of the literary work can be realized by the reader.#p#分頁標題#e#

　　　Apart from the three concept in reception theory, the representative find there are two poles in the literature. One is artistic, which refers to the text that create by the author, and the artistic poles contains many indeterminacies that to be solved by the reader. The other one is the aesthetic poles, which refers to the readers' understanding of the literary work according to their own knowledge.

　　　

4.3 Basic Strategies of Reception Theory

 

　　　Many factors may influence the choice of translation strategy. Such as the purpose of the translation, the text type and the author's intention and so on. In reception theory the factors that can effect the choice of translate are the reader, the horizon of expectation and the indeterminacy of the text. Among those factors, reader play a distinguish role in reception theory, that mainly because the meaning of a literary work is depended on the readers, not the author of the literary work. As we all know that before the reader read a literary work their horizon of expectation is different. Under this situation, when the translator face a new literary work, in which there are something similar to the previous knowledge or experience of the reader. At this time the translator can use some domestic strategy to translate them. 

　　　However, if the new literary work contains some foreign elements, which are not very familiar to the readers and beyond their expectations. At this situation the translator can use foreignizing strategies to translate the new literary work. The reader's horizon of expectation means that before the readers read the literary work, they have their own viewpoint of the social experience, the world, and their own opinions. When the reader read the literary work, there some distance between the horizon of the literary work and the readers' horizon of expectation. This will affect the choice of the translation strategies for the translators. Because if the translator use some strategies that are more foreignizing, which is beyond the readers acceptability, the readers may feel the literary work is not interesting. While if the translator chooses some strategies that are more domesticated, the reader will feel more familiar to the literary work, and there are no fancy can attract the readers. In a world, it is important for the translator to choose proper translation strategy according to the readers' horizon of expectation.　　　

 

Chapter Five The official Subtitle Translation of Man in Black III Viewed from Reception Theory 

 

　　　In this chapter the author will analyze the film Man in Black III from the perspective of reception theory. This chapter contains three parts: the film subtitle features, mainly the language features of the film; the elements that related to the reception theory of the film, such as economic element, social background and so on. The last part is the strategies employed in this film subtitling translation.#p#分頁標題#e#

　　　　　

5.1 Man in Black III and its subtitle features from the Reception Theory Perspective

5.1.1 Language Features of Man in Black III

 

　　　The film language has its own characters; it is very different from other types of translation. It is mainly because the film subtitling involves a transfer from the oral code to the written code, also a transfer from the source language to the target language (Gambier, 1993: 274-283). The film subtitling translation is a procedure. Firstly, the script writers, directors and the actors will all examined the subtitles. Secondly, according to the different voices and characters that appear in the film the subtitles will be changed. According to Gambier there are three main characteristics for film subtitling translation. The first one is that when the translator translate the film subtitle he should choose suitable translation strategies in order to in accordance with the social, moral, and linguistic functions. The second on is the film subtitle translation is transferred by two language and two codes. The last but not the least is that the translator should try his best to satisfy the need of the audiences and arouse their interesting in the film.

　　　However, different people have different opinion on the features of film subtitles. Danan(2001;162) holds that the features of the film subtitles are colloquialism, conciseness and popularity. And he signified that the translator should try his best to make the film humor and connotation under the constrains of time and space. According to him the first features of film subtitles is colloquialism which is a linguistic phrase, ordinary, familiar or spoken conversation rather than speech form, and standard writing. In colloquial there are many slang and culture-specific expressions compared with written words. So when the translator faces this kind of film subtitles he should not translated it according to the principle of the grammar. The colloquial words are roughness and incoherence. Because in the film the colloquial words are usually said within a short time, which may including the characters' change of mind, at the same time it may combine with the body language and individual emotions of the actors. So there are a lot of short sentences in colloquialism that are very simple in form.

　　　Conciseness is the second features of the film subtitles. According to him the language used in the film should be concise and condensed. It requires the translators have the ability to deal with the redundant, and sluggish words or phrases. A word used correctly in a certain situation can make the scene wonderful, even though it is only one word. At this time the translator should try his best to help the audiences to understand the meaning of the word. So this kind of words can make the film more rhythmic, and make the audiences feel more relax. But it is a requirement of the translators' abilities.

　　　Popularity is the third features of film language according to him. Popularity means the the translation of the film subtitle should e acceptance by most of the audiences. 

　　　By comparative study of the official translated subtitling version of Man in Black III and network-based translation. The author finds the official translation has more constrains terms than the network-based one, the network-based translation system gives more freedom to the translator than the official one. Both the official subtitling translation and the network-base subtitling translation have some common features that is the strategy of domesticated, especially the use of over-domesticated. That's one of the reasons why Jia Xiuyan's translation cause heated debate.

　　　In Jia Xiuyan's translation she used many over-domesticated, which changed people's image of official subtitling translation. To our surprise in both the official subtitling translation and the network-based one there are some mistranslations. And in Jia Xiuyan's translation the mistranslation is more obvious. 

　　We can see the advantages of the network-based subtitling translation from their requirement of the translator. The translator in YYets should ensure the accuracy of their translation, and they should have interest in subtitling translation. Before they start to translation there is a training for them. While Jia Xiuan is only a part time translator, so in her translation there are more mistranslation than the network-based subtitling translation.

　　　　　

　　　　　  

5.1.2 Subtitle Translation Analysis of Man in Black III

 

　　　There are few sentences that cause the heat debate in Jia Xiuyan's translation. The first one is when agent K drink coffee he always said: "the coffee drink like dirt, what he expected is... It is just ground this morning". Jia Xiuyan translated it as 這咖啡喝起來有股土味，如人飲水，甘苦自知. While YYets translated as當然了，這是... 今早剛磨出來的. The latter translation use direct translation instead of free translation. Most people think the network-based one is more correct, but the former one attract more Chinese audiences for the culture term that familiar to most of Chinese people. In the film of 35'30 the person who help agent J said to him "You gotta go, go! Go! Go!", Jia's translation is "你Hold住全場啊，跳吧，跳吧，去吧". YYets translated it as "你得走了, 快走,走". Compare with the network-based one Jia Xiuyan' s translation is more interesting, she use the network language which is familiar to the Chinese audiences.

　　　　　Now the author chooses some scenes in the restaurant, and analysis the dialogue between agent K, agent J and Mr Wu

　　　　　In 4'50 when Boris escape from the prison, the prison officers armed interceptor, and said "There is too many of us"#p#分頁標題#e#

The official translation is 這里是月球最高監獄. 

YYets translated it as 我們人多勢眾.  

　　　　　In the film of 11'48 Mr Wu said to agent K "So sorry, no speaking English, you come back latter, okay?" agent J said "Save the chop-socky bullshit for the tourists, Wu" 

The official subtitling translation is "慢點說我會聽不懂的,你能重復一遍嗎?" "吳, 別跟我們說這些繞圈子的廢話".  

While the network-based subtitle translation is "真抱歉, 不懂英語, 你們回頭再來吧" "你這套留著糊弄外地人吧, 吳". 

　　　　　At 12'12 the dialogue between agent J and Mr Wu. Wu: "Hey, what you guys wanna bust my balls for,huh?" Agent J: "You didn't have no boss" 

　　　　　The official translation is : 你們找老板什么事? 誰是你們老板你最清楚.

　　　　　YYets' translation is: 你們干嘛找我的茬? 我不長茬的.

　　　　　At 12'19 in the restaurant when agent J saw the big fish, he said: "Man, you look like you come from the planet Damn"

　　　　　The official translation is : 老兄，你是從哪個星球來的大塊頭.

　　　　　YYets' translation is: 天，你肯定是來自惡魔星.

　　　　　In the restaurant agent K said:"And Bob here is a clear violation of Health Ordinance 32:"

The official translation is: 鮑里斯已經被關押32年了.

YYets' translation is: 這明顯違反了衛生條例第32條.

　　　　　At 12'35 Mr Wu said;"That is an Earth fish, very traditional in China "

The official translation is : 這是地球魚,是中國的特產.

       YYets' translation is:  : 這是地球上的魚,在中國是傳統食品.

        7. At 12'36 Mr Wu said: "You arrest me that's a hate crime" Agent K said;"It would be, if you were Chinese " Wu said: "K come on, I got larvae to feet. "

       The official translation is: "我只知道這么多"."中國人有這么多腳嗎" "K 拜托,我天生就有這么多腳"

       YYets' translation is: "逮捕我的話,就是種族歧視". "你也配的上叫中國人". "K 行行好,我還要養活崽子呢"

        8. At 13'11 agent J said to Mr Wu "he and I are having issues right now, but you should not suffer for that"

         The official translation is: "吳 他和我關系很好,我不會讓你有事的."

         YYets' translation is: "我和他最近有點矛盾,但不該拿你撒氣."

         9. Agent J said to Mr Wu "So if you don't like getting fish-slapped, keep to our agreement "

        The official translation is s: "你看起來倒挺像地球魚, 好丑."

        YYets' translation is: "如果你不想挨揍的話,就按照我們的協議"

        10. Agent J said to Mr Wu "Earth people get earth fish, real earth fish". Mr Wu said: "On behalf of my pathetic self and worthless children, you stay. Allow me most honorable benefit of serving you favorite noodles, K" "Don't nobody want your nasty-ass noodles"

        The official translation is: "扎手魚是給誰吃的".

        "顧客們都非常喜歡吃我們酒店里的扎手魚"  "我和他最近有點說不到一塊"

        YYets' translation is: "地球人只能供應地球魚真正的地球魚". 

        "我代表本人和謙卑的孩子們, 請你們留下來. 讓我請兩位吃本店有名的面條, 怎么樣?" "沒人喜歡你的破面條"

     11. Agent K said to agent J "We are gonna be here for a while"

       The official translation is: "不好意思讓你當出氣筒了"

        YYets' translation is: "我們在這呆上一會"

　　　By analyzing the translation of Jia Xiuyan representative as the official subtitling translation and YYets' translation as the network-based translation, we find there are many fault in Jia Xiuyan's translation. Some of them are mistranslations which are not following any translation strategies. That's one of the reasons why after the film put on in China her translation cause heated debated among the audiences. In general the official translation is more formal and there should not contain much errors. But Jia Xiuyan's translation she not only use many network words in her translation, but also make more mistake than the network-based subtitle translations. This change the image of the official subtitle translation in the minds of the audiences.We can also find that the network-based translation is more correctly than the official one. In their translation they use more direct translation. Their translation is more freely, because they do not need to pass the exam of the SARFT. This is the advantage of the network-based subtitle translation compared with the official subtitles translation.

　　　As it is known to all the film language has its own feature. Film language is a kind of special social phenomenon developed along with the modern science and technology and art creation practice. It is a special kind of means and tools for human to reflect the reality and exchange ideas of thoughts (Yan, 1990: 953). Film language is the sum of all kinds of special media, methods and means that used during the creation procedure of the film. The purpose is to communicate and exchange information. Screen images are the basic elements of film language and the acoustics, music, performances, scene, lighting, color, makeup, clothing, etc that presented in the film are all film vocabulary. Film language and literary language have significant difference, and film language has its own unique features and significance. The translators must understand the film language features and adopt different strategies from those of the literary works in the process of film subtitle translation.#p#分頁標題#e#

　　　According to the diversity of vocabulary used during the film creation, we can sum up that one of the characteristics of film language is instantaneity. While the audiences see the movie, the dialogue between the characters are rushed by, if the audiences miss it, there is no way to make it up. But when reading the works of the literature, one can stop and re-read for a few times if the reader des not understand it. Although now film media have made great progress in the technology, we can control the paly speed of the film when we see a film on the computer or DVD. But on television and cinema the audience is unable to control the film playback process. The translator of film subtitle translation still has to pay attention to making the translation easy enough to understand and colloquial. 

　　　　　The official translation pays more attention to the audiences, and she put the "audiences" in the first position. She used more network words and ancient poetry that familiar to the Chinese audiences. Her translation is colloquial than YYests' translation. The official one is suitable to the audiences' horizon of expectation. That's way most of the audiences enjoy the film under the help of the subtitle translation.

　　　

5.2 Element Related to Man in Black III from the Reception Theory Perspective 

 

　　　　　There are many elements that contribute to the success of the film Man in Black III , those elements also influence the translation of the film subtitling. Such as the social background, the commercial motivation and the culture differences. Those elements affect the choice of the translation strategy. 

　　　

5.2.1 Social Background 

 

　　　The plot of the film was set in 1969, because for Americans that year has many things to say. The time travel is from 1929 to 1969 during this period there were several events that change the history of America. 

　　　First is the Great depression. The stock market crash of 1929, was the most devastating stock market crash in the history of the United States. Second is the World War II which took place during the year of 1939 to 1945. World War II was a global military conflict which involved a majority of the world's nations, so did America. The third one is Hippies. Developed as a youth movement, the hippie subculture was originally emerged in the United State during the mid-1960s and spread to other countries around the world. The fourth is the Apollo program, the first manned flight of Apollo was in 1968 and it succeeded in landing the first humans on the Moon, the man is Armstrong. The director tried his best to spread the culture of the United States, which can also attract the audiences that familiar those events or the history of that period. For example he added the racial discrimination in it, which can attract many black people. And use Bessel, which is the sit of the first music festival in 1969 as a place to find Griffin. Meanwhile Andy Warhol, who is a master in that period came into the audiences' eyes. The slogan against the Vietnam War "MAKE LOVE, NOT WAR “was also used as a subtitle by a girl. New York Mets won the world Series of the baseball match in 1969, which is also the scene in the film.#p#分頁標題#e#

　　　All those events during 1929 to 1969 are the big event in the history of America. This is the social background of American at that time. At present there is no racial discrimination for the black man. This influences the creation procedure of this film. They have the courage to use film to reflect the social reality of that period, and the government of the United States will not forbid the showing of the film all over the world. This also indicates the culture difference between American and China.

　　　In China the social background has great influences on the translation of the film. When this film put on in China on May 12, 2012, most of the cinemas use the official subtitling translation that translated by Jia Xiuyan. In her translation some scenes that do not fit or agree with the Chinese ideology are cut off or avoid. It is mainly because the official translation should be trailed by the SARFT. For example most of the scenes in the Chinese restaurant are remove in the official one. Because on one hand those scene may demonizing China's image and on the other hand the fight scenes are too violent, which do not meet the standard of SARFT. Cut off those scenes is good for review of the SARFT after translation, but most of the audiences do not agree with this action, they do not like the SARFT interference too much in the translation of the film subtitling. While the network-based translation do not need to pass the review by the SARFT, so it is more free during translation. They usually translate some slang directly in the film. For example, "Who is the dumb-ass?" in Jia Xiuyan's translation it is "這笨蛋是誰", while in YYets' translation it is "這個蠢貨是誰". Another example is the sentence "Say it again" Jia Xiuyan's translation is "再說一次", in YYets's translation it is "再說一次試試". From this we can find that the network translation is more free and more closer to the speech habits of Americans.

　　　Apart from the social background, the commercial motivation and culture innate worth of common Americans also influence the choice of the translation strategy and the translation of the film subtitling. 

　　　　　

5.2.2 Commercial Motivation

 

　　　This is the first film after Seven Pounds since 2008 for Will Smith. Three and a half years is also the longest downtime since 1993 he began to play a film. Man in Black is a series film, Man in Black I was put on 15 years ago, and Man in Black II was put on 10 years ago. Most of the audiences expected the third film, this is one of the attractive point of the film.

　　　　　In the film agent J came back to 43 years ago to find young agent K. And the player of young agent K is Josh Brolin, who is only 21 years younger than the old agent K Tommy Lee Jones. His performance in the film is one of the misery. Moreover, in order to attract more audience all over the world. The producer chooses many superstars to participants in this film. For example Lady gaga who is a famous singer all over the world, and she is famous not only for her song, but also for her dressing. David Beckham one of the famous football star, and Yao Ming the basketball star of China also participants in this film, though they only have one or two second performance in this film, it is a point that can attract a large number of audiences who are fans of those superstar.#p#分頁標題#e#

　　　　　With the development of the economic China has become a potential market. In order to attract more Chinese audience, the director uses many Chinese culture elements in this film. For example the Chinese restaurant at the beginning, Mr wu's experience and his dressing, even the food noodles are familiar and cordial to the Chinese audience. The director adds some other elements in it. Such as famous stars from entertainment and sports, Chinese restaurant, time travel and so on. All those factors are for commercial reasons.

　　　However when the film was introduced into China, the official translator only give five days and 50,000 Yuan for the translator. The film last for 120 minutes, and there are many dialogues. But for the time and economic limitation, the official subtitle translator only use few days on translation, so the quality of the translation is influenced. From example 2, 3, 5, 8 we can find there are obvious mistakes in the official one.  

 

5.2.3 Culture Differences

 

　　　As we all know that different language may cause predisposition in their speakers' thinking pattern, because sometimes the meaning in one language can not be fully expressed in another language sometimes. From this perspective we can find that, one of the most distinctive features for the films staying famous is the cultural elements. In the film subtitle we can find the films are full of culture elements such as the folklore, the personal value and the traditional customs, the arts and so on (Peng Jie, 2012: 16). The different cultures in different countries are unique and not overlap each other. So the films from the foreign countries can introduce foreign cultures into China, which can broaden Chinese audiences' horizon and equip them with some knowledge of foreign cultures and history. 

　　　Every country has its own unique culture and history, because of their unique region environment and social background. Every nation has its unique language and communication method. While the creation and spread of the films are all influenced by the social environment, it is not only a way of culture expression, but also a bridge of culture communication. The usage and composition of film language (such as the voice, light, color, and image) involve many different culture meanings and history background. And the film itself also involves the understanding of the culture on part of the director and producer, each element in the film is served for the spreading. So does the film subtitling.

　　　The film subtitling translation is a suitable way to express one's culture in another language. There is one difference between two languages in language systems, that is different languages may use different linguistic forms. So the big challenge for the translators is reflect the cultural elements involves in the language in their translation. It is known to all that there is a great difference between American audiences and Chinese audiences in the background of the culture. Cultural differences between China and foreign countries have brought many problems to the film subtitling translation. Language is a part of culture, and each of the significant for the text can reflect the relative culture. So the translation of film subtitling is not only the process of language communication, but also the process of cultural communication. The responsibility is to help the audiences understand the content of the film, and know some foreign cultures and history, and the customs and habits. Therefore, how to handle the culture elements in the film is crucial for subtitle translation.#p#分頁標題#e#

　　　From this point the film subtitling translation require the translator to have a better understanding of both cultures to capture the elements in the cultures. Only by this way can the translator reach the goal of initiating the audiences of target-language into the sensibilities of the source-language culture (Peng, 2012: 16). But in China there are many problems in the film subtitling translation. For example when they translate the same film or the same series films, different translation groups may have different translations in some detail information, such as the names of actors and places. For some places name with special culture meanings, they just translated it according to their own understanding. Another common problem in film subtitles translation is that the translation is sometimes far from the original cultural connotation, which makes the film lose its language communication function. In foreign language films, the dialogues between the characters often use the implied meaning of slang and vulgar language to express special meanings and tone. Many translators often translate it directly according to the literal meaning. Some of them may influence the expression function of film language, which causes the misunderstanding of the audiences to the film.

　　　This film Man in Black III also involves many American cultures, Such as the content of the film is agent J and agent K fight for Boris, and they cooperation to protect the world. In the eyes of Americans they have the responsibility to save the earth. In America, they advocate individualism, so in this film the hero is agent J and agent K, but not the country or the government. There are also some eating habits of Americans, for example, agent K liked to drinking coffee and eating pies. And after he left the restaurant he forgot to give the waiter a tip, then he came back and left it on the table.

　　　The history background is also needed especially when the audiences seeing agent J came back to 1969,

　　　　　WALL STREET CRASH (華爾街崩盤)

　　　　　 WAR IS OVER （戰爭結束了）

        14.Far out! Jerry rocked Haight-Ashburylike you wouldn't believ. (新潮啊! 杰瑞震撼了整個黑仕-海特伯里區） 

        15.TO THE MOON （登月）

        16. ASTROUANTS PREPARED (阿姆斯特朗做好了準備

        17. Make love, not war (要愛, 不要戰爭)

        18. Agent J: How are you officer, what can I do you for? (你們好 警官 有什么事嗎)   

           Officer: Well look at this, power windows, power seats (看啊 電動窗 電動座椅) I will bet you it cost 6 grand-yeah (肯定不下六千美元-是啊)  Hey what kind of work do you do? (喂 你是什么職業)  An individual of your particular ethnic persuasion. (像你這樣的種族) May be he is a noted athlete. (說不定他是個體育明星) #p#分頁標題#e#

         Agent J: Yes starting forward for the Detroit Darkies. (對，底特律黑鬼對的首發) 

         Officer: Where'd you get the car, and the suit? (你從哪弄來的車 還有這身西裝)  

         Agent J: I stole them both. Car from your wife, suit from your grandmother. (都是偷的 偷了你老婆的車, 和你奶奶的西裝)  And just because you see a black man driving a nice car, does not mean it's stolen(不能因為黑人開了輛好車就認為是偷的) I stole that one. But not because I'm black (確實是偷的但不是因為我是黑人)

         19. Waiter: Say the pass words (通關密語) 

            Agent K: Janis Joplin (詹尼斯 喬普林)

         20. Griffin: What a game! Amazing! It's a realy miracle! (多精彩的比賽啊 真是奇跡)

　　　In that process he get a newspaper and the headline of the newspaper was "WALL STREET CRASH" the 12 example which indicates the wall street crash of 1929 (October 1929), also known as the Great Crash. The stock market crash of 1929, was the most devastating stock market crash in the history of the United States, taking into consideration the full extent and duration of its fallout. The crash signaled the beginning of the 10-year Great Depression that affected all western industrialized countries and did not end in the United States until 1947. When agent J read this newspaper there are a lot of people also jump from the building at the same time. 

　　　Then in the next newspaper he saw the headline was "WAR IS OVER" example 13, the war in this title indicates the World War II which took place during the year of 1939 to 1945. World War II was a global military conflict which involved the majority of the world's nations, including all of the great powers, organized into two opposing military alliances: the Allies and the Axis. The war involved the mobilization of over 100 million military personnel, making it the most widespread war in history. Over seventy million people, the majority of whom were civilians, were killed, making it the deadliest conflict in human history.

　　　In example 14, when agent J walked out of the building, he saw two men with long hairs and they are talking about that "Jerry rocked Haight-Ashbury like you wouldn't believe”.. In this scene the directors want to show the audience the culture of Hippies. The original country is United States,it was aroused during the mid-1960s and spread to other countries around the world. The word 'hippie' came from hipster, and was initially used to describe beatniks who had moved into New York City's Greenwich Village and San Francisco's Haight-Ashbury district. So the place Haight-Ashbury is the heaven of hippies. Hippies created their own communities, listened to psychedelic rock, embraced the sexual revolution, and some used drugs such as cannabis and magic mushrooms to explore altered states of consciousness. This can be proved by the dress of the two men. Hippie fashions and values had a major effect on culture, influencing popular music, television, film, literature, and the arts. Since the 1960s, many aspects of hippie culture have been assimilated by mainstream society. The religious and cultural diversity espoused by the hippies has gained widespread acceptance, and Eastern philosophy and spiritual concepts have reached a larger audience. The hippie legacy can be observed in contemporary culture in myriad forms, including health food, music festivals, contemporary sexual mores, and even the cyberspace revolution (http://en.wikipedia.org/wiki/Hippie). #p#分頁標題#e#

　　　The second scene is at the kiosks the headline of the newspaper is example 15"TO THE MOON". By this the director want to signify the Apollo Program, which was the third human spaceflight program carried out by the National Aeronautics and Space Administration (NASA). During the Presidency of Dwight D. Eisenhower as a three-man spacecraft to follow the one-man Project Mercury which put the first Americans in space, Apollo was later dedicated to President John F. Kennedy's national goal of "landing a man on the Moon and returning him safely to the Earth" by the end of the 1960s, which he proposed in a May 25, 1961 address to Congress. Project Mercury was followed by the two-man Project Gemini (1962–66). The first manned flight of Apollo was in 1968 and it succeeded in landing the first humans on Earth's Moon from 1969 through 1972, in the film it took place in July 16, 1969.

　　　Then he drove a car in front of the restaurant, then the police stopped him and asked him where the car came from and how did he get his black suit. Because in that period there are serious racial discrimination in the United States, as a black man in 1969 he could not have money to buy a suit not alone the car. In example18, One of the police said "What kind of work do you do, and an individual of your particular ethnic persuasion?" the other one said "Maybe he's a noted athlete." Agent J said "Yes. Starting forward for the Detroit Darkies" from the words they use we can also find that in 1969 the black man are discriminated by the Americans. 

　　　When agent J and agent K looking for Boris, they come to New York suburb Bessel, which is the sit of the first music festival in 1969. There they want to come in the door, but they should say the password, to our surprise the password is Janis Joplin in example 19. When the younger agent K said this name many American people at that period may be feel familiar, because this woman is famous for promiscuous. When they come in they found Andy Warhol, who is a master in that period. 

　　　The younger Boris comes out; a girl said to him "make love, not war". In example 17.This is the slogan against the Vietnam War, which become the sexual revolution of the United State in 1970s.

　　　In example 20, after they find Griffin, who is an alien unicorn, last of its species in this film. He is a fifth dimensional being, he can live in and visualize an infinite set of time-space probabilities simultaneously. The actor of Griffin is Michael Stuhlbarg. He tell agent J and agent K next time they find him, he will give them a present to protect their planet. The next time they meet Griffin was at the game, which indicate the New York Mets won the world Series of the baseball match in 1969, this is the pride of Americans.

　　　As film subtitling translator one should take all those into consideration, when he translates the subtitling of this film ,he should use the subtitling to reflect the culture and help the audiences understand the meaning that the director want to express. The translator himself should also have the knowledge of American history and culture.#p#分頁標題#e#

 

5.3 Strategies Guiding Subtitle Translation in Man in Black III from the Reception Theory Perspective

 

　　　In reception theory, the type of the text, the intention of the author and the purpose of the translation and so on all influence the choice of translation strategy. There are many translation strategies in China and abroad.

　　　In Peter Newmark's work A Textbook of Translation he put forward more than ten strategies: literal translation; transference; naturalization; cultural equivalence; functional equivalence; descriptive equivalence; synonymy; through translation; shifts; modulation; recognized translation; compensation; 1componential analysis; paraphrase; couplets; notes, additions，glosses (Chen, 2012: 15). Aixela (1996) who is a Spanish scholar put forward eleven translation strategies. They are: repetition which means copy the original; transfer the sound; retain the meaning of the source language; use footnotes, endnotes to add the explanation in the text; put the explanation in the context; replace the foreign culture subtitle with an existing Chinese culture that is familiar to the target language reader; replace the original language with non-culture-specific one; deleted; create a new one in the target language (Aixela, 1996: 52-78).

　　　In China there are also some scholars who make a study in this field. Such as Qiu Maoru who put forward seven methods in order to achieve cultural equivalence. They are: literal translation which can remain the culture in the source language; transliteration; transference; plus a generic word to the transliteration method; transplantation; descriptive the culture; explicit the implied meaning (Qiu Maoru 1997:4-8 see Chen Jiaodi, 2012: 16). Another representative in this field is Wang Dongfeng who put forward five approach to deal with the cultural default in his work Culture Default and Translation Compensation (Wang, 1997: 58-59). He holds that translation is a process that the translator try his best to share the culture background knowledge of the author to the intended readers. His five methods of translation are: note at the end of the text; free translation or combination it with literal translation; domestication; omission; servile translation.

　　　Though many researches have been made in this field both at home and abroad. Film subtitling translation is a different kind of translation that is different from literature translation. In film subtitling translation the translator should take into many elements into consideration. Such as the reader and their horizon of expectation, culture different, the constrains that effect the film subtitling translation, the economic elements, commercial element, social background and so on. Based on this situation the translator of this film Jia Xiuyan adopt the domestication strategy and transliteration method, as the main translation strategies, plus several other translation strategies such as deletion, replace the original culture with a Chinese culture items that are familiar to the Chinese audiences.#p#分頁標題#e#

　　　By the analysis of the strategies adopted by the translator Jia Xiuyan, we can obviously find that the readers and their horizon of expectation of reception theory influence the translation tendency of the film Man in Black III and also influences the elements that should be take into consideration by the translator. For the film Man in Black III the readers' understanding and the readers' horizon of expectation is the most important purpose in the translation. By the analysis of the film subtitles we can find the translator Jia Xiuyan use more domestication and transliteration strategy in her translation, and at the same time she take the constrains of the film into consideration, such as time and space, the acceptance of the readers, the readers' unfamiliar to the foreign cultures and so on. No matter what strategies the translator choice, she put the reader in the first place and try her best to help the audiences to understand the film. The success achievements in the film proved that Jia Xiuyan's translation is acceptable by most of the audiences. Meanwhile we can find that film subtitling translation is differ from literary work translation, it was affect by many elements such as social background, commercial motivation, culture different and so on, so the final aim for the translation is help the audiences understand and appreciate the film better.　　　　　　　　　　　　

　　　　　　　　　　　　　　

Chapter six Conclusion

　　　　　　　　　　　　　　

6.1 Major Findings of the Study

 

　　　In this thesis the author introduced the reception theory that used in the film subtitling translation of Man in Black III; analyzes the influence elements in the film subtitling translation and the constraining factors that affect the choice of translation strategies; and make a comparative analysis between the official subtitle translation and the network-based film subtitle translation. Based on all these analysis this paper has the following findings:

　　　First, by comparing the official subtitling translation with the network-based subtitling translation, we find they are two different translation system, the working procedures have significant difference. The network-based subtitling translator has less constraint in translation system, which makes the network-based subtitling is more accurate in words than the official one. But in this film Jia Xiuyan's translation as the official translation put the audience in the first place and tried its best to help the audience to understanding the film. It has made a success and changed the audiences' image of official translation. This is the development and progress of official subtitling translation. And more effort is needed in order to avoid being replaced by the network-based subtitling translation.

　　　Second film language has its own features, it reflects the film style, so when the translator translate the film subtitle, one should keep the subtitle conforming to the film style and the characters' features. In the film Man in Black III Jia Xiuyan uses some network language to express the humor between the two agents, which also make the film more entertaining. Based on the reception theory the translator tries her best to help the reader understand the film, and she also takes the readers' horizon of expectation into consideration. So she uses many well-known lines from ancient poems in the subtitling translation, which is more familiar to the Chinese audiences and easy for them to understand. The film subtitling translation also makes contribution to the success of this film.#p#分頁標題#e#

　　　Third, apart from the readers and their horizon of expectation, some other elements can also influence the translation of the film. Such as social background, commercial motivation, cultural differences, and so on. Among these elements the cultural differences influences more on the choice of translation strategy. In this film there are many culture and history background, so the translator should choose the suitable translation strategies and help the audience appreciate the film. The translator Jia Xiuyan uses more domestication and transliteration strategy in the film subtitling translation, which make the Chinese audience feel more familiar.

　　　　　

6.2 Limitation of the Study and Suggestions for Further Research

 

　　　By this paper the author hopes he can make a little contribution to the development of the film subtitle translation. And arouse the attentions of other scholars to this field. What's more, this research can help the translator to choose the suitable strategy and improve the translation quality of the film subtitle. 

　　　Of cause there are limitations in this thesis. First, in this paper the author do not take the mouth, picture elements into consideration. In China the official subtitling translation, they will consider the mouth elements. The translator of Man in Black III Jia Xiuyan was asked why she choose "此恨綿綿無絕期" among the ancient poetry as her translation. She said it was influenced by the mouth element. But because of the paper limited and the main research question in this paper, the author do not take this factor into consideration.

　　　Second, because of the official subtitling translation system, there are many people take part in the translation of this film. Such as the director, the upload technical personnel, they may all make contribution to the film subtitle translation, but because of the research method, the author do not take this factor into consideration.

　　　The third limitation is that the film last for 120 minutes, while in this paper the author just analysis the most distinguish sentences in the film subtitle translation. And there are many other points can be studied, such as the music in the film. It is also the reflection of the American culture in 1969. And the car and technology in many scenes are worth of study, but because of paper limitation the author do not pay attention to these points.

　　　The author hopes the further researchers can make better research on this film. And make researches on different point of the same film. For the government, the author hopes the SARFT can introduce different kinds of films, on the one hand it can satisfy the need of Chinese audiences; on the other hand it can provides more material for the scholar to make research. Only by this way, can the film subtitling translation development fast and competition with other countries.#p#分頁標題#e#

 

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Papers Published During the Study for M. A. Degree

 

1 Zhou Chunyu 2013 Discourse Analysis of Nobel Banquet Speech-on Case study of Mo Yan[J] 海外英語 (6) 268-269

2 Zhou Chunyu 2013 英語學習策略談[J] 基礎教育研究（363） 36-37