Translation of Network Short Videos from the Perspective of the Moderate Principle开题报告

1. 研究目的与意义

With the development of the Internet, Chinese people have a chance to watch films, TV series and talk shows from abroad. Nevertheless, not all Chinese people are capable of understanding them without translated subtitles. Therefore, audiovisual translation of subtitle groups develops promptly in these years in China.

However, currently, short video translation face the situation of disrupted chaos: there is no standard or norm for it, in which case may lead to misunderstanding of audience. This essay helps short video translators to finish their work with basically acknowledged criteria.

At present, most of the research on subtitle translation focuses on the conversion of language information, and there is still a lot of space for the study of non-verbal information conversion. When watching a video, it is not enough for the audience to pay attention to the dialogue. It is also necessary to listen to the tone of the character, to see the expressions of the characters in the picture and the surrounding environment, so that a video can be completely enjoyed; therefore, the subtitle translation cannot be just translating language information and translating non-verbal information are also important links to ensure the integrity of the work. Especially in short videos, there are more neoteric and networked lingual usages or gestures abroad, which is, to some extent, hard during the translation into Chinese.

2. 研究内容和预期目标

There are general consensuses on the general rules of audiovisual translation: colloquial, popular, vivid yet spatiotemporal-limited. And the strategies of audiovisual translation are main regarded as five principles: principle of oral conversation, principle of counterpoint of sound and picture, principle of suit both refined and popular tastes, principle of characterization and principle of emotionalization.

principle of oral conversation

Subtitle translation is a kind of 'art of maintaining balance' so that translators are ought to clear redundant information within the movie composition symbol. The translation of the dialogue between the characters in the film and television play is not for the readers to read and taste slowly, but to transform into the voice of the dubbing actors, so that the audience can understand and accept it at the moment of watching. Therefore, only to achieve the text of 'smooth', 'accessible' is not enough, but also must be close to life, so that it is easy to understand. Such a translation, through dubbing, can be consistent with the character''''''''''''''''''''''''''''''''s expression (including mouth shape), and finally obtain the natural and realistic artistic effect. Simplification and adaption of source texts is available to take into account.

3. 国内外研究现状

Nida, who once advocated functional equivalence, said that “any translation method can not be considered complete if it ignores the role of semiotics in the process of coding and decoding”. However, it should be added that Peter Newmark''s six-point approach to the social function of language (expression, information, call, aesthetic, emotional communication and meta-language) has been described in more detail. The greatest advantage of Nida in introducing social semiotics into translation is that it is concrete and practical compared with the abstract translation criteria of 'mirror', 'likeness', 'elegance' and 'functional equivalence'.

Fodor puts forward that the translated films can meet the requirements of 'synchronization' (that is, 'coupling' commonly used in the field of translation and distribution in China) in three aspects, namely, 'phonetic synchronization', 'character synchronization' and 'content synchronization'.

It is generally believed that one of the leaders in the field of dubbing translation in the early days was Istvan Fodor, whose English work published in 1976, which comprehensively studied dubbing translation from the perspectives of linguistics, semiotics, aesthetics, psychology and so on.

4. 计划与进度安排

Outline

1. Introduction

1.1 Research background

5. 参考文献

Reinhardt, R. (2019). Considering Closed Captions. Streaming Media Magazine

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