中国字幕组翻译现状研究
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摘要
字幕组是指将外语影片配上本国字幕的爱好者团体,是一种诞生于互联网的新事物,属于民间自发的个人团体组织,不以盈利为目的。由字幕组配上字幕的影视作品被称为字幕组翻译作品。本文以描述的方法研究中国字幕组翻译现状,记录字幕组译员的选拔过程和工作流程,分析字幕组遵守的规范和在翻译中使用的独特技巧,评述字幕组翻译的质量问题,发掘了产生质量问题的原因并提出了改善问题的见解。本论文的研究结果如下:
1、中国主要的美剧字幕组如伊甸园,通过QQ实习群的形式选拔翻译成员。字幕组的工作主要由片源提供者、时间轴制作人员、翻译、校对编辑和压片人员负责。他们是组织良好的互联网义工,虽然大多未曾谋面但通过互联网接收任务、分配任务并发布成果。字幕组选拔翻译人员的模式和工作流程为原本互相独立的成员提供了共享资源,快速沟通,协商解决问题的平台。
2、字幕组遵守的主要规范有:非商业免费共享成果,不得同时加入两个或以上的字幕组,禁止剽窃和盲译等。
3、字幕组翻译的主要技巧有:使用注释,使用网络语言和方言,使用文言文体裁及听译。
4、目前字幕组翻译存在的质量问题有:格式错误,拼写错误,翻译错误和标点误用等。作者建议字幕组引进观众评分策略,不同字幕组之间展开合作或者与专业翻译机构合作以改善翻译质量。
本文研究表明,数码时代的字幕组翻译是对传统字幕翻译标准和规范的挑战,体现了字幕组的创新和自我授权意识,对传统翻译教学有启示意义。作者最后呼吁,社会和学术界应该对活跃在互联网上的字幕组给予更多的关注。
A fansub (short for fan-subtitled) is a version of a foreign film or foreign television program which has been translated by fans and subtitled into a language other than that of the original. It is usually distributed among fans and recipients through the internet. The activity to make fansubs is called fansubbing. As a distinctive type of subtitling, fansubbing is carried out by the fansubbers who have no commercial purposes and translate out of fun and love.
This paper offers a descriptive study of the current fansubbing phenomenon in China. The author records the selection process and operating procedures of fansubbers and comments on the norms and unique translation skills in fansubbing. The quality problems of fansubs are also discussed in the paper; the author not only digs out the causes for quality problems in fansubbing but also makes a few suggestions to improve the quality.
The following are the finding of this study:
(1) In China, major fansub groups such as YTET have set up a QQ-based workshop to select new fansubbers. In a fansub group, members assume different roles such as raw provider, timer, translator, editor and encoder. They are well-organized volunteer workers who receive and assign the task and distribute their work on line. The selection process and working procedure of fansub group provide the previously indepent members a platform for sharing information, quick communication and solving problems.
(2) Fansub groups observe several norms strictly in their fansubbing activities, including: non-commercial and fair use of their works, loyalty to one fansub group only at one time, the prohibition of plagiarism and the prohibition of translation without watching the videos.
(3) Fansubbing display unique translation skills including: use of annotation, use
of web language and dialect, use of classical Chinese style and audio translation. (4) Quality problems occur in fansubs involve format errors, misspelling, mistranslation and misuse of punctuation. The author suggests that fansub groups introduce audience rating for their fansubs, establish cooperation between different fansub groups or work with the professional translation institutions so as to improve the fansubbing quality.
The research indicates that fansubbing has posed challenges to the traditional standards and conventions of subtitling and has been used as a means to express the translators’creative innovation and self-empowerment. This new form of subtitling has some positive implication on translation teaching. The author appeals to the society and the academic circle for more concern over the active online fansub groups.
1、中国主要的美剧字幕组如伊甸园,通过QQ实习群的形式选拔翻译成员。字幕组的工作主要由片源提供者、时间轴制作人员、翻译、校对编辑和压片人员负责。他们是组织良好的互联网义工,虽然大多未曾谋面但通过互联网接收任务、分配任务并发布成果。字幕组选拔翻译人员的模式和工作流程为原本互相独立的成员提供了共享资源,快速沟通,协商解决问题的平台。
2、字幕组遵守的主要规范有:非商业免费共享成果,不得同时加入两个或以上的字幕组,禁止剽窃和盲译等。
3、字幕组翻译的主要技巧有:使用注释,使用网络语言和方言,使用文言文体裁及听译。
4、目前字幕组翻译存在的质量问题有:格式错误,拼写错误,翻译错误和标点误用等。作者建议字幕组引进观众评分策略,不同字幕组之间展开合作或者与专业翻译机构合作以改善翻译质量。
本文研究表明,数码时代的字幕组翻译是对传统字幕翻译标准和规范的挑战,体现了字幕组的创新和自我授权意识,对传统翻译教学有启示意义。作者最后呼吁,社会和学术界应该对活跃在互联网上的字幕组给予更多的关注。
A fansub (short for fan-subtitled) is a version of a foreign film or foreign television program which has been translated by fans and subtitled into a language other than that of the original. It is usually distributed among fans and recipients through the internet. The activity to make fansubs is called fansubbing. As a distinctive type of subtitling, fansubbing is carried out by the fansubbers who have no commercial purposes and translate out of fun and love.
This paper offers a descriptive study of the current fansubbing phenomenon in China. The author records the selection process and operating procedures of fansubbers and comments on the norms and unique translation skills in fansubbing. The quality problems of fansubs are also discussed in the paper; the author not only digs out the causes for quality problems in fansubbing but also makes a few suggestions to improve the quality.
The following are the finding of this study:
(1) In China, major fansub groups such as YTET have set up a QQ-based workshop to select new fansubbers. In a fansub group, members assume different roles such as raw provider, timer, translator, editor and encoder. They are well-organized volunteer workers who receive and assign the task and distribute their work on line. The selection process and working procedure of fansub group provide the previously indepent members a platform for sharing information, quick communication and solving problems.
(2) Fansub groups observe several norms strictly in their fansubbing activities, including: non-commercial and fair use of their works, loyalty to one fansub group only at one time, the prohibition of plagiarism and the prohibition of translation without watching the videos.
(3) Fansubbing display unique translation skills including: use of annotation, use
of web language and dialect, use of classical Chinese style and audio translation. (4) Quality problems occur in fansubs involve format errors, misspelling, mistranslation and misuse of punctuation. The author suggests that fansub groups introduce audience rating for their fansubs, establish cooperation between different fansub groups or work with the professional translation institutions so as to improve the fansubbing quality.
The research indicates that fansubbing has posed challenges to the traditional standards and conventions of subtitling and has been used as a means to express the translators’creative innovation and self-empowerment. This new form of subtitling has some positive implication on translation teaching. The author appeals to the society and the academic circle for more concern over the active online fansub groups.
引文
[1] Bogucki, L. 2004. The constraint of relevance in subtitling [J]. Journal of Specialised Translation (1): 71-88.
[2] Brander, M & V, Jung. 2006. Free as in free beer vs. free as in free speech: Volunteer translation on the Internet [R]. Paper presented at Translation Conference: Translation, Technology and Culture, Portsmouth, UK, November 2006.
[3] Brondeel, H. 1994. Teaching subtitling routines [OL]. http://www.erudit.org/revue/meta/1994/v39/n1/020150ar.pdf (accessed15/1/2008)
[4] Cintas, J & P, Sanchez. 2004. Fansubs: Audiovisual translation in an amateur environment [OL].http://www.jostrans.org/issue06/art_diaz_munoz.php (accessed 25/2/2008).
[5] Cintas, J. 2004. Subtitling: The long journey to academic acknowledgement [J]. Journal of Specialised Translation (1): 50-68.
[6] Cintas, J. 2005a. Back to the future in subtitling [R].Paper Presented at the Marie Curie Euroconferences MuTra: Challenges of Multidimensional Translation, Saarbrücken, Germany, May 2005.
[7] Cintas, J. 2005b. The ever-changing world of subtitling: Some major developments [A]. In Sanderson, John D. (ed.) Research on Translation for Subtitling in Spain and Italy [C]. Alicante: University of Alicante.17-26.
[8] Danan, M. 2004. Captioning & subtitling: Undervalued language learning strategies [J]. Meta 49 (1): 67-77.
[9] Delabastita, D. 1989. Translation and mass-communication: film and TV translation as evidence of cultural dynamics [J]. Babel 35(4): 193-218.
[10]Doctorw, C. 2005. Digital rights management: A failure in the developed world, a danger to the developing world [OL]. http://w2.eff.org/IP/DRM/drm_paper.pdf (accessed 09/09/2008)
[11]Dries, J. 1995. Dubbing and Subtitling. Guidelines for Production and Distribution [M]. Düsseldorf: European Institute for the Media.
[12]French, H. 2006, Chinese tech buffs slake thirst for U.S. TV shows. New York Times, 09/08/2006. http://web.mit.edu/seantek/www/papers/progress-columns.pdf (accessed 27/08/2008).
[13]Gambier, Y. 2003. Screen transadaptation: Perception and reception [J].Translator 9(2): 171-190.
[14]Georgakopoulou, P. 2003. Redundancy level in subtitling. DVD Subtitling: A Compromise of Trends [D].Ph.D Dissertation. Guildford: University of Surrey.
[15]González, L. 2007. Fansubbing anime: Insights into the‘butterfly effect’of globalisation and audiovisual translation [J]. Perspectives 14(4): 260-277.
[16]Gottlieb, H. 1992. Subtitling– A new university discipline [A]. In Dollerup, Cay and Annette Lindergaard (eds.) Teaching Translation and Interpreting (1): Training, Talent and Experience [C]. Amsterdam & Philadelphia: John Benjamin. 161-170.
[17]Gottlieb, H. 2005. Subtitling [A]. In Baker, M (ed.) Routledge Encyclopedia of Translation Studies [M]. UK: Taylor & Francis e-Library. 244-248.
[18]Hagon, M. 2005. Multidimensional translation: A game plan for audiovisual translation in the age of GILT [R]. Paper presented the Marie Curie Euroconferences MuTra: Challenges of Multidimensional Translation, Saarbrücken, Germany, May 2005.
[19]Hatcher, J. 2005. Of otaku and fansubs: a critical look at anime online in light of current issues in copyright law [J]. Scripted 2(4): 545-571.
[20]Karamitroglou, F. 1998. A proposed set of subtitling standards in Europe [OL]. http://www.accurapid.com/journal/04stndrd.htm (accessed 26/04//2008).
[21]Kayahara, M. 2004. The digital revolution: DVD technology and the possibilities for audiovisual translation studies [J]. Journal of Specialised Translation (3):45-48.
[22]Leonard, S. 2003. Process against the law: Fan distribution, copyright and the explosive growth of Japanese animation [OL]. http://ocw.mit.edu/NR/rdonlyres/Electrical-Engineering-and-Computer-Science/6-805Fall-2005/F9D805F8-1233-4A02-BFA5C9FBFA5/0/prog_against_law.pdf (accessed 03/03/2008).
[23]Nida, E. A. 2004. Towards a Science of Translating [M], Shanghai: Shanghai Foreign Language Education Press.
[24]Ortabasi, M. 2007. Indexing the past: Visual language and translatability in Kon Satoshi’s millennium actress [J]. Perspectives 14(4): 278-291.
[25]Qian, S. 2004. The present status of screen translation in China [J]. Meta 49 (1): 52-58.
[26]Reiss, K. 2004. Translation Criticism-the potentials and limitations [M].Shanghai: Shanghai Foreign Language Education Press.
[27]Samuelsson-Brown, G. 2006. A Practical Guide for Translators [M]. Beijing: Foreign Language Teaching and Research Press.
[28]Shuttleworth, M & M, Cowie. 1997. Dictionary of Translation Studies [M]. Manchester: St. Jerome.
[29]Toury, G. 1995. The Nature and Role of Norms in Translation [A]. In idem, Descriptive Translation Studies and Beyond [C]. Amsterdam-Philadelphia: John Benjamins. 153-169.
[30]Whitman-Linsen, C. 1992. Through the dubbing glass: The synchronization of American motion pictures into German, French and Spanish [D]. Ph.D Dissertation. Saarbrücken: Univ. of Saarbrücken.
[31]陈琛. 2008.从译制片到字幕组.瞭望东方周刊, 2008-11-20.
[32]戴震东. 2007.字幕组正当较劲时.新闻晨报, 2007-10-11.
[33]胡凌竹. 2007.当美剧遭遇央视.新世纪周刊, 2007-02-12.
[34]胡瑛,李立志. 2007.发烧美剧字幕组:只干活不拿钱.广州日报, 2007-11-13.
[35]李和庆,薄振杰. 2005.规范与影视字幕翻译[J].中国科技翻译18 (2):44-46.
[36]麻争旗. 1997.论影视翻译的基本原则[J].现代传播北京广播学院学报(5): 82-84.
[37]钱绍昌. 2000.影视翻译-翻译园地中越来越重要的领域[J].中国翻译(1): 61-65.
[38]王佳敏. 2007.大学生热衷兼职美剧字幕翻译.青年报, 2007-10-14.
[39]王雅文,张琰. 2007.《越狱》背后的中国字幕组.瞭望东方周刊, 2007-1-31.
[40]朱冠楠. 2007.发烧字幕组.北京晚报, 2007-4-30.
[2] Brander, M & V, Jung. 2006. Free as in free beer vs. free as in free speech: Volunteer translation on the Internet [R]. Paper presented at Translation Conference: Translation, Technology and Culture, Portsmouth, UK, November 2006.
[3] Brondeel, H. 1994. Teaching subtitling routines [OL]. http://www.erudit.org/revue/meta/1994/v39/n1/020150ar.pdf (accessed15/1/2008)
[4] Cintas, J & P, Sanchez. 2004. Fansubs: Audiovisual translation in an amateur environment [OL].http://www.jostrans.org/issue06/art_diaz_munoz.php (accessed 25/2/2008).
[5] Cintas, J. 2004. Subtitling: The long journey to academic acknowledgement [J]. Journal of Specialised Translation (1): 50-68.
[6] Cintas, J. 2005a. Back to the future in subtitling [R].Paper Presented at the Marie Curie Euroconferences MuTra: Challenges of Multidimensional Translation, Saarbrücken, Germany, May 2005.
[7] Cintas, J. 2005b. The ever-changing world of subtitling: Some major developments [A]. In Sanderson, John D. (ed.) Research on Translation for Subtitling in Spain and Italy [C]. Alicante: University of Alicante.17-26.
[8] Danan, M. 2004. Captioning & subtitling: Undervalued language learning strategies [J]. Meta 49 (1): 67-77.
[9] Delabastita, D. 1989. Translation and mass-communication: film and TV translation as evidence of cultural dynamics [J]. Babel 35(4): 193-218.
[10]Doctorw, C. 2005. Digital rights management: A failure in the developed world, a danger to the developing world [OL]. http://w2.eff.org/IP/DRM/drm_paper.pdf (accessed 09/09/2008)
[11]Dries, J. 1995. Dubbing and Subtitling. Guidelines for Production and Distribution [M]. Düsseldorf: European Institute for the Media.
[12]French, H. 2006, Chinese tech buffs slake thirst for U.S. TV shows. New York Times, 09/08/2006. http://web.mit.edu/seantek/www/papers/progress-columns.pdf (accessed 27/08/2008).
[13]Gambier, Y. 2003. Screen transadaptation: Perception and reception [J].Translator 9(2): 171-190.
[14]Georgakopoulou, P. 2003. Redundancy level in subtitling. DVD Subtitling: A Compromise of Trends [D].Ph.D Dissertation. Guildford: University of Surrey.
[15]González, L. 2007. Fansubbing anime: Insights into the‘butterfly effect’of globalisation and audiovisual translation [J]. Perspectives 14(4): 260-277.
[16]Gottlieb, H. 1992. Subtitling– A new university discipline [A]. In Dollerup, Cay and Annette Lindergaard (eds.) Teaching Translation and Interpreting (1): Training, Talent and Experience [C]. Amsterdam & Philadelphia: John Benjamin. 161-170.
[17]Gottlieb, H. 2005. Subtitling [A]. In Baker, M (ed.) Routledge Encyclopedia of Translation Studies [M]. UK: Taylor & Francis e-Library. 244-248.
[18]Hagon, M. 2005. Multidimensional translation: A game plan for audiovisual translation in the age of GILT [R]. Paper presented the Marie Curie Euroconferences MuTra: Challenges of Multidimensional Translation, Saarbrücken, Germany, May 2005.
[19]Hatcher, J. 2005. Of otaku and fansubs: a critical look at anime online in light of current issues in copyright law [J]. Scripted 2(4): 545-571.
[20]Karamitroglou, F. 1998. A proposed set of subtitling standards in Europe [OL]. http://www.accurapid.com/journal/04stndrd.htm (accessed 26/04//2008).
[21]Kayahara, M. 2004. The digital revolution: DVD technology and the possibilities for audiovisual translation studies [J]. Journal of Specialised Translation (3):45-48.
[22]Leonard, S. 2003. Process against the law: Fan distribution, copyright and the explosive growth of Japanese animation [OL]. http://ocw.mit.edu/NR/rdonlyres/Electrical-Engineering-and-Computer-Science/6-805Fall-2005/F9D805F8-1233-4A02-BFA5C9FBFA5/0/prog_against_law.pdf (accessed 03/03/2008).
[23]Nida, E. A. 2004. Towards a Science of Translating [M], Shanghai: Shanghai Foreign Language Education Press.
[24]Ortabasi, M. 2007. Indexing the past: Visual language and translatability in Kon Satoshi’s millennium actress [J]. Perspectives 14(4): 278-291.
[25]Qian, S. 2004. The present status of screen translation in China [J]. Meta 49 (1): 52-58.
[26]Reiss, K. 2004. Translation Criticism-the potentials and limitations [M].Shanghai: Shanghai Foreign Language Education Press.
[27]Samuelsson-Brown, G. 2006. A Practical Guide for Translators [M]. Beijing: Foreign Language Teaching and Research Press.
[28]Shuttleworth, M & M, Cowie. 1997. Dictionary of Translation Studies [M]. Manchester: St. Jerome.
[29]Toury, G. 1995. The Nature and Role of Norms in Translation [A]. In idem, Descriptive Translation Studies and Beyond [C]. Amsterdam-Philadelphia: John Benjamins. 153-169.
[30]Whitman-Linsen, C. 1992. Through the dubbing glass: The synchronization of American motion pictures into German, French and Spanish [D]. Ph.D Dissertation. Saarbrücken: Univ. of Saarbrücken.
[31]陈琛. 2008.从译制片到字幕组.瞭望东方周刊, 2008-11-20.
[32]戴震东. 2007.字幕组正当较劲时.新闻晨报, 2007-10-11.
[33]胡凌竹. 2007.当美剧遭遇央视.新世纪周刊, 2007-02-12.
[34]胡瑛,李立志. 2007.发烧美剧字幕组:只干活不拿钱.广州日报, 2007-11-13.
[35]李和庆,薄振杰. 2005.规范与影视字幕翻译[J].中国科技翻译18 (2):44-46.
[36]麻争旗. 1997.论影视翻译的基本原则[J].现代传播北京广播学院学报(5): 82-84.
[37]钱绍昌. 2000.影视翻译-翻译园地中越来越重要的领域[J].中国翻译(1): 61-65.
[38]王佳敏. 2007.大学生热衷兼职美剧字幕翻译.青年报, 2007-10-14.
[39]王雅文,张琰. 2007.《越狱》背后的中国字幕组.瞭望东方周刊, 2007-1-31.
[40]朱冠楠. 2007.发烧字幕组.北京晚报, 2007-4-30.