電影《功夫熊貓I》字幕翻譯策略研究

ChapterTwoOverviewofSubtitleTranslationInourdailylives,weoftencomeintocontactwithsubtitletranslation.IfwewatchTV,movies,etc.onaregularbasis.Thetextcontentthatappearsonthescreenissubtitletranslation.Thissectionwillintroducethedefinitionofsubtitletranslationandthreetranslationstrategies.Throughthissection,readerscanhaveafurtherunderstandingofsubtitletranslation.2.1DefinitionofSubtitleTranslationSubtitlesrefertothedisplayofnonvisualcontentsuchasdialoguesintelevision,movies,andstageworksintheformoftext,andalsogenerallyrefertothepost-processingtextoffilmandtelevisionworks.TheexplanatorytextandvarioustextsthatappearbelowthemoviescreenorTVscreen,suchasthefilmtitle,castlist,lyrics,dialogue,etc.,theyareallreferredtoassubtitles.Thedialoguesubtitlesoffilmandtelevisionworksgenerallyappearbelowthescreen,whilethesubtitlesofdramaworksmaybedisplayedonbothsidesorabovethestage.Subtitletranslationisapopularformofaudiovisualtranslationthattranslatesanddisplaysspokencontentinvideosastext.Textusuallyappearsatthebottomofthescreenatthesametimeasaudio.Subtitletranslationmusteffectivelyconveythemeaningofwhatthespeakerissaying,whiletakingintoaccountthevisualimagesthatoccuronthescreenandadheringtomanyrestrictions,sothattheaudiencecaneasilyreadandprocesstheinformation.2.2TranslationStrategyofSubtitleTranslationWhenthesourcelanguagefilmandtelevisionworksarecirculatedtoothercountries,itisnecessarytotranslatethefilmandtelevisionworksinordertomakethemunderstandabletoaudiencesinothercountries.Therearemanytranslationstrategies,andthecorrecttranslationstrategycanhelpreadersunderstand.Inthissection,Iwillintroducethreetranslationstrategies:freetranslation,domestication,andforeignization.2.2.1FreeTranslationEachethniclanguagehasitsownuniquevocabulary,syntacticstructure,andhabitualexpressionmethods.Freetranslationreferstothetranslatormaintainingthemeaningoftheoriginalcontentwhileunderstandingit.Butnotlimitedtotheformoftheoriginaltext,adjustthestructureoftheoriginaltextappropriatelyfortranslation.Fromacross-culturalperspective,freetranslationemphasizestheculturalandvaluesystemofthetargetlanguage.Freetranslationreferstoaccordingtothemainideaoftheoriginaltranslation,notaword-for-wordtranslation(differentfromliteraltranslationLiteraltranslationisatranslationmethodortranslationtextthatmaintainsboththecontentandtheformoftheoriginaltext.Bibliography[1]Hastuti,Endang.Dwi.AnanalysisonSubtitlingStrategiesofRomeoandJulietMovie[J].RegisterJournal,2015(1):57-80.[2]Larsen,Birgit.Nedergaard.Culture‐boundproblemsinsubtitling[J].Perspectives,2010(2):207-240.[3]LiXinya.MovieSubtitleTranslation:RelevanceTheoryPerspectivewithReferencetotheMovieTheShawshankRedemptionastheCaseStudy[J].Literaltranslationisatranslationmethodortranslationtextthatmaintainsboththecontentandtheformoftheoriginaltext.Bibliography[1]Hastuti,Endang.Dwi.AnanalysisonSubtitlingStrategiesofRomeoandJulietMovie[J].RegisterJournal,2015(1):57-80.[2]Larsen,Birgit.Nedergaard.Culture‐boundproblemsinsubtitling[J].Perspectives,2010(2):207-240.[3]LiXinya.MovieSubtitleTranslation:RelevanceTheoryPerspectivewithReferencetotheMovieTheShawshankRedemptionastheCaseStudy[J].InternationalJournalofLanguageandLinguistics,2016(2):61-61.[4]Shuttleworth,Mark&Moira.Cowie.DictionaryofTranslationStudies[M].Beijing:TaylorandFrancis,2014:121-178[5]ZhangYing&LiuJunyan.SubtitleTranslationStrategiesasaReflectionofTechnicalLimitations:aCaseStudyofAngLee’sFilms[J].AsianSocialScience,2009(1):113-118[6]ZhangTianhui.MovieSubtitleTranslationfromthePerspectiveoftheThree-dimensionalTransformationsofEco-translatology:ACaseStudyoftheEnglishSubtitleofLostinRussia[J].JournalofLanguageTeachingandResearch,2021(1):139-143.[7]李雙娟.從《功夫熊貓Ⅰ》看字幕翻譯的文化翻譯觀[J].電影文學(xué)，2012，55（17）：139-140.[8]梁兵.歸化異化視角下的電影字幕翻譯[J].洛陽師范學(xué)院學(xué)報(bào)，2019，38（01）：79-81.[9]向小蕊.試析電影《功夫熊貓》的字幕翻譯[J].電影文學(xué)，2013，56（22）：156-157.[10]張春柏.影視翻譯初探[J].中國翻譯，1998，20（02）：49-52.[11]趙倩.美國動(dòng)畫電影字幕中幽默臺(tái)詞的歸化翻譯策略研究[D].保定：河北大學(xué)，2016.[12]周亮亮.電影字幕翻譯的“質(zhì)”與“量”[J].林區(qū)教學(xué)，2019，35（12）：93-DomesticationDomesticationreferstotranslationguidedbythetargetlanguageculture.Thistranslationmaximizestheuseofexpressionsthatareacceptabletothetargetlanguageculture.Moviesshouldtakeintoaccounttheaudience'sexpressionhabitsandappreciationlevel.Somanyobscureanddifficulttounderstandwordsandunfamiliarexpressionscancausetheaudiencetoloseinterest.Duetoculturaldifferencesandlimitationsinsubtitletranslationtimeandspace,subtitletranslationcannotbeannotated.Therefore,inordertoincreaseboxofficerevenue,domesticationisoneofthenecessaryandcommontranslationmethodswhentranslatingfilms.Thedomesticationstrategycanclosethedistancebetweentheaudienceandthefilm.Theproperdomesticationcanmakethetranslationvivid,concise,friendlyandlively,andeasyfortheaudiencetounderstandandaccept.Domesticationistheprocessoflocalizingthesourcelanguage,targetingthetargetlanguageortranslatedtextreaders,andconveyingthecontentoftheoriginaltextinawaythatthetargetlanguagereadersareaccustomedto.Domesticationtranslationrequirestranslatorstoapproachthereadersofthetargetlanguage.Theso-calleddomesticationmeansthatintheprocessoftranslation,theculturalvaluesoftheoriginaltextandthetargetlanguageareconsistentinareader-centeredwayandtheoriginaltextisintegratedintotheculturalenvironmentofthetargetlanguage,soastoachievethegoaloffluency,easeofunderstandingandacceptancebythereaders.Nidaisoneofthemostrepresentative.Thedomesticationtranslationmethodistoreduceorreplacethesourcelanguagecultureinthetargettextaccordingtothetargetaudience'senvironmentasfaraspossible.Domesticationisawaytominimizetheforeigncolorinthetranslation,sothatthetranslationcanachievethepurposeofnaturalandfluent.Domesticationshouldbringthetranslatorclosertothetargetreader,thetranslatormustspeaklikethenativeauthor,theoriginalauthorwantstotalktothereaderdirectly,thetranslationmustbecomethenativelanguage.Domesticationhelpsreaderstobetterunderstandthetranslatedtextandenhanceitsreadabilityandappreciation.2.2.3ForeignizationThemethodofforeignizationisforthetranslatortotrynottodisturbtheauthorasmuchaspossibleandmakethereaderapproachtheauthor.Intranslation,itmeansaccommodatingthelanguagecharacteristicsofforeigncultures,incorporatingforeignlanguageexpressions,andrequiringthetranslatortoapproachtheauthorandadoptcorrespondingsourcelanguageexpressionstoconveythecontentoftheoriginaltext,thatis,takingthesourcelanguagecultureasthedestination.Thepurposeofusingforeignizationistoconsiderthedifferencesinethniccultures,preserveandreflectthecharacteristicsofforeignethnicgroupsandlanguagestyles,andpreservetheexoticatmosphereforthetranslatedreaders.Foreignizationpreservestheculturalconnotationofthesourcecultureanditisalsofullofexoticism.Intheprocessoftranslation,translatorscanonlyexpressspecificinformationwiththesymbolicvalueofthetext,butsubtitlesaremoresynchronizedwiththepicture,music,soundandintonation,soastobetternarrowtheculturalgap,reflecttheculturalconnotation,andeffectivelysatisfytheaudience'sunderstandingoftheinformationandconnotationofthefilm.Inordertominimizetheculturalgap,itisnecessarytouseforeignizationtotranslatesomeculture-loadedwords.ChapterThreeAnalysisoftheTranslationStrategyofKungFuPandaIBasedontheprevioussection,Iwillconductadetailedanalysisofthethreetranslationstrategiesmentionedabove.Iwillcombinethismoviewitheachtranslationmethodtoanalyzeinmoredetailwhichtranslationmethodisspecificallyappliedinthemovie.3.1AnalysisoftheFreeTranslationThispartreflectsthespecificapplicationofFreetranslationinKungFuPandaIfromtheoraldialogueandthematicapplication.TheFreetranslationcanmakethefilmeasierfortheaudiencetounderstand3.1.1SpokenLanguageDialogueThelinesinmoviesareoftencolloquial,meaningthatthemostmeaningisexpressedinthesimplestsense.Becauseofthecharacteristicsofspokenlanguage,itisnecessarytopayattentiontotheexpressionofcultureandemotioninthelanguageandthelanguagehabitsinthetranslation.Iftranslatedwordforword,itmaybedifficulttounderstandanddoesn’tconformtoChineseidioms.Reasonablefreetranslationcanmakepeopleclearataglance,enhancethemomentumofthelanguage,andconveytheeffectofthesourcelanguage.Example(1):Po,Whatareyoudoingupthere?Nothing.Translation:阿寶你磨蹭啥呢?沒什么。ThisiswhenPoupstairsdream,hisfatheradvisedhimtoserveaclientscene.“磨蹭”referstoadeliberateactofstallingfortime.ItvividlyshowsPo'sdeliberatelydelayedservingservice,Thereisnodirecttranslation:“你在上面干什么”.Translatoruse“磨蹭”,ItvividlyreflectsPo'splayfulandlovelyimage.“啥”means“什么”,Here,thetranslatordoesn’tuse“什么”,Translatoristranslatedinto“啥”.Inthisway,makethedialogueclosertoourdailylife,morecolloquial.Example(2):Iseeyouliketochew.Maybeyoushouldchewonmyfist.Translation:我看你挺愛吃。有本事你就吃我一拳?！癟hewarriorsaidnothingforhismouthwasfull”.Translation:“武士一言不發(fā)因?yàn)樗诿χ浴薄皌henheswallowed,andthenhespokeEnoughtalk,let’sfight”Translation:“然后一口吞下開口說道,別廢話,動(dòng)手吧”。Thisisatthebeginningofthefilm,whenPodreamsthathimselfisapandawarrior,whatoneofhisopponentssaidtohimandwhathesaidtohim.Inthisconversation"chew"InEnglish,theoriginalintentionistobe“咀嚼”.Iftranslateddirectly,itshouldbetranslatedinto：我看你喜歡咀嚼，或許你應(yīng)該咀嚼我的拳頭。Butinthisway,itisveryfar-fetchedunabletoconveytheeffectofthefilm.If"chewtranslatedinto“吃”,It'ssomucheasiertounderstand.Atthesametime"maybe"translatedinto“有本事”,Hereenhancedthetonemorevividlyshowstheferocityoftheopponentandthecalmofthepandawarrior.However,intheirconversation“Enoughtalk,let’sfight”Translation:說得夠多,讓我們一起戰(zhàn)斗吧。Thiskindoftranslationwillmaketheaudiencefeelalittleawkwardanddifferentfromtheusualspeech.InordertosatisfythespeakingstyleofChineseaudience,freetranslationisadoptedtomaketheaudiencemorecomfortablethanoraltranslation.3.1.2ContextandThemeIdeasThefreetranslationmethodistotransformthedifficultwordsintheoriginalmeaningintosimpleandeasytounderstandChinesecharacters.ThismethodusesthetraditionalChineseideologytoexpresstheoriginalmeaning.Itwillnotmaketheaudiencemore"confused".Ittranslatesthegeneralideaoftheoriginallineswithoutdemandingthecompletetranslationofthewholesentence.Inthetranslationofeachwordandsentence,itcanonlypresentmorecomplexandchangeablecontentwhichisnotconducivetotheaudience's"one-step"understanding.TheItaliantranslationmethodisusedextensivelyinKungFuPandaI.Thetranslatorcombinesthecurrentcontextandthematicideastomakethecomplexitiesofthefilm'slinesmorevividandsimplefortheaudiencetounderstand.Example:Truewarrior，butdonotsurrender.Translation:真正的武士義不容辭。ThisisthelittlepandamastersaidtoPo,whenPo"study"isnotfine,hewantstogiveup,themasteriscareful,ithasbeenpersuadinghim.Thetranslationof“真正的武士義不容辭”isverygood.“notsurrender”translateinto“義不容辭”.Itcapturesthemeaningofthespeakerandalsoshowsthecharacterandspiritualcharmofperseveranceandnevergivingupinthespiritofthewarrior.ThissentencenotonlyencouragesPo,butalsoinspirestheChineseaudiencetoseethatifyouwanttobea"realwarrior",youmustpersevereandovercomeallkindsofdifficulties.3.2AnalysisoftheDomesticationThesubtitletranslationofKungFuPandaIisfamousfortheapplicationofdomestication,usingChineseidiomsandvarioustranslationtechniquessuchaspopularwords.Thistranslationmodesuccessfullyreproducesthelinguisticstyleoftheoriginallanguagesubtitlesandeffectivelyconveystheculturalconnotationoftheoriginalworks.3.2.1ChineseIdiomsAlthoughKungFuPandaIisanAmericancomedyfilm,itcontainsalotofChineseelements.Chineseidiom,asoneoftheessenceofChineselanguageisauniqueformoflanguagestructure.Chineseidiomshavethreeadvantages:intermsofcontent,theyareconciseandcomprehensive;Formally,itisneatandsymmetrical;Phonetically,itispleasingtotheear.Translationoffilmsubtitlesisdifferentfromgeneralliterarytranslationinthatitissubjecttotheconstraintsoftimeandspace.ThetranslationintoChineseidiomscannotonlystatethemeaningoftheoriginaltextinaconciseandcomprehensiveway,butalsoconformtotheexpressionhabitsoftheChineseaudienceandechotheChineseculture.InthesubtitletranslationofKungFuPandaI,manywordsarecleverlytranslatedintoidioms.Example(1):PrisonGuard:EscapefromChordomprisonisimpossible.Translation:獄卒:從嘯崗監(jiān)獄逃出去簡(jiǎn)直是天方夜談?！疤旆揭固丁眎safour-characteridiom，Toexpressdisbelieforboast.“impossible”Translation:“天方夜潭”。Itaccuratelyconveyswhatthespeakermeant.Example(2):LegendtellsoflegendarywarriorwhoseKungFuskillswerethestuffoflegend．Hetraveledthelandinsearchofworthyfoes．Translation:相傳有位傳奇武俠,他的功夫出神入化。他浪跡天涯，獨(dú)孤求敗。Intheaboveexample,thetranslatoradoptsanaturalizedtranslationstrategyandcombinestheChinesekungfubackgroundofKungFuPandaI.“thestuffoflegend”“traveledtheland”“insearchofworthyfoes”etc.Cleverlytranslatedintocatchyfour-charactersetsofwuxiaidioms,suchas“出神入化”“浪跡天涯”“獨(dú)孤求敗”“月滿潮漲”“俯首稱臣”等.This"four-charactergrid"translationmodereflectsthelegitimacyandeffectivenessoftheteleologicalprincipleinthepracticeofsubtitletranslationwiththeauthenticChineserhetoricdevice.Undertheguidanceoftheprincipleofteleology,thetranslatedsubtitlesareconciseandvivid,leavingadeepimpressionontheaudience.3.2.2BuzzwordsInrecentyears,withthepopularityoftheInternetandthetrendofpan-entertainmentmedia,buzzwordshavebeenwidelyusedbynewspapers,filmsandothermediaduetotheircharacteristicsofsimplicity,novelty,humorandyouth.KungFuPandaIisakungfucomedycartoon.InadditiontomoderatelyusingthetypicalChineseidiom,italsoadoptshumorousbuzzwordstoattractChineseaudiences.InconsideringthefilmandtelevisionworkssubjectandtheaudienceunderthepremiseofappropriateuseofChinesenetworkbuzzwords,canincreasethefilmandtelevisionworksandinnovativefilmsubtitleshasthecharacteristicsofpopularity,thediscretionofkungfupandaIsubtitletranslationusepopularwordsandfashion,notonlymakedifferentage,culturalleveloftheaudiencecanfullyunderstandthemeaningofthefilm,tobettermeettheaestheticneedsofdifferentgroups,andwithitshumoroustone,enhancethecomedyeffectofthefilm.ThequotationofthistranslationmodemakesChineseaudiencesfeeltheintimacyofcontextandalsotrulyappreciatethefunnystyleoftheoriginalfilm.AsfilmsubtitletranslatorJiaXiuyansaid,translatingimportedfilmsusingInternetwordsandancientpoemsisnotaspoofbutanattempt.Entertainingtheaudiencewhileremainingtruetotheoriginalintenttothemaximumextentpossibleisthejoyoftranslation.Example:Impressive，DragonWarrior.Translation:很給力,神龍大俠。OK，keepitcool,keepitcool.Translation:好的,淡定,淡定。Iamsuchabigfan.Translation:我就是一個(gè)超級(jí)粉絲啊。Itcanbeseenthattranslatorsdonotalwaystranslatetheoriginalwordsliterallydirectly.Butcleverlyintroduced“給力”“淡定”“粉絲”.TheseInternetwordsthatarefashionableinChinaarenotonlyknownbyyoungpeople,butarealmosthouseholdnames.Thistranslationmodeaimstoachievethevividandhumorouseffect,andthenrealizetheinteractionwiththeaudience.3.3AnalysisoftheForeignizationForeignizationstrategyisofgreatsignificanceforreaderstobetterunderstandforeignculture,anditcanhelpreadersbetterunderstandwhattheauthorwantstoexpressinhisworks.Domesticationistendtoreaders,itisconvenientforreaderstounderstand.Foreignization,incontrasttodomestication,tendstomakereadersmoreawareofwhattheauthorwantstoexpress.Foreignizationwillnotdistortthemeaningofthearticle.ThispartdescribestheembodimentoftheAmericanspiritandtheinclusivenessoftheAmericanculture.ThispartdescribestheembodimentoftheAmericanspiritandtheinclusivenessoftheAmericanculture.InthetranslationcontentisrespectivelycorrespondingtothecharactersandTaoistthought.ItseemstoreflectthatChinesethoughthasnothingtodowithforeignization.However,ifwelookattheauthor'screativeintentionsandideasforthisfilm,wecanunderstandwhythesetwopartsusetheforeignizationstrategy.ThemovieisaforeignfilmcreatedbyDreamWorks.AlienationshouldreflectmoreAmericanculture.However,ifweunderstanditthisway,wewillbewrong,andwewillcompletelymisinterprettheauthor'smeaning.ThismovieisanAmericanmovie.However,theauthorisbasedonChinaasthebackgroundofthestory,ChinesekungFuasthetheme,andthecreationoftheChinesestyleofanimation.AlargenumberofChineseculturalapplicationsareactuallypromotingtheAmericanspirit.3.3.1TheEmbodimentoftheAmericanSpiritThepandawithChineseelementsgivestheChinesepeopletheimpressionofbeingstupid,slowandnaive.However,Po'simageissurprising,howcanapandabecomesuchaway:direct,immodest,bold,flexible,expressive,self-centered,notconsideringthefeelingsofothers.ThisistypicaloftheAmericancharacter.Example:Yeh,Istayed.IstayedbecauseeverytimeyouthrewabrickatmyheadorsaidIsmelled,ithurts.Butitcouldneverhurtmorethanitdideverydayinmylifejustbeingme.”Translation:對(duì),我不走,我沒走,因?yàn)槟忝看稳哟u頭砸我頭或者嫌我臭我都很傷心,可是我最傷心的還是我每天渾渾噩噩地混日子做平凡的我。ThetranslationnotonlyfullyshowsPo'slostmood,butalsoshowshisbehaviorcharacteristicsandpersonalitycharacteristics.WethroughthetranslationofthissentencecanseethatPoambitionandbackboneisnotwillingtoordinary.Pointhefaceofthemaster'sdislikeheisstilloptimistictostay.Thiskindoftranslationeffectreflectsthecharacterthattheauthorwantstoexpress.TheAmericanpeoplehavealwaysbelievedineternalhopeanddaredtopursueitwithoptimism.Atthesametime,theAmericanpublicalsoadvocatestheconnotationofthespiritofequalityforall,andpeoplebelievethataslongastheyrelyontheirownunremittingefforts,theyaresuretorealizetheirultimatedreamoflifeandachievesuccess.Therefore,theAmericanpeopleareonlywillingtobelieveinrelyingonthemselvesandadvocatingself-reliance.Inordertoachievesuccess,theywillnotfollowthefootstepsoftheirpredecessors,butdaretotakerisksandencouragepeopletoexperimentandexplore.Powasamanwhodaredtotakerisksandrealizehisdreamsonhisown.HewastheembodimentoftheAmericanspirit.Therefore,intheprocessoffilmsubtitletranslation,itisnotenoughtoonlypursuetherationalityoflanguage.Itisalsonecessarytohaveadeepunderstandingofthethemeofthefilmandthecharactercharacteristicsoftheprotagonist,andtotrulyunderstandtheconnotationofthefilmtobeconveyedandtheperformanceabilityoftheprotagonist,soastoachievethedualgoaloftranslationeffectandachievethemaximumeffectofcross-culturalpublicityofthefilm.3.3.2TheInclusivenessoftheAmericanCultureThefilmincorporatesChineseTaoistideas,andtheauthorwantstoshowtheinclusivenessofAmericanculture.CulturalinclusivenessinAmericanmoviesBecausetheUnitedStatesisacountryofimmigrants,theirancestorsarenotAmericans,butpeoplefromallovertheworld.Therefore,thenationalcultureoftheUnitedStatesisalsointegratedwithmulticulturalism,andthismulticulturalismhasproducedthecharacteristicsofinclusivenessofAmericanculture.Asanimportantpartofmodernsocialculture,filmisnaturallynoexception.ThecommercialsupremacyprincipleadvocatedbymodernAmericanfilmintegratesitsownpositionintotheworldfilmmarket,ratherthanonlyattractingtheaudienceofitsowncountry.Therefore,inadditiontoabsorbingthetraditionalculturalcontentofthenation,itwillalsoabsorbandadopttheculturesofmanynationsintheworld,whichisoneoftheculturalstrategiesofmodernAmericanfilms.KungFuPandaIisoneoftheconcretemanifestationsofthisbrandculturalstrategypromotion.UnderthetrendoftheintegrationofChineseandWesterncultures,thetwocultureshavebeenwellintegratedanddevelopeddependingondifferentwaysandpaths.Americanmodernfilmcreationhasmadegreatbreakthroughsintermsofsubjectmatter,theme,styleandform,andonthebasisofinfiltratingspecificcommercialelementsintotheworkstoensuretheboxofficerevenue,alargenumberofstorylinesinlinewiththetasteoftheaudiencehavebeencreated.ThefilmKungFuPandaIhasastrongChinesestyle,whichnotonlycreateshugecommercialprofitsfortheHollywoodfilmindustryintheUnitedStates,butalsopromotestheOrientaltemperamenttotheinternationalstagethroughthefilmartform,promotestheculturalexchangeandintegrationbetweenChinaandtheWest,andplaysanimportantroleinpromotingtheculturalintegrationoftheworld.Example(1):Oogway:IsensetheDragonWarriorisamongus.Translation:烏龜大師:我參悟到“神龍武士”就在我們中間。Taoistthought“參悟”referstoaclearunderstandingofeverythingandeverything.ItembodiestheskillsofTaoistmonks.Ifuse“感覺到”ItcannotreflecttheChineseTaoismof“參悟”marrow.Example(2):TheuniversehasbroughtustheDragonWarrior.Translation:冥冥宇宙為我們指定了龍斗士。“冥冥宇宙”“指定”embodiesTaoism“天意不可違”Example(3):Mytimehascom.Youmustcontinueyourjourneywithoutme.Translation:我氣數(shù)已盡。你得孤身上路了?！皻鈹?shù)”embodiestheviewofTaoism“塵世間一切皆為氣”Theentityfloatingfeatherintoimmortalscanbetransformedintoavarietyofforms.“孤身上路”reflectsthatTaoismregardshumanlifeasajourneyinthehumanworld.ThispartistranslatedintoTaoistculturebyforeignizationtranslationstrategy,whichissomewhatcontrarytoAmericanculture.Butthat'snotreallythecase.Ifaliteraltranslationisusedhere,therewillbenoTaoistideologyinChinesecultureanditwilldeviatefromtheauthor'sintention.TheauthorreflectstheinclusivenessofAmericanculturethroughChineseculture.ByincorporatingChineseculture,thefilmhascreatedhugecommercialprofitsfortheHollywoodfilmindustry.ChapterFourImplicationsfromtheSubtitleTranslationofKungFuPandaIAdetailedstudyofthefilmhasledtoanumberofinsightsinsubtitletranslation,preservingthecontextandconnotationsoftheAmericandrama,keepingthesubtitlessimpleandlifelike,andfocusingonculturalacceptability.4.1KeepingtheContextandConnotationofMoviesContextisthelinguisticenvironmentandincludesbothlinguisticandnon-linguisticfactors.Context,time,space,context,etc.Theyareallcontextualfactors.Fromtheperspectiveofthehistoricalrecordoflinguisticenvironment,thedefinitionandbasiccontentofcontextaredifferentfromthebasiccontentofvariousdisciplinesandacademia.ThesettingofAmericanfilmsislargelydependentonthecharacters.Ifyoucan'tkeepthecontextandconnotation,thenthefilmcreateeverythingisnolongerinteresting.Theupsanddownsofthestoryinthefilm,theintricatecharacterrelationships,thelifelikecharactersandthetimeandplaceoftheeventsconstitutetheexcellentscenecontext.Infilmandtelevisiontranslation,thedifferenttoneandattitudeshouldbefaithfullyreproduced.MasterOogwayandtheraccoonhaveaconversation:I’vehadavision.Tailungwillreturn.That’simpossible.He'sinprison.”“Nothing’simpossible.“Zeng,flytodorh-Gomprisonandtellthemtodoubletheguards,doubletheirweapons,doubleeverything!"“Oneoftenmeetshisdestinyontheroadhetakestoavoidit,'“Wemustdosomething!Wecan’tlethimmarchonthevallcy,takehisreveng."Yourmindislikethiswater,myfriend.Whenit'sagitated,itbecomesdifficulttosee.Butifyouallowittosettle,theanswerbecomesclear.Translation:“我看見了些幻象,太郎會(huì)重現(xiàn)江湖。”“這不可能,他還在牢里呢。"“萬事皆有可能?！薄靶≡?馬上飛到桃崗天牢去,告訴他們看守加倍,兵器加倍,什么都加倍!“有言,子欲避之,反促遇之!”“我們不能無動(dòng)于衷,他說不定會(huì)來谷中泄憤,以報(bào)私恨?！薄靶娜绱怂?老朋友,亂則不明。但若心如止水,答案便盡顯眼前?！盡asterOogwayhadahunchthatthesnowleopardswouldreturntofightfortheDragon'sSecret,sohesummonedMasterRaccoontotalktohim.Fromthevocabularylevel,itisnotdifficulttoseethatthethemeoftheoriginaltextistousetheraccoon'sordinarymindtofoilMasterOogway'sBuddhistwisdom:heforeseeseverything,understandseverything,defieschaosandprovidesguidance.Hiswordshavetheeffectofenlightenment,whichisusuallythestateofBuddhistmonks.Fromthelinguisticpointofview,itappearsintheformofdialogue.Amongthem,MasterTurtle'swordsarefullofZen,usingtherhetoricalmeansofpreachingandpersuasion,whichismoreformalandprofoundmeaning.Theraccoon'sresponsereflectshispanicandcolloquialexpression.Fromthetenorofthelanguage,Oogwayandtheraccoon'sexplicitsocialrelationshipisthattheyarefriendsandfamiliar,andshouldbeequal.Butthroughoutthefilm,wecanseetheirimplicitrelationship.FromMasterOogway'slateremergenceintoimmortality,wecaninferthatthereisabigdifferenceinagebetweenthem.Secondly,throughthedifferencebetweentheirwordsanddeeds,wecanknowthatMasterOogwayrepresentsanextraordinarymanofenlightenment,whileRaccoonrepresentsamasterofmartialartswithamortalmind.Andtheraccoon'sspeechismostlymoderncolloquial,suchas：“這