النقل الثقافي في السترجة السينماتوغرافية ما بين اللغات فيلم*العفيون والعصا*نموذجا

Abstract

Cultural transfer in cross-linguistic film subtitling Film "The Opium and the Stick" as a case study
 In translation studies, the issue of cultural transfer was and still is one of the challenges on which the success or failure of the translation process in creative writings depends. In the sense that texts are generally translated according to the traditional concept of translation, but when it comes to the cinematographic audio-visual texts, in particular, the situation is completely different, especially in the field of cinematographic subtitling, because the text remains hypothetical and it requires the understanding of dialogues and other cinematographic factors. This work discusses the mechanisms that govern the process of cultural transfer in cinematographic subtitling between languages (the source and target languages), as well as the nature of equivalence which cannot be understood without considering the context.It appears through this study that the word outside of actual use is meaningless; considering that texts or discourses convey within them a cultural content and a cognitive material, expressed in a specific place and context with a specific intention, and this cultural content is what was expressed. Meaning is the essence of the transfer process in translation and it is the first and last goal because the extract is based on meanings in the process of transferring through understanding that is generated through the linguistic and non-linguistic elements of the cinematographic film. Put otherwise, both formal equivalence and functional equivalence have their place in the transfer strategy adopted by the detractor. Familiarity with the text is not only a feature of dubbing, but also subtitling. It should also be noted that in addition to these elements, there are still other fundamental problem in the stage of understanding the retrieved text, which lie in the fact that our knowledge of audio-visual translation is limited so far. We cannot even say that the translator follows these steps; rather each translator has his own style of transmission, and it is even more difficult to determine how to understand the text - what do we do exactly when we try to understand an audiovisual text? Also, successful methods have not been available to deal with this type of communication channels by providing the elements of audio-visual sense, subjective experience and information that must be available for an audio-visual translator. These issues lead us to reconsider the classical and modern translation concepts and reformulate them according to the current communicative data.