Abstract
We propose in this paper a conceptual model of how equivalence may be achieved in subtitling to allow the target language viewers the opportunity to enjoy a comparable cinematic experience as that enjoyed by the source language viewers. We follow Brock’s (2015) adaptation of Goffman’s (1981) participation framework in communication and take Nida’s (1964) Dynamic Equivalence as the point of departure to propose Cinematic Equivalence as the conceptual model as well as the aim of film subtitling. This model is illustrated by examining the English subtitles of a Chinese biographical film called Forever Enthralled (?????). Based on our conceptual model, we make suggestions for subtitling training and practice.
Highlights
Equivalence is a controversial and elusive concept in translation studies
The outcome of successful subtitle-mediat ion is the target language (TL) v iewers enjoying an equivalent viewing experience as that enjoyed by source language (SL) viewers of the same film
The model was illustrated by means of a case study of subtitling a biopic
Summary
Equivalence is a controversial and elusive concept in translation studies. Theorists have proposed numerous typologies of equivalence. In a b ilingual or inter-linguistic v iewing context, as shown, the t ime setting of CL1 and CL2 are the same, the language of the viewers differs to that of the characters in CL2, the inter-linguistic commun ication by its very nature creates a layer of co mp lexity such that the greater the dissimilarity and distance there is between the SL language and culture of the film and that of the TL v iewers, the more difficult it is for the subtitler to ach ieve an equivalent cinematic experience for the TL viewers. In view of the essential role of understanding characters in biopics, we utilise Meinhof and Galasiński’s (2005) framework on character identity in interpreting character identities in biopics This theory adopts four con text parametres in interpreting character identities as created in the film through linguistic resources, namely the Time, Place Social Encounters and Relat ions. We shall use the content categories of Time, Place, Social Relat ions and Social Encounters (Meinhof & Galasiński, 2005) as entry points to analysise the construction of Mei Lanfang’s identity through linguistic means
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