目的論視閾下電影漢英字幕翻譯策略研究-以《影》為例

PAGE15目的論視閾下電影漢英字幕翻譯策略研究—以《影》為例目的論視閾下電影漢英字幕翻譯策略研究—以《影》為例題目目的論視閾下電影漢英字幕翻譯策略研究—以《影》為例TITLESubtitleTranslationfromthePerspectiveofSkopostheorie:ACaseStudyofShadowAbstractWiththeemergenceanddevelopmentofthefilmindustry,subtitletranslationhasbecomeincreasinglyimportant.However,therearerelativelyfewstudiesonsubtitletranslationthusfar.Againstthisbackground,thispapertakesthesubtitletranslationstrategiesadoptedinthefilmShadowasitsresearchobjecttoexploretheissuesinvolvedinsubtitletranslation.ThroughadetailedanalysisanddiscussionofthetranslationstrategiesemployedintranslatingthesubtitleofShadowintoEnglish,thisstudyendeavorstoidentifythegeneralrulesofsubtitletranslationsoastohelpimprovethequalityofsubtitletranslationingeneral.Skopostheorie,orSkopostheory,isusedasthemaintheoreticalframeworkforthisstudy.Translation,asacross-culturalandcross-linguisticcommunicativeact,isalsoapurposefulactivity.Thus,withtheguidanceofSkopostheorie,wecanidentifythemainfactorsofdifferenttypesoftranslationstrategiesintranslation.Thispapermainlyusescasestudyasitsresearchmethodology.ThecorpusofthewholefilmismanuallytranscribedbytheauthorintheformofasetofChineseandEnglishparalleltexts.ThroughthecomparativeandcontrastiveanalysisoftheChinesesubtitlesandtheirEnglishcounterparts,itisfoundthat,onthewhole,threetranslationstrategiesareutilized:directtranslation,indirecttranslationandomission.Furthermore,itisfoundthatdirecttranslationoccurs45times,indirecttranslation25times,andellipsis18timesrespectively.Onthatbasis,thisstudygivesageneralaccountofthesubtitletranslationofShadow.Throughtheanalysisofthesubtitletranslationstrategiesinthisstudy,thisstudycanprovidesometheoreticalandpracticalguidancefortherationalchoiceofthesubtitletranslationstrategiesinthefuture.Therefore,thisstudywillhelpenhancethequalityofsubtitletranslation.Meanwhile,thisstudyhassomeimplicationsforfutureeffortsinresearchonsubtitletranslation.Keywords:SubtitleTranslation;Translationstrategy;Skopostheorie;Translationquality摘要隨著電影行業(yè)的興起和不斷發(fā)展，字幕翻譯變得越來越重要。但是關于電影字幕翻譯方面的研究還是總體相對較少。本文以《影》的字幕翻譯中所運用的翻譯策略為研究對象，通過詳盡分析和探討該影片所采用的翻譯策略，旨在發(fā)現(xiàn)并總結(jié)電影字幕翻譯規(guī)律，從而促進字幕翻譯總體質(zhì)量的提高。本研究以目的論作為主要理論框架。翻譯作為一種跨文化和跨語言的交際性行為，具有一定的目的性。由此，目的論可以幫助有效厘清翻譯中所采用不同類型翻譯策略的主要因素。本論文主要采用案例分析法。整部電影的語料均由作者手工轉(zhuǎn)錄，形成英漢對照平行文本。通過對中英文字幕的對比分析，發(fā)現(xiàn)譯者主要采用了直接翻譯法、間接翻譯法和省略法這三種主要策略。通過對翻譯策略的描述統(tǒng)計，發(fā)現(xiàn)直接翻譯法在電影中共出現(xiàn)45次，間接翻譯在文中出現(xiàn)25次，而省略法在文中共出現(xiàn)了18次。在此基礎上，本研究對于《影》的字幕翻譯做了總體的描述分析。通過本研究對電影字幕翻譯策略的分析，能夠為未來的電影字幕翻譯策略的合理選擇，提供一定的理論和實踐方面的指導，從而提高字幕翻譯的質(zhì)量；同時本研究對于電影字幕翻譯研究也具有一定的借鑒意義。關鍵詞：字幕翻譯；翻譯策略；目的論；翻譯質(zhì)量ContentsTOC\o"1-3"\h\uAbstract I摘要 IIIⅠ.Introduction 11.1ResearchBackground 1.2ResearchObject＆Purpose 1.3ResearchMethodology 1.4ResearchSignificance Ⅱ.LiteratureReview 42.1SubtitleTranslationinChina 2.2RelevantStudiesAbroad Ⅲ.TheoreticalFramework 83.1AnOverviewofSkopostheorie 3.2ThePrinciplesofSkopostheorie 3.2.1ThePrincipleofAim 3.2.2ThePrincipleofCoherence 3.2.3ThePrincipleofLoyalty 3.3SkopostheorieandSubtitleTranslation Ⅳ.AnAnalysisoftheTranslationStrategiesinShadow 144.1AnOverviewofSubtitleTranslationinShadow 4.2TheTranslationStrategiesinShadow 4.2.1DirectTranslation 4.2.2IndirectTranslation 4.2.3Omission Ⅴ.Conclusion 225.1GeneralFindings 5.2ConcludingRemarks Bibliography 28Acknowledgements 30

ListofTablesTable5.1FrequencyofstrategiesinShadow 26

Ⅰ.Introduction1.1ResearchBackgroundAlongwiththedeepercorporationineconomyandpolitics,nowtheconnectionbetweencountriesarebecomingincreasinglycloser.Andnowculturehasbecomeanecessarypartofglobalization.Itiswell-knownthatourleisureactivitiesarebecomingmoreandmoremiscellaneousandfilmsareoneofthemostpopularwaysofentertainmentforus.Andpeoplewatchnotonlydomesticfilmsbutalsoforeignfilms,sosubtitletranslationisessential.Thefilmscanattractaudiencestowatch,mainlydependingontheplotandthesubtitle.Subtitletranslationisdifferentfromotherformsoftranslation.Itisauniquetypeoftranslationbecausethesourcetextandthetargettextappearedatthesametime.Sothetranslationisnotonlyrestrictedbythestandardofthelanguagetext,butalsorestrictedbythelimitationofthetimeandspace(Li＆Bo,2005:44-46).Therefore,thetranslationofsubtitleisworthytostudy.Withmanylimitationsofsubtitletranslation,thestandardofitmustberigorous.Inordertomakesubtitletranslationmoreexcellent,theresearchisessential.Subtitletranslationgraduallyattractsmoreandmoreattentionfrombothhomeandabroad.Manypeoplearetryingtostudyit.ThepaperchoosesthefilmShadowastheexampletostudysubtitletranslation,becausethisfilmisvaluableforustoexplore.Thebackgroundofthisfilmissetinancienttimes,sothetranslationmustbedifferentfromthemodernone.Therefore,therearemanygreatideasinthismovietobeinvestigated,suchasthetranslationofsomeidiomsandarchaism.Thesewillbeveryusefulforfuturestudies.1.2ResearchObject＆PurposeThepaperwilldiscussthefilmShadow.Thisfilmmainlytoldastoryaboutavulnerablecharacterwhodoesn’tcompromisetobeasubstituteandhehadenduredahardtime,finallybecameafreeman.AlthoughthispaperisgoingtostudythesubtitletranslationinShadow,westillwanttoexploremorerulesandgivemorechancestootherfilmsubtitletranslation.Whatwemainlywanttostudyisthesubtitletranslation,itshouldbetheresearchobject.Theresearchobjectisn’trestrictedinthisfilm,instead,thispaper’saimistodomoreeffortstothefieldofsubtitletranslation.AndasforShadow,itsthemeissetinancienttimes.Therefore,wecansummarizemoreprinciplessoastoprovideexperienceforthesubsequenttranslation.Becausetheresearchesaboutfilmsubtitletranslationarenotenough,sothepaperwanttosummarizemorerulesthroughcollectingtheinformationofthefilmShadow.Duringtheprocessofstudyingthematerial,thepaperfoundthatthetranslatoralwayslikestousedirecttranslation,indirecttranslationandomissionwhentranslatingthesubtitle.Thepaperisgoingtosolvethesequestions:Whywouldthistranslationusedirecttranslationandindirecttranslation?Whywouldthetranslatorsuseomissiontoshortenthesubtitle?Howwouldthetranslatorstranslatetheidioms?1.3ResearchMethodologyFirst,thepaperwillfocusonthedatasource.ThewholesubtitleofShadowismadebymanualtranscription.Ittakesmanyhourstoproofreadthesubtitleaccordingtothemovie.Finally,thepaperformedthedatasource,sothedatasourceissurelycollectedbytheauthor.Second,thepaperisgoingtotalkaboutcasestudy.Thepapertakescasestudyastheresearchmethod,whichcanclearlyfacilitatetofinishthetheme.CasestudywasexploredandfinishedbyHarvardUniversityin1880.Itwasoriginallyusedtotrainseniormanager,andthenitgenerallybecameastudyingmethod.Thecasestudyisastudymethod.Itisusuallyusedtoexplainonecasewhichcanhelptostudyanotherdeeply.Thecaseisthecenterofthestudy.Whethertheeffectofthestudyisgoodornotdependsmainlyontheselectionofthecases.Goodcaseswillgivepeopletherightchoicestoanalyze,sothecasesareveryimportant.Aseveryoneknown,thecasestudyisasignificantformofstudy,soitcanbehelpfultothestudyofthetranslation.Usingitcangiveusmoreroomtostudysubtitletranslationwhichcandeeplypromotethedevelopmentofsubtitletranslation.1.4ResearchSignificanceShadowisafilmwhichisfullofChineseelementsanditreflectstheancientChineseculture.Thedirectorusedthevisionofblackandwhitetoshowancientfeelings.Inthefilmtherearemanyidiomsneedingtobetranslated.Thepaperisgoingtofindmoresignificantrulestomakemorecontributionstofilmsubtitletranslation.Differentfromtraditionaltranslation,subtitletranslationshouldbeshortandaccurate.AndthepaperaimstofurtherexplorethisfilmthroughtheSkopostheoriewiththeprinciplesofaim,coherenceandloyalty.Mostpeopleliketodotranslationaboutliteratureworksorpoemswhilefewpeopleliketomaketranslationaboutfilmssotherearefewtheoriesthatcanbeusedinsubtitletranslation.Thepaperholdsthatthescholarsshoulddomuchmoreworkstosummarizemoreprinciplesfortranslatingmoreexcellentfilms. Eachfilmhasitsownpurposes,theSkopostheoriecanhelpthetranslatorsdiscovertheprofoundsignificancethatthefilmswanttotellus.

Ⅱ.LiteratureReviewSomepreviousstudieshavebeenconductedinthefieldofsubtitletranslation.2.1SubtitleTranslationinChinaIntheearlyperiodof1800,thefilmsallprimarilyhadforeignlanguagesubtitles.Themostcommontypeisplotinstruction,whichmainlyincludestheinstructionofplotandsomerelevantinformation.AfterenteringtheChinesemarket,subtitletranslationappeared.ThefirstpersonwhointroducedsubtitletranslationtoChinaisthestudentChengShurenabroad.Inthelaterperiodof1900,subtitlebegantopopularizeinChina.Inabout1936,anamountofforeignfilmsflockedintoChinesemarketandtheforeignproducershadalreadymatchedthemwithChinesesubtitlebeforetheywereimportedtoChina.Inabout1946,thedubbedfilmsbegantoappear.OurresearchesaboutEnglishfilmsubtitletranslationstartedlaterthanforeigncountries.Thedevelopmentofitlagsfarbehind.Throughstudyingrecentpassagesaboutsubtitletranslation,wecanfindsometheories:functionalequivalencetheory,ecologytranslation,relevancetheory,adaptationtheory,Skopostheorieandcognitivetranslationandsoon(Wang＆Gong，2018:78-79).Thepaperalsodoessomeresearchesaboutfilmtranslation.Guo(2013)arguesthatsubtitletranslationhasthesecharacteristics:colloquial,cultural,unique,conciseandtime-limited.Andhealsosummarizessomestrategiesoftranslation.Huang(2018)arguesthattranslationshouldbeunabridgedmaximumly.ShethinksthatsomesubtitletranslationshouldbetranslatedwiththecollaborationoftheChineseandForeigntranslators.Zhang(2010)discussesthecoherenceofthesubtitletranslation,hethinksthatthetranslationmustkeepitscoherenceandatthesametimespreadthecoherencetotheaudience.Li(2017)discussesthatthroughtranslating,thetranslatorshouldusesomestrategiestohelptheaudienceunderstandthemeaningofsomecomplexculturalconnotation.Fromthesedata,wecangenerallyknowthedevelopmentconditionofsubtitletranslationinourcountry.Theresearchesinourcountrystartslate,soourstudystillhassomedistancefromtheforeigncountry.Nowtherearemanysubtitletranslationgroups,andtheyspontaneouslyconstituteagrouptotranslatemanyforeignfilms.Theyalsoindirectlypromotedthesubtitletranslationofourcountry.Becauseofglobalizationandourcloseconnectionwithothercountries,itgivesthemmoreaccessestoforeignfilms.Italsogivesachancetofilmtranslationsothatcangetdeveloped,whichmaypromoteculturecommunicationwithothercountriesatthesametime.2.2RelevantStudiesAbroadThereasonwhyfilmtranslationandrelevantresearchesdevelopsothrivinginEuropeisthecloseconnectionofspecifichistoryandthedevelopmentoftheEuropeancountriesandthepolymorphousfeaturesofthelanguageandculture.WegenerallythinkthattheforerunneroftheearlydubbedarearesearchisIstvanFodor.Hisworkpublishedin1976discussedsubtitletranslationfromvariousanglessuchaslinguistics,semiology,aestheticsandpsychologyandsoon,andestablishedthefoundationofeasternfilmtranslationstrategyresearch.Fodorcameupwiththerequestoffilminthreesidestoreach“synchronization”.Thethreesidesoftherequestare“thesynchronizationoflanguage”,“thesynchronizationofpersonalcharacter”and“thesynchronizationofcontent”.Atthesametime,healsotalkedaboutdifferentlanguagesandthedifferentsignificanceofgestureintheculturalsystem,andtheshootingangleofthecameralenswillcausedifferentvisualeffecttotheperceptionoffilmcharacters’utterance.Inthelasttenyears,filmtranslationdevelopedslowlyinEurope,anditmainlytakesdescriptivenessofthesubtitletranslationastheprimaryrole.Thegoldenageoffilmtranslationresearchwasinthe1990s.In1991and1992,thereweretwoimportantworkssuccessivelypublished.Oneisthe“OvercomingLanguageBarriersinTelevision”writtenbyLuykenandotherfourdubbedinsidersfromotherEuropeancountries.AnotheroneistheworkwrittenbytheSwedensubtitletranslatorJanIvarsson.Thewriterthinksthat,besidesthese,thereisstillacrucialworkineasternfilmtranslationresearch.Asafemalescholarwhoholdfivedifferentlanguages,shestudiedsomefilmsdirectedbytheAmericandirectorWoodyAlanindetail.ThesefilmslaterweredubbedbyGerman,FrenchandSpanish,anditchangedinsemanticcontent,styleandartisticvalue.Shecameupwithsomeadvice.Theabovescholars’researchestablishedthefoundationofthelaterdevelopmentofEuropeanfilmtranslationresearch.After1995,theeasternfilmtranslationdevelopedfast,andthenumberofthetreatiseobviouslyrose.Recently,somefilmscholarsbegantoputtheirattentiontosubtitletranslation.Theinternationalmeetingunderthethemeoffilmresearchgraduallyopenedthedoortothetreatiseoffilmtranslation.Somescholarsactivelystarttobuildthebridgebetweenfilmresearchandtranslation.TheSpanishscholarChaumestructuresatranslatinganalysisframebasedonthelanguageideographicalexpressionsymbol.Itconsistsoftentypesofideographicalexpressionsymbolwhichinfluencetheoperationofactualtranslation（Dong,2007:13-15）.Fromtheaboveinformation,itcanbeeasilyknownthattheforeigncountrieshavestudiedfilmtranslationfornotashorttime,andtheystartedearlierthanus.ThecultureandhistoryoftheEuropeancountriesareverysplendid,sofilmtranslationdevelopswellinEurope.Theydidnotonlyputtheirattentiontofilmtranslation,andtheyalsoconnectedthetranslationwithotherareasandhavealreadyobtainedsometheoriesthatareadvantageoustosubtitletranslation.Theyhaveawideviewtowardfilmtranslation.Theycanseeallsidesofthem.Theystudyitssemanticcontent,styleandartisticvalue.TheEuropeanscholarsalsowritemanytreatisestoexpandthetranslation,whichmadeagreatcontributiontolaterdevelopment.Aftersteppingintothe21stcentury,theybegantogivemorechancestotherelationshipoffilmstudyandtranslationresearch,whichhasmadecontributiontobothsides.

Ⅲ.TheoreticalFramework3.1AnOverviewofSkopostheorie“Skopos”isaGreekwordanditrefersto“purpose”.ItwasfirstlyproposedbyHansVermeerin1970,andthewordappearedinhisbookGroundworkforaGeneralTheoryofTranslationforthefirsttime.WecansaythatthegreatestcontributionofHansVermeerisSkopostheorie,becausehe“brokeawayfromtheequivalence-basedtheoriesandsetupthetheoreticalframeworkfor‘FunctionalSchool’”.Skopostheorieisconsideredasthecoreoffunctionalisttranslationtheory.HansVermeerconsidersthatoneofthemostimportantfactorsdeterminingthepurposeofatranslationistheaddressee,whoistheTLreceiveroraudiencewiththeirown“culture-specific,world-knowledgetheirexpectationsandtheircommunicativeneeds”(Nord,2004).AndMunday(2001)leavesusacomment:“SkoposTheoryfocusesonthepurposeofthetranslation,whichdeterminesthetranslationmethodsthataretobeemployedinordertoproduceafunctionallyadequateresult.”Vermeerdefinesitas“humanactionasintentional,purposefulbehaviorthattakesplaceinagivensituation”(Li,2017:12).Translationitselfisapurposefulaction.AndtheSkopostheorieshouldbeusedineverytranslation.Accordingtothepurposeofthetext,wecanproperlytranslateit.Althoughfunctionalistapproachesdrawonpracticalexperienceofthetranslationprofession,theyarenotjustdescriptive;theydonotmerelydescribewhatcanbeobservedintheprocessoftranslationortheresultsofthisprocess.Aswewillseelater,functionalismmakesuseofdescriptivemethodstolocateandcomparethecommunicativenormsandconventionsvalidinvariousculturecommunities.Sincefunctionalistapproacheshavebeendevelopedmainlywithinuniversitytranslator-traininginstitutions,theyarenormativeorevaluativetotheextentthattheyincludetheevaluationoftranslationswithregardtotheirfunctionalityinagivensituation-in-culture;futureprofessionaltranslatorsmustbetrainednotonlytoproduce“good”translationssatisfyingtheircustomers’needs,butalsotofindgoodargumentstodefendtheirproductsagainstunjustifiedcriticismfromclientsandusers.(Nord,2001:2-3).FunctionalistapproachesplayedanimportantroleinSkopostheorie.Atfirst,therewasonlyfunctionalistapproaches,andthenitgraduallyderivedintotheSkopostheorie.3.2ThePrinciplesofSkopostheorieTherearethreeprinciplesoftheSkopostheorie.Theyalloccupydifferentpositions.TheseprinciplesallsupportSkopostheorie.3.2.1ThePrincipleofAimVermeercameupwiththeSkopostheorie,hesaidthathetooktheprincipleofaimasthemostimportant.Thatmeansthattheaimisbiggerthancoherence,andcoherenceismoreimportantthanloyalty.Itiscommonthattheoriginaltextandtargettextaredifferent,whichmakesthetargetaudiencecan’treallyunderstandthetext.Atthistime,theprincipleofaimworked.Itcanproperlycontrolthedegreebetweentheoriginaloneandtargetonesotheprincipleofaimplaysadecisiveroleinthetranslation.Aimisdefinedasthefinalresultthatanagentintendstoachievebymeansofanaction.Purposeisdefinedasaprovisionalstageintheprocessofattaininganaim.Aimandpurposearethusrelativeconcepts.Forexample,somebodygoesouttobuyaBasquegrammarinordertolearnthelanguageinordertobeabletotranslateBasqueshortstoriesinordertomakeBasqueliteratureknowntootherlanguagecommunities(Nord,2001:28).3.2.2ThePrincipleofCoherenceIfyouwanttofollowthisprinciple,youmustkeepthereadabilityandacceptabilityofthetargettext.Thisrequiresthetargettexttobecoherent.Andtheoriginaltextshouldbecoherenttothetargettext.Althoughthisprincipleisnotasimportantastheprincipleofaim,itisalsonecessarytokeepthefluencyoftranslation.TherelationshipbetweenthesourceandthetargettextisdecidedbythetargetoftranslationinSkopostheorie.Theimportantpointisthatintertextualcoherenceshouldexistinboththesourceandtargettext,whiletheformittakesdependsbothonthetranslator’sinterpretationofthesourcetextandonthetargetoftheirtranslation.IntermsofSkopostheorie,thetargettextshouldbeacceptableandmeaningfulinasensethatitiscoherentwiththesituationinwhichitisreceived.Being“coherentwith”issynonymouswithbeing“partof“the”receiver’ssituationandculture(Nord,2001:139-140).3.2.3ThePrincipleofLoyaltyNordfoundthatthereweretwodisadvantagesintheSkopostheorie.First,therearemanycountriesintheworldsotheremustbedifferentcultures.Andtheymayhavedivergencetothetranslation.Second,theremaybeasituationthattheprincipleofaimisdifferentfromtheauthor’sintention,whichcanalsobeaproblem.Atthistime,theprincipleofloyaltydoesitsjob.Itcanmoderatetherelationshipbetweenculturaldifferenceandtheparticipantofthetranslatingaction.Nordalsothoughtthatthetranslatormustbeloyaltoboththetargetaudienceandtheauthor.Theyshouldberesponsibleforthetargetaudience.Thetranslationisdirectlyabsorbedbytheaudience,sotheyhavetosaywhytheydothat.Andtotheauthor,theyarethemotheroftheirworks,andtheirintentionisalsoessential.Thetranslatormustberespectfultotheauthorsotheprincipleofloyaltyhasanimportantmeaningforthetranslatorandtranslation.Translatorshavetheresponsibilitytotheirpartnersintranslationalinteraction.Loyaltycommitsthetranslatorbilaterallytothesourceandtargetsides,takingaccountofthedifferencebetweenculture-specificconceptsoftranslationprevailinginthetwoculturesinvolved(Nord,2001:140).3.3SkopostheorieandSubtitleTranslationItiswell-knownthattranslationisanactionofaimsoourstudythinksthataimisubiquitousinthetranslation.Skopostheoriemeansthecommunicativepurposeofthetranslation.Thepresupposedaimdecidedthewholeprocessoftranslation,includingtheselectionofversionandtranslationstrategy.Whatthetranslatorshoulddoisnottotallytotranslatetheoriginaltextintothetargettext,butalsotochoosethesignificantinformationtothetargetreadersandtrytoprocesstheinformationtoanewinformationprovidingsource.Thereisn’tanykindoftranslationthatcanlivewithouttheoriginaltextsotheremustbethecoherencebetweentheoriginaltextandthetargettext.Thatisalsocalled“l(fā)oyalty”(Sheng,2009:112).Thepapercanlearnthataimisveryimportant,andthesignificanceoftranslatingisthatweshouldconnecttheoriginaltextandatthesametimeconsiderthetargetreaders.Fromtheresearch,itisobviousthatthefilmsfacethewholeworld,whichmeanstheaudiencecanbeforeigners.Thebackgroundtimeofthisfilmwassetintheancienttimes,sosomewordsaredifferentfromnow.ThedirectorwantstoshowtheancientChineseculturetotheaudience.AccordingtothetranslationofShadow,thepapercanseeSkopostheorieadoptedinit,andthetranslationproperlyreflectedthat.ThefilmShadowmainlytalksabouttheinternalpowerstruggles,thefightforthethrone,theendlesscompetenceofthearea,themiseryofthesubstituteandthepatriotism.Fromanotherpart,therearethreeprinciplesofSkopostheorie.First,theprincipleofaim.[ST]在殘酷的征戰(zhàn)和權(quán)利傾軋中，古代帝王和貴族難免性命之憂，于是替身被秘密使用，人稱“影子”。[TT]Facingunrelentingwarsandinternalpowerstruggles,Chinesekingsandnoblesfacedtheconstantthreatofassassination.Tosurvive,theysecretlyemployedsurrogatesknownas“Shadows”.Thetranslatoradded“assassination”inthetranslation.FromtheChinese,itcanbeeasilyknownthatthewarsandtheinternalpowerstrugglesmeanassassination,buttheforeignerscan’ttotallyunderstand.Thisembodiesthetargetlanguageconditionandtheculture.Second,theprincipleofcoherence.[ST]以舞韻入字，字得舞態(tài)，自成一格[TT]Strokeswithrhythm,wordsthatdance,myuniquestyleThiskindofsayingalwaysappearsinancienttimes,butthetranslationproperlyexpressesitsmeaning,anditisalsoreadableandacceptable.Third,theprincipleofloyalty.[ST]人在旗在[TT]I’llguardwithmylifeThedegreeofloyaltytotheoriginaltextmustbeveryhigh,itisnottranslatedinto“IfIamhere,theflagmustbestood.”,sothattranslationhighlyshowedtheaimofthefilm.Aboveall,thepaperentirelyshowedSkopostheorieinthefilmShadow,anditisalsosaidthattheaimcandecidethetranslationstrategiesinSkopostheorie.Nowthetranslationstrategieswillbemainlytalkedabout.

Ⅳ.AnAnalysisoftheTranslationStrategiesinShadowThispartisgoingtoexaminetheSkopostheorieusedinthefilm,whichismainlyembodiedinthreeprinciples,andthetranslationstrategies“directandindirecttranslationandomission”usedinthefilmwillbeprimarilytalkabout.4.1AnOverviewofSubtitleTranslationinShadowShadowisafilmaboutastoryhappenedinancienttimes:avulnerablecharacterwhodoesnotcompromisetobeasubstitutehadenduredahardtimeandfinallybecameafreeman.Thespeakingoftheprotagonistsisdifferentfromnow,sotherearemanypointsthepaperneedstoexplore.Andmanyidiomsstillneedtobestudied.Threetranslationstrategiesaremainlyused:directtranslation,indirecttranslationandomission.45sentencesusedirecttranslation,25sentencesuseindirecttranslationand18sentencesuseomission.4.2TheTranslationStrategiesinShadowTranslationstrategyistheworkingpolicieswhichthetranslatormadebeforehebeginshistranslationaccordingtothetranslationpurpose,thecontentoftheoriginaltextandthefunctionofthetext.Theworkingpolicymeansthetranslationstrategy.Onthebasisoftheactiontheory,everyactionallhasitsspecialaims,sothetranslatorshouldselectthecorrespondingtranslationstrategyormethodaccordingtotheaimthatitwantsthetranslatedactiontoachieve(Liu,2010:32-33).NowthepaperwilldiscussthreetranslationstrategiesthatthetranslatorusedinthefilmShadow.4.2.1DirectTranslationDirecttranslationisnotonlyoveralltoilluminatethemeaningoftheoriginaltext,butalsoitdoesn’trandomlyaddordeletetheoriginaltext,andatthesametimeitmanagestokeeptheoriginalstyle.DuringtheNewCultureMovementandtheMay4thMovementinlastcentury,directtranslationgraduallyappearedinourview.Thistechnologyrequiresthatthetranslatormustbeloyaltotheoriginaltext(Luo,2016:227).Indirecttranslation,thetranslationofanutterancepurportstoshareallthecommunicativecluesoftheoriginaltext.Itcorrespondstothenotionthattranslationshouldconveythesamemeaningastheoriginaltextinthefieldoftranslation.Thetranslatorpursuesacompleteinterpretiveresemblancebetweenthetranslationandtheoriginaltextandpresumesthetranslationinterpretedbythetargetaudienceintheoriginalcontext(Ye,2005:13).Directtranslationrequiresthetranslatorstobeloyaltothecontentoftheoriginaltext.Itisnotonlyaboutbeingloyaltothecontent,butalsoloyaltotheform.Bothofthemareessentialtotake.[ST]大哉乾元，萬物伊始，乃統(tǒng)天。[TT]Qian,themale,originoftheallthings,shallruletheworld.TheChinesesubtitleisarchaism.Tomaintainitsuniquestyle,thetranslatorkeepsitsoriginalformandtranslatesitintoEnglish.Atthesametime,thetranslationdirectlyexpressesitsmeaning.Whatthissentencereallywantstoexpressisthat“乾”istheoriginofal