電影中的翻譯

內(nèi)容概要

　　本書(shū)深入淺出地將翻譯理論與廣義的電影翻譯聯(lián)系起來(lái)，不僅為讀者扼要介紹了翻譯理論與實(shí)踐中的諸多核心問(wèn)題，而且生動(dòng)展示了這些問(wèn)題在電影中如何得以表現(xiàn)，并以跨學(xué)科研究的方式論述了電影翻譯與文化、社會(huì)、身份認(rèn)同、移民、沖突、行為表現(xiàn)．全球化等問(wèn)題的密切關(guān)系。本書(shū)脈絡(luò)清晰，視角新穎，采用從默片到多部新近的電影為例證，提出了獨(dú)到的見(jiàn)解，對(duì)傳播學(xué)、翻譯學(xué)、文化學(xué)等領(lǐng)域的師生、學(xué)者，以及對(duì)電影研究感興趣的普通讀者均有極高的參考價(jià)值。

作者簡(jiǎn)介

邁克爾·克羅寧，都柏林城市大學(xué)翻譯與文本研究中心講座教授、主任，著有多部專著，如《翻譯愛(ài)爾蘭》(Translating
Irelad，1996)、《翻譯與全球化》(Translation and
Globalisation，2003)以及《翻譯與身份》(Translation and Identity,2006)等。

書(shū)籍目錄

List of film stills
Acknowledgements
Introduction: the full picture
1 Translation: the screen test
2 The frontiers of translation: Stagecoach to Dances with
Wolves
3 Translation howlers: A Night at the Opera to Borat
4 The long journey home: Lost in Translation to Babel
5 The empire talks hack: translation in Star Wars
Bibliography
Index

章節(jié)摘錄

版權(quán)頁(yè)：The crucial word in Smith's analysis is 'mute.' The 'talkies' have not renderedaudiences speechless. Film spectators before and after films are coopted intoa network of anticipation and commentary, which has translation into locallanguage as a core element of the filmic experience. The socially mediatedactivity of language is crucial to the reception of the most all-pervasive ofblockbusters, and speakers as the active agents and speakers of languagewithin speech communities make of translation a dynamic process fromwhich effects cannot be anticipated or prescribed in an artful centripetalconspiracy.  This is not to say, however, that the language of production is not withoutits effect The same teenagers who eagerly commented on Hollywoodblockbusters in Flemish were largely sceptical of the idea that interesting orentertaining films could be produced in their mother-tongue.The charmed circle of languageacquisition and cultural prestige was thus very much in evidence. As a con-sequence, however, in the case of other foreign-language films, '[qailure tocomprehend the dialogue does not merely reduce enjoyment in a particularfilm, it also promotes a negative attitude in general towards films in thatlanguage' （168）. In other words, not only is watching film, as we have notedearlier, embedded in a language of reception but also the film itself becomessynonymous with language or rather with the on-screen experience of oneparticular language, English. For teenagers in Flanders used to listening toEnglish in a local audio-visual culture largely averse to dubbing, the Englishlanguage and cinematography were one and the same thing.  Giovanni Scognamillo writing about the enthusiasm of Turkish audiencesfor Hollywood films during and after the Second World War argues that theywanted, 'action, wealth, spectacle and glamour[…]excitement and emotion.They want dreams and they pay to have their dreams' （Scognamillo 1991: 67）.What Hollywood offered to audiences was a realm of fantasy, of make-believe, of a life that was more glamorous, more exciting than the humdrumreality of the local.

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《電影中的翻譯》是國(guó)外翻譯研究叢書(shū)之36。

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