Thissummer’smostflamboyantcountry“Whereisthedevil’scomingtotheworld”withthehighboxofficetobreakthe history of the animated film, the highlight is the re-emergence of the national movie; but the “box office fever” and “sea cold” form a huge Contrast, sparked heated discussion among the industry: What is the “stick” that hinders the country’s movie going out to sea?
This summer’s most flamboyant country “Where is the devil’s coming to the world” with the high box office to break the history of the animated film, the highlight is the re-emergence of the national movie; but the “box office fever” and “sea cold” form a huge Contrast, sparked heated discussion among the industry: What is the “stick” that hinders the country’s movie going out to sea?
The incubation of domestic high-quality IP and the “尴尬” of going out to sea.
In the past few years, the success of Guoman’s films has gradually increased, from “The Return of the Great St.”, “The Big Fish”, “White Snake•Yeqi”, and then to the Devil’s Angels” on the ceiling of the box office of the animated movie. Guoman filmmakers are increasingly extracting high-quality IP in traditional culture, and then developing works that are more popular in the market
“大鱼海棠” French version of the poster.
“Where is the devil’s coming to the world” poster in mainland China.
The Chinese civilization of the 5,000-year history and culture has many IP characters and themes, which makes the Guoman film works have enough fan base to quickly bring the audience into the film’s plot. The western film and television industry has also extended its hand to China for film and television. For example, “Mulan” and “Kung Fu Panda” are extracting the essence of Chinese traditional culture and selling it to the Chinese market
“Mulan” US version of the poster.
And it is a strong contrast, but China, which lacks materials and themes, is a minority that can be spread overseas. It is even rarer to be recognized by overseas audiences
“If Chinese film and television wants to really go out, we must go through the “cancer” of language conversion.” An expert who has been engaged in film and television communication research for a long time bluntly said the problem. A recent data also shows that nearly 70% of overseas respondents believe that the subtitle translation of Chinese movies is difficult to understand, and the problem of film and television translation has become an important problem for Chinese film and television to go international and go smoothly
Three strategies to solve the problem of “translation system” of animation and sea.
The translation of film and television “out of the sea” needs to break through the barriers of language and culture, and it is also necessary to take into account the translation of the title to facilitate the communication and dissemination of localization
First of all, the film translation object is a multi-dimensional language carrier composed of multiple symbols composed of images, sounds and words. The subtitle language is the most intuitive and direct form of information presentation. In the process of translation, we must express the core information in an effective time and space, let the audience understand the meaning, and maintain the unity of the character and sound picture
Transn A senior film and television interpreter told reporters: “The film and television translation system must be faithful to the semantics of the original text, but also try to match the style with the type of the work. The tone is consistent with the personality of the character. The rhythm is synchronized with the screen, and the length of the subtitle is also It is in line with the limitation of time and space. In the process of translation, we must take into account the above-mentioned environmental factors, do a good job in the selection, balance and coordination of various factors, and in the actual review process, we must conduct detailed and repeated deliberation and communication with the director and the film. Best effect.”
In the dialogue of “Where the Devil’s Angels Come into the World”: “I am by my life, I am the devil, I am the only one who has the final say.” , translated as “I’m the master of my own destiny, To be a devil or an immortal is up to me.”, in which “is a devil is a fairy” is not translated into “devil or a celestial being” because it is special in the West It is a major English country, and it is not very cognizant about the concept of “the immortal”. It is more suitable for Western cognition with “an immortal”, although the literal translation of “a celestial being” is the meaning of the gods; in the emotional expression and sound painting effect “is Up to me” is more accurate, otherwise it will not be able to show the character’s contempt and unwillingness to reality
Secondly, film translation is not as simple as language conversion, but also weighs cultural differences and achieves harmony and difference
Translation is not a one-way culture strong output and cultural weak assimilation, but to ensure the balance between the original culture of the film and the local culture, which requires translators to respect the cultural imagery of the original place, and Have a common cultural psychology and shared knowledge with the target audience
“Where is the devil’s coming to the world” stills.
“Where is the Devil’s Angel”, there is a lot of oriental elements with Chinese characteristics, such as philosophy, history, folk customs, Taoism, and Buddhist culture. In the face of these translation problems, the translator must not only translate the linguistic translation of the language system, but also allow foreign audiences to enjoy the film without barriers, and ensure that the oriental culture is not abandoned. Through in-depth study of the local culture and value system, Ensuring the localization of translation, the target audience feels like talking to the natives, thus achieving the effect of spreading a long and splendid culture through the film
As the famous German linguist Humboldt once said, “translations should have an exotic color, but need to grasp the degree: readers should not feel the foreignness, but should feel the foreign atmosphere. , then translation has reached its highest level.”
Finally, the film and television translation system also needs to abide by certain rules of communication and communication, and work hard on the translation of the title. Translation itself is an important means of intercultural communication and communication, shouldering the mission of conveying the original intention of communication. In the process of translating the name of a film and television drama, it is necessary to mine the true communicative intention of the original drama name. The title is the first impression of the work to the audience. The translation directly affects the understanding and marketing of the target language region
The film title “Waterloo Bridge” was translated into “Soul Blue Bridge”, which is closely related to the content of the film. The translation is just right, and it has become a classic. The domestic TV series “琅琊榜” was translated into Lang Ya Bang and The Rankings of Lang Ya, and the reaction was flat. After the final decision, it was Nirvana in Fire, which attracted obvious market effect. If the translation of “The Coming of the Devil Child of Nazha” may make the audience of the exporting place feel inexplicable, so how to translate is ingenious and worth considering
With the proposal of the “One Belt, One Road” initiative, the concept of “Chinese culture going out”, “telling the story of China” and “building the image of the country” will continue to deepen into the creation of film and television, and there will be more films in the future. The giant system will go to the international market, the demand for translation will be more urgent, and the strategy will be diversified. Transn will exert its own advantages and actively promote the globalization of film and television culture, becoming an innovator and leader in the field of language service. By