功能對(duì)等理論下電影《金陵十三釵》字幕翻譯

[2]147Hefocusedonandunderlinedinthisdefinitionthatthetargetlanguagereaderandthesourcelanguagereadershouldhavethesamefeelings.Thetranslatorcanachievethissimilaritybylookingforequivalence,restructuringtheformandsemanticdeconstruction.Thissimilarityincludestranslationdefinition.Thereareclose,natureandequivalence.Closeandnaturehaveahighlyintricaterelationshipinfunctionalequivalence.Theadvicethatthetranslationshouldbeclosetothesourcelanguageappearstobenear.ButafterreadingworksofNidacarefully,itisnotdifficulttofindthatitwillcontainnature.Closeandnatureareliketwoendsofastraightline,standingfortwoextremes.Inactuality,theyhighlighttheincongruityofcontentandformintranslation.Closeandnaturalrepresentcontentandexpressionformrespectively.Inhisbook,Nidawentintomoredetailabouttheirconnection.Meaningcomesfirst,thenform.Themeaningistakenintoconsiderationbeforetheformbythetranslation.Thefundamentalconceptofthetheoryisequivalence.Thefunctionalequivalenceofexcellenttranslationsisrequired.Lexicalequivalence,syntacticequivalence,textualequivalent,andstylisticequivalencearethefourcomponentsoffunctionalequivalence.Toaccuratelytransferintothetargetlanguagetheculturalconnotationsofthesourcelanguage,thetranslatorshouldfollowthesefourguidelines.Nidastressedthatthereisnocompleteorabsoluteequivalence,andthenaturalandcloseequivalenceisstillfarfromtheoriginaltext.Equivalenceisthegoldenpointbetweentheclosestandthemostnaturalextremes.AccordingtoNida,findingacloseandnaturalexpressionoftheparentlanguageacrosslanguagesandculturesisthebestwaytoestablishfunctionalequivalence.2.2IntroductiontoSubtitleTranslationAcommontypeofaudio-visualtranslationissubtitletranslation.Aspartofamultimediatranslation,thevideo’sspokenwordsareconvertedintotextandshownalongsidetheaudio,typicallyatthebottomofthescreen.Thesubtitletranslatormustaccuratelytranslatethespeaker'smeaningwhilealsotakingtheon-screenvisualintoconsideration,andneedtomakecorrespondingadjustmentstodisplaythestyleofthefilmasmuchaspossible.Filmtranslationofsubtitlesandgeneralliterarytranslationarebothsubsetsofliterarytranslation.Theyshouldalsofollowgeneralliterarytranslationcriteriaandmeetsomerestrictions,sothattheaudiencecaneasilyreadandunderstandinformation.Thefilmisapopularartfortheaudiencetoappreciate.Thisrequiresthatthefilm’sdialogueandsubtitlesshouldmeettheaudience’sculturallevelandbeeasilyacceptedbytheaudience.Therefore,subtitletranslationshouldbecolloquialandpopular.Whenatranslationisspoken,itmustnotonlybeverballyfluidbutalsorealistic,simpletounderstand,andinlinewiththetargetaudience’slingoandculturalnorms;Thewidelyacceptedtranslationissimpletograspsinceitiswrittenintheeverydaylanguageusedinthetargetlanguageenvironment.Filmsubtitlescannotexistindependentlyofpicturesandsounds,andthedimensionsofphotographsforfilmandtelevisionmustadheretospecifiedrules.Thelengthofeachsubtitleisconstrainedasaresult.Becausethepictureisfleetingandthesubtitlesstayforashorttime,nottoomuchshouldbeincludedinthesubtitlestodiscourageviewersfromwatching.Therefore,thisalsodeterminesitslimitedtimestayandspacearrangementcharacteristics.Thefreedomofsubtitletranslationismoreconstrainedthanitisforothertypesoftexttranslationduetoanumberoffactors.Thefilmisoneofthewaystopresentculture,whichcarriesrichculturalconnotation.Thedirector’sfilmingisnottolettheaudiencecultivatesentimentandpassthetime,butmoreisakindofculturaltransmissionandinfluence.ForfilmsinforeignlanguagesflowingintoChinaorgoingabroad,subtitletranslationisindispensableifyouwanttheprofoundculturalconnotationbehindthefilmtoaffecttheaudienceandarouseresonance.However,unlikeotherliteraryforms,filmandtelevisionsubtitleshavealittleannotationontheexpressionofculturalcharacteristics.Toomuchtextwilloccupythescreenspace,causeunnecessaryburdentotheaudiencewhenunderstandingthefilmcontent,anddirectlyaffectthefilmviewingeffect.Therefore,subtitletranslationneedstodisplaytheculturecarriedbythefilmasmuchaspossiblewithoutpayingattention.AccordingtotranslationtheoryofEugeneA.Nida,translatorsmustrespecttheuniquequalitiesofthesourcelanguage,presentitasplainlyasyoucanwhilestillmaintainingitsculturalfeatureswithintheparametersofyourreaders’acceptanceandreadingpreferences.Insummary,thegoalofcinemasubtitlesistomakethetargetlanguageaudience’sknowledgeandenjoymentofthemoviecomparabletothatoftheaudiencespeakingtheoriginallanguage.Thetargetlanguageaudienceandtheaudienceofthesourcelanguagecanbothexperiencethesameemotions,accordingtothefunctionalequivalencetheory.Thetwoservethesamegoal,hencetheprincipleoffunctionalequivalencehasasignificantguidinginfluenceonthetranslationofmoviesubtitles.ChapterThreeApplicationofFunctionalEquivalenceTheoryinTheFlowersofWarWiththefallofNanjingduringtheAnti-JapaneseWarof1937andtheJapanesemurderofthecityasitsbackdrop,ZhangYimou’s2011historicalgenrefilmTheFlowersofWarisanadaptationofYanGeling’sbookofthesamename.Thesubtitletranslationinitisworthlearningfrom.Theapplicationoffunctionalequivalencytheoryisexaminedinthissectionintermsofvocabulary,grammar,andstyle.3.1LexicalEquivalenceinTheFlowersofWarLexicalequivalenceinvolvesnotjustfindingwordswithsimilarculturalconnotationsbutalsocompletelycomprehendingtheculturalsignificanceofthewordsandphrasesinquestion.Next,IwillanalyzethelexicalequivalenceinTheFlowersofWarfromtwoaspects:colloquialismanddialect.3.1.1LexicalEquivalenceofColloquialismCommonsayingsrefertowell-established,widelypopularandconcisesentences.Becauseofitsvividimage,itiseasytoreadandhasbeenwidelyusedinpeople’slife.Commonsayingsnotonlyhaveabroadpublicbase,butalsohaveexperiencedthescouringoftime.Theyarethetreasureofnationallanguages.Whentranslatingthesesayings,wemustfullyunderstandtheculturalmeaningbehindthem,soastoaccuratelytranslatethemandaccuratelyexpressthespeaker’srealideas.Evenifnotwowordsintwolanguageshavethesamemeaning,thesameconceptcanbeexpressedinmultiplewaysdependingonthelanguage.TherearenumerousspokenidiomswithChinesefeaturesthatareusedinthesubtitletranslationofthemovieTheFlowersofWar.Therefore,whiletranslating,theseimportanttermsshouldberenderedinamannerthatissimpleandaccessibletothetargetlanguage’saudience,vividandvividforeigncolloquialexpressionsthatcanconveytheinformationoftheoriginalwords,soastoachievelexicalequivalence.(1)裝神弄鬼，不要理他。Anidiot.Don’tmindhim.Theidiom裝神弄鬼originallymeanstopretendtobeaghosttofrightenpeople.Itisametaphorforfoolingpeoplebyplayingtricks,anddeliberatelymakingthingsmysteriousandunpredictable.Idiotmeanssomeoneisstupid,likeafool,whichisthebestchoice.(2)你軟硬不吃是吧?Youwanttostartafight?Inthiscase,軟硬不吃meansthatneitherofthetwomeansisacceptable.Itmeansthatpeoplearetoughanddifficulttodealwithandcontrol.Inthefilm,thiscontextshowsthatwhenMeiHuaandthefemalestudentsareinconflict,MeiHuashowsimpatiencewhenshecomesuptohelpHongLingfight,andthenfightswiththefemalestudents.Therefore,accordingtothecontext,thetranslatoradoptsthedomesticationtranslationmethodtotranslate軟硬不吃intostartaright,whichmeansprovocation.(3)美花真不是個(gè)繡花枕頭，還會(huì)背詩呢！Youarenotsofoolishafterall.I’mimpressed.Theidiom繡花枕頭originallymeansabeautifulpillowembroideredwithflowers.Itisametaphorforpeoplewhohaveonlyappearancebutnointellectualability,andalsoforgoodswithgoodappearancebutpoorquality.IfwedonottakeintoaccountthecognitivedifferencesbetweenChineseandEnglishaudiences,thetranslationofapillowwithanembroideredcasewillmaketheEnglishaudienceveryconfused.Ifwekeeptheimageofpillow,Thetranslationdeviatesfromthecontextandlosestheessentialinformationbecausethetranslatoralsoneedstoelaborateonthecorrespondingallusions.Asaresult,thetranslatordecidestotranslatetheidiom’soriginalmeaningusingthedomesticatedtranslationmethod,leavingoutthetranslationofthevehicle.Althoughthevehicleislostandtheimageandvividnessarelost,ingeneral,thetargetlanguageaudienceisguaranteedtoobtainthesamemeaningunderstandingasthesourcelanguageaudience.(4)這洋鬼子妙手回春??！Hecanturnbacktime.InhisRecordsoftheOfficialAppearance,LiBaojia,awriteroftheQingDynasty,usedtheword妙手回春whichalludestoBianQue,amiraculousphysicianoftheStateofQi,whosavedthecrownprinceoftheStateofGuoduringtheSpringandAutumnPeriod,referringtothesuperbmedicalskills.TheModernChineseDictionaryexplainstheidiomaspraisingthedoctorsfortheirexcellentmedicalskillsandcuringthedyingpatients.Inthiscase,妙手回春referstothereversaloftime.Thetranslatorreservesthemeaningof回春andtranslatesitintoturnbacktime,sothatthetranslationisnotdifficulttounderstand.3.1.2LexicalEquivalenceofDialectsThefilmhasastrongfeatureofNanjingdialect,whichposesagreatchallengetoitssubtitletranslation.ThefollowingtextselectssubtitletranslationwithobviouscharacteristicsofNanjingdialectinthefilm,andassessestherelatedtranslationunderthefunctionalequivalencetheory'slexicalequivalenceframework.(1)他人呢？自己顛了吧。害得我們窮等。Whereishe?Heranoff.Wewaitedandwaited.顛了isadialect,whichmeansrunaway.Theliteraltranslationof顛了shouldbeoverturned,butthistranslationwillcreateculturalbarriersandmisunderstandaudiencesinEnglish-speakingcountries.Whenthesourcelanguage’sandthetargetlanguage’sculturalbackgroundsdivergesignificantly,thetranslatoroftenadoptsthedomesticationtranslationmethodsuchasExample1totranslatewiththetargetlanguageaudienceasthecenter.(2)我們說話沒分寸，從來都是嘴上不饒人。有些話你不要往心里頭去。Wehavesharptonguesandwewereveryrude.Ihopeyoucanforgiveus.ChinesedialectsoftenhavestrongChinesecharacteristicsandareverycolloquial.Inthisexamplesentence,thewords說話沒分寸,嘴上不饒人and有些話你不要往心里頭去aretypicaldialects,whichmeansthatthereisaconflictwithpeopleinwords,andthewordsexceedtheappropriatelimit.Ihopethattheotherpartydoesn’ttakewhathejustsaidforamomenttooseriously.Whenthetranslatorisfacedwithsuchasentenceandwantstopresentitonthescreen,hemustdomesticateit,thatis,translatethemeaningofbeingmean,rudeandaskingforunderstanding,soastoavoidgivingtheaudienceofthetargetlanguageanoddimpressionandconfusingthem.ThetranslationofExample2doesthisverywell.(3)你說我們不拉不撒行嗎？Wewonnotshitorpissinthere?Inthissentence,拉and撒aretheellipsisof拉屎and撒尿.Ifyoudirectlytranslate拉and撒intopullandscatteraccordingtotheliteralmeaningofasingleword,itwillnaturallymakepeopleconfused.Thetwocharacters拉and撒inChinesehavestrongdialectcharacteristics,whichthetranslatorhasnoticedverywell.TheyarealsoreproducedinEnglishwithshitandpisswithstrongdialectcharacteristics,andhaveachievedgoodresults.(4)拐著彎罵你呢。She’shumiliatingus.拐著彎罵你meanstoblameothersinamoreobscureandimplicitway.TheliteraltranslationshouldbetranslatedasTurnaroundandscoreyou,butitmeansthatsomepeoplesaidthingsthatmadethemfeelhumiliated,soitistranslatedashumanizinghere.3.2SyntacticEquivalenceinTheFlowersofWarFormalandsemanticequivalencearebothpartsofsyntacticequivalence.Thetheoryoffunctionalequivalence,whichisnotrestrictedtoformalequivalence,canbeborrowedwhentherearesubstantialdifferencesbetweenformandcontentandthesourcelanguage,butmoreattentionshouldbepaidtosemanticequivalence.3.2.1SyntacticEquivalenceofFormWithoutadoubt,syntacticequivalenceismoredifficulttounderstandthanlexicalequivalence.Inordertomaintainsyntacticequivalency,thesemanticsmustremainunaltered,thesourcelanguage’sstyleandcharacteristicsmustbeascloselyreplicatedasfeasible,andthetargetlanguage’sgrammaticalstructuremustpermitmaintainingconsistencywiththesourcelanguage’ssyntacticform.Byachievingformalequivalencebetweentwolanguages,onecanobtainfunctionalequivalenceratherthanrigidcorrespondenceonthetext’ssurface.FunctionalequivalencytheoryofNidacanbeusedwhenthetargetlanguage’sstructureandcontentdiffersignificantlyfromthesourcelanguage.(1)這時(shí)候南京已經(jīng)沒有抵抗能力，剩下來的就是逃命了。Nankingwasnolongerabletoputaflight,andthoseleftbehind,ranfortheirlives.(2)所以我老是幻想，幻想我再一次站在大窗戶前頭，看著她們走進(jìn)來。So,Ialwaysimagine…Iimaginemyselfstandingbythelargeroundwindow,watchingthemwalkinonceagain.ThelengthofthesentencesinExamples1and2isaroundthesamethankstotheliteraltranslationtechnique,andtheplacementofthesubject,predicate,andobjectinChineseandEnglishphrasesisnearlysame,sothattheyachieveformalsyntacticequivalence.Thetwotranslationsmentionedabovenotonlyaccuratelyreflecttheoriginallanguage’smeaning,buttheyalsofollowitsgrammarrulesandconversationstructure.Theyareveryappropriate,andtheirsyntacticequivalenceisveryappropriate.3.2.2SyntacticEquivalenceofSemanticsThetranslationshouldfocusmoreonthesemanticandcontentequivalentratherthanjusttheformalequivalencewiththesourcetext.Inordertofindthesamemeaningbetweentwolanguagesthroughsemanticequivalenceinsyntax,themeaningofthesentenceitselfanditscontextmustbetakenintoaccount.AccordingtoNida,iftheaccuratesourcelanguageinformationcannotbeconveyedformally,thetranslatorshouldforegoformalequivalenceandinsteadconveythesourcelanguage’smeaningtothetargetlanguageaudienceasfullyaspossible.Thefollowingtranslationsemploysemanticsyntacticequivalencetoaidinclearunderstandingbytheintendedaudience.(1)這個(gè)你都數(shù)不過來，書娟她們?nèi)齻€(gè)沒回來。Stopcounting.Shuandtwoothersaremissing.HereisthenumberoffemalestudentsthatGeorgeChencountedduringhisflight.Oneofthefemalestudentswasblaminghim,andherrealintentionwastosaythatshedidnotneedtocount.Therefore,thiscanbetranslatedasStopcounting,Shuandtwoothersaremissinginordertoeffectivelycommunicatethetruecontentofthefilmdialoguetothetargetaudienceandcreatetheeffectsofconcisenessandvividness.(2)當(dāng)兵的躲在這算什么東西。Butifhehideshere,he’scoward.ThishighlightsamisunderstandingofChinesesoldiersinthefilm,especiallytheuseof算什么東西toexpresstheblameanddisdainforChinesesoldiers’fearofdeath.Thecowardinthetranslationwellexpressestheintentionoftheoriginaltext.Thatistosay,soldiersarejusthidingandfearingdeath,ratherthandestroyingtheenemy.Theyarecowards.Thisbetterexpressesthespeaker’sintention,andalsoallowsforeignaudiencestoexperiencethespeaker’sdissatisfactionwiththesoldierinthefilm.(3)拿我們的熱臉貼人家冷屁股？Sacrificeourselvesforthem.Inthesourcedialogue,拿我們的熱臉貼人家冷屁股isaChineseproverb,whichmeanstodeliberatelypleaseothers,butothersareungrateful.Ifitistranslatedliterally,thetargetaudiencewillbeconfusedandcannotbetterconveytheoriginalmeaningofthefilm.Thetranslationskillfullyborrowstheexpressionkissone’sass,whichhassimilarmeaninginEnglishculture,andfurtherexplainsitwithsacrifice,soastoexpressthemeaningofthedialoguemoreaccuratelyandclearlyinthelimitedtimeandspace.(4)死蚊子，那貓是你的命啊，非要上去找。DamnMosquito,hercatranoff.Shewentuptolookforit.ThisdialogueisawomanexpressingherconcernabouthercompanionMosquitoes.Amongthem,那貓是你的命啊isaveryauthenticChineseexpression,whicheffectivelyexpressesthespeaker’stoneandattitude.However,thereisnoverycorrespondingexpressioninEnglish,sothetranslationabandonsformalequivalenceandsimplystatesthefacts,butthemeaningofthesourcelanguagedialogueisfullyexpressed.3.3StylisticEquivalenceinTheFlowersofWarWhenusingstylisticequivalence,itisnecessarytoskillfullyusetwodifferentlanguages,anddifferentlanguagestylesmeanthatculturalfactorsarealsodifferent.Asaresult,thenextsectionwillexaminestylisticequivalentofTheFlowersofWarfromalanguageandculturalperspective.3.3.1StylisticEquivalenceattheLinguisticLevelUnderstandingthecompletetext’sstylisticelementsandmainideasisessentialwhiletranslatingbecausetheyaffecthowthetranslationwillturnoutoverall.Differenttranslationstyleshavetheirowndistinctivelinguistictraits.Theonlywayatranslatorcanproduceatranslationthataccuratelycapturesthestyleofthesourcelanguageisbysimultaneouslymasteringthequalitiesofthesourcelanguageandthetargetlanguageandusingbothlanguagesexpertly.Thetranslationshouldnotuselongsentences,soitisoftennecessarytodeleteoromitthetranslation.ThesubtitletranslationofTheFlowersofWarcapturesthis.(1)我也沒辦法，她們不講理。Icouldn’tstopthem.TheQinHuaiRiverwomenbrokeintothechurchandcausedthefemalestudents’extremedisgust.Thepriest’sadoptedsonGeorgesaid,我也沒辦法，她們不講理Literally,itmeans:IhavenoideaTheyareunreasonable.Actually,itmeans:Ican’tpreventthemfromenteringthecathedral.ThetranslationusesIcouldnotstopthemtoexpressthesamemeaning,andthelanguageismoreconcise.(2)要?dú)⒁獎(jiǎng)幗憬銈儞踔?。Wewillprotectyou.剮isdifferentfromkillinthatitmeanstocutthefleshandbone,andreferstothecruelpunishmentinthefeudalera.Ifwewanttomakeforeignaudiencesunderstandthemeaningof剮here,weneedtomakeanexplanation.Thisscenariodepictsagroupoffemalestudentsplanningtojumptotheirdeathsfromabuilding.Thewords姐姐們擋著saidbywomenintheQinHuaiRiverwhentheypersuadedthemtocomedown.Thisisthesamethingas剮.Thetranslationexpressesthismeaningbydeletion.Additionally,additionaltranslationandfreetranslationareoccasionallyrequiredtoensuresemanticequivalency.(3)他是我們?cè)诼飞鲜樟舻?，叫浦生，也是個(gè)孩子。Hewashomeless,soourtrooptookhimin.He’scalledPuSheng.He’sjustachild.InstructorLitooktheinjuredPuShengtothechurchcellarandsaidsuchwords.Hewashomelesswasaddedbeforewetookhimin.WhenPuShengappearedinfrontofthecamera,althoughwearingmilitaryuniform,hedidnotfightalongsidetheJapaneseandlackedfirearms.JustliketheChinesemilitary,hefollowedthem.Hewasnotasoldier.Inthefollowingplot,PuShengtoldCardamom:Myfamilyisdead.Theadditionaltranslationmethodhereechoesthepreviousandsubsequentplots.CalledPuSheng,alsoachildthathasalsoaddedthesubjectafterbeingtranslatedintoEnglish.IncontrasttoEnglishdeclarativestatements,manyChinesesentenceslackasubject.(4)死蚊子，那貓是你的命啊，非要上去找。DamnMosquito,hercatranoff.Shewentuptolookforit.那貓是你的命isnotexactlytranslatedasthecatisyourlife,butratherashercatranoff,whichisincongruouswiththeoriginalyetrelevanttothemeaningofthenextphrase,makingiteasierforforeignaudiencestounderstand.3.3.2StylisticEquivalenceattheCulturalLevelThemostchallengingaspectoftranslationisculturalconsiderations.Oneoftheimportantfunctionsoffilmsistospreadculture,however,itischallengingforinternationalaudiencestocomprehendChineseculturethroughfleetingsubtitleswithoutanyannotation.Thepurposeofculturalcommunicationinmoviescanonlybeachievedwhenbothpartiesreachaconsensus.Sinceeveryoneandeverylanguagehasitsownculturalcharacteristics,itischallengingtoattaincompleteparitybetweenthetwolanguages.Therefore,attheculturallevel,domesticationtranslationisoftenusedtoconveythemostinformationinthesimplestlanguage.(1)都是釣魚巷的。什么釣魚巷？就是妓院。They’refromthered-lightdistrict.What’sthat?Itmeansbrothel.Shortlyafterthebeginningofthestory,whenwomenfromtheQinHuaiRiverforcedintothechurch,thefemalestudentsinthechurchlookedatthemandsaidsuchdialogues.釣魚巷isaplacenameinNanjing.Inancienttimes,brothelsgatherednearfishinglane.釣魚巷alsoreferstotheplacewhereprostitutesgather.Ifthe釣魚巷istranslateddirectlyintoaplacename,itcannotexpressitsspecialculturalconnotation.Thered-lightdistrictisusedinEnglishsubtitlesRedlightcomesfromtheAmericanlanguageandisatoolthatprostitutesputinfrontofthewindowtoattractcustomers.Thelocationwhereprostitutesresideisthereforereferredtoasthered-lightdistrict,whichhasthesameconnotationas釣魚巷.(2)到底是秦淮河的頭牌。NowondersheisthetopgirloftheQinHuaiRiver.頭牌meansthatintheolddays,theactor’snamewaswrittenontheboardandhungonthetopoftheboard,whichisequivalenttoourcurrentleadingactor.Thenumberoneinthebrothelisthemostpopulargirl.Thetranslationoftopgirlhereisconciseandclear.(3)玉墨，用勁笑，讓大鼻子上火。Mouseallofyourskills.Seducehim.上火originallyreferstotheimbalanceofyinandyangandtheexuberanceofinternalfirefromtheperspectiveoftraditionalChinesemedicine.Andbrothelwomenmakemen上火,ofcourse,isnottheoriginalmeaningoftheword,buttomakemeninterestedinher.Seduceaccuratelyexpressesthismeaning.Ofcourse,it’snotjustlaughterthatfascinatesmen,sothe用勁笑hereisnotjustuseyourcharmingsmile,butuseallyourskills.(4)是閻王爺在哭你呢。南京都死了這么多人，閻王爺都來不及收。It’sdeathweepingforyou.Somanypeoplehavedied.Eventhehellispacked.Inthetwolinesabove,閻王爺appears,onetranslatedintodeathandtheotherintohell.TheKingofHellistheBuddhistlanguageandthegodinchargeofhellinBuddhism.ThesceneofthefirstlineisthatPuShenghadanillusionwhenhewasdyingandheardtherain.YuMosaid:Itisthekingofhellwhoiscryingforyou.ItmeansthatPuShengisgoingtodie.ThesecondsentenceisthatYuMoadvisedstudentsnottojumpoffthebuildingtocommitsuicide.ManypeoplehavediedinNanjing.Itisbettertohighlightthenumberofdeadpeople,itismoreappropriatetousehellhere.ChapterFourSignificanceofFunctionalEquivalenceTheoryinFilmSubtitleTranslationTheaestheticimpactofthemovieisnotdiminishedbyfunctionalequivalencetheory,whichcanalsoassistthetargetlanguageaudienceinbettercomprehendingthefeelingsofthesourcelanguageaudience.Inordertominimizethediscrepanciesbetweensourcelanguageandtargetlanguageandenhancetheaestheticvalueoffilmsubtitletranslation,thissectionwillexaminethesignificanceoffunctionalequivalencetheoryincinemasubtitletranslationfromtwoperspectives.4.1ReductionofSourceLanguageandTargetLanguageDifferencesMoviesplayanimportantroleintransnationalculturalexchanges.Theymakeitpossibleformorepeoplefromdiversehistoricalandculturalbackgroundstocomprehendforeignculturesandhistoriesbetter.However,therewillbesignificantdisparitiesbetweenChineseandEnglishintermsofstructureandcontentexpressionduetothediversebackgroundsofChineseandforeigncultures.Thelanguagebarrierislikelytomakeforeignaudienceshaveacertaindeviationintheirunderstandingoftheconnotationandthemeofthefilm.Consideringtheessenceoftranslationfromalinguisticsperspective,EugeneA.Nidapresentedthefunctionalequivalencehypothesisinordertolessentheconversiondiscrepanciesbetweenthesourcelanguageandthetargetlanguage.Inthemovie,thereisasentence:豆蔻不要發(fā)騷了，人家小麻雀還沒長(zhǎng)全呢！ThetranslationisDou,cooloff.Hedoesn’tevenhavehairdownthere.Thisexampleinvolvessexualtopics,andChineseexpressionsonthistopicareusuallyrelativelyimplicitandobscure,whileaudiencesinEnglishspeakingcountriesarerelativelyopentothis.However,ifyoutranslate小麻雀literallyintolittlesparrow,whichcancauseobstaclestotheunderstandingoftheEnglishaudience.ThetranslatorturnstoHedoesn’tevenhavehairdownthere,whichnotonlyexpressesthatthelittleboyisstillyoungandimmature,butalsoreflectstheimplicitandimplicitnatureoftheoriginaltext.Functionalequivalencytheoryhasbeeneffectiveinloweringtheconversiondiscrepanciesbetweenthesourcelanguageandthetargetlanguage,soitshouldbestatedtobeaverygoodtreatment.4.2ImprovementoftheAestheticValueofFilmSubtitleTranslationUnlikeordinaryliteraryworks,filmisanartthatcombinespicturesandsounds.Thefilm’sbeautyisdiscernibletotheaudiencebothaestheticallyandaurally.Themostfundamentalpurposeofmoviesubtitlesistoprovideinformationandenablethelistenerstocomprehendthespeaker’smeaning.Itispossibletodescribetheprocessoftranslatingmoviesubtitlesasanaestheticreproduction.Nidasuggestedthattheformershouldbedroppedifthereisadisagreementbetweenthetranslation’sformandcontent.Therefore,thefunctionalequivalencytheorycanaidinachievingmeaningwhilealsomaintainingthefilm’saestheticimpression.Theapplicationoffunctionalequivalencetheorycanimprovetheaestheticvalueoffilmsubtitletranslation.金陵inthefilmtitle金陵十三釵referstoNanjing.釵originallymeansahairornamentforwomen,andlaterreferstowomen.十三釵referstothirteenromanticwomenfromtheQinHuaiRiver.ButthirteenisanunluckynumberintheWest,becausethelastdinnerJesushadwithhisdiscipleswasthirteenpeople,andJesuswasbetrayedbydiscipleJudas.IfthereisthirteenintheEnglishtitle,Westernersarelikelytobedisgustedbythefilm.TheEnglishnameofthefilmdoesnottranslate金陵intoaplacename,butthebackgroundofthestory,acruelwar;釵hasnotbeentranslatedintermsofwomen.ThenameofthefilmistranslatedasTheFlowersofWar,whichformsasharpcontrastwithwa