电影《功夫熊猫I》字幕翻译策略研究

ChapterTwoOverviewofSubtitleTranslationInourdailylives,weoftencomeintocontactwithsubtitletranslation.IfwewatchTV,movies,etc.onaregularbasis.Thetextcontentthatappearsonthescreenissubtitletranslation.Thissectionwillintroducethedefinitionofsubtitletranslationandthreetranslationstrategies.Throughthissection,readerscanhaveafurtherunderstandingofsubtitletranslation.2.1DefinitionofSubtitleTranslationSubtitlesrefertothedisplayofnonvisualcontentsuchasdialoguesintelevision,movies,andstageworksintheformoftext,andalsogenerallyrefertothepost-processingtextoffilmandtelevisionworks.TheexplanatorytextandvarioustextsthatappearbelowthemoviescreenorTVscreen,suchasthefilmtitle,castlist,lyrics,dialogue,etc.,theyareallreferredtoassubtitles.Thedialoguesubtitlesoffilmandtelevisionworksgenerallyappearbelowthescreen,whilethesubtitlesofdramaworksmaybedisplayedonbothsidesorabovethestage.Subtitletranslationisapopularformofaudiovisualtranslationthattranslatesanddisplaysspokencontentinvideosastext.Textusuallyappearsatthebottomofthescreenatthesametimeasaudio.Subtitletranslationmusteffectivelyconveythemeaningofwhatthespeakerissaying,whiletakingintoaccountthevisualimagesthatoccuronthescreenandadheringtomanyrestrictions,sothattheaudiencecaneasilyreadandprocesstheinformation.2.2TranslationStrategyofSubtitleTranslationWhenthesourcelanguagefilmandtelevisionworksarecirculatedtoothercountries,itisnecessarytotranslatethefilmandtelevisionworksinordertomakethemunderstandabletoaudiencesinothercountries.Therearemanytranslationstrategies,andthecorrecttranslationstrategycanhelpreadersunderstand.Inthissection,Iwillintroducethreetranslationstrategies:freetranslation,domestication,andforeignization.2.2.1FreeTranslationEachethniclanguagehasitsownuniquevocabulary,syntacticstructure,andhabitualexpressionmethods.Freetranslationreferstothetranslatormaintainingthemeaningoftheoriginalcontentwhileunderstandingit.Butnotlimitedtotheformoftheoriginaltext,adjustthestructureoftheoriginaltextappropriatelyfortranslation.Fromacross-culturalperspective,freetranslationemphasizestheculturalandvaluesystemofthetargetlanguage.Freetranslationreferstoaccordingtothemainideaoftheoriginaltranslation,notaword-for-wordtranslation(differentfromliteraltranslationLiteraltranslationisatranslationmethodortranslationtextthatmaintainsboththecontentandtheformoftheoriginaltext.Bibliography[1]Hastuti,Endang.Dwi.AnanalysisonSubtitlingStrategiesofRomeoandJulietMovie[J].RegisterJournal,2015(1):57-80.[2]Larsen,Birgit.Nedergaard.Culture‐boundproblemsinsubtitling[J].Perspectives,2010(2):207-240.[3]LiXinya.MovieSubtitleTranslation:RelevanceTheoryPerspectivewithReferencetotheMovieTheShawshankRedemptionastheCaseStudy[J].Literaltranslationisatranslationmethodortranslationtextthatmaintainsboththecontentandtheformoftheoriginaltext.Bibliography[1]Hastuti,Endang.Dwi.AnanalysisonSubtitlingStrategiesofRomeoandJulietMovie[J].RegisterJournal,2015(1):57-80.[2]Larsen,Birgit.Nedergaard.Culture‐boundproblemsinsubtitling[J].Perspectives,2010(2):207-240.[3]LiXinya.MovieSubtitleTranslation:RelevanceTheoryPerspectivewithReferencetotheMovieTheShawshankRedemptionastheCaseStudy[J].InternationalJournalofLanguageandLinguistics,2016(2):61-61.[4]Shuttleworth,Mark&Moira.Cowie.DictionaryofTranslationStudies[M].Beijing:TaylorandFrancis,2014:121-178[5]ZhangYing&LiuJunyan.SubtitleTranslationStrategiesasaReflectionofTechnicalLimitations:aCaseStudyofAngLee’sFilms[J].AsianSocialScience,2009(1):113-118[6]ZhangTianhui.MovieSubtitleTranslationfromthePerspectiveoftheThree-dimensionalTransformationsofEco-translatology:ACaseStudyoftheEnglishSubtitleofLostinRussia[J].JournalofLanguageTeachingandResearch,2021(1):139-143.[7]李双娟.从《功夫熊猫Ⅰ》看字幕翻译的文化翻译观[J].电影文学，2012，55（17）：139-140.[8]梁兵.归化异化视角下的电影字幕翻译[J].洛阳师范学院学报，2019，38（01）：79-81.[9]向小蕊.试析电影《功夫熊猫》的字幕翻译[J].电影文学，2013，56（22）：156-157.[10]张春柏.影视翻译初探[J].中国翻译，1998，20（02）：49-52.[11]赵倩.美国动画电影字幕中幽默台词的归化翻译策略研究[D].保定：河北大学，2016.[12]周亮亮.电影字幕翻译的“质”与“量”[J].林区教学，2019，35（12）：93-DomesticationDomesticationreferstotranslationguidedbythetargetlanguageculture.Thistranslationmaximizestheuseofexpressionsthatareacceptabletothetargetlanguageculture.Moviesshouldtakeintoaccounttheaudience'sexpressionhabitsandappreciationlevel.Somanyobscureanddifficulttounderstandwordsandunfamiliarexpressionscancausetheaudiencetoloseinterest.Duetoculturaldifferencesandlimitationsinsubtitletranslationtimeandspace,subtitletranslationcannotbeannotated.Therefore,inordertoincreaseboxofficerevenue,domesticationisoneofthenecessaryandcommontranslationmethodswhentranslatingfilms.Thedomesticationstrategycanclosethedistancebetweentheaudienceandthefilm.Theproperdomesticationcanmakethetranslationvivid,concise,friendlyandlively,andeasyfortheaudiencetounderstandandaccept.Domesticationistheprocessoflocalizingthesourcelanguage,targetingthetargetlanguageortranslatedtextreaders,andconveyingthecontentoftheoriginaltextinawaythatthetargetlanguagereadersareaccustomedto.Domesticationtranslationrequirestranslatorstoapproachthereadersofthetargetlanguage.Theso-calleddomesticationmeansthatintheprocessoftranslation,theculturalvaluesoftheoriginaltextandthetargetlanguageareconsistentinareader-centeredwayandtheoriginaltextisintegratedintotheculturalenvironmentofthetargetlanguage,soastoachievethegoaloffluency,easeofunderstandingandacceptancebythereaders.Nidaisoneofthemostrepresentative.Thedomesticationtranslationmethodistoreduceorreplacethesourcelanguagecultureinthetargettextaccordingtothetargetaudience'senvironmentasfaraspossible.Domesticationisawaytominimizetheforeigncolorinthetranslation,sothatthetranslationcanachievethepurposeofnaturalandfluent.Domesticationshouldbringthetranslatorclosertothetargetreader,thetranslatormustspeaklikethenativeauthor,theoriginalauthorwantstotalktothereaderdirectly,thetranslationmustbecomethenativelanguage.Domesticationhelpsreaderstobetterunderstandthetranslatedtextandenhanceitsreadabilityandappreciation.2.2.3ForeignizationThemethodofforeignizationisforthetranslatortotrynottodisturbtheauthorasmuchaspossibleandmakethereaderapproachtheauthor.Intranslation,itmeansaccommodatingthelanguagecharacteristicsofforeigncultures,incorporatingforeignlanguageexpressions,andrequiringthetranslatortoapproachtheauthorandadoptcorrespondingsourcelanguageexpressionstoconveythecontentoftheoriginaltext,thatis,takingthesourcelanguagecultureasthedestination.Thepurposeofusingforeignizationistoconsiderthedifferencesinethniccultures,preserveandreflectthecharacteristicsofforeignethnicgroupsandlanguagestyles,andpreservetheexoticatmosphereforthetranslatedreaders.Foreignizationpreservestheculturalconnotationofthesourcecultureanditisalsofullofexoticism.Intheprocessoftranslation,translatorscanonlyexpressspecificinformationwiththesymbolicvalueofthetext,butsubtitlesaremoresynchronizedwiththepicture,music,soundandintonation,soastobetternarrowtheculturalgap,reflecttheculturalconnotation,andeffectivelysatisfytheaudience'sunderstandingoftheinformationandconnotationofthefilm.Inordertominimizetheculturalgap,itisnecessarytouseforeignizationtotranslatesomeculture-loadedwords.ChapterThreeAnalysisoftheTranslationStrategyofKungFuPandaIBasedontheprevioussection,Iwillconductadetailedanalysisofthethreetranslationstrategiesmentionedabove.Iwillcombinethismoviewitheachtranslationmethodtoanalyzeinmoredetailwhichtranslationmethodisspecificallyappliedinthemovie.3.1AnalysisoftheFreeTranslationThispartreflectsthespecificapplicationofFreetranslationinKungFuPandaIfromtheoraldialogueandthematicapplication.TheFreetranslationcanmakethefilmeasierfortheaudiencetounderstand3.1.1SpokenLanguageDialogueThelinesinmoviesareoftencolloquial,meaningthatthemostmeaningisexpressedinthesimplestsense.Becauseofthecharacteristicsofspokenlanguage,itisnecessarytopayattentiontotheexpressionofcultureandemotioninthelanguageandthelanguagehabitsinthetranslation.Iftranslatedwordforword,itmaybedifficulttounderstandanddoesn’tconformtoChineseidioms.Reasonablefreetranslationcanmakepeopleclearataglance,enhancethemomentumofthelanguage,andconveytheeffectofthesourcelanguage.Example(1):Po,Whatareyoudoingupthere?Nothing.Translation:阿宝你磨蹭啥呢?没什么。ThisiswhenPoupstairsdream,hisfatheradvisedhimtoserveaclientscene.“磨蹭”referstoadeliberateactofstallingfortime.ItvividlyshowsPo'sdeliberatelydelayedservingservice,Thereisnodirecttranslation:“你在上面干什么”.Translatoruse“磨蹭”,ItvividlyreflectsPo'splayfulandlovelyimage.“啥”means“什么”,Here,thetranslatordoesn’tuse“什么”,Translatoristranslatedinto“啥”.Inthisway,makethedialogueclosertoourdailylife,morecolloquial.Example(2):Iseeyouliketochew.Maybeyoushouldchewonmyfist.Translation:我看你挺爱吃。有本事你就吃我一拳。“Thewarriorsaidnothingforhismouthwasfull”.Translation:“武士一言不发因为他正在忙着吃”“thenheswallowed,andthenhespokeEnoughtalk,let’sfight”Translation:“然后一口吞下开口说道,别废话,动手吧”。Thisisatthebeginningofthefilm,whenPodreamsthathimselfisapandawarrior,whatoneofhisopponentssaidtohimandwhathesaidtohim.Inthisconversation"chew"InEnglish,theoriginalintentionistobe“咀嚼”.Iftranslateddirectly,itshouldbetranslatedinto：我看你喜欢咀嚼，或许你应该咀嚼我的拳头。Butinthisway,itisveryfar-fetchedunabletoconveytheeffectofthefilm.If"chewtranslatedinto“吃”,It'ssomucheasiertounderstand.Atthesametime"maybe"translatedinto“有本事”,Hereenhancedthetonemorevividlyshowstheferocityoftheopponentandthecalmofthepandawarrior.However,intheirconversation“Enoughtalk,let’sfight”Translation:说得够多,让我们一起战斗吧。Thiskindoftranslationwillmaketheaudiencefeelalittleawkwardanddifferentfromtheusualspeech.InordertosatisfythespeakingstyleofChineseaudience,freetranslationisadoptedtomaketheaudiencemorecomfortablethanoraltranslation.3.1.2ContextandThemeIdeasThefreetranslationmethodistotransformthedifficultwordsintheoriginalmeaningintosimpleandeasytounderstandChinesecharacters.ThismethodusesthetraditionalChineseideologytoexpresstheoriginalmeaning.Itwillnotmaketheaudiencemore"confused".Ittranslatesthegeneralideaoftheoriginallineswithoutdemandingthecompletetranslationofthewholesentence.Inthetranslationofeachwordandsentence,itcanonlypresentmorecomplexandchangeablecontentwhichisnotconducivetotheaudience's"one-step"understanding.TheItaliantranslationmethodisusedextensivelyinKungFuPandaI.Thetranslatorcombinesthecurrentcontextandthematicideastomakethecomplexitiesofthefilm'slinesmorevividandsimplefortheaudiencetounderstand.Example:Truewarrior，butdonotsurrender.Translation:真正的武士义不容辞。ThisisthelittlepandamastersaidtoPo,whenPo"study"isnotfine,hewantstogiveup,themasteriscareful,ithasbeenpersuadinghim.Thetranslationof“真正的武士义不容辞”isverygood.“notsurrender”translateinto“义不容辞”.Itcapturesthemeaningofthespeakerandalsoshowsthecharacterandspiritualcharmofperseveranceandnevergivingupinthespiritofthewarrior.ThissentencenotonlyencouragesPo,butalsoinspirestheChineseaudiencetoseethatifyouwanttobea"realwarrior",youmustpersevereandovercomeallkindsofdifficulties.3.2AnalysisoftheDomesticationThesubtitletranslationofKungFuPandaIisfamousfortheapplicationofdomestication,usingChineseidiomsandvarioustranslationtechniquessuchaspopularwords.Thistranslationmodesuccessfullyreproducesthelinguisticstyleoftheoriginallanguagesubtitlesandeffectivelyconveystheculturalconnotationoftheoriginalworks.3.2.1ChineseIdiomsAlthoughKungFuPandaIisanAmericancomedyfilm,itcontainsalotofChineseelements.Chineseidiom,asoneoftheessenceofChineselanguageisauniqueformoflanguagestructure.Chineseidiomshavethreeadvantages:intermsofcontent,theyareconciseandcomprehensive;Formally,itisneatandsymmetrical;Phonetically,itispleasingtotheear.Translationoffilmsubtitlesisdifferentfromgeneralliterarytranslationinthatitissubjecttotheconstraintsoftimeandspace.ThetranslationintoChineseidiomscannotonlystatethemeaningoftheoriginaltextinaconciseandcomprehensiveway,butalsoconformtotheexpressionhabitsoftheChineseaudienceandechotheChineseculture.InthesubtitletranslationofKungFuPandaI,manywordsarecleverlytranslatedintoidioms.Example(1):PrisonGuard:EscapefromChordomprisonisimpossible.Translation:狱卒:从啸岗监狱逃出去简直是天方夜谈。“天方夜潭”isafour-characteridiom，Toexpressdisbelieforboast.“impossible”Translation:“天方夜潭”。Itaccuratelyconveyswhatthespeakermeant.Example(2):LegendtellsoflegendarywarriorwhoseKungFuskillswerethestuffoflegend．Hetraveledthelandinsearchofworthyfoes．Translation:相传有位传奇武侠,他的功夫出神入化。他浪迹天涯，独孤求败。Intheaboveexample,thetranslatoradoptsanaturalizedtranslationstrategyandcombinestheChinesekungfubackgroundofKungFuPandaI.“thestuffoflegend”“traveledtheland”“insearchofworthyfoes”etc.Cleverlytranslatedintocatchyfour-charactersetsofwuxiaidioms,suchas“出神入化”“浪迹天涯”“独孤求败”“月满潮涨”“俯首称臣”等.This"four-charactergrid"translationmodereflectsthelegitimacyandeffectivenessoftheteleologicalprincipleinthepracticeofsubtitletranslationwiththeauthenticChineserhetoricdevice.Undertheguidanceoftheprincipleofteleology,thetranslatedsubtitlesareconciseandvivid,leavingadeepimpressionontheaudience.3.2.2BuzzwordsInrecentyears,withthepopularityoftheInternetandthetrendofpan-entertainmentmedia,buzzwordshavebeenwidelyusedbynewspapers,filmsandothermediaduetotheircharacteristicsofsimplicity,novelty,humorandyouth.KungFuPandaIisakungfucomedycartoon.InadditiontomoderatelyusingthetypicalChineseidiom,italsoadoptshumorousbuzzwordstoattractChineseaudiences.InconsideringthefilmandtelevisionworkssubjectandtheaudienceunderthepremiseofappropriateuseofChinesenetworkbuzzwords,canincreasethefilmandtelevisionworksandinnovativefilmsubtitleshasthecharacteristicsofpopularity,thediscretionofkungfupandaIsubtitletranslationusepopularwordsandfashion,notonlymakedifferentage,culturalleveloftheaudiencecanfullyunderstandthemeaningofthefilm,tobettermeettheaestheticneedsofdifferentgroups,andwithitshumoroustone,enhancethecomedyeffectofthefilm.ThequotationofthistranslationmodemakesChineseaudiencesfeeltheintimacyofcontextandalsotrulyappreciatethefunnystyleoftheoriginalfilm.AsfilmsubtitletranslatorJiaXiuyansaid,translatingimportedfilmsusingInternetwordsandancientpoemsisnotaspoofbutanattempt.Entertainingtheaudiencewhileremainingtruetotheoriginalintenttothemaximumextentpossibleisthejoyoftranslation.Example:Impressive，DragonWarrior.Translation:很给力,神龙大侠。OK，keepitcool,keepitcool.Translation:好的,淡定,淡定。Iamsuchabigfan.Translation:我就是一个超级粉丝啊。Itcanbeseenthattranslatorsdonotalwaystranslatetheoriginalwordsliterallydirectly.Butcleverlyintroduced“给力”“淡定”“粉丝”.TheseInternetwordsthatarefashionableinChinaarenotonlyknownbyyoungpeople,butarealmosthouseholdnames.Thistranslationmodeaimstoachievethevividandhumorouseffect,andthenrealizetheinteractionwiththeaudience.3.3AnalysisoftheForeignizationForeignizationstrategyisofgreatsignificanceforreaderstobetterunderstandforeignculture,anditcanhelpreadersbetterunderstandwhattheauthorwantstoexpressinhisworks.Domesticationistendtoreaders,itisconvenientforreaderstounderstand.Foreignization,incontrasttodomestication,tendstomakereadersmoreawareofwhattheauthorwantstoexpress.Foreignizationwillnotdistortthemeaningofthearticle.ThispartdescribestheembodimentoftheAmericanspiritandtheinclusivenessoftheAmericanculture.ThispartdescribestheembodimentoftheAmericanspiritandtheinclusivenessoftheAmericanculture.InthetranslationcontentisrespectivelycorrespondingtothecharactersandTaoistthought.ItseemstoreflectthatChinesethoughthasnothingtodowithforeignization.However,ifwelookattheauthor'screativeintentionsandideasforthisfilm,wecanunderstandwhythesetwopartsusetheforeignizationstrategy.ThemovieisaforeignfilmcreatedbyDreamWorks.AlienationshouldreflectmoreAmericanculture.However,ifweunderstanditthisway,wewillbewrong,andwewillcompletelymisinterprettheauthor'smeaning.ThismovieisanAmericanmovie.However,theauthorisbasedonChinaasthebackgroundofthestory,ChinesekungFuasthetheme,andthecreationoftheChinesestyleofanimation.AlargenumberofChineseculturalapplicationsareactuallypromotingtheAmericanspirit.3.3.1TheEmbodimentoftheAmericanSpiritThepandawithChineseelementsgivestheChinesepeopletheimpressionofbeingstupid,slowandnaive.However,Po'simageissurprising,howcanapandabecomesuchaway:direct,immodest,bold,flexible,expressive,self-centered,notconsideringthefeelingsofothers.ThisistypicaloftheAmericancharacter.Example:Yeh,Istayed.IstayedbecauseeverytimeyouthrewabrickatmyheadorsaidIsmelled,ithurts.Butitcouldneverhurtmorethanitdideverydayinmylifejustbeingme.”Translation:对,我不走,我没走,因为你每次扔砖头砸我头或者嫌我臭我都很伤心,可是我最伤心的还是我每天浑浑噩噩地混日子做平凡的我。ThetranslationnotonlyfullyshowsPo'slostmood,butalsoshowshisbehaviorcharacteristicsandpersonalitycharacteristics.WethroughthetranslationofthissentencecanseethatPoambitionandbackboneisnotwillingtoordinary.Pointhefaceofthemaster'sdislikeheisstilloptimistictostay.Thiskindoftranslationeffectreflectsthecharacterthattheauthorwantstoexpress.TheAmericanpeoplehavealwaysbelievedineternalhopeanddaredtopursueitwithoptimism.Atthesametime,theAmericanpublicalsoadvocatestheconnotationofthespiritofequalityforall,andpeoplebelievethataslongastheyrelyontheirownunremittingefforts,theyaresuretorealizetheirultimatedreamoflifeandachievesuccess.Therefore,theAmericanpeopleareonlywillingtobelieveinrelyingonthemselvesandadvocatingself-reliance.Inordertoachievesuccess,theywillnotfollowthefootstepsoftheirpredecessors,butdaretotakerisksandencouragepeopletoexperimentandexplore.Powasamanwhodaredtotakerisksandrealizehisdreamsonhisown.HewastheembodimentoftheAmericanspirit.Therefore,intheprocessoffilmsubtitletranslation,itisnotenoughtoonlypursuetherationalityoflanguage.Itisalsonecessarytohaveadeepunderstandingofthethemeofthefilmandthecharactercharacteristicsoftheprotagonist,andtotrulyunderstandtheconnotationofthefilmtobeconveyedandtheperformanceabilityoftheprotagonist,soastoachievethedualgoaloftranslationeffectandachievethemaximumeffectofcross-culturalpublicityofthefilm.3.3.2TheInclusivenessoftheAmericanCultureThefilmincorporatesChineseTaoistideas,andtheauthorwantstoshowtheinclusivenessofAmericanculture.CulturalinclusivenessinAmericanmoviesBecausetheUnitedStatesisacountryofimmigrants,theirancestorsarenotAmericans,butpeoplefromallovertheworld.Therefore,thenationalcultureoftheUnitedStatesisalsointegratedwithmulticulturalism,andthismulticulturalismhasproducedthecharacteristicsofinclusivenessofAmericanculture.Asanimportantpartofmodernsocialculture,filmisnaturallynoexception.ThecommercialsupremacyprincipleadvocatedbymodernAmericanfilmintegratesitsownpositionintotheworldfilmmarket,ratherthanonlyattractingtheaudienceofitsowncountry.Therefore,inadditiontoabsorbingthetraditionalculturalcontentofthenation,itwillalsoabsorbandadopttheculturesofmanynationsintheworld,whichisoneoftheculturalstrategiesofmodernAmericanfilms.KungFuPandaIisoneoftheconcretemanifestationsofthisbrandculturalstrategypromotion.UnderthetrendoftheintegrationofChineseandWesterncultures,thetwocultureshavebeenwellintegratedanddevelopeddependingondifferentwaysandpaths.Americanmodernfilmcreationhasmadegreatbreakthroughsintermsofsubjectmatter,theme,styleandform,andonthebasisofinfiltratingspecificcommercialelementsintotheworkstoensuretheboxofficerevenue,alargenumberofstorylinesinlinewiththetasteoftheaudiencehavebeencreated.ThefilmKungFuPandaIhasastrongChinesestyle,whichnotonlycreateshugecommercialprofitsfortheHollywoodfilmindustryintheUnitedStates,butalsopromotestheOrientaltemperamenttotheinternationalstagethroughthefilmartform,promotestheculturalexchangeandintegrationbetweenChinaandtheWest,andplaysanimportantroleinpromotingtheculturalintegrationoftheworld.Example(1):Oogway:IsensetheDragonWarriorisamongus.Translation:乌龟大师:我参悟到“神龙武士”就在我们中间。Taoistthought“参悟”referstoaclearunderstandingofeverythingandeverything.ItembodiestheskillsofTaoistmonks.Ifuse“感觉到”ItcannotreflecttheChineseTaoismof“参悟”marrow.Example(2):TheuniversehasbroughtustheDragonWarrior.Translation:冥冥宇宙为我们指定了龙斗士。“冥冥宇宙”“指定”embodiesTaoism“天意不可违”Example(3):Mytimehascom.Youmustcontinueyourjourneywithoutme.Translation:我气数已尽。你得孤身上路了。“气数”embodiestheviewofTaoism“尘世间一切皆为气”Theentityfloatingfeatherintoimmortalscanbetransformedintoavarietyofforms.“孤身上路”reflectsthatTaoismregardshumanlifeasajourneyinthehumanworld.ThispartistranslatedintoTaoistculturebyforeignizationtranslationstrategy,whichissomewhatcontrarytoAmericanculture.Butthat'snotreallythecase.Ifaliteraltranslationisusedhere,therewillbenoTaoistideologyinChinesecultureanditwilldeviatefromtheauthor'sintention.TheauthorreflectstheinclusivenessofAmericanculturethroughChineseculture.ByincorporatingChineseculture,thefilmhascreatedhugecommercialprofitsfortheHollywoodfilmindustry.ChapterFourImplicationsfromtheSubtitleTranslationofKungFuPandaIAdetailedstudyofthefilmhasledtoanumberofinsightsinsubtitletranslation,preservingthecontextandconnotationsoftheAmericandrama,keepingthesubtitlessimpleandlifelike,andfocusingonculturalacceptability.4.1KeepingtheContextandConnotationofMoviesContextisthelinguisticenvironmentandincludesbothlinguisticandnon-linguisticfactors.Context,time,space,context,etc.Theyareallcontextualfactors.Fromtheperspectiveofthehistoricalrecordoflinguisticenvironment,thedefinitionandbasiccontentofcontextaredifferentfromthebasiccontentofvariousdisciplinesandacademia.ThesettingofAmericanfilmsislargelydependentonthecharacters.Ifyoucan'tkeepthecontextandconnotation,thenthefilmcreateeverythingisnolongerinteresting.Theupsanddownsofthestoryinthefilm,theintricatecharacterrelationships,thelifelikecharactersandthetimeandplaceoftheeventsconstitutetheexcellentscenecontext.Infilmandtelevisiontranslation,thedifferenttoneandattitudeshouldbefaithfullyreproduced.MasterOogwayandtheraccoonhaveaconversation:I’vehadavision.Tailungwillreturn.That’simpossible.He'sinprison.”“Nothing’simpossible.“Zeng,flytodorh-Gomprisonandtellthemtodoubletheguards,doubletheirweapons,doubleeverything!"“Oneoftenmeetshisdestinyontheroadhetakestoavoidit,'“Wemustdosomething!Wecan’tlethimmarchonthevallcy,takehisreveng."Yourmindislikethiswater,myfriend.Whenit'sagitated,itbecomesdifficulttosee.Butifyouallowittosettle,theanswerbecomesclear.Translation:“我看见了些幻象,太郎会重现江湖。”“这不可能,他还在牢里呢。"“万事皆有可能。”“小曾,马上飞到桃岗天牢去,告诉他们看守加倍,兵器加倍,什么都加倍!“有言,子欲避之,反促遇之!”“我们不能无动于衷,他说不定会来谷中泄愤,以报私恨。”“心如此水,老朋友,乱则不明。但若心如止水,答案便尽显眼前。”MasterOogwayhadahunchthatthesnowleopardswouldreturntofightfortheDragon'sSecret,sohesummonedMasterRaccoontotalktohim.Fromthevocabularylevel,itisnotdifficulttoseethatthethemeoftheoriginaltextistousetheraccoon'sordinarymindtofoilMasterOogway'sBuddhistwisdom:heforeseeseverything,understandseverything,defieschaosandprovidesguidance.Hiswordshavetheeffectofenlightenment,whichisusuallythestateofBuddhistmonks.Fromthelinguisticpointofview,itappearsintheformofdialogue.Amongthem,MasterTurtle'swordsarefullofZen,usingtherhetoricalmeansofpreachingandpersuasion,whichismoreformalandprofoundmeaning.Theraccoon'sresponsereflectshispanicandcolloquialexpression.Fromthetenorofthelanguage,Oogwayandtheraccoon'sexplicitsocialrelationshipisthattheyarefriendsandfamiliar,andshouldbeequal.Butthroughoutthefilm,wecanseetheirimplicitrelationship.FromMasterOogway'slateremergenceintoimmortality,wecaninferthatthereisabigdifferenceinagebetweenthem.Secondly,throughthedifferencebetweentheirwordsanddeeds,wecanknowthatMasterOogwayrepresentsanextraordinarymanofenlightenment,whileRaccoonrepresentsamasterofmartialartswithamortalmind.Andtheraccoon'sspeechismostlymoderncolloquial,suchas：“这