功能对等理论视域下的电影字幕翻译方法与技巧探析——以《浪浪山小妖怪》为例

An Analysis of Film Subtitle Translation Methods and Techniques from the Perspective of Functional Equivalence Theory—A Case Study of Nobody

摘要: 电影作为一种特殊的文化形式，承载着国家形象、价值观念、精神和文化等元素。它是文化产业的重要支柱，更是文化传播的关键载体。随着中国文化“走出去”步伐的加快，电影日益成为外国友人了解中国文化的重要窗口。为了更好地传播中国文化，准确而恰当的字幕翻译至关重要。奈达的功能对等理论认为，翻译应最大程度地达到译文功能与原文功能的对等，让目的语受众能产生与源语受众相同或类似的反应。因此，本文从功能对等理论视角出发，分析当下热门电影《浪浪山小妖怪》字幕翻译所运用的翻译方法与技巧，以期更好地向世界传递中国文化内核与精神力量，提高字幕翻译的质量，从而为该领域研究提供借鉴与参考。

Abstract: As a unique cultural form, film embodies elements such as a country’s national image, values, spirit and culture. It is not only a crucial pillar of the cultural industry but also a key carrier for cultural communication. Against the backdrop of China’s accelerated efforts to advance its “Culture Exporting” strategy, films have increasingly become an important window for international audiences to understand Chinese culture. To better spread Chinese culture, accurate and appropriate subtitle translation is of vital importance. Eugene Nida’s Functional Equivalence Theory holds that translation should maximize the equivalence between the function of the target text and the source text, enabling target-text receptors to produce responses identical or similar to those of source-text receptors. Therefore, from the perspective of Functional Equivalence Theory, this paper analyzes the translation methods and techniques applied in the subtitle translation of current popular film Nobody, with the aim of better conveying the core of Chinese culture as well as spiritual strength to the world, improving the quality of subtitle translation, and thus providing useful references for research in this field.