4.3 Inclination of Entertainment in Fansub-Groups’ Translation. 21

Chapter Five: Conclusion 26

Reference

Subtitle Translation: Differences Between the Licensed Translation and the Fansub-group Translation

—Taking “ Avengers: Age of Ultron” as an Example

Chapter One: Introduction

As more and more blockbusters have been imported to China, subtitle translation is in increasing need. Licensed subtitle translation has been a hot topic in recent years because their quality is questioned by many people. In contrast, the non-profit fansub-groups are gaining an increasing popularity. Online films with subtitles made by fansub-groups are now everywhere. So, how much differences are there between the licensed subtitle translation and fansub-group? Why there exist those differences? Taking “Avengers: Age of Ultron” as an example, this thesis aims to compare three versions of subtitles from China Film Group Corporation, the Eden fansub-group and COD fansub-group, trying to find out the differences and to explore the reasons behind them.

Most people know little about subtitle translation theory, but subtitle translation is in an increasing need. However, relevant studies are quite few and constructive subtitle translation opinions have not been found. That’s why people have so much disagreements about licensed and fansub-group translation. This thesis tries to study the two types of subtitle translation in light of professional theories, which hopefully can give some enlightenment to subtitle translation strategy.

This thesis will contain five parts. The first and second part will make an introduction and a literature review; the third part will introduce some relevant 

theories which will be used in my study; the forth part will focus on the specific discussion about reasons behind the differences between licensed translation and fansub-group translation under the the theories i have chosen. The last part will make a conclusion about what i have found.

Chapter Two: Literature Review

Relevant studies in China started from the time of reform and opening up and quickly increased after China's entry to WTO. Generally, domestic researches associated with subtitle translation are as follows:

Descriptive study of subtitle translation. Back in 1998, Zhang Chunbai pointed out, “from some of the basic characteristics of film art and film language, it seems that subtitle translation should adopt the strategy of free translation.” (1998, p. 53)  After that, Zhang Tao, Liu Hongquan (2009)also conducted a similar study. This kind of study is only an initial exploration of subtitle translation without much strategies found.

Later, although some scholars pointed out some subtitle translation strategies, like “whether literal translation or free translation should be audience-oriented”,(Yang Yang, 2006, p. 96)  “subtitle translation for foreign language film should follow the principle of commercial entertainment as much as possible to attract the audience, creating the largest box office receipts. “(Bie Jinqiu, 2012, p. 33)  This view is echoed by Zhao Lu(2014), who argued “translators should always take audience as the core of translation progress” (p. 14)   This is reasonable, but there appears a tendency of “coddling” audience in subtitle translation. Companies are willing to do anything to attract the audience. Different from audience-centered translation strategy, Shao Chen (2015) argued that translators should select different strategies according to different functions of translation (teleological theory), making a breakthrough in subtitle translation study. However, in the end the author concluded, “the similarities and differences of the three versions of translation, the purpose of the translation is not the only factor in selecting translation strategy. The real decision-making process in translation is more complicated.” (p. iv)  We can see teleological theory is not the only guidance of translation strategies and subtitle translation need to consider more factors. In light of communication theory, subtitle translation is regarded as a communication process. Huang Kai (2013, p. iii) mentioned the translator’s gatekeeping skills, breaking the audience-oriented subtitle translation strategy.