This thesis is separated into 5 parts。 Part one recommends a general picture of the study which includes purpose and the overall structure of this thesis。 Part two introduces some researches have been done in this field and some theories my standpoint is based on。 The part also explains to what extent my study is different from the previous researches and proposes some problems remain to be solved。 Part three classifies the type of movie subtitle translation, analyzes the characteristics of film subtitle translation, and some limiting factors of it。 Part four tells the two strategies—domestication and foreignization。 In the chapter, Interstellar is used to expound the dynamic combination of domestication and foreignization。 Part five summarizes the whole essay and comes to the conclusion。 Additionally, suggestions are made for further study in this aspect and some deficiencies are also indicated。 

2。 Literature Review

In terms of handling cultural differences in movie subtitle translation, there has been a heated discussion on whether using domestication or foreignization。 In film subtitle translation, domestication is adopted to make the original text more comprehensible for audience。 However, if the translator always uses his or her own culture to translate foreign works, his viewers may know little about the western culture, let alone communicate with foreigners。 In this case, in order to enhance cultural understanding, foreignization method is more acceptable。 Nonetheless, some communicative information may be misinterpreted。 At this point, domestication should be adopted to guarantee the proper comprehension of the connotation of the source language text。(Chen, 124) Chen Tingyi and Zhou Min(118) contend that subtitle translation should not only be royalty to the source text, but also be receivable by target audience。 To have a idiomatic version, translators should get the utmost out of the advantages of domestication and foreignization and combine them flexibly and effectively。(Ren, 133) Although many specialists have done many researches on aforementioned two strategies used in film subtitle translation, few of them mention what if the nature of meaning that can not be entirely conveyed in translation。 In other words, some specialists ignore the limit of translatability。 We can not deny the impact of untranslatable elements。 Thus, this article is written to put forward the limit of translatability and demonstrate the application of strategic interaction of domestication and foreignization。 Xing Fengping argues that because of the blossom of intercultural communication and an atomic effort of translators, the untranslatable words today can be translate tomorrow。(Xing, 265) Theoretically, untranslatability is inevitable。 So this thesis takes Interstellar for example, making readers have better grasp of the loss in translation。 After reading my article, translators may have adequate cultural awareness and use suitable strategies in film subtitle translation thereby developing the communication and integration of different cultures。

3。 Movie Subtitle Translation Studies 文献综述

A subtitle is a printed presentation or segment of dialogue showing on the screen between the scenes of a silent motion picture or appearing as a translation at the bottom of the screen shown in a foreign language。 (Merriam Webster, 1175) Film subtitle translation is a kind of supplementary explanation to the dialogue of characters and other related information。 The purpose of film subtitle translation is to guarantee that audience can get the largest contextual impact and enjoy the film without language and cultural barriers。 Film subtitle translation seems really easy on account that it looks as if subtitling mainly concentrated on the language conversion of the script text。 In fact that was not the case。 Actually, it is a course of inter-cultural communication, namely, film subtitle translators aim to convey the source language culture to the target audience through appropriate translation。 English movie subtitle translation is so complicated and challenging that translators have too many things to keep an eye on in the meantime。 In practical terms, this means translators should not only have a close-up view of original subtitling, but also pay close attention to connotations which films intend to express。 After the emergence of film subtitle translation, the audience can grasp the content of movie and feel the charm of the film not only from the hearing, but also from the vision。 Movie artistic expression and commercial attraction are straightway affected by the subtitle translation。来*自~优|尔^论:文+网www.chuibin.com +QQ752018766*