Abstract
In the context of globalization, film subtitle translation can be seen as an intercultural communication. Excellent subtitle translation is artistic and cultural, while rough subtitle translation is often not deep enough to make it difficult to understand what the movie wants to express. Therefore, functionally equivalent, high-quality subtitle translation is particularly important. At present, the subtitle translation of Chinese movies is not uniform. It depends on the translator's language ability and artistic accomplishment. There is no scientific and procedural means to ensure the quality of film subtitle translation. Domestic research in this area is not deep enough. In order to achieve functional equivalence in the translation of film subtitles, we first need theoretical guidance, and Nida's functional equivalence theory can provide assistance in this regard. This paper attempts to use Nida's functional equivalence theory to guide the specific method of film subtitle translation. According to the functional equivalence theory, the strategy of subtitle translation is proposed, and the specific measures to implement the theory into the subtitle translation of the film are found. Functional equivalence at the cultural, pragmatic and aesthetic levels.
Keywords：Functional equivalence; movie subtitles; translation method
Contents
Abstract I
Contents I
Introduction 1
1.An Introduction of Functional Equivalence Theory 2
1.1 Definiton 2
1.2 Contents of Functional Equivalence Theory 2
2.Features of Film Subtitle. 4
2.1 Colloquial 4
2.2 Time and Space Restrictions 4
2.3 Cultural Difference 5
2.4 Contextual Dependence 5
3.Translation Techniques of Film Subtitle under the Guidence of Functional Equivalence Theory 6
3.1 Translation Techniques under Functional Equivalence Theory at the Language Level 6
3.2 Translation Techniques under Functional Equivalence Theory at the Culture Level 9
3.3 Translation Techniques under Functional Equivalence Theory at the Pragmatic Level 12
3.4 Translation Techniques under Functional Equivalence Theory at the Aesthetic Level 13
4.Conclusion. 15
References 16
