In search of principles for Chinese subtitling : the application of Lu Xun's 'hard translation' in modern media

Abstract

The purpose of this study is to investigate the practice and reception of Chinese subtitling by focusing on the Chinese subtitles of English-language films and TV series. The present study explores two different scenarios of subtitling in Mainland China - authorised translation (i.e. the subtitles shown in cinema and those included in officially distributed DVDs) and fansubs (i.e. subtitles made by fans for free online dissemination of audiovisual products) - in order to: demonstrate differences between Chinese subtitling and subtitling into other languages; describe the different subtitling norms and procedures applied to authorized translation and fan-subtitling; and justify Chinese fan-subtitlers' influence on the practice of Chinese subtitling and their contribution to the audience's access to foreign originals in Mainland China. In light of prior studies related to subtitling and translation strategies, relevance is given to Chinese subtitlers' solutions to particular subjects, namely: discourse markers, swearing and humour. This is to highlight the contrast between Chinese subtitlers' compliance with the traditional tendency to domesticate in Chinese translation and Chinese subtitling researchers' reliance on major Western translation theories which rarely shed light on the most urging issue arising from the current practice of Chinese subtitling - over-domestication. Against this background, a theoretical proposal relating to the notion of cultural representation is advanced. The proposal stems from the theoretical approach giving prominence to the faithfulness in translation, as propounded by the prominent Chinese writer and translator, Lu Xun, in his practice of "ying-yi" ("Hard Translation"), and thus allows a set of norms to be developed for the future practice of Chinese subtitling.