從目的論看新加坡電影的字幕翻譯 ：以《881》和《突然發財》為例 = Subtitle translation of Singaporean movies from the perspective of skopos theory : a case study of 881 and the best bet

• Main Author: 楊修誠 Yang, Hsiu Chen
• Other Authors: Kuo Szu-Yu, Arista
• Format: Final Year Project
• Language: Chinese
• Published: 2016
• Subjects: DRNTU::Humanities
• Online Access: http://hdl.handle.net/10356/66074
• Institution: Nanyang Technological University

近年來，視聽娛樂蓬勃發展，無論是電視劇、電影或是動畫，都已成為大眾娛樂中的主流。而這些影視作品也隨著全球化的趨勢，在各國之間迅速流傳。透過這些影集，人們不需要親自前往世界各地，也能大略了解不同國家、不同種族、不同文化的特色。然而，這些影視作品所使用的語言多數時候都是其「出生地」的主要語言。當這些作品傳到海外地區時，海外觀眾若無法理解作品使用的語言，便無法完整地了解這些作品所要傳達的內容。為了使作品國際化，影視作品通常會翻譯演員的台詞、劇中出現的文字等，並以字幕的形式讓外地觀眾明白其內容。然而，觀看電影的觀眾來自世界各地，這些字幕是否能夠完完全全地將原作的訊息傳達給不同的觀眾？再者，若以新加坡本土電影為例，角色使用的新加坡英語和華語，不但中英交替使用，甚至不時穿插馬來語、淡米爾語、閩方言、粵方言等語言的詞彙。觀眾若不諳新加坡混合式的語言，便無法完整體會劇中的對白或修辭手法。本文將以新加坡電影《881》和《突然發財》為例，以漢斯．弗米爾（Hans Vermeer）的目的論（Skopos theory）來探討新加坡電影字幕的翻譯策略、翻譯問題和解決方法。Audio-visual entertainment underwent rapid developments in recent years. Television dramas, movies and animations are now the mainstream of general entertainment. These audio-visual productions are also spreading across the world as an effect of globalisation. With the help of audio-visual productions, people can now learn about the uniqueness of different countries, races and cultures without travelling. However, these productions use the lingua franca of their origins most of the time, and audiences from overseas would not be able to understand the content completely if they do not have the necessary knowledge of the languages used. Subtitles can be written in different languages so that the dialogues and texts in audio-visual productions can be understood by audiences internationally. Even so, with audiences from all over the world, would subtitles be able to convey every detail and message to different audiences? In the case of Singapore movies, Singlish (Singaporean English) and Singdarin (Singaporean Mandarin) are a mixture of multiple languages which consists of words and phrases from languages such as Malay, Tamil, Hokkien, and Cantonese. If the audiences are unable to comprehend this mixture of languages, they would not be able to capture the dialogues or the figures of speech in these productions. By using the movies 881 and The Best Bet as examples, this thesis aims to examine the subtitle translation strategies of Singaporean movies, as well as to propose possible solutions to the difficulties faced by subtitlers with reference to Hans Vermeer’s ‘Skopos theory’.