e. Translation by omission
An idiom may sometimes be omitted altogether in the target text, because it has no close match in the target language, its meaning cannot be easily
paraphrased or for stylistic reasons. As an example, English idiom hold a nickel
is hardly to be translated into Indonesian because this idiom has no close match in the Indonesian language as the target language.
2. Theory of Equivalence
The researcher uses theory of equivalence of Nida. In book titled Toward a Science of Translating
, Nida classifies equivalent translation into two; formal equivalence and dynamic equivalence Nida, 1964:159.
a. Formal Equivalence
In book titled Toward a Science of Translating, Nida said that formal equivalence focuses on the message, both in form and content. The message in the
TL should match as closely as possible with the different elements in the SL. Formal equivalence focuses attention on the message itself, in both form and
content. In such a translation one is concerned with such correspondences as poetry to poetry, sentence to sentence, and concept to concept. Viewed from
this formal orientation, one is concerned that the message in the receptor language should match as closely as possible the different elements in the
source language. This means, for example, that the message in the source culture to determine standards of accuracy and correctness Nida, 1964:159.
b. Dynamic Equivalence
A translation of dynamic equivalence focuses on the equivalent effect. The context in the target language should be relevant or same with the context in the
source language. The aim of dynamic equivalence is to complete the natural expression in the source message.
A translation of dynamic equivalence aims at complete naturalness of expression and tries to relate the receptor to modes of behavior relevant
within the context of his own culture; it does not insist that he understand the cultural patterns of the source language context in order to comprehend the
message … in such a translation the focus of attention is directed, not so much toward the source message as toward the receptor response Nida,
1964:159-166.
3. Film Translation
In her journal titled Translation in a Confined Space, Barbara Schwarz says that subtitle is for an audience who could not understand the film. The main aim
must be clarity and ease of reading. However, there are some guidelines or rules for subtitle in order to fulfill its main aim. These guidelines are presented below.
1. Subtitle is placed at the bottom of the screen either left aligned or centered. It
must not stay across on the screen because it disturbs the visual or picture of a film.
2. Subtitle also consist of only one or two line with no more than 35 characters
including spaces. 3.
To unsure the good legibility on any type of background, subtitle uses a simple font in white or yellow with a dark drop shadow and placed in
transparent bar. 4.
Subtitle must use font styles, for example Italics, to mark foreign words or to emphasize particular words in the dialogue.
5. Capitals are used in subtitle to indicate important information which is not
part of the dialogue, such as voices from radio, television, or loudspeakers. Capitals are also used for written words as for example, on posters, letters, or
newspaper when the content is important to the story line. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
6. To unsure synchronization with the spoken word and the image,
conversations in the subtitle have to be condensed in a layout which helps audience to identify different speakers.
7. Punctuation in subtitle is used to convey interpersonal dynamics that reflect
those of the film dialogue. Hesitation or insecurity can be visualized by inserting an ellipsis … or loudness with an exclamation mark .
8. Subtitle duration, which appears on the screen, is limited. It is because
subtitle follows the pace of the film and the delivery of the dialogue. The duration of subtitle ranges from one to six seconds.
4. Theory of Translation Method
