Subtitling Strategies Of Translation Of Maleficent Movie Into Indonesian
SUBTITLING STRATEGIES OF TRANSLATION OF
MALEFICENT MOVIE INTO INDONESIAN
A THESIS BY
SHINTA DWI LIANA HUTABARAT REG. NO 110705005
DEPARTMENT OF ENGLISH
FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2015
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SUBTITLING STRATEGIES OF TRANSLATION OF
MALEFICENT MOVIE INTO INDONESIAN
A Thesis By:
Shinta Dwi Liana Hutabarat Reg. No. 110705005
Supervisor, Co. Supervisor,
Dr. H. Muhizar Muchtar, M.S Drs. Muhammad Syafi’ie Siregar, M.A NIP.19541117 198003 1 002 NIP. 19561113 198601 1 001
Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra in Department of English
DEPARTMENT OF ENGLISH
FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA
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Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination.
Head, Secretary,
Dr. H. Muhizar Muchtar, M.S Rahmadsyah Rangkuti, MA. Ph.D NIP. 19541117 198003 1 002 NIP. 19750209 200812 1 002
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Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan.
The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on Friday, 28thAugust 2014
Dean of Faculty of Cultural Studies University of Sumatera Utara
Dr. H. Syahron Lubis, MA NIP.19511013 197603 1 001
Board of examiners
Dr. H. Muhizar Muchtar, M.S
Rahmadsyah Rangkuti, MA. Ph.D
Drs. H. Chairul Husni, M.Ed. TESOL
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AUTHOR’S DECLARATION
I, SHINTA DWI LIANA HUTABARAT, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS. EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS, THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR AWARDED ANOTHER DEGREE.
NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGEMENT IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.
Signed :
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COPYRIGHT DECLARATION
NAME : SHINTA DWI LIANA HUTABARAT
TITLE OF THESIS :
SUBTITLING STRATEGIES OF
TRANSLATION OF MALEFICENT
MOVIE INTO INDONESIAN
QUALIFICATIONS : S-1/ SARJANA SASTRA DEPARTMENT : ENGLISH
I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER LAW OF THE REPUBLIC OF INDONESIA.
Signed :
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ABSTRACT
The thesis entitled ‘Subtitling Strategies of Translation of “Maleficent” Movie into Indonesian’ is a linguistics study. This study appears because of the importance of translation role in the development of knowledge, information and entertainment in the world. This thesis was done to answer the curiosity of the writer about what strategies is applied in subtitling English subtitles into Indonesian. The objective of this study was to find out the strategies of translation in “Maleficent” movie into Indonesian and to find out what strategiesweremostly applied to subtitle them. In order to identify and classify the strategies applied in subtitling English subtitles in “Maleficent” Movie into Bahasa Indonesia, Gottlieb theory about strategies of translationwas used. The method of the analysis was descriptive qualitative method. As the result of the analysis, expansion was occured as astrategy that usually uses in the subtitle. Expansion was found in the subtitling of 35(26.31% )occurrences, while condensationwas found in the subtitling of 33 (24.81% ) occurrences, transfer was found in the subtitling of 28 (21.05%) occurrences, deletion was found in the subtitling of 14 (10.52%) occurrences, paraphrase was found in the subtitling of 12 (9.02) occurrences, imitation was found in the subtitling of 9 (6.7%) occurrences and decimationwas found in the subtitling of 2 (1.5%) occurrences.
Key words : subtitles, strategies of translation, expansion, condensation, transfer, deletion, paraphrase, imitation, decimation.
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ABSTRAK
Skripsi yang berjudul ‘Subtitling Strategies of Translation of “Maleficent” Movie into Indonesian’ adalah sebuah studi linguistik. Studi ini muncul karena pentingnya peran terjemahan dalam perkembangan ilmu pengetahuan, informasi dan hiburan di dunia. Skripsi ini dibuat untuk menjawab rasa penasaran penulis tentang strategi apakah yang dipakai oleh penerjemah dalam menejemahkan subtitle bahasa Inggris ke dalam bahasa Indonesia. Tujuan dari penelitian ini adalah untuk melihat terjemahan dari subtitle bahasa Inggris ke dalam bahasa Indonesia dan untuk menemukan strategi terjemahan apa yang digunakan oleh penerjemah untuk menerjemahkannya. Dalam penelitian ini, teori yang dipakai untuk mengidentifikasi dan mengklasifikasikan strategi terjemahan yang digunakan oleh penerjemah adalah teori strategi penerjemahan Gottlieb. Dan metode penelitian yang dipakai dalam penelitian ini adalah metode deskriptif kualitatif. Hasil dari penelitian ini, strategi expansion yang biasa dipakai dalam menerjemahkan subtitle. Expansion ditemukan sebanyak 35 (26,31%) temuan, sementara condensation ditemukan sebanyak 33 (24,81%) temuan, transfer ditemukan sebanyak 28 (21, 05%) temuan, deletion ditemukan sebanyak 14 (10,52%) temuan, paraphrase ditemukan sebanyak 12 (9,02%) temuan, imitation ditemukan sebanyak 9 (6,7%) temuan dan decimation ditemukan sebanyak 2 (1,5%) temuan.
Kata kunci : subtitle, strategi penerjemahan, expansion, condensation, transfer, deletion, paraphrase, imitation, decimation.
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ACKNOWLEDGEMENT
Alhamdulillah, in the name of Allah SWT, the writer would like to thank Allah SWT, for all the mercy and blessing that I have and for thechance and power that given to me to complete this thesis. Praises and greets to Muhammad SAW who has brought us to the luminous era and lead us to the goodness of mankind.
The writer sincere gratitude also goes to the Dean of Faculty of Cultural Studies, University of North Sumatera, Dr. SyahronLubis, M.A, the Head and the Secretary of English Department, Dr. H. Muhizar Muchtar, M.S and RahmadsyahRangkuti, M.A. Ph.D for all of the facilities and opportunities given to the writer during the study.
First and foremost, the writer would like to thank the writer supervisor and co-supervisor, Dr. Muhizar Muchtar, M.S and Drs. Muhammad Syafi’ie Siregar, M.A for the guidance, support, advice, and constructive comments during the writing of this thesis.
The writer special thanks are expressed to the writer beloved parents, Jakon Tua Hutabarat and Wahyuliah Nasution and also beloved brothersAkbar Hutabarat and Fariz Hutabaratfor giving the writer an endless support, love and attention.
A really big thanks are addressed to Nova and Puput, and to the writer best partner, Cristine, and also to my best friends Zen Elvia, Soraya, Verina, Ima, Masyita, Sheila, and many more that I can’t mention them all one by one.And a sincere thanks for all people in GGS’s big family of Plaza Medan Fair, for Umik Nina, Kak Wulan, Armini, Kak Ida, Kak Eka, Nova, Nia, Dina and Mira.
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The other special thanks goestokekelengenku, Chandra Bhancinwho always support and giving me love and affection.
I am really grateful to have everyone supporting me in the process of finishing this thesis. For their caring, support, love and affection, I really thank them. And I am really sorry if maybe I forget to mention some names here.
Finally, the writer has to admit that this thesis is far from being perfect. Thus any comments, suggestions, and criticism will be humbly accepted. May Allah SWT bless us.Amin.
Medan 5 September,2015 The Writer
Shinta Dwi Liana Hutabarat NIM : 110705005
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TABLE OF CONTENT
Page
AUTHOR’S DECLARATION ………..………. v
COPYRIGHT DECLARATION ………. vi
ABSTRACT ... vii
ABSTRAK ... ... viii
ACKNOWLEDGEMENT ... ix
TABLE OF CONTENT …………... xi
CHAPTER I INTRODUCTION 1.1. Background of Analysis... 1
1.2. Problem of Analysis... 4
1.3. Objective of Analysis... 4
1.4. Scope of Analysis... 4
1.5. Significance of Analysis... 5
CHAPTER II REVIEW OF LITERATURE 2.1. Subtitling …………..………... 6
2.2. Types of Subtitling… .………..……….. 7
2.3. Subtitle Rules……… ……….. 7
2.4. Strategies of Translation ………..…... 10
2.4.1. Transfer……… 10
2.4.2. Expansion……… 11
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2.4.4. Condensation ……… 12
2.4.5. Decimation ……… 12
2.4.6. Imitation ……… 13
2.4.7. Transcription ………. 13
2.4.8. Dislocation ………. 13
2.4.9. Deletion ………. 14
2.4.10. Resignation ……….. … 14
CHAPTER III METHODS OF ANALYSIS 3.1. Method of Study ….………..…. 15
3.2. Source of Data ……….... 15
3.3. Data Collecting Method ………. 16
3.4. Data Analysis Method ………... 17
CHAPTER IV ANALYSIS AND FINDINGS 4.1. Analysis ……..……… 18
4.1.1. Identifying The Strategies of Translation ………. 18
4.1.2. Classifying and Analyzing The Data Based on The Strategies of Translation ……….. 23
4.1.2.1. Transfer………..………. 23
4.1.2.2. Expansion ...……… 29
4.1.2.3. Paraphrase ………...… 42
4.1.2.4. Condensation ………... 46
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4.1.2.6. Imitation ……… 57
4.1.2.7. Deletion ………. 59
4.2. Findings ………..……… 65
CHAPTER V CONCLUSION AND SUGGESTION
5.1. Conclusion ……… 66
5.2. Suggestion ……… 67
REFERENCES ……… 68
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ABSTRACT
The thesis entitled ‘Subtitling Strategies of Translation of “Maleficent” Movie into Indonesian’ is a linguistics study. This study appears because of the importance of translation role in the development of knowledge, information and entertainment in the world. This thesis was done to answer the curiosity of the writer about what strategies is applied in subtitling English subtitles into Indonesian. The objective of this study was to find out the strategies of translation in “Maleficent” movie into Indonesian and to find out what strategiesweremostly applied to subtitle them. In order to identify and classify the strategies applied in subtitling English subtitles in “Maleficent” Movie into Bahasa Indonesia, Gottlieb theory about strategies of translationwas used. The method of the analysis was descriptive qualitative method. As the result of the analysis, expansion was occured as astrategy that usually uses in the subtitle. Expansion was found in the subtitling of 35(26.31% )occurrences, while condensationwas found in the subtitling of 33 (24.81% ) occurrences, transfer was found in the subtitling of 28 (21.05%) occurrences, deletion was found in the subtitling of 14 (10.52%) occurrences, paraphrase was found in the subtitling of 12 (9.02) occurrences, imitation was found in the subtitling of 9 (6.7%) occurrences and decimationwas found in the subtitling of 2 (1.5%) occurrences.
Key words : subtitles, strategies of translation, expansion, condensation, transfer, deletion, paraphrase, imitation, decimation.
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ABSTRAK
Skripsi yang berjudul ‘Subtitling Strategies of Translation of “Maleficent” Movie into Indonesian’ adalah sebuah studi linguistik. Studi ini muncul karena pentingnya peran terjemahan dalam perkembangan ilmu pengetahuan, informasi dan hiburan di dunia. Skripsi ini dibuat untuk menjawab rasa penasaran penulis tentang strategi apakah yang dipakai oleh penerjemah dalam menejemahkan subtitle bahasa Inggris ke dalam bahasa Indonesia. Tujuan dari penelitian ini adalah untuk melihat terjemahan dari subtitle bahasa Inggris ke dalam bahasa Indonesia dan untuk menemukan strategi terjemahan apa yang digunakan oleh penerjemah untuk menerjemahkannya. Dalam penelitian ini, teori yang dipakai untuk mengidentifikasi dan mengklasifikasikan strategi terjemahan yang digunakan oleh penerjemah adalah teori strategi penerjemahan Gottlieb. Dan metode penelitian yang dipakai dalam penelitian ini adalah metode deskriptif kualitatif. Hasil dari penelitian ini, strategi expansion yang biasa dipakai dalam menerjemahkan subtitle. Expansion ditemukan sebanyak 35 (26,31%) temuan, sementara condensation ditemukan sebanyak 33 (24,81%) temuan, transfer ditemukan sebanyak 28 (21, 05%) temuan, deletion ditemukan sebanyak 14 (10,52%) temuan, paraphrase ditemukan sebanyak 12 (9,02%) temuan, imitation ditemukan sebanyak 9 (6,7%) temuan dan decimation ditemukan sebanyak 2 (1,5%) temuan.
Kata kunci : subtitle, strategi penerjemahan, expansion, condensation, transfer, deletion, paraphrase, imitation, decimation.
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CHAPTER I INTRODUCTION
1.1 Background of the study
Western society has already expanded their invasion. Its expansion of knowledge, information, and entertainment in multimedia. Those are coming in form of TV programs, videos, movies,etc. They are in the form of original languages and cultures, cause the significant increase of the number of consuming subtitle version programs. Foreign movies especially Hollywood have dominated the movie industry in Indonesia. Neither adults nor teenagers and children are the audience. High quality pictures and good story, make Hollywood movies are increased in demand in Indonesian. Almost all of Hollywood movies are produced in English, which are difficult to understand by Indonesian , this condition can be a problem because of the difference of language used. Therefore, the producers must transfer English as the source language to certain target language.In this case is Indonesian language, in order to make the audience is easier to understand and enjoy the movies. So, the field of movie translation begins to set the pace in translation study and screen translation or Audiovisual Translation (AVT) is the central to it.
Audiovisual is arranged as the media of acquiringinformation and entertainment. To accommodate the market demand, audiovisual translation is developed to give contribution as a society media. Since the terms of audiovisual media gained an international audience, consequently the development of translation methods have been increased. The movie industry recently became an extremely popular in media to gather audience. The movie industry faced a translation problem
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since only small percentage of the world’s population understood English, consequently, a growing need to find appropriate screen translation approaches.
AVT is conventionally categorized into subtitling and dubbing. Each of theminterfered with the original text to different extent. Basically, dubbing is refered to anytechnique of covering the original voice in an audio-visual production by another voice.On the other hand, the activity of subtitling is the process of translation where onelanguage as source language is transfered into other languages as a target language. Itinvolves transferring the characteristics of spoken dialogue to the written mode. For thesubtitler, subtitling is not always an easy job because it has some constraints andlimitations. Many of the translators have tried some various ways to cover the constraints, and the attempts have been done to observe what strategies are adopted in subtitling work.As stated above that audiovisual media can be accessed in subtitle, the term of subtitle may concern to the process involving two languages. Subtitle is transferring the characteristic from spoken dialogue to written mode, which is commonly placed at the bottom and spaced two lines on the screen. In the original subtitle will be at all times available to the audience. It is more preferable cause subtitle allows the viewers to understand the meaning without diminish enjoyment of the movie. Furthermore, subtitle can be an alternative to enrich knowledge from source language. By considering the advantage of subtitle, broadcasting development of the subtitle welcomed since it gives massive effort to the audience. Nowadays, the broadcast subtitle is much demanded.
In interpreting source language into subtitle, translators may adopt different strategies to convey dialogue or other content to the target language.Thereby, they consider the limitation space and interface between culture and technology. Gottlieb
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proposed several strategies that can be applied in subtitle. One of them is condensation. This strategy is characterized by the part of condensed linguistic elements such as repetition or exclamation (Georgakopoulou, 2009, p.27-29). For example, the utterance of the original text “Oh my God. No, no, no!” will be displayed in subtitle “Ya tuhan. Tidak!”. The utterance “no” has involved in repetition. Linguistic element such as repetition is intentionally to be condensed.
Gottlieb (1994) has devised ten strategies which he classifies as expansion, paraphrase, transfer,imitation, transcription, dislocation, condensation, decimation, deletion, and resignation. Expansion strategy is one of the strategy occurs in the utterance of subtitle. There are some reasons of the subtitler did expansion. It makes the viewer easier to understand, the other reason is to get universal equivalence or because of grammatical requirement. Indonesian audiovisual industries such as film and TV programs are still imported. Most of them in English, as the result, the subtitle play important role and subtitling industries have to increase. Therefore, the number of audiovisual research especially subtitle is still on the limits. By means for that reason, the writer gains so much interest in this area. Pay attention to Indonesian subtitle as the focus on this research, hence, the writer limits the research which concern to Indonesian subtitling strategies used in English movie.
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1.2 Problem of the Study
The study aims to provide answer to these following questions :
1. What kinds of subtitling strategiesare found in the movie entitled
Maleficent?
2. Which strategies are mostly occured in the subtitling Maleficent?
1.3 Objective of the Study
There are two major purposes by which the researcher expected to find out as the answerto the problems mentioned earlier :
1. To describe the subtitling strategies found in the Maleficent movie.
2. To find out the mostly used subtitling procedures to translate script of Maleficent movie into Indonesian.
1.4 Scope of Analysis
The research is focused on the subtitle strategies which are interpreted in Indonesian subtitles. The writer observes subtitle strategies used in interpreting Indonesian as target language in form of subtitle. The data are taken from an British film entitled Maleficent. The theory of subtitle strategies is purposed by Gottlieb (1994). Gottlieb has devised ten strategies which are classified as expansion, paraphrase, transfer,imitation, transcription, dislocation, condensation, decimation, deletion, and resignation. They are conducted in Indonesian subtitling strategies used in English movie.
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1.5 Significance of the Study
This thesis is intended to be helpful theoretically and practically. Theoretically, this thesis is expected to enlarge the knowledge of translation to the readers or the students of English Department. This thesis may also be a reference for those who are interested in learning translation studies. Practically, this present analysis is expected to be helpful for people who want to be a translator or currently works as a translator. As subtitle is one of the most important part in learning translation through the movie, hence by knowing the theory of strategy in subtitling they would more understand about how to translate the texts more naturally and accurately.
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CHAPTER II
REVIEW OF RELATED LITERATURE
2.1. Subtitling
According to Baker and Saldanha, subtitling is counted as the audiovisual translation. They divide translation into four types; literary translation, audiovisual translation, scientific translation and technical
translation.http://books.google.co.id/books/about/Routledge_Encyclopedia_of_Trans lation_St.htmlid=eXsDckV5GuMC&redir_esc=y/ (Accessed on January 10th 2014)
Literary translation is the translation of the literary works.Scientific translation is the translation of the terms in the field of science and technology of all kinds. Technical translation is a type of specialized translation involving the guides, etc.). Audiovisual is the translation of any material in audio, visual or audiovisual format. The four major aspects that are included in this section are subtitling, dubbing, software localization and multimedia, and audio description (Luyken, 1991:153–165).
Subtitle as a branch of audiovisual translation is textual versions of the dialog or commentary in films, television programs, video games, usually displayed at the bottom of the screen.They can either be a form of written translation of a dialog in a foreign language, or a written rendering of the dialog in the same language, with or without additional information to help viewers who are deaf and hard-of-hearing to follow the dialog, or people who cannot understand the spoken dialogue or the problems of accent recognition.
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2.2. Types of Subtitling
Gottlieb (quoted by Baker, 1992:247) distinguishes subtitling into two types; intralingual subtitling and interlingual subtitling.
Intralingual subtitling is a vertical, in the sense that involves taking speech down in writing, changing mode but not language. This includes
• Subtitling of domestic programmes for the deaf and the hard of hearing • Subtitling of foreign-language programmes for the language learners.
Interlingual subtitling is a diagonal, in the sense that the subtitler crosses over from speech in one language to writing in another, thus there is the changing in mode and the language.
2.3. Subtitle Rules
William (2002:7-10) lists some rules in making standard subtitle for a movie screen:
a. Subtitles must be on screen for long enough to be read by a deaf or hard-of- hearing viewer who will also be trying to take in other visual information at the same time.
(1) A short and familiar word or phrase - 1.12 to 2 seconds.
e.g.: Hello .
or: Excuse me.
(2) Up to half a line - 2 to 2.12 seconds.
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or: See you tomorrow.
(3) One line - 2.12 to 3 seconds.
e.g.:How long will it take us to go home?
or:He´s got a real headache.
(4) One line and a little bit - 3.12 seconds.
e.g.: How long will it take Johanna to go
home?
(5) Up to one and a half lines - 4 to 4.12 seconds.
e.g.: It is important to tell her about
the decision we made.
(6) Two lines - 5 to 6 seconds.
e.g.: I think it would be a very good idea
to keep dangerous dogs on a leash.
(7) Two lines and a little bit - 6.12 seconds.
e.g.: How long will it take the whole cast
to come home by taxi to Duals, North
Dyfed?
(8) Two and a half lines - 7 seconds.
e.g.: The best thing about going abroad is
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the British weather .
(9) Three lines - 7.12 to 8 seconds.
e.g.: What will the City do about the Tory
Government´s humiliating defeat
in the House of Commons last night?
b. In both live and pre-recorded subtitling, timings are intended to be flexible. The standard timings shown in the Appendix are intended to provide general guidelines.
c. It is crucial that subtitles are displayed for a sufficient length of time for viewers to read them. The subtitle presentation rate for pre-recorded programmes should not normally exceed 140 words per minute. In exceptional circumstances, for example in the case of add-ons, the higher rate of 180 words per minute is permitted.
d. To ensure both legibility and readability, the maximum for subtitle text should be roughly 32 or 34 characters per line.
e. Lines should be broken at logical points. The ideal line-break will be at a piece of punctuation like a full stop, comma or dash. If the break has to be elsewhere in the sentence, avoid splitting the following parts of speech.
f. Good line-breaks are extremely important because they make the process of reading and understanding far easier. However, it is not always possible to produce good line-breaks as well as well-edited text and good timing. Where these constraints are mutually exclusive, then well edited text and timing are more important than line-breaks.
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g. If the text will fit on one line, do not rearrange it on to two lines. One line takes less time to read than two short lines and it causes less disruption to the picture. Similarly, do not rearrange two lines of text on to three lines, unless there is a very bad line-break between lines 1 and 2.
2.4. Strategies of Translation
According to Gottlieb (1994:294), “The goal of adequacy- and even less equivalence is not always reached in any type of translation”. To assess the quality of a specific subtitling, the rendering of each segment of verbal film must be analyzed with regard to stylistic and semantic value. Based on his experience as a television subtitler, he has devised ten strategies which are used by subtitlers. Those are :
a. Transfer
Transfer is a strategy of translation which there is no additional explanation or modifying of view, because the subtitler translates the dialogue by literal word. In addition, the usage of this strategy also maintains the structure of the original text.
Example: Monte: I Need a drink
Monte: Aku butuh sebuah minuman
This subtitling uses transfer strategy. There is no addition or deletion in that phrase. The subtitler translates the dialogue literally. “I need a drink” which is translated “Aku butuh sebuah minuman” and it is very similar in the syntax and meaning. Transfer strategy is used in this the process of translation because all the words are translated.
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b. Expansion
Expansion is used when the original text (SL) requires an additional explanation in translation because of some cultural nuance are not retrievable in TL.Linguistic element such as repetition is intentionally to be condensed. Example: Clown: Whatever you need
Clown: Apapun yang kau butuhkan
The phrase “Whatever you need” is translated into “Apapun yang kau butuhkan ”. The explanation word is purposively added by the subtitlerto clarify the dialogue.
c. Paraphrase
Paraphrase is used when the subtitler does not use the same syntactical rules in subtitling the dialogue. In other words, using this strategy the subtitler changes the structures of the subtitle and makes it easier to understand and readable by the audience.
Example: Monte: She’s black-hearted whore and i’m done with her.
Monte: Dia pelacur berhati jahat dan aku sudah tak peduli dengannya.
The use of paraphrase strategy could be seen on “black- hearted” which was translated into “berhati jahat”. “black hearted” which was a figurative language meaning “disposed to doing or wishing evil” or “without any moral quality orgoodness”, and black was close to the dark and evil world so the subtitler translated it “berhati jahat” which had a similar meaning.
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d. Condensation
Condensation is a translation to make the text brief to miss unneccesary utterance by using the shorter utterance, but it does not lose the message. Sometimes pragmatic effect can be lost by using condensation strategy. Therefore, the real aim of the text must be conveyed.
Example: Monte: Ah, I don't believe I will. Monte: Aku takkan bisa.
On the subtitle above, it could be seen clearly that the subtitler uses condensation strategy, if it is translated into word-to-word the sentence structure in TL, the meaning is the same as SL text.
e. Decimation
Decimation is used to translate when the actors are quarrelling with the fast speaking. So, the translator is also to condense the utterance because the utterances have difficulty to be absorbed quickly from unstructured written text.
Example: Monte: You're not, by any chance, referring to Spot, are you? Monte: Maksud anda Spot?
The phrase “You’re not, by any chance, referring to Spot, are you?” was translated “Maksud anda spot?” It is not translated word-to-word because it was represented by “are you?” which in TL could be translated “maksud anda?”.
f. Imitation
Imitationis re-writing the word of the original text. Imitation is ussualy used to deal with the names of person, place,magazine, journal, and
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newspaper, and the tittle of untranslated literary works, names of company and instituitions, addresses, etc.
Example: Charlotte: Did your Jubal McLaws ever love a woman? Charlotte: Apa Jubal Mclaws pernah jatuh cinta?
“Jubal McLaws” was a name of a character in a story; therefore,
thesubtitler did not have to translate it.
g. Transcription
Transcription is used in the case where a term is unusual even in the source text as the text uses the third language, or nonsense language.
Example: Monte: Railroad Pinkertons are hot on our trail, amigo Monte: Jalur kereta Pinkertons sasaran kita, teman
Transcription strategy is used in translating the dialogue. It could be seen in word “amigo” which was translated into “teman”. The word “amigo” was a third language which was a Spanish word meaning friend.
h. Dislocation
Dislocationis an adopted translation when the original employs some sort of special effect as it is found a silly song in cartoon film, where the translation of the effect is more important than the content.
Example : The soundtrack of Dora The Explore Cartoon
Source Language Target Language
If there is a place you got to go I’m the one you need to know
Kalau kau mencari tempat Akulah orang yang tepat
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I’m the map
If there is a place you got to get I can get you there I bet
I’m the map
Aku peta
Kalau kau mencari lokasi Akulah yang kau cari Aku peta
i. Deletion
Deletion refers to the elimination of parts of a text which this term carryless semantic meaning; therefore, it can be deleted without changing the informationto the audience.
Example: Charlotte: That’s enough Charlotte: Cukup
The sentence “that’s enough” into “cukup”. The word “that’s” in this term carryless semantic meaning; therefore, it can be deleted without changing the informationto the audience.
j. Resignation
Resignation is used to describe the strategy adopted when there is no translation solution can be found and meaning is inevitably lost.
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METHOD OF THE STUDY
3.1. Method of the Study
Qualitative research is used in this study and its technique of analysis is descriptive research method. Firstly, qualitative method is used in order to explain and describe the data.
This descriptive researchattempts to describe thesubtitling strategies which are used in Maleficentmovie. Fraenkel and Wallen (1993:23) state that the descriptive method is used to explain, analyze, and classify something through various techniques, survey, interview, questionnaire, and test.Descriptiveresearch is designed to obtain the information concerning the status of the phenomena. It is directed to determine the nature of a situation, as it exists at the time of investigation. In this research, the researcher chooses the descriptive qulitative methodbecause the purpose of this study is to describe the phenomena of translation, especiallythe subtitling strategies which are used in Maleficentmovie.
3.2. Source of Data
The data of this thesis is the subtitles and its sources are the movie of Maleficent. The observation is to find out the subtittle which consists of the subtitling strategies of translation.
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The dataanalyzed in this study is the strategy of translation in “Maleficent” movie. These data are considered to be relevant for this study because they are collected by using technique of sampling. Purposive sampling is used to collect the required data. Bailey (1987:94) also cites:
“In purposive sampling the investigator does not necessarily have a quota to fill within from various strata, as in quota sampling, but neither does he or she just pick the nearest warm bodies, as in convenience sampling. Rather, the researcher uses his or her on judgement about which respondents to choose and picks only those who best meet the purposes of the study.”
In addition Arikunto (2006:139) says, “Sampel bertujuan atau purposive sample dilakukan dengan cara mengambil subjek bukan didasarkan atas strata, random atau daerah tetapi didasarkan atas adanya tujuan tertentu. Teknik ini biasanya dilakukan karena beberapa pertimbangan, misalnya alasan keterbatasan waktu, tenaga, dan dana sehingga tidak dapat mengambil sample yang besar dan jauh” (purpose of sample or purposive sample is done by taking a subject out of strata, random or area, but this is based on a certain purpose. This technique is usually done because of some considerations, for example the limitation of time, energy, and find, so it cannot take a great and far sample).
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a. Classifying the subtitles into 10 types of subtitle strategy based on Gottlieb’s devision. They are ten strategies which can be classified as expansion, paraphrase, transfer,imitation, transcription, dislocation, condensation, decimation, deletion, and resignation.
b. Tabulating the data
c. Counting the percentage of subtitle strategy types that found in the movie
�
��100% =N
X = number of the obtained items Y = Number of all data
N = The percentage from all types (Butler, 1985:25)
d. Finding out the most dominant of the subtitle strategy in the movie
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ANALYSIS AND FINDINGS
4.1. Analysis
As stated in chapter two, In interpreting source language into subtitle, translators may adopt different strategies to convey dialogue or other content to the target language. Gottlieb (1994) proposed several strategies that can be applied in subtitle.
In this research, there are 133subtitles were found. Based on the theory of Gottlieb (1994), there are 7 strategies occured in subtitling idioms in “Maleficent” movie. The most dominant strategy is expansion with 35 (26.31%) occurences, then condensation with 33 (24.8%) occurrences, transfer with 28 (21.05%) occurences, deletion with 14 (10.52%) occurrences, paraphrase with 12 (9.02%) occurences, imitation with 9 (6.7%) occurrances, and decimation with 2 (1.5%) occurences.
4.1.1. Identifying The Strategies of Translation
After collecting the data, the next step is to identify the strategiess that being used in subtitling based on Gottlieb theory (1994). The data identification are shown in the table below:
No. English Subtitle Indonesian Subtitle Strategy
(1) Let us tell an old story a new. biar kuceritakan pada kalian suatu kisah lama.
Transfer
(2) how well you know it. apa kalian mengetahuinya dengan
baik.
Paraphrase (3) So vast the discord between
them
Begitu sengitnya pertentangan mereka
Deletion (4) In one kingdom lived folk
like you and me
Di salah satu kerajaan itu hiduplah manusia sepertimu dan aku
Transfer
(5) No! No! Don't do it! Tidak! Tidak! Jangan lakukan itu! Transfer
(6) Ha, you missed me! Kau tak mengenaiku! Condensation
(7) What's all the fuss about? Ada keributan apa ini? Condensation
(34)
(9) Humans, here. Ada manusia disini. Expansion
(10) No! They mean to kill me. Tidak! Mereka ingin membunuhku. Transfer
(11) It's not right to steal, Mencuri itu suatu kejahatan, Paraphrase
(12) Come out! Come outthis instant!
Keluarlah! Keluarlah sekarang juga! Condensation
(13) I believe he's just a boy. Kurasa dia masih anak-anak. Condensation
(14) I'm called Stefan. Namaku Stefan. Imitation
(15) Give what back? Mengembalikan apa? Paraphrase
(16) If I knew you would throw it away,
Jika aku tahu kau akan membuangnya,
Deletion
(17) I delivered it home, Aku membawanya pulang, Transfer
(18) Someday, you know, I'll live there.
Suatu hari, aku akan tinggal disana. Condensation
(19) So, your parents are farmers then?
Jadi orang tuamu petani? Deletion
(20) We'll see each other again. Sampai jumpa lagi. Condensation
(21) You really shouldn't come back here,you know.
Kau tak boleh kembali kemari. Condensation
(22) And If I made that choice?if I came back, would you be here?
Jika aku memilih untuk kembali, apakah kau tetap disini?
Condensation
(23) Your ring! Iron burns fairies. Cincinmu! Logam membakar peri. Transfer
(24) He, who had so little in the world
Padahal Stefan memiliki kehidupan yang begitu miskin,
Expansion
(25) And her heart was moved Dan hati Maleficent tersentuh. Transfer
(26) Thus did the young thief whohad hoped to steal a jewel
Anak muda yang dulunya berusaha mencuri permata
Condensation
(27) After all these weeks,look who came back.
Setelah sekian lama ini, lihat siapa yang kembali.
Transfer (28) So, what do you do for fun? Jadi, apa yang kau lakukan untuk
bersenang-senang?
Transfer (29) He told her it was true love's
kiss.
Dia mengatakan padanya bahwa itu merupakan ciuman cinta sejati.
Transfer
(30) But it was not to be. Tapi sebenarnya bukan. Condensation
(31) There they are! Itulah tempatnya! Expansion
(32) Well, I say: Crush them! Tapi aku berkata, Hancurkan
mereka!
Expansion
(33) Go no further! Jangan melangkah lebih jauh lagi! Expansion
(34) A king does not take ordersfrom a winged elf.
Sang Raja tidak menerima perintah dari “kurcaci bersayap”.
Transfer
(35) You are no king to me! Kau bukanlah Raja bagiku! Transfer
(36) Arise and stand with me! Bangkit dan bertempurlah
bersamaku!
Transfer
(37) Hold the line! Pertahankan posisi! Transfer
(38) To the king! Lindungi Raja! Paraphrase
(39) You will not have the Moors. Kau tak akan bisa menguasai Moors. Imitation
(35)
(41) When I ascended to the throne
Saat aku naik tahta Condensation
(42) I promised the people Aku berjanji pada rakyatku Expansion
(43) Each of you swore allegiance to meand to that cause
Kalian semua bersumpah bersekutu bersamaku demi tujuan itu
Deletion (44) Defeated in battle. Is this to
be my legacy?
Kita kalah perang.Apakah ini akan jadi warisanku?
Paraphrase (45) I see you're waitingfor me to
die.
Aku tahu kalian menunggu ajalku tiba.
Condensation
(46) It won't be long, Saat itu segera datang, Paraphrase
(47) to take the throne and care for my daughter.
untuk naik tahta dan menikahi putriku.
Condensation (48) Who among you is worthy? Siapa diantara kalian yang pantas
mendapatkannya?
Expansion (49) Maleficent, I've cometo warn
you.
Maleficent, aku datang untuk memperingatkanmu.
Imitation (50) King Henry will stopat
nothing.
Raja Henry akan mengerahkan segala upaya.
Imitation
(51) I have avenged you, Sire Kubalaskan dendammu, Tuan. Condensation
(52) She is vanquished? Dia sudah tewas? Transfer
(53) Ah, you have done well,my son
Kau melakukannya dengan baik, nak Condensation
(54) I shall do my best to be a worthy successor.
Akan kulakukan yang terbaik untuk menjadi penerusmu yang layak.
Expansion
(55) I got you! Kutangkap kau! Transfer
(56) Wicked bird! Dasar kau burung jahat! Expansion
(57) What have you done to my beautiful south?
Apa yang kau lakukan pada tubuh indahku?
Deletion (58) Would you rather I let them
beat you to death?
Apa kau lebih suka kubiarkan mereka memukulimu sampai mati?
Expansion
(59) Stop complaining Berhentilah mengeluh Transfer
(60) I saved your life Aku menyelamatkanmu Condensation
(61) What do I call? Siapa namamu? Condensation
(62) And in return for saving my life, I am your servant.
Sebagai imbalan menyelamatkan nyawaku, aku akan jadi pelayanmu.
Expansion
(63) Whatever you need. Menjadi apapun yang kau inginkan. Expansion
(64) Yeah, but not a dog! Ya, tapi tidak jadi anjing! Expansion
(65) O, my God, it's a girl! Ya Tuhanku, anaknya perempuan! Expansion
(66) Well, I saw nothing. Aku tak melihat apapun Paraphrase
(67) But there's been a Tapi ada Condensation
(68) King Stefan and the Queenhave had a child.
Raja Stefan dan Ratunya telah memiliki seorang anak.
Imitation
(69) There'll be a christening. Akan ada upacara pembaptisan. Paraphrase
(70) They say it 's to bea grand celebration.
Mereka bilang akan ada perayaan mewah.
Expansion
(71) How wonderful! Menyenangkan sekali! Expansion
(72) Look, there's the baby! Lihatlah bayi disana itu! Paraphrase
(36)
(74) I'm not telling you again. Tak akanku katakan lagi Paraphrase (75) I am Knotgrassof the
Moorland fair folk.
Aku Knotgrass dari kaum peri Moorland.
Imitation (76) These are not just any old
gifts.
Ini bukanlah sembarang hadiah. Condensation
(77) For you see, we are magic! Seperti yang kalian lihat, kami makhluk ajaib!
Expansion (78) My wish is that you'llnever
be blue.
Harapanku supaya kau tak pernah bersedih
Transfer (79) Only happy,all the days of
your life.
Hanya ada kebahagiaan di sepanjang hidupmu.
Paraphrase
(80) Well, well. Lihatlah ini. Expansion
(81) Royalty, nobility the gentry and…
Keluarga kerajaan, kaum terhormat bangsawan dan …
Expansion
(82) How quaint Menakjubkan sekali Expansion
(83) I must say I really felt quite distressed
Harus kuakui aku merasa sangat sedih
Paraphrase
(84) You're not welcome here Kau tak disambut disini Transfer
(85) What an awkward situation Situasi nan canggung sekali Deletion
(86) You're not offended? Kau tak tersinggung? Transfer
(87) Why no Mengapa tersinggung? Expansion
(88) And to show I bear no ill-will
Untuk membuktikan aku tak berniat jahat
Deletion (89) I too shall bestowa gift on
the child.
Aku juga akan memberikan hadiah bagi anak ini.
Transfer
(90) Stay away from the princess! Menjauhlah dari putri! Condensation
(91) Listen well, all of you. Dengarkanlah, kalian semua Deletion
(92) Beloved by allwho meet her. Dicintai oleh semua orang yang bertemu dengannya
Expansion (93) Before the sun sets onher
16th birthday
Sebelum mentari terbenam pada ulang tahunnya yang ke 16
Transfer (94) and fall into a sleeplike
death!
dan jatuh tertidur seolah telah mati! Expansion
(95) A sleep from whichshe will never awaken!
Tertidur dimana dia takkan pernah terbangun lagi!
Paraphrase (96) Maleficent, please don't do
this.
Maleficent, jangan lakukan ini. Imitation
(97) I'm begging you. Kumohon padamu Transfer
(98) I like you begging. Aku suka saat kau memohon Expansion
(99) The princess canbe woken from herdeath sleep
Sang putri bisa dibangunkan dari tidur surinya
Transfer (100) This curse will lastuntil the
end of time!
Kutukan ini akan bertahan sampai dunia berakhir!
Transfer (101) No power on earthcan
change it!
Tak ada kekuatan di Bumi ini yang mampu mematahkannya!
Expansion (102) while his soldiers rode far
and wide to hunt Maleficent down
sementara pasukannya berkuda ke segala penjuru untuk memburu Maleficent
(37)
(103) But she made wallsof her own
Tapi Maleficent mendirikan tembok pertahanannya sendiri
Expansion
(104) What do you mean? Apa maksudmu? Condensation
(105) Well, we have to blend in,don't we?
Kita harus mampu membaur, kan? Decimation
(106) So, gather around, ladies. Berkumpullah kemari, nona-nona. Deletion
(107) Oh, that went quite well. Oh, hasilnya bagus. Condensation
(108) Now, there' ll be no questions asked.
Sekarang, jangan banyak Tanya lagi. Condensation
(109) We are no longer fairies. Kita bukan lagi peri. Expansion
(110) No flying? Tak boleh terbang? Expansion
(111) No, no, no.And no magic. Tidak. Tidak ada sihir. Decimation
(112) Yes, you've heard. Ya, kau mendengarku Expansion
(113) Come on. Here you go. Kemarilah. Ini dia. Deletion
(114) It's so ugly you could almostfeel sorry for it.
Dia begitu buruk rupa sampai kau merasa kasihan padanya.
Expansion
(115) I hate you.Beastie. Aku membencimu, makhluk buruk Expansion
(116) Maybe she might be hungry. Mungkin dia lapar. Condensation
(117) Then feed her! Cepatlah beri dia makan! Expansion
(118) It's gonna to starve withthose three looking after it.
Dia bisa kelaparan jika dirawat ketiga peri itu.
Condensation
(119) You're cheating. Kau curang. Condensation
(120) We're starting again. Kita mulai lagi. Deletion
(121) Greedy, bloated goat! Dasar kambing gemuk serakah! Expansion
(122) Stop doing that. Hentikan kelakuanmu. Deletion
(123) You two are having a go at me and I will not tolerate
Jika kalian melakukan itu padaku aku tak akan tinggal diam
Paraphrase
(124) This is all your fault! Ini semua salahmu! Transfer
(125) Not a wall, not Maleficent! Begitu juga tembok itu dan Maleficent!
Imitation (126) Oh, look! The little beast is
about to fall off the cliff.
Oh,lihat! Makhluk buruk itu akan terjatuh dari tebing.
Condensation
(127) Up, up. Gendong, gendong. Transfer
(128) Go on. Go, go, go. pergilah. Pergi. Pergi. Condensation
(129) She was not the only one who wished to get through.
Tapi bukan hanya dia saja yang ingin masuk kesana.
Condensation (130) How could you do that to
me?
Teganya kau melakukan itu padaku? Paraphrase
(131) You said, anything I need! Kau bilang rela menjadi apapun! Paraphrase
(132) Well, I'll be a mealy worm, gladly! Anything but a filthy, stinking
aku lebih suka menjadi cacing gemuk daripada Anjing kotor bau
Condensation
(133) Fine, next time I'll turn youinto a mealy warm.
Baiklah, lain kali akan kurubah kau menjadi cacing gemuk.
Transfer
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The next step, after the data are identified, the data are classified and by giving the brief explanation about the strategies of translation.
4.1.2.1. Transfer
Transfer is a strategy of translation which there is no additional explanation or modifying of view, because the subtitler translates the dialogue by literal words. In addition, the usage of this strategy also maintains the structure of the original text.
No. English Subtitle Indonesian Subtitle
(1) Let us tell an old story a new. biar kuceritakan pada kalian suatu
kisah lama. (4) In one kingdom lived folk like you
and me
Di salah satu kerajaan itu hiduplah manusia sepertimu dan aku
(5) No! No! Don't do it! Tidak! Tidak! Jangan lakukan itu!
(10) No! They mean to kill me. Tidak! Mereka ingin membunuhku.
(17) I delivered it home, Aku membawanya pulang,
(23) Your ring! Iron burns fairies. Cincinmu! Logam membakar peri.
(25) And her heart was moved Dan hati Maleficent tersentuh.
(27) After all these weeks,look who came back.
Setelah sekian lama ini, lihat siapa yang kembali.
(28) So, what do you do for fun? Jadi, apa yang kau lakukan untuk
bersenang-senang?
(29) He told her it was true love's kiss. Dia mengatakan padanya bahwa itu merupakan ciuman cinta sejati. (34) A king does not take ordersfrom a
winged elf.
Sang Raja tidak menerima perintah dari “kurcaci bersayap”.
(35) You are no king to me! Kau bukanlah Raja bagiku!
(36) Arise and stand with me! Bangkit dan bertempurlah
bersamaku!
(37) Hold the line! Pertahankan posisi!
(52) She is vanquished? Dia sudah tewas?
(55) I got you! Kutangkap kau!
(59) Stop complaining Berhentilah mengeluh
(78) My wish is that you'llnever be blue. Harapanku supaya kau tak pernah bersedih
(84) You're not welcome here Kau tak disambut disini
(86) You're not offended? Kau tak tersinggung?
(89) I too shall bestowa gift on the child. Aku juga akan memberikan hadiah bagi anak ini.
(93) Before the sun sets onher 16th birthday
Sebelum mentari terbenam pada ulang tahunnya yang ke 16
(39)
(97) I'm begging you. Kumohon padamu (99) The princess canbe woken from
herdeath sleep
Sang putri bisa dibangunkan dari tidur surinya
(100) This curse will lastuntil the end of time!
Kutukan ini akan bertahan sampai dunia berakhir!
(124) This is all your fault! Ini semua salahmu!
(127) Up, up. Gendong, gendong.
(133) Fine, next time I'll turn youinto a mealy warm.
Baiklah, lain kali akan kurubah kau menjadi cacing gemuk.
Data Analysis:
1. Let us tell an old story a new.
The real meaning of the subtitle is ´to tell something ´, so the English subtitle can be translated literally becomes “biar kuceritakan pada kalian suatu kisah lama”.
4. In one kingdom lived folk like you and me
The real meaning of the subtitle is ´to explain the kingdom ´, so the English subtitle can be translated literally becomes “Di salah satu kerajaan itu hiduplah manusia sepertimu dan aku”.
5. No! No! Don't do it!
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Tidak! Tidak! Jangan lakukan itu!” without addition and replication.
11. No! They mean to kill me.
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Tidak! Mereka ingin membunuhku.” without addition and replication.
(40)
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Aku membawanya pulang” without addition and replication.
23. Your ring! Iron burns fairies
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Cincinmu! Logam membakar peri” without addition and replication.
25. And her heart was moved
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Dan hati Maleficent tersentuh” without addition and replication.
27. After all these weeks,look who came back.
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Setelah sekian lama ini, lihat siapa yang kembali.” without addition,replication and deletion.
28. So, what do you do for fun?
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Jadi, apa yang kau lakukan untuk bersenang-senang?” without addition,replication and deletion.
29. He told her it was true love's kiss.
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Dia mengatakan padanya bahwa itu merupakan ciuman cinta sejati.” without addition,replication and deletion.
(41)
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Sang Raja tidak menerima perintah dari “kurcaci bersayap”” without addition,replication and deletion.
35. You are no king to me!
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle
can be translated literally becomes “Kau bukanlah Raja bagiku!” without
addition,replication and deletion. 36. Arise and stand with me!
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Bangkit dan bertempurlah bersamaku!” without addition,replication and deletion.
37. Hold the line!
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle
can be translated literally becomes “Pertahankan posisi!” without
addition,replication and deletion.
52. She is vanquished?
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Dia sudah tewas?” without addition,replication and deletion.
(42)
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Kutangkap kau!” without addition,replication and deletion.
59. Stop complaining
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle
can be translated literally becomes “Berhentilah mengeluh” without
addition,replication and deletion. 78. My wish is that you'llnever be blue.
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Harapanku supaya kau tak pernah bersedih.” without addition,replication and deletion.
84. You're not welcome here
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle
can be translated literally becomes “Kau tak disambut disini” without
addition,replication and deletion. 86. You're not offended?
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle
can be translated literally becomes “Kau tak tersinggung?” without
addition,replication and deletion.
(43)
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Aku juga akan memberikan hadiah bagi anak ini” without addition,replication and deletion.
93. Before the sun sets onher 16th birthday
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Sebelum mentari terbenam pada ulang tahunnya yang ke 16” without addition,replication and deletion.
97. I'm begging you
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Kumohon padamu” without addition,replication and deletion.
99. The princess canbe woken from herdeath sleep
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Sang putri bisa dibangunkan dari tidur surinya” without addition, replication and deletion.
100. This curse will lastuntil the end of time!
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Kutukan ini akan bertahan sampai dunia berakhir!” without addition, replication and deletion.
(44)
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Ini semua salahmu!” without addition, replication and deletion.
127. Up, up.
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle
can be translated literally becomes “Gendong, gendong.” without addition,
replication and deletion.
133. Fine, next time I'll turn youinto a mealy warm.
The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle can be translated literally becomes “Baiklah, lain kali akan kurubah kau menjadi cacing gemuk.” without addition, replication and deletion.
4.1.2.2. Expansion
Expansion is used when the original text (Source Language) requires an additional explanation in translation because of some cultural nuance are not retrievable in Target Language.Linguistic element such as repetition is intentionally to be condensed.
No. English Subtitle Indonesian Subtitle
(9) Humans, here. Ada manusia disini.
(24) He, who had so little in the world Padahal Stefan memiliki kehidupan yang begitu miskin,
(31) There they are! Itulah tempatnya!
(32) Well, I say: Crush them! Tapi aku berkata, Hancurkan mereka!
(33) Go no further! Jangan melangkah lebih jauh lagi!
(40) Not now, nor ever! Tidak sekarang dan juga selamanya!
(42) I promised the people Aku berjanji pada rakyatku
(48) Who among you is worthy? Siapa diantara kalian yang pantas
mendapatkannya?
(45)
successor. menjadi penerusmu yang layak.
(56) Wicked bird! Dasar kau burung jahat!
(58) Would you rather I let them beat you to death?
Apa kau lebih suka kubiarkan mereka memukulimu sampai mati?
(62) And in return for saving my life, I am your servant.
Sebagai imbalan menyelamatkan nyawaku, aku akan jadi pelayanmu.
(63) Whatever you need. Menjadi apapun yang kau inginkan.
(64) Yeah, but not a dog! Ya, tapi tidak jadi anjing!
(65) O, my God, it's a girl! Ya Tuhanku, anaknya perempuan!
(70) They say it 's to bea grand celebration.
Mereka bilang akan ada perayaan mewah.
(71) How wonderful! Menyenangkan sekali!
(73) Concentrate, please! Tetap berkonsentrasi!
(77) For you see, we are magic! Seperti yang kalian lihat, kami makhluk
ajaib!
(80) Well, well. Lihatlah ini.
(81) Royalty, nobility the gentry and… Keluarga kerajaan, kaum terhormat bangsawan dan …
(82) How quaint Menakjubkan sekali
(87) Why no Mengapa tersinggung?
(92) Beloved by allwho meet her. Dicintai oleh semua orang yang
bertemu dengannya
(94) and fall into a sleeplike death! dan jatuh tertidur seolah telah mati!
(98) I like you begging. Aku suka saat kau memohon
(101) No power on earthcan change it! Tak ada kekuatan di Bumi ini yang mampu mematahkannya!
(103) But she made wallsof her own Tapi Maleficent mendirikan tembok
pertahanannya sendiri
(109) We are no longer fairies. Kita bukan lagi peri.
(110) No flying? Tak boleh terbang?
(112) Yes, you've heard. Ya, kau mendengarku
(114) It's so ugly you could almostfeel sorry for it.
Dia begitu buruk rupa sampai kau merasa kasihan padanya.
(115) I hate you.Beastie. Aku membencimu, makhluk buruk
(117) Then feed her! Cepatlah beri dia makan!
(121) Greedy, bloated goat! Dasar kambing gemuk serakah!
Data analysis:
9. Humans, here.
If the subtitle is literally translated it will become “manusia, disini”, but the real meaning of the subtitle is ´to tell the existence of the same creature´. Here, the translator translated it as “Ada manusia disini”, since if the subtitle literally
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translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation, while adding the word “ada” to make it easier to understand.
24. He, who had so little in the world
If the subtitle is literally translated it will become “Dia, yang memiliki sangat kecil di bumi”, but the real meaning of the subtitle is ´to tell the situation of Stefan´. Here, the translator translated it as “Padahal Stefan memiliki kehidupan yang begitu miskin,”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation, while adding the word “padahal” and “kehidupan”. Then, to make it easier to understand, the translator replicates “He” become “Stefan” and “so little in the world” means that he does not has anything.
31. There they are!
If the subtitle is literally translated it will become “Disana mereka”, but the real meaning of the subtitle is ´to tell the place to attack´. Here, the translator translated it as “Itulah tempatnya,”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation, while replicates the word “tempatnya”. Then, to make it easier to understand, the translator replicates “they” become “tempatnya” means that the place to attack.
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32. Well, I say: Crush them!
If the subtitle is literally translated it will become “Baiklah, Aku katakan: Hancurkan mereka”, but the real meaning of the subtitle is ´to tell the order to attack´. Here, the translator translated it as “Tapi aku berkata, Hancurkan mereka!,”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation, while adding the word “tapi” to make it easier to understand.
33. Go no further!
If the subtitle is literally translated it will become “Pergi tidak lebih jauh”, but the real meaning of the subtitle is ´to tell don’t come closer´. Here, the translator translated it as ”Jangan melangkah lebih jauh lagi!”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation, while replicates the word “go” become “ melangkah “. Then, to make it easier to understand, the translator replicates “go no further” means that don’t come closer to the Moors.
40. Not now, nor ever!
If the subtitle is literally translated it will become “Tidak sekarang atau pernah”, but the real meaning of the subtitle is ´to tell the King can’t be in charge of Moors until
whenever´. Here, the translator translated it as ” Tidak sekarang dan juga
selamanya!”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation, while adding the word “dan“ and
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“selamanya”. Then, to make it easier to understand, the translator replicates “nor ever” become “Dan juga selamanya”.
42. I promised the people
If the subtitle is literally translated it will become “Aku berjanji orang”, but the real meaning of the subtitle is ´to tell that the King has promised something for his people´. Here, the translator translated it as ”Aku berjanji pada rakyatku”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation, while adding the word “pada” and “-ku” to make it easier to understand.
48. Who among you is worthy?
If the subtitle is literally translated it will become “Siapa diantara kalian adalah pantas”, but the real meaning of the subtitle is ´to tell who deserve to get the throne of the king´. Here, the translator translated it as ” Siapa diantara kalian yang pantasmendapatkannya?”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation, while adding the word “mendapatkannya” to make it easier to understand.
54. I shall do my best to be a worthy successor.
If the subtitle is literally translated it will become “aku akan melakukan terbaikku untuk menjadi seorang penerus yang pantas”, but the real meaning of the subtitle is ´to promise´. Here, the translator translated it as ” Akan kulakukan yang terbaik untuk menjadi penerusmu yang layak.”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore,
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the strategy which is used is expansion that gives explanation in translation because of some cultural nuance. The word “akan” in the front of subtitle because if Indonesian has promised the first word they say is “akan”.
56. Wicked bird!
If the subtitle is literally translated it will become “burung jahat”. Here, the translator translated it as ” Dasar kau burung jahat!”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation in translation because of some cultural nuance. While, adding the word “dasar” and “kau” to make it easier to understand although there is no subject.
58.Would you rather I let them beat you to death?
If the subtitle is literally translated it will become “maukah kau agak aku biarkan mereka memukulimu sampai mati? ”. Here, the translator translated it as ” Apa kau
lebih suka kubiarkan mereka memukulimu sampai mati?”, since if the subtitle
literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation in translation because of some cultural nuance.
62. And in return for saving my life, I am your servant.
If the subtitle is literally translated it will become “Dan dalam mengembalikan untuk menyelamatkan hidupku, aku adalah pelayanmu.”. Here, the translator translated it as ” Sebagai imbalan menyelamatkan nyawaku, aku akan jadi pelayanmu.”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives
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explanation in translation because of some cultural nuance. Then, there is addition of word “sebagai” in the first subtitle to replicates “And “.
63. Whatever you need.
If the subtitle is literally translated it will become “Apapun kau butuhkan.”. Here, the translator translated it as ”Menjadi apapun yang kau inginkan.”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation in translation because of some cultural nuance. Then, there is addition of word “menjadi” in the first subtitle to explain the conversation before.
64. Yeah, but not a dog!
If the subtitle is literally translated it will become “Ya, tapi tidak anjing!”. Here, the translator translated it as ” Ya, tapi tidak jadi anjing!”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation in translation because of some cultural nuance. Then, there is addition of word “jadi” in the first subtitle to explain it.
65. O, my God, it's a girl!
If the subtitle is literally translated it will become “Oh, Tuhanku. Itu seorang perempuan” but the real meaning of the subtitle is ´to explain the child´. Here, the translator translated it as ” Ya Tuhanku, anaknya perempuan!”, since if the subtitle literally translated, the real meaning of the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy which is used is expansion that gives explanation in translation because of some cultural nuance. Then, there is addition of
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OfInterlingual Subtitling”, Islamic Azad University, Science and ResearchBranch. Available from
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Gottlieb, Henrik.1994.Multidimensional translation: Semantic TurnedSemiotics. Available from: htt.p://www.transedit.se/Bibliography.htm
Harvey, S., Higgins, I, 1992. Thinking Translation. A course in TranslationMethod: French-English. London/ New York: Routledge.
In Diaz, J. C., & Anderman, G. (Ed.),Audiovisual translation: language transfer on screen. (pp. 21-25). Hampshire: Palgrave Macmilan.
In In Diaz, J. C., & Anderman, G. (Ed.).Audiovisual translation: language transfer on screen. (pp. 246-248). Great Britain: Palgrave Macmilan.
Luyken, G. M. 1991. Overcoming Language Barriers in Television. Dubbing and subtitling for the European Audience.Manchester: The European Institute for the Media.
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APPENDIX
No. English Subtitle Indonesian Subtitle Strategy
(1) Let us tell an old story a new. biar kuceritakan pada kalian suatu kisah lama.
Transfer (2) how well you know it. apa kalian mengetahuinya dengan
baik.
Paraphrase (3) So vast the discord between
them
Begitu sengitnya pertentangan mereka
Deletion (4) In one kingdom lived folk
like you and me
Di salah satu kerajaan itu hiduplah manusia sepertimu dan aku
Transfer (5) No! No! Don't do it! Tidak! Tidak! Jangan lakukan itu! Transfer (6) Ha, you missed me! Kau tak mengenaiku! Condensation (7) What's all the fuss about? Ada keributan apa ini? Condensation (8) Why'd you get to tell her? Mengapa kau memberitahunya? Decimation
(9) Humans, here. Ada manusia disini. Expansion
(10) No! They mean to kill me. Tidak! Mereka ingin membunuhku. Transfer (11) It's not right to steal, Mencuri itu suatu kejahatan, Paraphrase (12) Come out! Come outthis
instant!
Keluarlah! Keluarlah sekarang juga! Condensation (13) I believe he's just a boy. Kurasa dia masih anak-anak. Condensation
(14) I'm called Stefan. Namaku Stefan. Imitation
(15) Give what back? Mengembalikan apa? Paraphrase (16) If I knew you would throw it
away,
Jika aku tahu kau akan membuangnya,
Deletion (17) I delivered it home, Aku membawanya pulang, Transfer (18) Someday, you know, I'll live
there.
Suatu hari, aku akan tinggal disana. Condensation (19) So, your parents are farmers
then?
Jadi orang tuamu petani? Deletion
(20) We'll see each other again. Sampai jumpa lagi. Condensation (21) You really shouldn't come
back here,you know.
Kau tak boleh kembali kemari. Condensation
(22) And If I made that choice?if I came back, would you be here?
Jika aku memilih untuk kembali, apakah kau tetap disini?
Condensation
(23) Your ring! Iron burns fairies. Cincinmu! Logam membakar peri. Transfer (24) He, who had so little in the
world
Padahal Stefan memiliki kehidupan yang begitu miskin,
Expansion (25) And her heart was moved Dan hati Maleficent tersentuh. Transfer (26) Thus did the young thief
whohad hoped to steal a jewel
Anak muda yang dulunya berusaha mencuri permata
Condensation
(27) After all these weeks,look who came back.
Setelah sekian lama ini, lihat siapa yang kembali.
Transfer (28) So, what do you do for fun? Jadi, apa yang kau lakukan untuk
bersenang-senang?
Transfer (29) He told her it was true love's Dia mengatakan padanya bahwa itu Transfer
(3)
kiss. merupakan ciuman cinta sejati.
(30) But it was not to be. Tapi sebenarnya bukan. Condensation
(31) There they are! Itulah tempatnya! Expansion
(32) Well, I say: Crush them! Tapi aku berkata, Hancurkan mereka!
Expansion (33) Go no further! Jangan melangkah lebih jauh lagi! Expansion (34) A king does not take
ordersfrom a winged elf.
Sang Raja tidak menerima perintah dari “kurcaci bersayap”.
Transfer (35) You are no king to me! Kau bukanlah Raja bagiku! Transfer (36) Arise and stand with me! Bangkit dan bertempurlah
bersamaku!
Transfer
(37) Hold the line! Pertahankan posisi! Transfer
(38) To the king! Lindungi Raja! Paraphrase
(39) You will not have the Moors. Kau tak akan bisa menguasai Moors. Imitation (40) Not now, nor ever! Tidak sekarang dan juga selamanya! Expansion (41) When I ascended to the
throne
Saat aku naik tahta Condensation
(42) I promised the people Aku berjanji pada rakyatku Expansion (43) Each of you swore allegiance
to meand to that cause
Kalian semua bersumpah bersekutu bersamaku demi tujuan itu
Deletion (44) Defeated in battle. Is this to
be my legacy?
Kita kalah perang.Apakah ini akan jadi warisanku?
Paraphrase (45) I see you're waitingfor me to
die.
Aku tahu kalian menunggu ajalku tiba.
Condensation (46) It won't be long, Saat itu segera datang, Paraphrase (47) to take the throne and care
for my daughter.
untuk naik tahta dan menikahi putriku.
Condensation (48) Who among you is worthy? Siapa diantara kalian yang pantas
mendapatkannya?
Expansion (49) Maleficent, I've cometo warn
you.
Maleficent, aku datang untuk memperingatkanmu.
Imitation (50) King Henry will stopat
nothing.
Raja Henry akan mengerahkan segala upaya.
Imitation (51) I have avenged you, Sire Kubalaskan dendammu, Tuan. Condensation (52) She is vanquished? Dia sudah tewas? Transfer (53) Ah, you have done well,my
son
Kau melakukannya dengan baik, nak Condensation (54) I shall do my best to be a
worthy successor.
Akan kulakukan yang terbaik untuk menjadi penerusmu yang layak.
Expansion
(55) I got you! Kutangkap kau! Transfer
(56) Wicked bird! Dasar kau burung jahat! Expansion (57) What have you done to my
beautiful south?
Apa yang kau lakukan pada tubuh indahku?
Deletion (58) Would you rather I let them
beat you to death?
Apa kau lebih suka kubiarkan mereka memukulimu sampai mati?
Expansion (59) Stop complaining Berhentilah mengeluh Transfer (60) I saved your life Aku menyelamatkanmu Condensation
(4)
(62) And in return for saving my life, I am your servant.
Sebagai imbalan menyelamatkan nyawaku, aku akan jadi pelayanmu.
Expansion (63) Whatever you need. Menjadi apapun yang kau inginkan. Expansion (64) Yeah, but not a dog! Ya, tapi tidak jadi anjing! Expansion (65) O, my God, it's a girl! Ya Tuhanku, anaknya perempuan! Expansion (66) Well, I saw nothing. Aku tak melihat apapun Paraphrase
(67) But there's been a Tapi ada Condensation
(68) King Stefan and the Queenhave had a child.
Raja Stefan dan Ratunya telah memiliki seorang anak.
Imitation (69) There'll be a christening. Akan ada upacara pembaptisan. Paraphrase (70) They say it 's to bea grand
celebration.
Mereka bilang akan ada perayaan mewah.
Expansion (71) How wonderful! Menyenangkan sekali! Expansion (72) Look, there's the baby! Lihatlah bayi disana itu! Paraphrase (73) Concentrate, please! Tetap berkonsentrasi! Expansion (74) I'm not telling you again. Tak akanku katakan lagi Paraphrase (75) I am Knotgrassof the
Moorland fair folk.
Aku Knotgrass dari kaum peri Moorland.
Imitation (76) These are not just any old
gifts.
Ini bukanlah sembarang hadiah. Condensation (77) For you see, we are magic! Seperti yang kalian lihat, kami
makhluk ajaib!
Expansion (78) My wish is that you'llnever
be blue.
Harapanku supaya kau tak pernah bersedih
Transfer (79) Only happy,all the days of
your life.
Hanya ada kebahagiaan di sepanjang hidupmu.
Condensation
(80) Well, well. Lihatlah ini. Expansion
(81) Royalty, nobility the gentry and…
Keluarga kerajaan, kaum terhormat bangsawan dan …
Expansion
(82) How quaint Menakjubkan sekali Expansion
(83) I must say I really felt quite distressed
Harus kuakui aku merasa sangat sedih
Paraphrase (84) You're not welcome here Kau tak disambut disini Transfer (85) What an awkward situation Situasi nan canggung sekali Deletion (86) You're not offended? Kau tak tersinggung? Transfer
(87) Why no Mengapa tersinggung? Expansion
(88) And to show I bear no ill-will
Untuk membuktikan aku tak berniat jahat
Deletion (89) I too shall bestowa gift on
the child.
Aku juga akan memberikan hadiah bagi anak ini.
Transfer (90) Stay away from the princess! Menjauhlah dari putri! Condensation (91) Listen well, all of you. Dengarkanlah, kalian semua Deletion (92) Beloved by allwho meet her. Dicintai oleh semua orang yang
bertemu dengannya
Expansion (93) Before the sun sets onher
16th birthday
Sebelum mentari terbenam pada ulang tahunnya yang ke 16
Transfer (94) and fall into a sleeplike
death!
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(95) A sleep from whichshe will never awaken!
Tertidur dimana dia takkan pernah terbangun lagi!
Deletion (96) Maleficent, please don't do
this.
Maleficent, jangan lakukan ini. Imitation
(97) I'm begging you. Kumohon padamu Transfer
(98) I like you begging. Aku suka saat kau memohon Expansion (99) The princess canbe woken
from herdeath sleep
Sang putri bisa dibangunkan dari tidur surinya
Transfer (100) This curse will lastuntil the
end of time!
Kutukan ini akan bertahan sampai dunia berakhir!
Transfer (101) No power on earthcan
change it!
Tak ada kekuatan di Bumi ini yang mampu mematahkannya!
Expansion (102) while his soldiers rode far
and wide to hunt Maleficent down
sementara pasukannya berkuda ke segala penjuru untuk memburu Maleficent
Imitation
(103) But she made wallsof her own
Tapi Maleficent mendirikan tembok pertahanannya sendiri
Expansion (104) What do you mean? Apa maksudmu? Condensation (105) Well, we have to blend
in,don't we?
Kita harus mampu membaur, kan? Decimation
(106) So, gather around, ladies. Berkumpullah kemari, nona-nona. Deletion (107) Oh, that went quite well. Oh, hasilnya bagus. Condensation (108) Now, there' ll be no
questions asked.
Sekarang, jangan banyak Tanya lagi. Condensation (109) We are no longer fairies. Kita bukan lagi peri. Expansion
(110) No flying? Tak boleh terbang? Expansion
(111) No, no, no.And no magic. Tidak. Tidak ada sihir. Decimation (112) Yes, you've heard. Ya, kau mendengarku Expansion (113) Come on. Here you go. Kemarilah. Ini dia. Deletion (114) It's so ugly you could
almostfeel sorry for it.
Dia begitu buruk rupa sampai kau merasa kasihan padanya.
Expansion (115) I hate you.Beastie. Aku membencimu, makhluk buruk Expansion (116) Maybe she might be hungry. Mungkin dia lapar. Condensation (117) Then feed her! Cepatlah beri dia makan! Expansion (118) It's gonna to starve withthose
three looking after it.
Dia bisa kelaparan jika dirawat ketiga peri itu.
Condensation
(119) You're cheating. Kau curang. Condensation
(120) We're starting again. Kita mulai lagi. Deletion (121) Greedy, bloated goat! Dasar kambing gemuk serakah! Expansion (122) Stop doing that. Hentikan kelakuanmu. Deletion (123) You two are having a go at
me and I will not tolerate
Jika kalian melakukan itu padaku aku tak akan tinggal diam
Paraphrase (124) This is all your fault! Ini semua salahmu! Transfer (125) Not a wall, not Maleficent! Begitu juga tembok itu dan
Maleficent!
Imitation (126) Oh, look! The little beast is
about to fall off the cliff.
Oh,lihat! Makhluk buruk itu akan terjatuh dari tebing.
Condensation
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(128) Go on. Go, go, go. pergilah. Pergi. Pergi. Condensation (129) She was not the only one
who wished to get through.
Tapi bukan hanya dia saja yang ingin masuk kesana.
Condensation (130) How could you do that to
me?
Teganya kau melakukan itu padaku? Condensation (131) You said, anything I need! Kau bilang rela menjadi apapun! Paraphrase (132) Well, I'll be a mealy worm,
gladly! Anything but a filthy, stinking
aku lebih suka menjadi cacing gemuk daripada Anjing kotor bau
Condensation
(133) Fine, next time I'll turn youinto a mealy warm.
Baiklah, lain kali akan kurubah kau menjadi cacing gemuk.