b. Film Translation
Barbara Schwarz says that film has a special characteristic which is the source language is in a spoken form and combined with the non-verbal visual elements and
other artistic elements. To translate the film dialogue, it is impossible if the translator only translates the spoken utterances, but he must put the non-verbal visual elements
into the text of target language. In film translation, the translator must emphasize on the equivalence of the
source language and the target language, especially on the respond of both audience of SL and TL that must be similar Nida Taber, 1974:28. In making a good
subtitle, there is an artistic requirement that must be fulfilled. TiinaHakkinen states that there is limitation of space and time that becomes
the main problem in making a subtitle. Hakkinen explains that the change of communication channel causes a reduction of information because of the diversity in
the speed of listening and speed of reading. Schwarz says that a good subtitle must be in two lines written on the bottom of the screen. Each line consists of less than 35
characters including letter, space, and mark. So, in transferring the message, a translator must select the information that should be maintained and the information
that can be reduced. In short, a translator must interpret the whole message without translate them literally.
c. Translation Equivalence
Generally, Roger T. Bell 1991:6 states that “Translation is the replacement of a representation of a text in one language by a representation of an equivalent text
in a second language”. In other word, equivalent means the TL and the SL text must convey the same message. According to Nida and Taber 1964: 159, there are two
kinds of equivalence, formal and dynamic equivalences. Formal equivalence
: focuses on the message itself, in both form and content. One is concerned that the message in the TL should match as closely as possible the
different elements in the SL Nida in Munday, 2008: 42. It means that formal equivalence is thus closely oriented towards the ST structure, which contributes a
strong influence in determining the accuracy and correctness Munday, 2008: 42. Dynamic equivalence
: is based on the principle of equivalent effect, where the relationship between the TT audience and the TT message should be substantially the
same as that which existed between the ST audience and the ST message. The goal of dynamic equivalence is „seeking the closest natural equivalent to the ST message‟
Nida in Munday, 2008: 42. The concept of dynamic equivalence for Nida does not only consist of the
accuracy of conveying the ST message but also the naturalness of the TT. In the level of accuracy, the TT should convey the same message as in the ST. In translating a
film, the equivalence of its translation cannot be seen only in word level or word-for-
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