In figure 1 the A is the source language and B is target language. The X in the middle represents or stands for any kind of intermediate structure or universal
structure. The second one, Consists of a more elaborate process comprising three stages: 1 analysis,
in which the surface structure i.e. the messages as given in A is analyzed in terms of a the grammatical relationship and b the meaning of the
words and combination of words, 2 transfer, in which the analyzed material is transferred in the mind of the translator from language A to
language B, and 3 restructuring, in which the transferred material is restructured in order to make the final message fully acceptable in the
receptor language 1982: 33.
A SL B TL
Analysis Restructuring
X----------------- Transfer -------------- Y
There are four steps in this translation process, which are, analysis, transfer, restructuring and testing the translation evaluating. Before translating a
source text language, a translator should analyze the grammatical meaning, word meaning and also contextual meaning. After that, heshe should process the
meanings inside hisher mind, and then transfer the materials from SL into TL. In order to make it well-structured, a translator needs to restructure the grammar of
SL into TL. By doing it, the message will be fully transferred into the Target Language. The last step is, evaluating the result, especially checking the
equivalence between SL and TL and if there is a mistake, a translator needs to make a revision on his her work in order to get the accurate translation results.
3. Theory of Equivalence
The researcher of this thesis decided to use theory of equivalence to answer the first problem formulation which applied in the previous chapters. The
theory of equivalence is taken from Nida who divides theory of equivalence into
two categories, the first is formal equivalence and the second is dynamic equivalence.
a. Formal Equivalence
He says that, Formal equivalence focuses attention on the message itself, in both form
and content. In such a translation one is concerned with such correspondence 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 is to determine standards of accuracy and
correctness 1964: 159
The focus of formal equivalence is on the messages, both in form and the content. Then, he adds that the message in the source culture is used to determine the
standards of accuracy and correctness. The point of this equivalence category is on the translation of the word in the SL to the TL. The messages in TL should be
matched as possible to the different elements in the SL. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
b. Dynamic Equivalence
He says that, A translation of dynamic equivalence aims at naturalness of expression
and tries to relate the receptor to modes of behaviors 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 1964:
159-166
The translator uses natural expression to express the message in the SL. It should be done by relating it to the context of SL into TL. The grammatical structure can
be ignored because the point is on the meaning of message which is spoken through the language that expressed by the speakers. The message from SL should
be transferred equally to TL. The context in TL should be relevant with the context in SL.
4. Film Subtitle
According to Schwarz, subtitle must be clear and ease of reading and it is made for the audience who does not understand the film 2002: 2-5. She explains
further that, there are at least eight requirements needed in making the subtitle in film to make it clear and ease of reading, as follows:
a. Subtitle is placed at the bottom of the screen either left aligned or centered. It
must not across the screen because it disturbs the visual or pictures of a film. b.
Subtitle also consists of only one or two line with no more than 35 characters including spaces.
c. To unsure the good legibility of any type of background, subtitle uses a sample
font in white or yellow with a dark drop shadow and placed in transparent bar. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
d. Subtitle must use font style, for example
Italics,
to mark foreign words or to emphasize particular words in the dialogue.
e. Capitals are used in subtitle indicate important information which is not part of
the dialogues, such as voices from radio, television, or loudspeaker. Capitals are also used for written words as for example, on posters, letters, or
newspaper when the content is important to the story line. f.
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. g.
Punctuation in subtitle used to convey interpersonal dynamic that reflect those of the film dialogue. Hesitation or insecurity can be visualized by inserting an
ellipsis … or loudness with an exclamation mark . h.
Subtitle duration, which appears on the screen, is limited. It is because subtitle follows the pace of the film and delivery of the dialogue. The duration of
subtitle ranges from one to six seconds. Those subtitle features show how to make a good and clear subtitle for movie,
because the existence of subtitle will support the messages that are delivered by the characters in the movie through their conversations. It helps the audience to
comprehend the meanings and morals that the movie wants to deliver. In translation study, a movie subtitle helps the translator in translating the language
into the target language without many difficulties if the source language subtitle is made by applying those subtitle requirements.
