Subtitling Strategies Of Translation Of Maleficent Movie Into Indonesian

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.

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.

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 that you don´t have to put up with

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.

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.

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.

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

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

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.

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.

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.

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.

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

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

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.