AN ANALYSIS OF ENGLISH-INDONESIAN SUBTITILING PROCEDURES OF THE MOVIE ENTITLED “INTO THE WILD”.

AN ANALYSIS OF ENGLISH-INDONESIAN SUBTITILING

PROCEDURES OF THE MOVIE ENTITLED “INTO THE

WILD”

A Research Paper

Submitted to English Department of FPBS UPI

in Partial Fulfillment of the Requirements for Sarjana Pendidikan Degree

Anken Nur Kania 0900059

DEPARTMENT OF ENGLISH EDUCATION FACULTY OF LANGUAGE AND ARTS EDUCATION

AN ANALYSIS OF

ENGLISH-INDONESIAN SUBTITILING

PROCEDURES OF THE MOVIE

ENTITLED INTO THE WILD

Oleh Anken Nur Kania

Sebuah skripsi yang diajukan untuk memenuhi salah satu syarat memperoleh gelar Sarjana pada Fakultas Pendidikan Bahasa dan Seni

© Anken Nur Kania 2014

Universitas Pendidikan Indonesia April 2014

PAGE OF APPROVAL

An Analysis of English-Indonesian Subtitling Procedures of the Movie Entitled “Into the Wild”

A Research Paper

By:

Anken Nur Kania 0900059

Approved by:

Main Supervisor Co-supervisor

Prof. Dr. Nenden Sri Lengkanawati, M.Pd. Muhammad Handi Gunawan, M.Pd. NIP 195111241985032001 NIP 197301132009121002

Head of Department of English Education Faculty of Language and Arts Education

Indonesia University of Education

ANALISIS PROSEDUR PROSES PENYELARASAN DIALOG

BAHASA INGGRIS-

_{INDONESIA DALAM FILM “INTO THE}

WILD”

AN ANALYSIS OF ENGLISH-INDONESIAN SUBTITILING

PROCEDURES OF THE MOVIE ENTITLED “INTO THE WILD”

Anken Nur Kania

Nenden Sri Lengkanawati

1

Muhammad Handi Gunawan

2

Department of English Education Faculty of Language and Arts Education

Indonesia University of Education

ABSTRAK

Penelitian ini ditujukan untuk mengetahui prosedur penerjemahan dan menganalisis kualitas dari penerjemahan subtitle dalam film “Into the Wild”. Studi kasus kualitatif digunakan sebagai metode dalam pengumpulan data. Dalam proses pengumpulan data, 300 kalimat di subtitle padafilm dipilih dengan menggunakan metode sampling interval sebagai sampel untuk dianalisis dan tiga orang yang berpengalaman dalam penerjemahan diminta untuk menilai kualitas penerjemahan subtitle. Hasilnya dibandingkan dengan penilaian dari peneliti berdasarkan teori kualitas penerjemahan yang baik oleh Larson (1998), Nida, Lewis, dan Leonard Foster (1958) dalam Venutti (2000), Newmark (1988), Tytler (1979) dalam Munday (2001), Benjamin (1969/2000) dalam Munday (2001), dan Massoud (1988) dan El Shafey (1985) dalam Abdellah (2005). Hasil penelitian menunjukkan bahwa ada sembilan prosedur penerjemahan yang digunakan di subtitle pada film berdasarkan teori Newmark (1988), Vinay dan Darbelnet (2000) dalam Munday (2001), Dryden dalam Munday (2001), Catford (1965) dalam Munday (2001), Delisle, Lee-Jahnke & Cormier (1999), dan Harvey (2003), yaitu: literal, transference, cultural equivalent, shift, compensation, reduction and expansion, paraphrase, kombinasi prosedur seperti couplets, triplets, dan quadruplets, dan beberapa kalimat yang tidak diterjemahkan. Peneliti dan tiga orang yang

1

Prof. Dr. Nenden Sri Lengkanawati, M.Pd. is a senior lecturer at English Education Department Faculty of Language and Arts Education Indonesia University of Education.

berpengalaman dalam penerjemahan menilai bahwa subtitle pada film “Into the Wild” berkualitas dan memenuhi kriteria penerjemahan yang baik. Berdasarkan hasil penelitian, studi selanjutnya mengenai penerjemahan subtitle pada film diharapkan untuk melakukan analisis yang lebih mendalam mengenai prosedur dan kualitas penerjemahannya.

Kata kunci: Penerjemahan, Penerjemahan Subtitle, Prosedur Penerjemahan, Kualitas Penerjemahan.

ABSTRACT

This study was aimed at finding out the English-Indonesian subtitle translation procedures and analyzing the quality of its translation. A qualitative case study was used as a conceptual framework for collecting the data. In order to systematically conduct the study, 300 sentences of the film subtitle were selected by using sampling interval method as the sample to analyze and three persons who are experienced in translation field were asked to judge the quality of English-Indonesian subtitle translation. It was compared with the researcher judgment based on the good translation theories from some experts, such as Larson (1998), Nida, Lewis, and Leonard Foster (1958) in Venutti (2000), Newmark (1988), Tytler (1979) in Munday (2001), Benjamin (1969/2000) in Munday (2001), and Massoud (1988) and El Shafey (1985) in Abdellah (2005). The findings obtained from the analysis show that there are nine translation procedures used in the film subtitle based on Newmark (1988), Vinay and Darbelnet (2000) in Munday (2001), Dryden in Munday (2001), Catford (1965) in Munday (2001), Delisle, Lee-Jahnke & Cormier (1999), and Harvey (2003) theories, those are: literal, transference, cultural equivalent, shift, compensation, reduction and expansion, paraphrase, the combination of procedures, such as couplets, triplets, and quadruplets, and some untranslated sentences. Then, the English-Indonesian film subtitle that has already been judged by the researcher and by the three persons who are experienced in translation field was qualified and fulfilled the criteria of good translation. Finally, from the result of the research, the further study about subtitle translation is expected to conduct more comprehensive analysis of its translation procedures and quality.

Keywords: Translation, Subtitle Translation, Translation Procedure, Translation Quality

TABLE OF CONTENTS

PAGE OF APPROVAL ... i

STATEMENT OF AUTHORIZATION ... ii

PREFACE ... iii

ACKNOWLEDGEMENT ... iv

ABSTRACT ...v

TABLE OF CONTENTS ... vi

LIST OF FIGURE AND TABLES ... ix

CHAPTER I INTRODUCTION ...1

A. Background of the Study ...1

B. Statements of the Problems ...3

C. Aims of the Study ...3

D. Scope of the Study ...4

E. Significance of the Study ...4

F. Clarification of Related Terms ...5

G. Organization of the Paper ...6

CHAPTER II LITERATURE REVIEW ... 7

A. Definition of Translation ...7

B. Theories of Translation ...9

1. The Skopos Theory ... 9

2. The Equivalence Theory ... 10

C. Process of Translation ... 11

D. Procedures of Translation ...13

1. Literal Translation ... 13

2. Transference ... 14

3. Naturalization ... 14

4. Adaptation ... 15

7. Descriptive Equivalent ... 16

8. Synonym ... 16

9. Through-Translation ... 16

10.Shifts or Transpositions ... 17

11.Modulation ... 17

12.Recognized Translation ... 18

13.Translation Label ... 18

14.Compensation ... 17

15.Componential Analysis ... 19

16.Reduction and Expansion ... 19

17.Paraphrase ... 20

18.The combination of procedures ... 20

19.Notes, Additions, Glosses ... 21

20.Denominalization ... 21

21.Explicitation ... 22

22.Implicitation ... 22

E. Quality of Translation ... 22

F. Subtitling Theories ...24

1. Audio Visual Translation (AVT) ... 24

2. Definition of Subtitle ... 25

3. The Effective Subtitle ... 26

G. Synopsis of the Film and The Recent Researchers ... 27

1. Synopsis of the Film ... 27

2. Related Research Reports ... 28

H. Synthesis ... 29

CHAPTER III RESEARCH METHODOLOGY ... 31

A. Research Questions ... 31

B. Aims of the Study ... 31

1. Research Sample ... 33

a. Systematic Sampling ... 33

b. Purposive Sampling ... 34

2. Research Instrument ... 34

a. In-depth interview ... 34

3. Research Procedure ... 35

a. Procedure used in the subtitle translation ... 35

b. Translation Subtitle Quality ... 35

E. Data Analysis ... 36

1. Procedure used in the English-Indonesian subtitle translation ... 36

2. English-Indonesian translation subtitle quality ... 37

CHAPTER IV FINDINGS AND DISCUSSIONS ... 39

A. Data Presentations and Analysis of English-Indonesian Subtitle Translation Procedures ... 39

1. Literal ... 39

2. Transference ... 42

3. Cultural Equivalent ... 43

4. Shift ... 45

5. Compensation ... 47

6. Reduction and Expansion ... 47

7. Paraphrase ... 51

8. Combination of procedures (Couplets, Triplets, and Quadruplets) .... 53

9. Untranslated Sentences ... 58

B. Data Presentations and Analysis of English-Indonesian Subtitle Translation Quality... 59

CHAPTER V CONCLUSIONS AND SUGGESTIONS ...67

A. CONCLUSIONS ...67

B. SUGGESTIONS ...68

APPENDIX 2 The Analyzed Sample of Translation Procedure and Quality APPENDIX 3 Official Letters

LIST OF FIGURE AND TABLES

Figure 2.1 Larson’s Process of Translation... 13

Table 3.1“Into the Wild” Movie Subtitle ... 35

Table 3.2“Into the Wild” Movie Subtitle Analysis ... 36

Table 3.3“Into the Wild” Movie Subtitle Procedures ... 36

Table 4.1 The Amount and Percentage of English-Indonesian Subtitle Translation Procedures ... 40

Table 4.2 Literal Translation Procedures ... 40

Table 4.3 Transference Translation Procedures ... 42

Table 4.4 Cultural Equivalent Translation Procedures ... 43

Table 4.5 Shift Equivalent Translation Procedures ... 45

Table 4.6 Compensation Translation Procedures ... 47

Table 4.7 Reduction Translation Procedures ... 47

Table 4.8 Expansion Translation Procedures ... 50

Table 4.9 Paraphrase Translation Procedures ... 51

Table 4.10 Couplets Translation Procedures ... 53

Table 4.11 Triplets Translation Procedures ... 55

Table 4.12 Quadruplets Translation Procedures ... 56

Table 4.13 Untranslated Sentences ... 58

Table 4.14 The Amount and Percentage of English-Indonesian Subtitle Translation Quality based on the Researcher Judgment ... 60

Table 4.14 The Amount and Percentage of English-Indonesian Subtitle Translation Quality based on the Three Translators Judgment ... 61

CHAPTER I

INTRODUCTION

This chapter presents the introduction of the research. It discusses the background, statements of the problems, aims of the study, scope of the study, significance of the study, and organization of the paper.

A. Background of the Study

In the modern society nowadays, film has become a part of people’s living and exerted a strong influence on the formation of people’s language, living patterns and even values (Chang, 2012:71). Film also has beneficial effects on learners’ language performance in listening and speaking, because the dialogues work together with visual images, sound tracks and music (Chung, 1999; Lin, 2002; Weyers, 1999 in Chen, 2012:89 and Chang, 2012:71).Most of the films are produced in Hollywood. They have many good films quality from many genres and are imported by our country.

Since English is not the daily language for Indonesian, either in spoken or written form, many of them cannot understand the western film’s dialog. Especially for people who are learning language from the film. Thus, film subtitle is needed to facilitate the communication between the viewers and the film. According to the research result that was conducted by Bianchi and Ciabattoni (2008), subtitle can increase the comprehension of language in terms of vocabulary recognition and memorization in EFL learning. In addition, according to Sponholz (2003) in Ghaemi and Benyamin (2010:41),

watching subtitled programs can foster foreign language acquisition and improve reading skills.

Unlike literary translation, subtitle translation is a process of transferring a verbal language into a written text, and highly dependent on subtitling

equipment to present or transfer information to the viewers (Zhang and Liu, 2009:113). The translation of utterance should be synchronized with the settings of the scenes, the identity of the characters, their movements, gestures, facial expressions, pauses and lip movements (Chang, 2012:71).

In order to make the subtitles meet the quality requirements, the translator needs the translation procedures. Newmark (1988:81) states: “translation procedures are used for sentences and smaller units of language.”

However, the translation procedures that are used should be simple and understandable, because simultaneously the viewers should read the subtitle and watch the film at the same time. The effective subtitle will give the viewers a good response toward the film, even more to those who learn language from the film. On the other hand, the ineffective subtitle will make the viewers not understand the meaning of the utterance and give the learner a bad result of the study. Therefore, the subtitle itself should be appropriate with the context of dialogue and the culture of the source language towards the target language in the dialogue. This is supported by Espindola and Vasconcellos (2006:45) who states that subtitling is seen as a point of contact and as a culture procedure, where different social practices meet in the shaping of oral and written exchange.

The study of translation in film subtitling has already been conducted by some previous researchers. Arie Firmansyah analyzed “Analysis of Subtitling

Strategies on the Movie Harry Potter and the Chamber of Secrets” in 2008. The result showed that Gottlieb’s strategies are most applied in translating movie subtitle.

Meanwhile, another research paper entitled “An Analysis of Translation Procedures in the Subtitle of Perfume” by Tresna Dinda in 2010 shows a

different result. The researcher used some types of translation procedures that are declared by Newmark (1988), Vinay and Darbelnet (2000), Harvey (2003), Catford (1965), Larson (1998), Dryden in Munday (2001), and

Gottlieb in Taylor (2000) and judged that the translation of the movie subtitle is qualified only according to the theories that she analyzed by herself, without asking those who are experienced in translation fields.

The film subtitle that would be investigated in this study is “Into the Wild” which is a 2007 American drama which is adapted of the 1996 non-fiction book. It is based on the true story of Christophers McCandles who travels across North America and spends his life in Alaskan wilderness in the early 1990s. This film has won many awards and overall quality is good, hence the researcher challenges to observe the quality of subtitle translation in this film, because it will give either a good or bad impact to the viewers.

Therefore, based on the preceding elaboration of arguments, this research is specifically designed to analyze the procedure of translating the subtitle of the film. In addition, to provide the additional support towards the research result, the researcher would also seek the help from three persons who are experienced in translation in analyzing the quality of subtitle translation to compare it with the researcher judgment based on the good translation theories from some experts.

B. Statements of the Problems

This research is carried out to analyze the following research questions. 1. What translation procedures are used in the English-Indonesian subtitle of

“Into the Wild” movie?

2. How is the quality of English-Indonesian subtitle translation in the “Into the Wild” movie?

C. Aims of the Study

Specifically, this research is focused on two objectives.

1. The study is aimed at investigating the translation procedures that are used in translating the English-Indonesian subtitle of “Into the Wild”.

2. The study is intended to analyze the quality of English-Indonesian subtitle translation in the movie “Into the Wild”, whether the translation is qualified or not.

D. Scope of the Study

This research will focus only on finding out the types of translation procedures based on the theories from Newmark (1988), Vinay and Darbelnet (2000) in Munday (2001), Dryden in Munday (2001), Catford (1965) in Munday (2001), Delisle, Lee-Jahnke & Cormier (1999), and Harvey (2003); and identifying the translation quality of English-Indonesian subtitle of Into the Wild movie based on the theories of some criteria of good translation that are declared by some experts, such as Larson (1998), Nida, Lewis, and Leonard Foster (1958) in Venutti (2000), Newmark (1988), Tytler (1979) in Munday (2001), Benjamin (1969/2000) in Munday (2001), and Massoud (1988) and El Shafey (1985) in Abdellah (2005).

E. Significance of the Study

The findings of this study are significant for three aspects.

1. From theoretical perspective, this research is expected to make a contribution to the area of translation procedures in the movie and enrich the previous research findings, because it involves the opinion of three persons who are expert in translation in analyzing the quality of movie translation.

2. From professional significance, it is also expected that the research would provide reference to the professional translators or students in choosing the appropriate translation procedure in translating literary works, especially movie subtitle.

3. Practically, this research is expected to give a practical guidance for both of the translators and students in improving their translation skills.

F. Clarification of Related Terms

To avoid misunderstanding in this chapter, the researcher has clarified some of the terms below.

1. Translation Procedure

a. Translation - Rendering the meaning of a text into another language in the way that the author intended the text (Newmark, 1988:5).

b. Procedure (n) – The official or usual way of doing something (Cambridge, 2004).

c. Translation procedure – The procedures of translation that are used for sentences and smaller units of language (Newmark, 1988:81).

d. Translation procedure in this study refers to the procedure used in translating the English-Indonesian subtitle of “Into the Wild” movie based on Newmark (1988), Vinay and Darbelnet (2000) in Munday (2001), Dryden in Munday (2001), Catford (1965) in Munday (2001), Delisle, Lee-Jahnke & Cormier (1999), and Harvey (2003) theories.

2. Translation Quality

a. Quality (n or adj) - How good or bad something is (Cambridge, 2004). b. Quality in Translation - Quality is relative and absolutes of accuracy

cease where the end user (i.e. client) imposes his own subjective preferences of style in Target Text (Al-Qinai, 2000:498).

c. Quality in this study refers to the evaluation of the English-Indonesian subtitle translation of “Into the Wild” movie, whether it fulfills the criteria of good translation that are declared by some experts, such as Larson (1998), Nida, Lewis, and Leonard Foster (1958) in Venutti (2000), Newmark (1988), Tytler (1979) in Munday (2001), Benjamin (1969/2000) in Munday (2001), and Massoud (1988) and El Shafey (1985) in Abdellah (2005) or not.

G. Organization of the Paper

This paper of study is organized into five chapters as follows:

Chapter I: Introduction

This chapter provides background, statements of the problems, aims of the study, scope of the study, significance of the study, and organization of the paper.

Chapter II: Literature Review

This chapter focuses on literature review which provides the basic theory in conducting the research.

Chapter III: Research Methodology

This chapter contains the methodology of study and the description of procedures used in investigating the data of the research, including the research questions, the aims of study, the data collection and data analysis.

Chapter IV: Finding and Discussion

This chapter presents the result of the study including the analysis of the data based on the theoretical framework.

Chapter V: Conclusion and Suggestion

This chapter contains the writer’s interpretation of the research findings in a form of conclusions and suggestions.

CHAPTER II

LITERATURE REVIEW

This chapter focuses on literature review which provides the basic theory in conducting the research. There are seven main points that will be elaborated in this chapter as follow: Definition of Translation, Theories of Translation, Process of Translation, Procedures of Translation, Quality of Translation, Subtitling Theories, and Synopsis of the Film and The Recent Researchers.

A. Definition of Translation

The term “translation” is defined variously by the point of view of many experts. Larson (1998:3) states that basically, translation is a change of form. The form is referring to the words, phrases, clauses, sentences, or paragraph. The change of form is done by replacing the form of source language to the form of receptor or target language.

According to Newmark (1988:5), translation is perceived as rendering the meaning of a text into another language in the way that the author intended the text. In line with that theory, Munday (2001:5) states that translation refers to the changing of an original source text of one language into a target text in a different language.

Furthermore, Jakobson (1959/2000:114) in Munday (2001:5) divides and defines translation into three categories as follow:

1. Intralingual translation or ‘rewording’. It is an interpretation of verbal signs through other signs of the same language. This translation is similar to paraphrase, because it occurs when we rephrase an expression or text in the same language to explain or clarify something we might have said or written. Another example is when a lecturer explains the material in front of the class and the students make a note from what he says.

2. Interlingual translation or 'translation proper'. It is an interpretation of verbal signs through the same and other signs some other languages. For example, the interpreter in a conference who interprets the English language from the speaker into Indonesian to the audience.

3. Intersemiotic translation or ‘transmutation’. It is an interpretation of verbal signs through signs of non-verbal sign systems. This translation occurs if a written text were translated, for example, a film version of a novel and an advertisement that represents in image.

Meanwhile, Hatim and Munday (2004:6) in Munday (2009:7) define translation as:

1. The process of transferring a written text from SL to TL, conducted by a translator, or translators, in a specific socio-cultural context.

2. The written product, or TT, which results from that process and which functions in the socio-cultural context of the TL.

3. The cognitive, linguistic, visual, cultural and ideological phenomena which are an integral part of 1 and 2.

Other definitions are proposed by Bassneet (2002:6) who defines that translation is not just the transfer of texts from one language into another, but also a process of negotiation between texts and cultures. It means that translation is not only transmitting a language, transferring the meaning, and conveying the message, but also transmitting a cultural aspect of the SL.

Besides that, Nida and Taber (1969:12) postulate that translation is reproducing the receptor language from the closest natural equivalent of the source language message, in terms of meaning and style. According to them, in reproducing the message, meaning aspect is the first concern as well as the importance of form and style, because translation is not merely changing one language to another, but also conveying the message from SL to TL.

From the definitions above, it can be concluded that translation is a process of rendering a thought from one language to another language

accurately in a written form by conforming its grammar, syntax, and cultural aspect.

B. Theories of Translation

1. The Skopos Theory

There are two main theories of translation; those are skopos theory and equivalence theory. Skopos is a theory of translation that was proposed by the German translator, Hans J. Vermeer in 1978 (Munday, 2001:78). Skopos is the Greek word for ‘aim’ or ‘purpose’. It focuses on the purpose of translation (Munday, 2001:79).The sender is responsible for specifying intention and by using a text he tries to achieve a purpose. The receiver uses the text with a certain function, depending on his/her own expectations, needs, previous knowledge and situational conditions (Jabir, 2006:38)

In line with that theory, Nord (1997:29) in Jensen (2009:15) says that according to the skopos theory, all texts are perceived as serving a specific purpose. Therefore, the translator should translate in a way which enables the text to function in the situation that is used and with the people who want to use it.

Reiss and Vermeer formulated their theory by use of six rules (Reiss & Vermeer 1984:119 in Munday 2001:79). These are:

a. A target text (TT) is determined by its skopos.

It means that the purpose of the TT is the main determinant for the chosen translation methods and strategies. These methods and strategies are used to produce a functionally adequate or appropriate result (Jensen, 2009:15).

b. A TT is an offer of information in a target culture and TL concerning an offer of information in a source culture and SL.

c. A TT does not initiate an offer if information in a clearly reversible way.

d. A TT must be internally coherent.

It means that the TT must be coherent for the TT receivers. The receiver must be able to understand the TT, and the TT has to be meaningful in the communicative situation and target culture (Jensen, 2009:16).

e. A TT must be coherent with the ST.

It means that there must be coherence between the ST information received by the translator, the interpretation the translator makes of this information and the information that is encoded for the TT receivers.

f. The five rules above stand in hierarchical order, with the skopos predominating.

2. The Equivalence Theory

Equivalence is a key concept in a translation theory of the 1960s and 1970s which defines as the connection of translational between an entire ST and a TT in a degree of correspondence between the texts or the text units (Pym, 2007:271; Munday, 2009:185). It means that the translation will have the same value as (some aspect of) the ST. Sometimes the value is on the level of form, on the level of reference, or on the level of function (Pym, 2007:273). For instance, in the level of form, two words of SL are translated by two words in TL, such as “puppy love” which is translated into “cinta monyet” in Indonesian. In the level of reference, Sunday is

always the day before Monday. In the level of function, black is a sign for a color of death in West, but in East, the color of death is white.

According to Jakobson (1959/2000) in Munday (2001:37), equivalence focuses on the structure and terminology of language rather than any inability of TL to render a message from SL.

Furthermore, Nida (1964) in Bassnett (2002:34) divides equivalence into two types; those are formal equivalence and dynamic equivalence. Formal equivalence focuses on the message itself, in both form and content. It concerns with the formal relationship between ST and TT structures, such as when a noun phrase in the ST is substituted by a noun phrase in the TT. It is also called by a “gloss translation” which aims to allow the reader to understand the SL context as much as possible (Bassnett, 2002:34; Munday, 2009:191).

On the other hand, dynamic equivalence is based on the principle of equivalent effect, where the relationship between receiver and message should aim at being the same as between the original receivers and the SL message (Nida, 1964 in Bassnett, 2009:34). This focus requires translators to adjust their texts to the target culture, to harmonize them linguistically in terms of grammar and lexis, and to make them sound natural (Munday, 2009:84).

Meanwhile, Vinay and Darbelnet (2000:90) in Munday (2001:58) use the term equivalence for one of their translation procedures where languages describe the same situation as in the original by different stylistic or structural means. By equivalence, the practice of employing an established equivalent idiom in the TL will be easier to understand (Munday, 2009:186).

Based on the brief explanation about two translations theories above; those are skopos and equivalence theory, it can be concluded that skopos theory is the theory used for the reader, because it is aimed at making the reader understand the message and the purpose of the text from the translator. On the other hand, the equivalence theory is used for the

translator itself, because it is aimed at conveying the message of the writer to the reader as same as the original one.

C. Process of Translation

According to Munday (2001:5), the process of translation is the act of producing the translation, otherwise known as translating. Newmark (1988:19-25) proposes three ways of translating as follow:

1. Choosing a method of approach whether the translator will translate the source text sentence by sentence for the first paragraph or chapter, to get the feel and the feeling tone of the text; or translate the source text after reading the whole text two or three times, and finding intention, register, tone, mark the difficult words and passages, then start translating when the translator has taken their bearing.

2. Translating the translation with four levels, those are:

a. The SL text level (the textual level). In this level, the translator starts to translate the SL to the TL by using literal translation and transposes the SL grammar (clauses and groups) into the TL equivalents, then translates the lexical unit into the appropriate sense.

b. The referential level. In this level, the translator visualizes and builds up the essential parts of the text, both of the comprehension and the reproduction process. In other words, the translator gains the perspective from the language.

c. The cohesive level. This level follows both of the structure and the moods of the text. At this level, the translator reconsiders the lengths of paragraphs and sentences, the formulation of the title, and the tone of the conclusion to summarize an argument at the beginning of a final sentence.

d. The level of naturalness. In this level, the translator attempts to make the translation of common language appropriate to the writer or the

speaker in a certain situation. In other words, the translation product is making sense and following the grammatical structure.

3. Revising the procedure of the translation which constitutes at least half of the complete process.

Meanwhile, Larson (1998:4) identifies the translation process through the diagram as follow:

SOURCE LANGUAGE RECEPTOR LANGUAGE

Text to be Translation

translated

Discover Re-express

the meaning the meaning

Meaning

Figure 2.1 Larson’s Process of Translation (1998:4)

According to the diagram above, the first process to produce the meaning of the text is to analyze the grammatical and semantic structure of the original text. After the source text has been analyzed, the translator transfers and restructures it into a target language.

D. Procedures of Translation

According to Newmark (1988:81), translation procedures are used for sentences and smaller units of language. Therefore, it is possible to a sentence to have more than one translation procedure. Newmark (1988), Vinay and Darbelnet (2000) in Munday (2001), Dryden in Munday (2001), Catford (1965) in Munday (2001), Delisle, Lee-Jahnke & Cormier (1999), and Harvey (2003) divided the translation procedures into some categories bellow:

1. Literal Translation

Literal translation is the basic translation procedure where word-for-word translation transfers SL grammar and word-for-word order, as well as the primary meanings of all the SL words (Newmark, 1988:69). In other words, the SL grammatical constructions are converted into the nearest TL equivalent, but the lexical words are translated word by word. Dryden (1680/1992:17) in Munday (2001:25) uses the term “metaphrase” which corresponds to literal translation. Meanwhile, Vinay and Darbelnet (2000:86) in Munday (2001:57) say that the translator may judge literal translation to be 'unacceptable' because it gives a different meaning, has no meaning, impossible for structural reasons, does not have a corresponding expression within the metalinguistic experience of the TL, and corresponds to something at a different level of language.

Example:

- SL: I don't want anything. - TL: Aku tidak mau apapun.

2. Transference

Transference (loan word, transcription) is the process of transferring a SL word to a TL text (Newmark, 1988:81). In other words, it is the

process of transliterating the original term (Harvey, 2003:5). Meanwhile, Vinay and Darbelnet (2000:84) in Munday (2001:56) use the term “Borrowing” where the SL word is transferred directly to the TL. In line with this theory, Gottlieb (1992) in Ghaemi and Benyamin (2010:42) proposes the term “Imitation” which means that the process of translation maintains the same forms, typically with names of people and places.

Example:

- SL: West Virginia.

- TL: West Virginia.

3. Naturalization

Naturalization succeeds transference and adapts the SL word first to the normal pronunciation, then to the normal morphology (word-forms) of the TL (Newmark, 1988:81). Harvey (2003:4) says that naturalization happens due to the cross fertilization between two language.

Example:

- SL: May and June. - TL: Mei dan Juni.

4. Adaptation

Adaptation is a procedure which involves changing the cultural reference when a situation in the source culture does not exist in the target culture (Vinay and Darbelnet, 2000:90 in Munday, 2001:58). In other words, Delisle, Lee-Jahnke & Cormier (1999) use this term to replace a socio-cultural reality from the SL with a reality specific to the target culture in order to accommodate for the expectations of the target audience.

Example: - SL: Dear Sir.

- TL: Yang Terhormat.

5. Cultural Equivalent

Cultural Equivalent is an approximate translation procedure where a SL cultural word is translated by a TL cultural word (Newmark, 1988:81). Meanwhile, Vinay and Darbelnet (2000:90) in Munday (2001:58) say that this term is particularly useful in translating idioms and proverbs. In other words, the language describes the same situation by different stylistic or structural means.

Example:

- SL: You little pinhead! - TL: Kamu bodoh!

6. Functional Equivalent

Functional Equivalent procedure is applied to cultural words that require the use of a culture-free-word, but the function of TL is similar to the SL referent. Sometimes, it uses a specific term, so the SL word should be generalized. This procedure can be used when a SL technical word has no TL equivalent so there will be connotational or denotational differences between the SL and TL term (Newmark, 1988:83 and Harvey, 2003:2).

Example:

- SL: Identification card. - TL: Kartu Tanda Pengenal.

7. Descriptive Equivalent

Descriptive equivalent or self-explanatory translation is used when a SL word needs to be generalized by using an explanation or description, because it cannot be rendered directly to the TL word (Newmark, 1988:83-84 and Harvey, 2003:6).

Example: - TL: Revolver.

- SL: Senjata api yang memiliki silinder.

8. Synonym

Synonym is a procedure which is used when a precise equivalent for TL may or may not exist. Therefore, the translator uses the sense of a near TL equivalent to a SL word in a context. A synonym is only appropriate where literal translation is not possible and because the word is not important enough for componential analysis (Newmark, 1988:83-84).

Example: - SL: I’m freezing. - TL: Aku kedinginan.

9. Through-Translation

Through-translation or is also known as calque or loan translation is the literal translation of common collocations, names of organizations, the components of compounds or phrases. (Newmark, 1988:84). According to Vinay and Darbelnet (2000:85) in Munday (2001:56), calque sometimes has a semantic change.

Example:

- SL: ILO (International Labor Organization). - TL: Organisasi Buruh Internasional.

10.Shifts or Transpositions

Shifts or transposition is a translation procedure that is proposed Catford and Vinay and Darbelnet (Newmark, 1988:85). Vinay and Darbelnet (2000: 88 and 1995: 94-9) in Munday (2001:57) mentions that transposition is a change of one part of speech for another without

changing the sense. In other words, transposition is the only translation procedure concerned with grammar (Newmark, 1988:88).

There are four types of shift that are proposed by Newmark (1988:85-88) as follow:

a. The change from singular to plural and in the position of adjective. b. The shift which is required when an SL grammatical structure does

not exist in the TL.

c. The shift where literal translation is grammatically possible but may not accord with natural usage in the TL.

d. The replacement of a virtual lexical gap by a grammatical structure.

Example:

- SL: A year and a half had passed in what Dad called “suspended animation”.

- TL: Sudah satu setengah tahun lewat yang ayah sebut animasi yang tahan.

11.Modulation

Modulation is a procedure that changes the semantic and the point of view or perspective of TL (Vinay and Darbelnet, 2000 in Munday, 2001:57 and Delisle, Lee-Jahnke & Cormier, 1999:161). Therefore, the translator can convey the same event of two languages in a different way.

There are eight types of modulation that are proposed by Vinay and Darbelnet in Newmark (1988:89) as follow:

a. Abstract for concrete, b. cause for effect, c. one part for another, d. reversal of terms, e. active for passive,

f. space for time,

g. intervals and limits, and h. change of symbols.

Example:

- SL: You didn’t buy me more than one. - TL: Kamu hanya beli satu.

12.Recognized Translation

Recognized translation is normally used when the translator deals with the official or the generally accepted translation of any institutional term (Newmark, 1988:89).

Example:

- SL: General Manager. - TL: Manajer Umum.

13.Translation Label

Translation label is a provisional translation, which is used for a new institutional term and should be made in inverted commas, which can later be discreetly withdrawn. It could be done through literal translation (Newmark, 1988:90).

Example:

- SL: Heritage Language. - TL: Langue d’heritage.

14.Compensation

Compensation happens when the translators change an element in the SL that cannot be used in the same form as in the TL with another element used in another place (Delisle, Lee-Jahnke & Cormier, 1999:125-126). In other words, it occurs when the loss of meaning, sound-effect, metaphor or

pragmatic effect in one part of a sentence is compensated in another part, or in a contiguous sentence (Newmark, 1988:90).

Example:

- SL: Son of a bitch! - TL: Kurang ajar!

15.Componential Analysis

Componential analysis is the splitting up of a lexical unit into its sense components, often one-to-two, -three or -four translations (Newmark, 1988:90).

Example: - SL: Set.

- TL: Mengatur, menentukan, memasang, babak.

16.Reduction and Expansion

Reduction and expansion are rather imprecise translation procedures, which you practice naturally in some cases (Newmark, 1988:90). Meanwhile, Gottlieb (1992) in Ghaemi and Benyamin (2010:42) also proposes the term “Expansion” and uses the term “Condensation” and “Decimation” for “Reduction”. Condensation is the shortening of the text in the least obtrusive way possible while decimation is an extreme form of condensation where perhaps for reasons of discourse speed, even potentially essential elements are omitted.

Example:

- SL: Your father and I, we want to make a present to you. - TL: Kami ingin berikan hadiah untukmu.

Expansion is used when the original text needs an explanation, because of some cultural nuance not retrievable in the TL (Newmark, 1988:90). In other words, Delisle, Lee-Jahnke & Cormier (1999) use the term

“Amplification” which means the use of more words in the TL to re-express an idea or to reinforce the sense of a SL word because the message of TL cannot be expressed concisely.

Example:

- SL: Now you're in the wild, what are we doing?

- TL: Karena kamu sekarang sudah ada di alam, apa yang akan kita lakukan?

17.Paraphrase

Paraphrase is a procedure where the explanation of the meaning of a segment of the text is needed (Newmark, 1988:90). In the meantime, Gottlieb (1992) in Ghaemi and Benyamin (2010:42) says that paraphrase is resorted to in cases where the phraseology of the original cannot be reconstructed in the same syntactic way in the target language. In line with those theories, Dryden (1992:17) in Munday (2001:25) says that paraphrase involves changing whole phrases and more or less corresponds to faithful or sense-for-sense translation.

Example:

- SL: I'm taking you out to where we're going. - TL: Aku akan membawamu ke tujuan kita.

18.The combination of procedures

Couplets, Triplets, and Quadruplets are the combination of two, three, or four procedures for dealing with a single problem (Newmark, 1988:91).

Example of Couplets between Literal and Cultural Equivalent: - SL: Let me turn off the light.

- TL: Biarkan aku matikan lampunya.

Example of Triplets between Shift, Transference, and Functional Equivalent:

- SL: Notifying them that Chris' abandoned car had been identified by the Arizona Highway Patrol.

- TL: Yang beritahu bahwa mobil yang dibuang Chris terlacak oleh polisi lalu lintas Arizona.

Example of Quadruplets between Reduction, Cultural Equivalent, Transference, and Naturalization:

- SL: When they arrived at the apartment, there was a “For Rent” sign up and the manager said that Chris had moved out at the end of May. - TL: Ketika mereka tiba di aparetemen, ada tulisan “Untuk disewa”

dan manajer bilang Chris sudah pindah sejak akhir Mei.

19.Notes, Additions, Glosses

Notes, additions, and glosses are the procedures where the translator gives additional information within the text, notes at bottom of page, notes at end of chapter, and notes or glossary at end of book (Newmark, 1988:91-92).

Example:

- SL: Debrecen >The city of Debrecen, in West Hungary. - TL: Debrecen > Kota Debrecen, di sebelah barat Hungary.

20.Denominalization

Denominalization occurs when a noun or nominal structure from the ST is transformed into a verbal structure in the TT (Delisle, Lee-Jahnke & Cormier, 1999:132).

Example:

- SL: Dia sudah bersuamikan orang Minang.

21.Explicitation

Explicitation is used to introduce precise details into the TT for clarification (Delisle, Lee-Jahnke & Cormier, 1999:139). Meanwhile, Vinay and Darbelnet (1995: 34) in Becher (2011:17) say that explicitation is a stylistic translation procedure which consists of making explicit in the TL what remains implicit in the SL because it is apparent from either the context or the situation. Becher (2011:18) says that explicitation is observed where a TL is more explicit than the SL.

Example:

- SL: Confiscation révolutionnaire.

- TL: Seized during the French Revolution.

22.Implicitation

Implicitation is used to increase the meaning of the TL by not explicitly rendering elements of information from the SL in the TL (Delisle, Lee-Jahnke & Cormier, 1999:145). Bacher (2011:19) states that implicitation is observed where a TL is less explicit (more implicit) than the SL.

Example:

- SL: Be sure the iron is unplugged from the electrical outlet before filling with water.

- TL: Selalu lepaskan besi sebelum mengisi tangki.

E. Quality of Translation

In translation field, quality is defined as relative and absolutes of accuracy cease where the client imposes his own subjective preferences of style in TL (Al-Qinai, 2000:498). In line with that theory, House (1997:3) in Bittner (2011:76) states that the quality of a translation depends largely on the translator’s subjective interpretation and transfer decisions, which are based

on his linguistic and cultural intuitive knowledge and experience. Thus, although standardization of quality is difficult to be measured, some experts propose some criteria in getting a good translation quality.

Larson (1998:6) explains that there are three criteria of the best translation:

1. The TL uses the normal language forms of the receptor language. 2. The TL communicates to the receptor language speaker, as much as

possible, the same meaning that was understood by the speaker of SL. 3. The TL maintains the dynamic of the original SL, which means the

translation is presented in such way that will evoke the same response as the SL attempted to evoke.

In addition, Nida in Venutti (2000:134) summarizes four basic requirements of a good translation, those are: making sense, convey the spirit and manner of the original text, having natural and easy form of expression, and producing a similar response.

Meanwhile, Nida and Taber's (1969) in As-Safi (2012:12) state that a good TL product is semantically accurate, grammatically correct, stylistically effective and textually coherent as the SL text. In other words, the translator's main attention should not be focused only on the accurate semantic transference of SL message into the TL, but also on the appropriate syntax and diction in the TL, which are explicitly the translator's (not the source author's) domain.

Besides that, Newmark (1988:192) states that a good translation can fulfill the intention of the original and convey the facts acceptably. In line with that theory, Leonard Forster (1958:6) in Venutti (2000:131) defines a good translation as “one which fulfills the same purpose in the new language as the original did in the language in which it was written.” While Lewis in Venutti (2000:268) says that a good translation should be a double interpretation, faithful both to the language or message of the original and to the

message-orienting cast of its own language. It means that a translation should accurately render the meaning of the source text, without distortion.

In the meantime, Tytler (1979:15) in Munday (2001:26) indicates three general rules of a good translation:

1. The translation should give a complete transcript of the ideas of the original work.

2. The style and manner of writing should be of the same character with the original.

3. The translation should have all the ease of the original composition.

While Benjamin (1969/2000:17) in Munday (2001:169) says that a good translation can express the central reciprocal relationship between languages. It means that the translation does not seek to be the same as the original, but it is intended to bring together the two different languages.

Massoud (1988) in Abdellah (2005:26) sets criteria for a good translation. According to him, a good translation is easy to be understood, fluent and smooth, and idiomatic. A good translation also reconstructs the cultural or historical context of the original, distinguishes between the metaphorical and the literal, and makes explicit what is implicit in abbreviations, and in allusions to sayings, songs, and nursery rhymes. Last but not least, a good translation conveys the meaning of the original text as much as possible.

In addition, El Shafey (1985:93) in Abdellah (2005:26) says that a good translation should capture the style or atmosphere of the original text and should have all the ease of an original composition.

Therefore, based on those opinions above, it can be concluded that a good translation should be clear, understandable, and convey the same meaning as the original.

F. Subtitling Theories

The term Audiovisual Translation (AVT) is mostly used for the audiovisual language transfer (Shakernia, 2001:740). Audiovisual translation itself is defined as “the process by which a film or television program is made comprehensible to a target audience that is unfamiliar with the original source language” (Branauskiene, 2008:14 in Shakernia, 2001:740).

According to Baker and Hochel (1998:74) in Ghaemi and Benjamin (2010:39), the most widespread forms of AVT are Subtitling and Dubbing. Subtitling is visual, involving the superimposition of a written text onto the screen, while dubbing is a process which uses the acoustic channel for translational purposes (Munday, 2009:141).

Its definitions show that the term Audiovisual Translation relates to visual image and soundtrack, and subtitling itself involves on it.

2. Definition of Subtitle

According to Merriam Webster’s Collegiate Dictionary (1993:1775) in Palmer (2005:8), the noun subtitle is defined as:

a. a secondary or explanatory title;

b. a printed statement or fragment of dialogue appearing on the screen between the scenes of a silent motion picture or appearing as a translation at the bottom of the screen during the scenes of a motion picture or television show in a foreign language.

In Ghaemi and Benjamin (2010:40), O’Connell (2007:169) defines subtitling as “supplementing the original voice soundtrack by adding written text on screen.” While Shuttleworth and Cowie (1997:161), define subtitling as “the process of providing synchronized captions for film and television dialogue.” In addition, Gottlieb (2001:87) in Munday (2009:148) defines it as the rendering in a different language of a verbal message in filmic media, in the shape of one or more lines of written text,

which are presented on the screen in synch with the original verbal message.

Traditionally, there are two types of subtitles, those are interlingual

subtitles, which imply transfer from a SL to a TL, and intralingual

subtitles, which there is no change of language (Díaz Cintas, 2003 in Ghaemi and Benjamin 2010:40).

Subtitling is different from other types of translation, because it involves the formal (quantitative) and textual (qualitative) constraints. The formal constraints are the space factors (a maximum of 2 lines and 35 characters) and the time factor, while textual constraints are those imposed on the subtitles by the visual context of the film (Gottlieb, 1992 in Ghaemi and Benjamin, 2010:42).

From those definitions above, it can be seen that subtitle is a printed translation of a dialogue of a foreign-language film, while subtitling is the process of making the subtitle which transfers the dialogue in the film in spoken language into a written language and appears on the screen at the bottom.

3. The Effective Subtitle

Different from other translation types, a subtitled text has to be shorter than the audio, because simultaneously the viewers need the necessary time to read the subtitle and watch the film at the same time (Munday, 2009:148).

According to Antonini (2005:213) in Munday (2009:148), the words contained in the original dialogues tend to be reduced by between 40 and 75 percent to give viewers the chance of reading the subtitles while watching the film at the same time. In the subtitle itself, it consist of one or two lines of 30 to 40 characters including spaces) that are displayed at the

bottom of the picture, either center or left-aligned (Gottlieb, 2001 in Munday, 2009:149).

There are three principal operations that the translator must carry out in order to obtain effective subtitles proposes by Antonini (2005:213-214 in Munday, 2009:148), those are:

a. Elimination which consists of cutting out elements that do not modify the meaning of the original dialogue, but only the form, such as hesitations, false starts, and redundancies; and removing the information that can be understood from the visuals, such as a nod and shake of the head.

b. Rendering which refers to dealing with features such as slang, dialect and taboo language.

c. Simplification which indicates a condensation and fragmentation of the original syntax to promote comfortable reading.

G. Synopsis of The Film and Related Research Reports

1. Synopsis of The Film

Into The Wild is a 2007 American drama which is adapted of the 1996 non-fiction book of the same name by Jon Krakauer. The duration of this film is 148 minutes. This film has won many awards for the best feature film in Gotham Awards, the best foreign language film in São Paulo International Film Festival, and many more. This Film is also nominated for USC Scripter Award which proves that the script has a good quality. Therefore, the researcher challenges to observe the procedure of English-Indonesian subtitling and the quality of subtitle translation in this film.

Into The Wild is based on the true story of Christophers McCandles, a young Emory University graduate who travels across North America and spends his life in Alaskan wilderness in the early 1990s. McCandles starts

his journey after graduating as a freshman at Emory. He donates his $25,000 savings anonymously to charity and decides to leave society because he discovers that his father secretly had a second family when he was childhood and he thinks that money can’t buy him happiness.

During his wandering, McCandless never telling anyone where he is going, and he changes his name into “Alexander Supertramp”. He meets many people and tells them that he’s going to make a book after his final journey to Alaska. They gives them suggestion to not to go to Alaska and wait until spring, but he’s just too stubborn. After two years spending his life in the road, he finally settles down in Alaska in winter. He lives alone in the bus which is found in Alaskan wilderness with nothing more than basic supplies.

McCandless writes on his diary everyday. When his supplies begin to run out and he loses significant weight, he realizes that that nature is only a distraction for a short while, and happiness is only real when it shared with others. Eventually, when he will return to society, the river turns into torrent, so he returns to the bus. He gets lost in Alaskan wilderness. Unfortunately, he eats potato seeds with a poison type of sweet pea which causes him to starve to death. Two weeks later, his body is found by moose hunters.

2. Related Research Reports

The study of translation in film subtitling has been already conducted by some previous researchers. Arie Firmansyah analyzed “Analysis of Subtitling Strategies on the Movie Harry Potter and the Chamber of

Secrets” in 2008. The result showed that Gottlieb’s strategies are most applied in translating movie subtitle.

Meanwhile, another research paper entitled “An Analysis of Translation Procedures in the Subtitle of Perfume” by Tresna Dinda in

2010 shows a different result. The researcher used some types of translation procedures that are declared by Newmark (1988), Vinay and Darbelnet (2000), Harvey (2003), Catford (1965), Larson (1998), Dryden in Munday (2001), and Gottlieb in Taylor (2000) without mentioning the language units that were used, whether it was in the form of words, phrases, or sentences. The researcher also judged the quality of subtitle translation of the movie only according to the theories that she analyzed by herself, without asking those who are experienced in translation fields. Nevertheless, the translation quality itself is specifically conducted by Prihatini Sapartini in 2009 with the research entitled “The Analysis of

Quality Translation of Bandung Yellow Pages Pocket Travel Series (January-June 2008 Edition)”. Although the subject of the research is not about subtitle, but this research has a similarity in analyzing the quality of translation. In analyzing the quality of translation, the researcher gave a questionnaire to ten English students of Indonesia University of Education who takes translating majoring and found that overall translation is qualified. The researcher also interviewed the respondents to get more information about the common problem that found in translation.

Those studies relate each other, although the way of analyzing is not the same. Specifically, this research focuses in analyzing the subtitling procedures based on Newmark (1988), Vinay and Darbelnet (2000) in Munday (2001), Dryden in Munday (2001), Catford (1965) in Munday (2001), Delisle, Lee-Jahnke & Cormier (1999), and Harvey (2003) theories. In addition, to provide the additional support towards the research result, the researcher would also seek the help from three persons who are experienced in translation in analyzing the quality of subtitle translation to compare it with the researcher judgment based on the good translation theories from some experts.

H. Synthesis

This chapter has explained the theoretical foundation relates to this study. Translation is a process of transferring a thought from one language to another language in a written form and finding the equivalent meaning of the text. The process of translation according to Larson (1998:4) is elaborated into several steps. Firstly, the process to produce the meaning of the text is to analyze the grammatical and semantic structure of the original text. After the source text has been analyzed, the translator transfers and restructures it into a target language.

Before translating the TL, the translator should understand the main theories of translation; those are skopos and equivalence theory. The skopos theory is the theory used for the reader, because it is aimed at making the reader understands the message and the purpose of the text from the translator. On the other hand, the equivalence theory is used for the translator itself, because it is aimed at conveying the message of the writer to the reader as same as the original one.

Therefore, the procedure used in translating the SL should appropriate with the context of the SL, because the incorrect translation procedure used will give the bad result of the TL and the bad impact to the reader. Newmark (1988), Vinay and Darbelnet (2000) in Munday (2001), Dryden in Munday (2001), Catford (1965) in Munday (2001), Delisle, Lee-Jahnke & Cormier (1999), and Harvey (2003) translation theories divided the translation procedures into 22 categories, those are literal translation, transference, naturalization, adaptation, cultural equivalent, functional equivalent, descriptive equivalent, synonym, through-translation, shifts or transpositions, modulation, recognized translation, translation label, compensation, componential analysis, reduction and expansion, paraphrase, the combination of procedures (couplets, triplets, quadruplets),

notes, additions, and glosses, denominalization, explicitation, and implicitation.

The good process of translation and the good process in choosing the appropriate procedure will create a good quality of translation, because the translation is clear, understandable, and convey the same meaning as the original text.

CHAPTER III

RESEARCH METHODOLOGY

This chapter contains the methodology of study and the description of procedures used in investigating the data of the research, including the research questions, the aims of the study, the data collection and data analysis.

A. Research Questions

This research is carried out to analyze the following research questions. 1. What translation procedures are used in the English-Indonesian subtitle of

“Into the Wild” movie?

2. How is the quality of English-Indonesian subtitle translation in the “Into the Wild” movie?

B. Aims of the Study

Specifically, this research is focused on two objectives.

1. The study is aimed at investigating the translation procedures that are used in translating the English-Indonesian subtitle of “Into the Wild”.

2. The study is intended to analyze the quality of English-Indonesian subtitle translation in the movie “Into the Wild”, whether the translation is qualified or not.

C. Research Design

The theoretical framework of this study is qualitative and the approach is case study. According to Baxter and Jack (2008:544), qualitative case study methodology provides tools for researchers to study complex phenomena within their contexts by using a variety of data sources. Furthermore, Denzin and Lincoln (1994) in Joubish (2011:2083), define qualitative research as

approach to its subject matter. It means that qualitative researcher study things in their natural settings to interpret the phenomena in terms of people bring to them. This study use the variety of empirical materials case study, personal experience, introspective, life story interview, observational, historical, interactional, and visual texts that describe routine and problematic moments

and meaning in individuals’ lives.

Fraenkel, Wallen, & Hyun (2012:426-427) describe the features of qualitative research as follows.

a. The natural setting is the direct source of data, and the researcher is the key instrument in qualitative research. It implies that the qualitative researchers go directly to the particular setting of interest to observe and collect the data.

b. Qualitative data are collected in the form of words or pictures rather than numbers. It implicitly shows that the kinds of data collected in qualitative research include interview transcripts, field notes, photographs, audio recordings, videotapes, diaries, personal comments, memos, textbook passage, and anything else that can convey the actual words or actions of people.

c. Qualitative researchers are concerned with process as well as product. It means that the qualitative researcher are likely to observe the meaning that people give to certain words or action, how people interact with each other, and how certain kinds of questions are answered.

d. Qualitative researchers tend to analyze their data inductively. It can be said that the qualitative research does not formulate the hypothesis before seek to test it out. According to Thomas (2003:3), in inductive analysis, the data analysis is determined by both of the research objectives and multiple readings and interpretations of the data.

e. How people make sense out of their lives is a major concern to qualitative researchers. Alternatively, the researcher captures the thinking of the participants from their perspective.

Meanwhile, the case study itself is defined as a detailed study of an event, an activity, or an on going process and it should be described in detail in order to shed some light on what is going on (Fraenkel, Wallen, & Hyun, 2012:435). Because this study has to be explained and described in detail and systematically in the form of words, the descriptive method is also used in this study. Yin (2003) in Baxter and Jack (2008:548) states that descriptive is the type of case study that is used to describe an intervention or phenomenon and the real-life context in which it occurred.

Therefore, from those explanations above, the most appropriate method is qualitative case study.

D. Data Collection

1. Research Sample

Specifically, this research uses two of nonrandom sampling methods.

a. Systematic sampling

As the main concern of this research, the sample of the data is the English-Indonesian subtitle of the movie “Into the Wild”. It was found that there are 1272 sentences in the subtitle of the movie. The researcher chose 300 samples of sentences to be analyzed by using systematic sampling that is proposed by Fraenkel, Wallen, & Hyun (2012:97). In systematic sampling method, the researcher selects every nth individual in the population for inclusion in the sample. The distance between each selected sentence for the sample is called by

sampling interval. Here is a simple formula that is proposed by Fraenkel, Wallen, & Hyun (2012:98) to determine a sampling interval:

Therefore, it can be seen that the researcher selected every four sentences on the text until the total of the sample reach 300 sentences.

b. Purposive sampling

In order to choose the participants to be the interviewee, the researcher uses the personal judgments to select the participants as the sample of the study that the information from them will provide the data needed in the study (Fraenkel, Wallen & Hyun, 2012:100).

The sample obtained from the purposive sampling methods is called by the typical sample. In other words, the selected participants are considered or judged to be representative of what is being studied (Fraenkel, Wallen, & Hyun, 2012:436).

Therefore, the researcher chose three persons who are experienced in translation field as the respondents of the study for the in-depth interview section, because the researcher believes that someone who is experienced in the translation filed has already known the criteria of good translation.

2. Research Instrument a. In-depth interview

According to Boyce and Neale (2006:3), in-depth interview is a qualitative research technique that involves conducting intensive

individual interviews with a small number of respondents to explore their perspectives on a particular idea, program, or situation.

In this research, the in-depth interview was conducted in the informal form. The three persons who are experienced in translation field as the interviewees were asked to check the quality of

English-Indonesian subtitle translation of the movie “Into the Wild”. The

researcher gave them the script which has already been analyzed. This step was supported by the opinions from them about the quality of subtitle translation.

3. Research Procedure

There are two main procedures employed in this research to answer the research questions.

a. Procedure used in the English-Indonesian subtitle translation 1) Watching the original DVD of the movie “Into the Wild”.

2) Transcribing the original script both of English and Indonesian from the movie.

Table 3.1“Into the Wild” Movie Subtitle

Num Time English Text Indonesian Text

1 00:00:48 - 00:00:49 Mom! Ibu!

2 00:00:50 - 00:00:51 Mom! Ibu!

3 00:00:51 - 00:00:52 Help me. Tolong aku. 4 00:00:55 - 00:00:56 What is it? Ada apa?

5 00:00:56 - 00:00:57 I wasn't dreaming, Walt. Aku tidak bermimpi tadi, Walt. 6 00:00:57 - 00:00:59 I didn't imagine it. Aku tidak berkhayal.

Note: These data were taken from the samples data (see appendix 1)

3) Reading and comparing the script between English and Indonesian version.

4) Counting the total sentences of the subtitle.

b. English-Indonesian translation subtitle quality

1) Checking the quality of English-Indonesian subtitle translation based on the criteria of good translation theories from Larson (1998), Nida, Lewis, and Leonard Foster (1958) in Venutti (2000), Newmark (1988), Tytler (1979) in Munday (2001), Benjamin (1969/2000) in Munday (2001), and Massoud (1988) and El Shafey

(1985) in Abdellah (2005) in the script which has already been analyzed. This step is conducted by the researcher.

2) Giving the synopsis of the study and the summary of the film to each participant (three persons who are experienced in translation) in order to make he understands what he will analyze.

3) Giving the informed consent to each participant to willingly take part in the current study.

4) Giving each participant the script which has already been analyzed.

Time and Contexts

English Text Indonesian Text Translation

Procedure

Quality of Translation

Notes Appropriate Inappropriate

00:12:03 - 00:12:11 (Monolog)

An aesthetic voyager whose home is the road.

Petualang alam yang rumahnya ada di jalanan. Couplets (Cultural Equivalent and Shift) 00:12:16 - 00:12:18 (Monolog)

I'm taking you out to where we're

Aku akan membawamu ke

Table 3.2 “Into the Wild” Movie Subtitle Analysis

5) Asking each participant to give a checklist in a “Quality of

Translation” column of every sentence to see whether the

translation is appropriate or not. If it is inappropriate, each participant is asked to give a note of the correct translation.

6) Analyzing the data obtained.

E. Data Analysis

After the data has already been collected, the researcher will analyze the data by using these following steps.

1. Procedure used in the English-Indonesian subtitle translation a. Juxtaposing the English and Indonesian version.

b. Analyzing the translation procedures by using Newmark (1988), Vinay and Darbelnet (2000) in Munday (2001), Dryden in Munday (2001), Catford (1965) in Munday (2001), Delisle, Lee-Jahnke & Cormier (1999), and Harvey (2003) theories that are found in that script.

Table 3.3

“Into the Wild” Movie Subtitle Procedure Time and

Context

English Text Indonesian Text Translation Procedure 00:12:03 -

00:12:11 (Monolog)

An aesthetic voyager whose home is the road.

Petualang alam yang rumahnya ada di jalanan.

Couplets (Cultural Equivalent and Shift) 00:12:16 -

00:12:18 (Monolog)

I'm taking you out to where we're going.

Aku akan membawamu ke tujuan kita.

Paraphrase

00:12:25 - So now, after two rambling Jadi setelah dua tahun tiba juga Literal going. tujuan kita.

00:12:30 (Monolog)

years comes the final and greatest adventure.

akhirnya petualangan terakhir.

c. Calculating the percentage of each procedure by this formula: P = x 100%

P = Percentage

F = Frequency of translation procedure N = Total number of samples.

d. Discussing the data based on each translation procedure by using skopos and equivalence theory. Further discussion is elaborated in Chapter IV.

e. Drawing conclusions.

2. English-Indonesian translation subtitle quality

a. Calculating the percentage between the qualified and not qualified of subtitle translation in the “Into the Wild” movie based on the judged from the researcher and from three participants by using the formula:

P = x 100% P = Percentage

F= Frequency of the qualified and not qualified subtitle translation N = Total number of samples.

b. Discussing the data based on the theories from some experts, such as Larson (1998), Nida, Lewis, and Leonard Foster (1958) in Venutti (2000), Newmark (1988), Tytler (1979) in Munday (2001), Benjamin (1969/2000) in Munday (2001), and Massoud (1988) and El Shafey (1985) in Abdellah (2005). Further discussion is elaborated in Chapter IV.

CHAPTER IV

FINDINGS AND DISCUSSIONS

This chapter presents the result of the study including the analysis of the data based on the theoretical framework. The first part of this chapter is findings that will present the result of data collection. The second part is discussions that attempts to elaborate the findings of the research.

A. Data Presentations and Analysis of English-Indonesian Subtitle Translation Procedures

After examining the film entitled “Into the Wild”, the researcher found 1272 sentences in the dialogues and took 300 sentences from every fourth sentence by using sampling interval method that has been elaborated in the previous chapter as the selected sample of this study. Total of analyzed sample data are attached in Appendix 1.

Based on the data that has been analyzed by using Newmark (1988), Vinay and Darbelnet (2000) in Munday (2001), Dryden in Munday (2001), Catford (1965) in Munday (2001), Delisle, Lee-Jahnke & Cormier (1999), and Harvey (2003) theories of translation procedure, the researcher found nine types of translation procedures in the English-Indonesian subtitle translation of “Into the Wild” movie, included the untranslated sentences; those are literal, transference, cultural equivalent, shift, compensation, reduction and expansion, paraphrase, and the combination of translation procedures such as couplets, triplets, and quadruplets.

To answer the first question of the research, the researcher calculated the amount and the percentage of each procedure by using this formula:

P = x 100% P = Percentage

F = Frequency of translation procedure N = Total number of samples

The calculation is presented as the findings in the following table.

Table 4.1

The Amount and Percentage of English-Indonesian Subtitle Translation Procedures

No Types of Procedure Amount Percentage

1 Literal 57 19%

2 Transference 17 5,7%

3 Cultural Equivalent 21 7%

4 Shift 38 12,7%

5 Compensation 2 0,7%

6 Reduction and Expansion 71 23,7%

7 Paraphrase 12 4%

8 Couplets, Triplets, and Quadruplets 68 22,7%

9 Untranslated Sentences 14 4,7%

TOTAL 300 100 %

Here are the elaborations of the table above, dealing with the translation of English-Indonesian subtitle procedure according to Newmark (1988), Vinay and Darbelnet (2000) in Munday (2001), Dryden in Munday (2001), Catford (1965) in Munday (2001), Delisle, Lee-Jahnke & Cormier (1999), and Harvey (2003) theories.

1. Literal

Table 4.2

Source Language Target Language

1 Mom! Ibu!

2 I heard him! Aku dengar dia!

3 Thanks. Terima kasih.

4 Are they going to continue? Apa mereka akan teruskan? 5 I don't want anything. Aku tidak mau apapun.

6 Turning mistakes into gold. Mengubah kesalahan menjadi emas.

7 Look at this! Lihat ini!

8 Find my direction magnetically. Cari arahku secara megnetik.

9 I'm not destitute. Aku tidak miskin

10 Where's your family? Dimana keluargamu?

Literal is the procedure of transferring SL grammar and word order, as well as the primary meanings of all the SL words (Newmark, 1988:69). In other words, it distorts the sense and the syntax of the original (Levefere in Bassnett, 2002:87). In the English-Indonesian subtitle translation in the “Into the Wild” film, there are 57 of 300 sentences that use literal procedure.

Vinay and Darbelnet (2000:86) in Munday (2001:57) state that the translator may judge literal translation to be 'unacceptable' because it gives a different meaning or has no meaning. But, the findings show that literal translation can express the meaning of the SL which completely render into the TL. There are no untranslated words in those samples above, because the TL text transfers the entire message of SL text accurately, so the viewer of the film can feel the same situation and the message as the original one.

It is supported by the previous research findings by Dinda (2010) entitled “An Analysis of Translation Procedures in the Subtitle of Perfume”. The researcher found that literal translation was the most

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243 01:38:18 - 01:38:20 Dinner's ready if you guys are hungry.

Makan malam sudah siap jika kalian lapar.

Shift

244 01:38:39 - 01:38:40 You want to come and eat? Mau ikut? Reduction

245 01:38:52 Let's go - Untranslated

246 01:39:02 Tawdry? Warna warni? Literal

247 01:39:51 - 01:39:53 So Jan talked to you about Reno, huh?

Jadi Jan bicara padamu mengenai Reno ya?

Couplets

(Transference and Literal)

248 01:40:07 - 01:40:09 I've only got one plan, Rainey.

Aku hanya punya satu rencana, Rainey.

Couplets (Shift and Transference) 249 01:40:29 - 01:40:30 Merry Christmas. Selamat Natal. Cultural Equivalent

250 01:40:46 Yeah. Ya. Literal

251 01:41:02 - 01:41:03 How old are you? Berapa umurmu? Shift 252 01:41:21 - 01:41:22 So I'm 16. Jadi umurku 16. Literal

253 01:43:08 You're pretty magic. Kamu hebat sekali. Cultural Equivalent 254 01:43:42 - 01:43:43 You take care, kiddo. Jaga dirimu nak. Cultural Equivalent 255 01:44:57 - 01:45:00 Just get your pack and get

on out of here, okay?

Ambil saja barangmu dan pergi ok?

Couplets (Shift and Cultural Equivalent) 256 01:45:48 - 01:45:53 A year and a half had passed Sudah satu setengah tahun Shift

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(Monolog) in what Dad called “suspended animation”.

lewat yang ayah sebut animasi yang tahan. 257 01:46:45 - 01:46:48

(A sentence in a book that is read by Chris)

And work which one hopes may be of some use.

Dan kerja yang kuharap mungkin berguna.

Shift

258 01:47:18 - 01:47:20 (A sentence in a book that is read by Chris)

What more can the heart of a man desire?

Apa lagi yang diinginkan orang?

Paraphrase

259 01:4749 - 01:47:53 (Lyric from a song)

Sure as I'm breathing, sure as I'm sad.

Sepasti aku bernafas dan sedih.

Reduction

260 01:48:19 - 01:48:22 (Lyric from a song)

I got my wish to up and disappear.

Harapanku datang dan pergi. Shift

261 01:48:38 - 01:48:42 (Lyric from a song)

I'll keep this wisdom in my flesh.

Aku akan simpan kebijaksanaan ini dalam dagingku.

Literal

262 01:52:00 - 01:52:03 Just out past Oh-My-God Hot Springs.

Lewat hot spring. Couplets (Reduction and Transference) 263 01:52:16 - 01:52:17 Ron Franz. Ron Franz. Transference 264 01:5221 - 01:52:22 West Virginia. West Virginia. Transference

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265 01:5322 - 01:53:26 Don't you worry about those dope smokers and nudists down below there?

Cemas akan pecandu dan kelompok telanjang di bawah sana?

Couplets (Cultural Equivalent and Reduction) 266 01:53:36 - 01:53:38 I think I've got my head on

my shoulders pretty good.

Ya aku lumayan pintar. Cultural Equivalent

267 01:5349 - 01:53:50 And before that? Sebelumnya? Reduction

268 01:53:58 - 01:53:59 Twenty-three. 23. Literal

269 01:54:06 - 01:54:08 And making something of this life?

Dan menghasilkan sesuatu? Couplets (Shift and Reduction)

270 01:54:23 - 01:54:24 I'm not destitute. Aku tidak miskin Literal 271 01:54:37 - 01:54:38 Where's your family? Dimana keluargamu? Literal

272 01:54:53 Come on. Mari. Cultural Equivalent

273 01:55:31 - 01:55:36 All right, but even from halfway out, it's quite a sight, isn't it?

O, walaupun dari sini, pemandangan yang indah kan?

Couplets (Cultural Equivalent and Paraphrase) 274 01:55:49 - 01:55:50 My goodness. My goodness. Transference 275 01:56:03 - 01:56:09 New Year's Eve, 1957, I was

stationed in Okinawa.

Malam tahun baru, 1957, aku ditempatkan di Okinawa.

Triplets (Cultural Equivalent, Shift, and Transference)

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276 01:56:37 - 01:56:40 But at the time, it felt like the only thing I could do.

Tapi saat itu, rasanya itu saja yang bisa dilakukan.

Shift

277 01:57:00 Cold turkey. Sepenuhnya. Cultural Equivalent 278 01:57:16 - 01:57:18 I do a lot of leather

engraving.

Aku banyak mengukir. Couplets (Shift and Cultural Equivalent) 279 01:57:31 - 01:57:33 When we finish eating, I'd

love to see your workshop.

Ketika kita selesai makan, aku ingin melihat

bengkelmu.

Shift

280 01:5726 - 01:57:38 It's amazing how malleable this is.

Mengesankan betapa lunaknya.

Shift

281 01:57:43 Yeah. Ya. Literal

282 01:58:35 - 01:58:36 Crack it down. Hancurkan. Cultural Equivalent 283 01:59:40 - 01:59:43 I worked at a grain elevator

for this guy named Wayne.

Aku kerja untuk orang bernama Wayne.

Couplets (Reduction and Transference) 284 01:59:59 - 02:00:00 Salvation Mountain. Gunung Salvation Couplets (Literal and

Transference)

285 02:00:09 - 02:00:10 Alaska? Alaska? Transference

286 02:00:24 - 02:00:25 You do, do you? Kamu tahu? Reduction

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288 02:00:46 - 02:00:49 I mean, the core of man's spirit comes from new experiences.

Semangat manusia datang dari pengalaman baru.

Reduction

289 02:01:01 - 02:01:03 I'll show you sitting on my butt!

Aku akan tunjukkan! Reduction

290 02:01:12 - 02:01:13 Come on. - Untranslated

291 02:01:22 - 02:01:23 Come climbing. Mari panjat. Literal 292 02:01:30 - 02:01:31 You're doing great! Bagus! Reduction 293 02:01:41 - 02:01:42 Can anybody see this? Ada yang lihat? Reduction

294 02:02:01 - 02:02:02 You little pinhead! Kamu bodoh! Cultural Equivalent 295 02:02:32 - 02:02:33 God's placed it all around us. Tuhan meletakannya

disekitar kita.

Shift

296 02:0241 - 02:02:43 Yeah, I'm gonna take stock of that.

Ya aku akan mengingatnya. Cultural Equivalent

297 02:03:01 - 02:03:07 From the bits and pieces I put together, you know, from what you told me about your family, your mother and your dad.

Dari semua potongan yang kukumpulkan, dari yang kamu ceritakan mengenai keluargamu, ibumu, dan ayah.

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298 02:03:38 - 02:03:44 And when you love, God's light shines on you.

Dan ketika mencintai, cahaya Tuhan bersinar darimu.

Reduction

299 02:04:08 - 02:04:10 (Monolog, when Chris screams alone in Alaska)

Where are the fucking animals now?

Dimana binatangnya? Reduction

300 02:04:33 - 02:04:37 (Monolog)

For a moment she

rediscovered the purpose of her life.

Sementara dia menemukan kembali tujuan hidupnya.