Проблемы перевода англоязычных фильмов (The problems of translation English films)

" (It is better to say: «Не могу увидеть связь…»)

As a conclusion to this part of the work I can say that the search for Russian equivalents for the English speech units is the general mechanism of cultural accommodation of the foreign film to the Russian spectacular. Another one will be analyzed further in the work.

5. Adoption of the English speech units

Adoption or borrowing is a translation procedure whereby the translator uses a word or expression from the source text in the target text holus-bolus. Borrowings are normally printed in italics if they are not considered to have been naturalized in the target language. But we rarely hear the borrowing in the speech that is the problem. Let me analyze some examples form the film.

When Turkish was talking with Tommy about buying new caravan he answered to the Tommy’s question «What's wrong with this one?» using the following phrase:

TURKISH. Oh nothing Tommy, it’s tip top, it’s just I am not sure about the color.

The first variant: «Да ничем, Томми! Он в полном порядке, только цвет мне не очень нравится».

The second variant: «C этим все в порядке, Томми, все тип-топ! Я только не совсем уверен в выборе цвета».

The second variant is closer to the original text because of grammar structure similarity, but this similarity oversteps the limits. Puchkov uses the literal translation of the English phraseological unit tip-top that sounds strange in Russian, he unjustifiedly adopts this idiom. From this point of view the first variant of translation is better and sounds more natural.

One more example:

DOUG. Listen if the stones are kosher then I’ll by em. And now excuse me, it’s a lunch time.

The first variant: «Послушай меня, если камни кошерные, я их куплю. А теперь прошу меня извинить, я иду обедать». (the whole bald phrase sounds a bit awkward because of the pathetic style.)

The second variant: «Послушай меня, если камни кошерные, я их куплю. А сейчас извини, у меня ланч». (Puchkov uses the English borrowing, because lunch in England is not exactly the same as обед in Russia.)

The best translation, I think, will be this one: «А сейчас извини, время обедать».

One more interesting example I found in the dialog between Sol and Bad Boy Linkoln, when they were talking about artificial diamond. Sol said about it: «It's Mickey Mouse». He used the phraseological unit. The first variant translates it as «Это игрушка» and the second as «Это Микки Маус». From were can the typical Russian spectacular know the peculiarities of English phraseology? So, of course the first variant of translation is better.

As we can see using an adoptions sometimes is not defensible in the text, because the spectacular don’t know these words and should guess their meaning by the context, very often is distracts the attention of spectacular and disturbs the process of film enjoying.

6. Compensation for loss the in the translation process

Very often not all phrases in the text can be appropriate translated from English into Russian, so the translator should compensate this failure by other means.

BRICK TOP. However, you do have all of the characteristics of a dog Gary, all except loyalty.

The first variant: «Хотя у тебя есть все качества собаки, за исключением верности». (Here we do not have any compensation of the grammar sense loss, and the phrase sound strange and incomplete.)

The second variant: «Тем не менее, по всем признакам ты самая настоящая собака! По всем, кроме верности». (This variant is better, the spectacular understands the sense of the phrase.)

Here is the example, when both variant of translation do not compensate the loss in sense and stylistic.

VINNY. Fuck me, you want this man to drive us Sol?

First variant: «Черт, ты же сказал, что он умеет водить машину, Сол».

Second variant: «Сол, ***, мне показалось, что ты сказал, что он умеет водить машину!»

Neither the first, nor the second variant of the Russian translation do not transmit the sense of the phrase well, they distort it. I think that an appropriate translation of the bald phrase will be the following: «И ты хочешь, чтобы он вел машину, Сол?»

6.

1. Semantic loss

In the film we can find the moment, when the sense of the original text was lost in the Russian version. In this chapter of my work I will analyze such moments and show, which pieces of sense were lost.

BRICK TOP. Do you reckon that’s what people should do for me, do you Gary, do me proud? (The bald phrase was omitted in Russian translations.)

The first variant: «Ты считаешь, что люди должны это делать для меня, меня ублажать?»

The second variant: «Ты считаешь, что именно это людям следует делать для меня?»

GARY. That’s what you deserve Mr Mclean.

Both variants: «Вы этого заслуживаете, сэр». The point is than in the whole film in Russian translation we don’t know the name of the pig gangster. We just know his nickname — Brick Top. It is unaccountable why I both variants translators had omitted Brick Top’s surname.

Another example of omitting the phrase.

TOMMY. How are ya?

The first variant: «Как поживаете?»

The second variant: «Как дела?»

MICKY. I am well sir, well, quite well, the weather is being kind to us but the engines aren’t.

First and second variants: «Погода к нам добра».

Actually, translators transmit only one third of the whole English phrase. And where are other two thirds, I want to ask?

Here is the example not only the omitting the phrase and loosing the sense but also facts misrepresenting.

GORGEOUS GEORGE. You want to stay down my friend, I promise you, you want to stay down.;

The first variant: «Ты должен лежать, ты должен лежать! Обещаю, ты будешь лежать!» (Wrong modality is used, we should translate not like должен, but like хотеть: «Я обещаю, ты захочешь лежать!» The sense in this case is controversial.)

TURKISH. You’re not exactly Mr Current Affairs, are you Tommy? Mad Fist went mad, and the «Gun» shot himself.

First variant: «Да ты отстал от жизни, Томми! Безумный Вилли сошел с ума, а пистолет застрелился».

Second variant: «Я смотрю, ты не в курсе, да? Сумасшедший Кулак сошел с ума, а пистолет застрелился!»

In the both translations is loss the English original definition of Tommy — Mr Current Affairs (Мистер Недавние Происшествия) — that is typical way of characterizing people in English language tradition.

TYRONE. Look, you hassle me, see what happens.

First variant: «Это потому что вы меня задергали». (In this variant the cause-effect relation is lost.)

Second variant: «Слушайте, вы меня дергали, вот теперь радуйтесь!» (This variant transmit the original sense very well.)

6.

2. Stylistic loss

During the difficult process of the film translation it is possible to loose not only the original sense, but also the original peculiarities of the text. In order to translate the phrase correctly the translator should pay attention to the situation when this or that phrase was said and to the context of the dialog.

Let me show some examples.

TOMMY. It’s that campsite.

The first variant: «Это кемпинг». (It is translated like the simple monologue statement without surprise and objection tint, the style and the peculiarity of the situation were lost.)

The second variant: «Но это ведь кемпинг». (Here the style and the intonation of the original phrase is preserved. The phrase sound natural like in the original dialogue.)

Here I show the example of the dialogue between Turkish and Tommy where in the first variant of translation the style and the intonation of the original dialogue is not preserved.

TURKISH. Fuck me, hold tight, what’s that?

The first variant: «Черт, постой-ка! Что что?» (The curse that showed Turkish’s surprise is toned down.)

The second variant: «Е***-колотить! Держите меня крепче! Что это такое?» (The curse that showed Turkish’s surprise is translated more or less correctly.)

TOMMY. It’s my belt, Turkish.

The first variant: «Это мой ремень». (The address Turkish is omitted, the phrase sounds like it is from the monologue.)

The second variant: «Это мой ремень, Турецкий!» (The address Turkish is not omitted.)

TURKISH. No Tommy, there’s a gun in your trousers. What is a gun doing in your trousers?

The first variant: «Нет, Томми, у тебя в штанах пистолет. Что он там делает?» (The phrase in your trousers is substituted by the pronoun.)

The second variant: «Нет, Томми, у тебя пистолет в штанах! Что делает пистолет у тебя в штанах?» (The translation is exact.)

TOMMY. It’s for protection.

Both variants: «Это для защиты!»

TURKISH. Protection from what, the Germans? Err what’s to stop it blowing your balls off every time you sit down? Where did you get it?

The first variant: «Защиты от кого? От немцев? Ты не боишься отстрелить себе яйца, когда будешь садиться? Где ты его взял?»

The second variant: «Для защиты от кого? От фашистов, что ли? Ты не боишься отстрелить себе яйца, когда присядешь? Где ты его взял?» (I think, the both variants of translation this phrase are equally correct.)

TOMMY. Boris the Blade.

Both variants: «У Бориса Бритвы!»

TURKISH. You mean Boris the sneaky fucking Russian.

The first variant: «Ты имеешь ввиду этого хитрого русского?» (The definition of Boris is not strict enough.)

The second variant: «Борис, это который ох*** хитро*опый русский?» (This is a more or less appropriate translation.)

Another example:

FRANKY FOUR FINGERS. I am not in Rome Doug, I am in a rush.

First variant: «Я не в Риме, Даг. Я тороплюсь».

Second variant: «Я не в монастыре, Даг, я тороплюсь!» (The language game is lost in the both variants of Russian translation.);

TURKISH. I am not backing out. (The person is changed)

Russian variant: «Мы не отказываемся от сделки / боя».

BRICK TOP. You can bet your bollocks to a barn dance you’re not backing out.

First variant: «Еще бы ты отказывался от сделки!» (The stylistic specific in this translation is lost.)

Second variant: «Могу поспорить на ваши яйца, что вы не отказываетесь!» (The stylistic specific in this translation is preserved.)

TYRONE. Look, you hassle me, see what happens.

First variant: «Это потому что вы меня задергали».

Second variant: «Слушайте, вы меня дергали, вот теперь радуйтесь!»

TYRONE. I didn’t see it there.

Russian variant: «Я его не видел».

VINNY. Eh? It’s a four ton truck. It’s not as though it’s a ferret fuckin a flea is it?

Russian variant: «Это четырехтонный грузовик, а не пакетик с орешками». (The curse is omitted.0

I took as an example only one short dialogue, but in the film there are plenty of them. And if in some of them the translators do the stylistic loss, the film will loose its specific atmosphere and temper. In order to change the situation Dmitry Pochkov does his own vivid translations, and in this chapter I have proved the difference in preserving the style of the original text in Pochkov’s translation.

7. Using of the polysemy

It is not common used, but from time to time in the text polysemantic words are used. It is an extra problem for the translators to choose the correct meaning of the polysemantic word. Sometimes the different are slight, and sometimes quite broad.

DOUG. You know I won’t buy strops. (Here we have a jargon word strop that is difficult to translate unambiguously into Russian.)

The first variant: «Я не покупаю ширпотреб».

The second variant: «Я не покупаю стразы».

HANDS. He isn’t selling strops.

The first variant: «Это не ширпотреб».

The second variant: «Это не стразы».

We have the two different variants of translation of this word that are not semantically connected with each other. But I think that the first variant of translation is better.

8. Reproduction the lingvocultural specific features of the film in the Russian translations

Every foreign film has own lingvocultural specific that should be somehow transmited into other languages during the process of translation. The volume of this lingvocultural information depends on the quality of the text and on the amount specific lexis and phraseological units that couldn’t be exactly translated into Russian. For example, the name of English money is culturally specified and Russian spectacular couldn’t understand properly the real sum of money:

TOMMY. Well what are you waiting for?

First variant: «Чего же ты не идешь?» (It's not exact translation, an exact will be: «Чего же ты ждешь?»)

KID 1. The five quid you are going to pay me. (The colloquial word quid is used.)

First variant: «Вы мне должны пять фунтов».

TOMMY. Oh fuck off, I’ll find him myself.

First variant: «Да пошел ты, я сам его найду!»

KID 1. Two fifty. (It means «Two pounds fifty.»)

First variant: «Два пятьдесят».

TOMMY. You can have a quid.

First variant: «Хватит и фунта».

KID 1. Oh you’re a tight fucker aren’t ya? (It's very rough language for the kid.)

First variant: «А ты жадный ублюдок».

It is not typical for Russian people to live in caravans, so we don’t have this concept in our culture. Because of this there are different translations of this word in the two variants. In one caravan translates as прицеп, and in another as a домик на колесах. In the dictionary this word his this two meanings, but I think that the second translation is more suitable, because прицеп can also be using for other household and economic purposes, not for living in it.

MICKY. OK. I’ll do it for a caravan.

First variant: «Ладно, я буду драться за прицеп».

Second variant: «Ладно, я буду драться за домик на колесах».

TURKISH. A what?

Russian variant: «За что?»

MICKY. No a caravan.

First variant: «За прицеп».

Second variant: «За домик на колесах».

The following example is connected with weapon. In Russia the shotgun is not very widespread weapon, the gangsters usually use Kalashnikov, so we have different versions of translation of this word.

SOL. What’s that? («Что это?»)

VINNY. It’s a shotgun Sol.

First variant: «Это — пулемет!»

Second variant: «Это — дробовик, Сол!»

SOL. It’s a fuckin anti-aircraft gun Vincent. (This phrase is also difficult for the translation)

First variant: «Да это же зенитная установка!»

Second variant: «Да это, б***, зенитка, Винсент!»

Thus, we see that the realities that are typical for English culture couldn’t be proper translated into Russian language or translates with a big difficulty.

8.

1. Using phraseological units and idioms in the English and Russian versions

Translation of the phraseological units is one of the important points in the process of the film translation. In «Snatch» there not so many phraseologiacal units, especially bookish, because in the film spoken language is used. The phraseological units that I have found in the text are mostly colloquial expressions or curses of they are used as interjections.

MICKY. Fuck me, would you look at the size of him, Jesus man how big are you? Hey kids how fucking big is he?

First variant: «Чтоб меня, какой огромный! Какой у тебя размер? Какой у него размер?» The interjection Jesus is lost in the Russian variant, we should translate it as Господи.

Second variant: «Ни х*** себе! Ты глянь, какой здоровенный! Скока в тебе росту? Э, пацаны, скока в нем?» (Here is the proper translation of the interjectional type curse).

Other examples of translation the phraseological units:

MICKY. Would the big fella like a cup of tea? («Будешь чай, большой человек?» / «Как насчет чайку, здоровяк?»)

MUM. Don’t be silly Micky, a man didn’t get that size from drinking cups of tea. Offer the man a proper drink.

First variant: ««Перестань, Микки, предложи мужчине достойный напиток!» (The style of this phrase is too pathetic and the phraseological unit is not translated in the right way, it is just substituted by verb.)

Second variant: ««Не валяй дурака, Микки, предложи человеку нормально выпить!») (The style correlates with original one and the phraseological unit is translated by means of Russian equivalent.)

MICKY. You’re not going anywhere thick bomb. You stay until the job is done.

First variant: «Никуда ты не пойдешь, жирный болван. Ты останешься до самого конца».

Second variant: «Никуда ты не уходишь, толстожопый. Ты останешься здесь, пока мы не закончим». (Here we see two equally possible variants of translation English phraseological unit.)

TOMMY. Who took the jam out of your donut?

First variant: «Какая муха тебя укусила?» (English phraseological unit is substituted by the Russian one, but it doesn’t correlate with the following context, see the second variant of translation)

Second variant: «Да че ты взъелся? Кто те насолил?

TURKISH. You took the fuckin jam out of my donut Tommy, you did.

First variant: «Это ты Томми, ты, ты». (Tommy is not the fly and he couldn’t bit Turkish.)

Second variant: «Ты, мне насолил Томми, ты!» (Here is the proper answer to the phraseological question.);

FRANKY FOUR FINGERS. I got stones to sell, fat to chew and many different men to see about many different dogs, so if I am not rushing you, could you spit shine the top of your smoothie and move a little faster?

First variant: «Я должен продать камни, кое-что обсудить и встретиться с кучей людей, так что давай побыстрее!» (There are a lot of phrases that were omitted.)

Second variant: «У меня есть камушки на продажу и есть кому их скинуть, но я пришел к тебе». (This variant stay very far from the original, Puchkov had put in it his own sense.)

DOUG. Slow down, Franky, my son, when in Rome.

First variant: «Не гони, Фрэнки, сынок, будучи в Риме…»

Second variant: «Спокойно, Фрэнки, сын мой, в чужой монастырь!» (Puchkov uses a Russian proverb.);

TYRONE. It was at a funny angle.

First variant: «Я не вписался». (The phraseologichal meaning is omitted, here the verb is used.)

Second variant: «Она стоит под дурацким углом».

There is also jargon phraseology in the text. For example:

BRICK TOP. Make sure your man goes down in the fourth. You’re on thin fuckin ice my pedigree chums and I’ll be there if it breaks. (The jargon phraseological unit used among boxers that means ‘give way'.)

The first variant: «Твой человек должен лечь в четвертом раунде. Ты меня понял, Турок?» (Here we have the Russian jargon equivalent, but the second part of the phrase is omitted.)

9. Expressive and evaluative language means in the initial scenery and its Russian translations

This film is full of different unprintable phrases and the word f#ck, I think, is the most frequent word in the whole film. All heroes are men and all of them are cursing, even Tommy. The key cursing word in English — f#ck — is not as strict as its direct Russian equivalent. That’s why when Dmitru Puchkov substitutes it in the Russian translation with a word х*** and its derivative words, the speech of the heroes sounds more rough and strong than it is in original.

TOMMY. I hope they’re not pikies. I hate fucking pikies.

First variant: «А они не цыгане? я ненавижу цыган!» (The curse is ommited, tha phrase sounds not so strong.)

Second variant: «Так они что, цыгане что ли? Ненавижу, б***, цыган!» (The style of the phrase is even stricter than in the original.);

TURKISH. What the fuck did you put Gorgeous George into a bare knuckle boxing match two days before he had to fight the Bomber?

First variant: «Какого черта ты поставил Великолепного Джорджа на матч без перчаток за два дня до его матча с Бомбером?» (The English curse is soften.)

Second variant: «За каким х*** ты выставил Роскошного Джорджа на бой за два дня до боя с Бомбардировщиком?»;

TURKISH. Oh what, and hope he doesn’t notice? And who the fuck are we going to replace him with?

First variant: «И будем надеяться, что он не заметит? Кем?» (The curse words are omitted.)

Second variant: «И что, будем надеяться, что он не заметит? И кем же мы его, б***, заменим?» (Б*** is other variant of the Russian translation of the word f#ck.)

BRICK TOP. Well, where did you lose him? He isn’t a set of fuckin car keys is he? And it’s not as though he is inconfuckinspicuous is it?

First variant: «И где же вы его потеряли? Это же не связка ключей. Он ведь не такой уж неприметный».

Second variant: «Где вы его потеряли? Это не какая-нибудь е*** связка ключей от машины? И не потому, что он ох***л до полной бессознательности?»

There are also other cursing words in the film.

BRICK TOP. Pull your tongue out of my arsehoie Gary. Dogs do that, and you’re not a dog, are you Gary?

Russian variant: «Вытащи свой язык из моей задницы, Гарри! Это делают собаки! Те ведь не собака, Гарри?»;

BRICK TOP. Oh fuck me your lady friend has got a voice. And who might you be changing him to, sweetheart? (He call Tommy the lady friend of Turkish. It’s is typical offence to talk about man in female genus.)

First variant: «Черт возьми, твоя подружка умеет говорить! И на кого же вы его замените, милочка?»

Second variant: «Ох, ни х*** себе, твоя девчонка еще и говорить умеет? И на кого же ты его поменяла, милая?»

Using a curses in the Russian variant is obligatory, because it a part of the original text and the translators are not allowed to through it out of. It is also the language means of expression the emotional state of the heroes and their attitude to the happening events. From another point of view Puchkov’s translation is too rough, but the general idea is right.

10. Using jargon and slang lexis in the original and Russian translations

People that are shown in the film are not ordinary, so their language is also not ordinary one. They uses from one point of view a lot of bad words and from another — a lost of jargon words, but these two features of their speech are quite normal for them. I have already partly analyzed some of examples of using the jargon words in the previous chapters of the work, but here is the most interesting examples.

TURKISH. You’re a sensitive boy, ain’t you Tommy? You got ten grand and I want to see change.

First variant: «А ты впечатлительный, да, Томи? Вот тебе десять тысяч и хотелось бы увидеть сдачу».

Second variant: «Какой ты чувствительный мальчик, Томми! Вот тебе десять тонн и было бы очень неплохо получить с них сдачу».

One more example to this word:

SOL. What can I do for you, Boris?

Russian variant: «Чем я могу тебе помочь, Борис?»

BORIS. I have a job for you.

Russian variant: «У меня есть для тебя работа».

SOL. I’ve already have a job.

First variant: «Какая?» (The translation doesn’t correlate with the original at all.)

Second variant: «У меня уже есть работа».

BORIS. Fifty grand for half day work.

First variant: «50 штук за полдня работы». (This is the one jargon equivalent to English word.)

Second variant: «50 тонн за полдня работы». (This is another jargon equivalent to English word, but it is more «jargon».)

SOL. Go on.

Russian variant: «Продолжай».

BORIS. I want you to hold up a bookies.

First variant: «Я хочу, чтобы вы ограбили букмекерскую контору». (The normative word ограбить is used.)

Second variant: «Я хочу, чтобы ты выставил одного букмекера». (The form of address is changed and the jargon word выставить is used.)

The jargon lexis and the phraseology helps the heroes of the film to express their ideas clearer and more precise, this is the common feature of the language with closed usage. The translation of this lexis can be different, but the better way is to use the Russian jargon words in order to keep the style of the original.

Thus, I have analyzed the major point in the two different variants of the film translation using the language material from the British film «Snatch» (2000). Let me pass to the main conclusions of my work.

Conclusions

I have found and proved that every country cultivates a different tradition of translating films and subscribes to one of the two major modes: dubbing and subtitling as far as cinema translation is concerned, or sometimes to a third, minor, mode—voiceover—in the case of television translation. The decision as to which film translation mode to choose is by no means arbitrary and stems from several factors, such as historical circumstances, traditions, the technique to which the audience is accustomed, the cost, as well as on the position of both the target and the source cultures in an international context.

On the one hand, dubbing (full translation) is known to be the method that modifies the source text to a large extent and thus makes it familiar to the target audience through domestication. It is the method in which the foreign dialogue is adjusted to the mouth and movements of the actor in the film and its aim is seen as making the audience feel as if they were listening to actors actually speaking the target language. The variety of different techniques are used in dubbing, I have analyzed the positive and negative results of their using in the practical part of my work.

T he issue of power in translation seems to be especially pertinent and applicable to contemporary cinema. A s a host of translation scholars has agreed recently, translation does not take place between words but rather between cultures. A nd I proved this statement by the examples from the British film «Snatch» in my work. T

he text is perceived as an integral part of the world and not as an isolated specimen of language. C onsequently, the process of translation is seen as cross-cultural transfer, which is determined by the degree of prestige the source and target cultures have, as well as by their reciprocal relations. Translators should transmit as much as it possible from one culture to another using all the power of language.

I have analyzed the difference between two variants of Russian translation of the English original text: one is so called «official» that deprives of the text personal character and another is the literal one (made by Dmitry Puchkov) that tries to keep the specific features of the language and style of the original text in Russian version.

English-speaking countries, and the United States in particular, have the upper hand and are pulling the strings in the movie industry today. I can say that globalization is generally synonymous with unidirectional Anglicisation, the dominance of the English language and Anglo-American culture at the expense of other languages and cultures. An interesting point that proves American dominance and its narrow-mindedness concerning other cultures are the 'Oscars' awarded annually by the Academy Awards, an institution which aspires to global renown, where among a host of categories there is one given to the best 'foreign' film, «where 'foreign' means anything that is not English» .

Domestication in my work is understood as translating in a transparent, fluent, «invisible» style in order to minimise the foreignness of the target text. The result is that all foreign elements are assimilated into the dominant target culture, thus depriving the target audience of crucial characteristics of the source culture.

Films can be a tremendously influential and extremely powerful vehicle for transferring values, ideas and information. Different cultures are presented not only verbally but also visually and aurally, as film is a polysemiotic medium that transfers meaning through several channels, such as picture, dialogue and music. Items which used to be culture-specific tend to spread and encroach upon other cultures. The choice of film translation mode largely contributes to the reception of a source language film in a target culture.

On balance, there is no universal and good-for-all mode of translating films. As it was stated above, the methods are dependent upon various factors, such as history, tradition of translating films in a given country, various audience-related factors, the type of film to be rendered, as well as financial resources available. What is also of primary importance here is the mutual relationship between the source and target cultures, as it will also profoundly influence the translating process.

In conclusion I can say that the two major translation modes (dubbing that I have analyzed and subtitling) can be said to occupy the two opposite ends of the domestication-foreignisation continuum. As it was shown in this work, dubbing as a kind of translation is a domesticating strategy which neutralises foreign elements of the source text and thus privileges the target culture.

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The same.

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