On The Translator’s Subjectivity In Movie And Video Translation

As the subject of translation, the translator always goes through his "subjectivity" no matter how objective he intends to be in the process. The translator’s subjectivity involves his initiative, passivity and self-regard, which are respectively supplied with the academic interpretations from the perspective of philosophical hermeneutics, discourse theory, and teleology.Hermeneutically, subjectivity is the only way we have to experience the world. We share a human subjectivity, which, like all theories and philosophies that dictate our understanding of mathematics, science, literature and every concept we have about the world, is based on human or individual perspective. Such is the basis on which the translator may take initiative in the process of translation. Meanwhile, according to the discourse theory, translation is conditioned by factors such as the original text, the reader’s expectation, and the historical and cultural background. Consequently, the translator is subject to this passivity. In terms of teleology, the translator’s initiative and passivity are the two sides of the contradiction in translation, neither of which should be attached greater importance. To stabilize the contradiction, the translator’s self-regard must be taken into consideration.The appreciation of the movie and the TV series is characterized by picture-reading rather than verbal language input. As the most important component of the film language, the camera language has made itself an "international language" to a certain extent for its direct viewing characteristic. It serves as an example that people from different cultures may share human subjectivity and lays a solid foundation for the translator to take initiative in movie and video translation. Translatability is another important issue concerning the translator’s initiative. Philosophically speaking,100%translation or absolute translation is impossible. In fact, translatability refers to the possibility to approach absolute translation, realizing relative translation through the translator’s efforts. In movie and video translation, with the help of picture-reading, it is most possible that the content and the cultural information conveyed by the version would be closer to those of the original text. In movie and video translation, creative treason is an effective method for the translator to take his initiative.In movie and video translation, the translator’s subjectivity involves his passivity as well as his initiative. The movie and video translation focuses essentially on the original verbal text, whose discourse power, therefore, cannot be violated. Meanwhile, the translator must also pay attention to the audience’s expectation and demand. What’s more, he can hardly go beyond the bound of the historical and cultural background.In movie and video translation, the translator’s self-regard would decide on the principal aspect of the contradiction between his initiative and passivity. In the essence, the ultimate goal of movie and video translation is to enrich the translator’s native culture. At times, the translator even thinks of adopting methods such as "adaptation" and "reproduction" to achieve certain purpose. Whether such choice is the revelation of the translator’s initiative or passivity is actually out of his self-regard.Therefore, the translator’s subjectivity in movie and video translation always consists of his initiative, passivity, and self-regard; the relationship between and among them directly affect the choice of the specific method in movie and video translation.