Creative Treason In Film Dubbing Translation

Audiovisual works not only bring foreign cultures into China,but also present China to the world.Throughout the world,compared with the thriving audiovisual industry,the study of audiovisual translation,which started late and lacked sound and targeted theoretical frameworks,remains a relatively new field waiting to be explored.Ever since its premiere in China,the 1998 Disney animated movie Mulan has been highly commended.There have been three dubbed versions in China that are all well-received by their target audience.Numerous studies on the two Chinese versions of Mulan(one from Taiwan,the other from Chinese mainland)have been conducted,yet its Cantonese version is hardly touched upon.To fill this gap,the author studies the Cantonese dubbed version of Mulan in the light of creative treason,in the hope of adding new perspectives to the research on dubbing translation,and particularly,on Cantonese dubbing and dubbed versions of Mulan.In this thesis,the author chooses the Cantonese dubbed version of Mulan as the case to discuss the applicability and problems of creative treason in dubbing translation according to the features of audiovisual language summarized by Professor Qian Shaochang,and the principles of dubbing translation proposed by Associate Professor Piao Zhehao.The author substantiates that:1)creative treason is applicable and needed in dubbing translation,and such translation strategies as addition,conscious mistranslation and individualized translation can be adopted based on the features of dubbing language and the principles of dubbing translation;2)problems can ensue due to misuse of creative treason.