新加坡與台灣當代閩南語電影字幕對比分析

周鎔晨

doi:10.6342/NTU201700468

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新加坡與台灣當代閩南語電影字幕對比分析

Comparative Analysis of Southern Min Subtitling Practices in Contemporary Singaporean and Taiwanese Films

周鎔晨 , Masters　　Advisor：石岱崙　　

英文 DOI： 10.6342/NTU201700468

電影字幕；閩南語；福建話；台語；標準化； film subtitles ； Southern Min ； Hokkien ； Taigi ； standardisation

Abstract │ Reference (47) │ Altmetrics

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Chinese language movies from Singapore and Taiwan often feature dialogue in their respective Southern Min ‘dialects,’ Hokkien and Taigi, in addition to spoken Mandarin, on which Modern Standard Chinese is based. The vocabularies of Southern Min and Mandarin differ significantly, despite the fact that both are classified as Chinese languages. Many Southern Min words do not have corresponding words in Mandarin; and some words do not have written characters. As a result, subtitlers translating Southern Min dialogue into Modern Standard Chinese face a range of challenges. These challenges include culture-specific references, humour and register. Some scholars in translation studies state that the norm for translating non-standard, oral or low-register forms of language, including dialectal particularities, is to adopt a standardising strategy by replacing these non-standard forms in the source language with standard forms typical of the written language. This is termed the ‘homogenising convention.’ However, the linguistic contexts of Southern Min are different in Singapore and Taiwan, therefore subtitlers from these two countries may or may not adopt the ‘homogenising convention.’ The subtitlers of the Singaporean movie It’s a Great Great World adopted it much more than their counterparts for the Taiwanese movie Twa-Tiu-Tiann. It’s a Great Great World used mainly Modern Standard Chinese terms, in line with the homogenising norm, while the subtitles in Twa-Tiu-Tiann took a more liberal approach in using non-standard forms. The two different approaches can be attributed to the fact that Southern Min is a living topolect that plays a significant role in the lives of Taiwanese people - and matters to Taiwanese identity - while it has declined in status in Singapore over the decades, and where it is not as widely-spoken, let alone read. The subtitles of Twa-Tiu-Tiann were targeted at a local audience relatively proficient in spoken and written Taigi, while the subtitles of It’s a Great Great World take into account audiences who may have grown unfamiliar with Hokkien by avoiding Hokkien lexicon in the written subtitles. The subtitles of 6 other movies from Singapore and Taiwan were briefly analysed to see if my findings can be generalised. Some exceptions were found, but the general trend can still be observed in the other movies.

Reference ( 47 ) 〈TOP〉

Chiaro, D. (2009). Issues in audiovisual translation. In Munday, J. (2009). The Routledge Companion to Translation Studies. Routledge, New York, USA.
連結：
Chua, B. H. (2012). Structure, Audience and Soft Power in East Asian Pop Culture. Hong Kong University Press.
連結：
Chun, A. (1996). Discourses of identity in the changing spaces of public culture in Taiwan, Hong Kong and Singapore. Theory, Culture & Society, February, 13(1), 51-75.
連結：
Diaz Cintas, J. & Remael, A. (2007). Audiovisual Translation: Subtitling. Manchester and Kinderhook, St Jerome, NY.
連結：
Ding, P. C. (2016). Southern Min (Hokkien) as a Migrating Language: A Comparative Study of Language Shift and Maintenance Across National Borders. Springer, Singapore.
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