Rationale
In today's world, advancements in science and technology are driving rapid growth in the film industry, enhancing both the quantity and quality of films produced globally Each nation has cultivated its unique film culture, reflecting its level of development Movies serve not only as entertainment but also as a mirror of a country's progress, showcasing its language, culture, history, society, and beauty.
As the silent film era came to an end and dialogue became a vital means of expression in cinema, a new challenge emerged for filmmakers worldwide: the need for translation of their audiovisual works to bridge language and cultural divides This necessity gave rise to audiovisual translation (AVT), a crucial tool designed to enhance the understanding and transfer of cultural ideas presented in films, television shows, dramas, and video games.
Audiovisual Translation (AVT) plays a crucial role in our daily lives, attracting significant attention from scholars and scientists who dedicate their resources and expertise to the field This growing interest is evidenced by key publications such as "Topics in Audiovisual Translation" by Pilar Orero (2004), which contribute to the expanding body of knowledge surrounding AVT.
Jorge Díaz Cintas and Gunilla Anderman's "Audiovisual Translation: Language Transfer on Screen" (2009) serves as a significant resource in the field of audiovisual translation Additionally, various academic associations, including the European Association for Studies in Screen Translation (ESIST), contribute valuable information and support for researchers and practitioners in this discipline.
A feature film is a comprehensive product that encompasses various elements, including both verbal and non-verbal communication such as dialogue, music, sounds, gestures, and visual objects Additionally, it reflects the cultural traits of its country of origin and the social contexts of the historical periods it portrays These diverse features present significant challenges for translators.
Translators play a crucial role in bridging language barriers, enabling readers from diverse linguistic backgrounds to comprehend texts In film translation, they not only convey the director's intended meaning but also transfer cultural nuances from the source to the target language This task presents numerous challenges related to both language and culture, as audiences primarily seek to understand the dialogue on screen Equally important is ensuring that the translation resonates with the target audience, which often involves navigating the complexities arising from differing cultural contexts and societal norms.
This thesis aims to identify cultural challenges encountered in the English-Vietnamese translation of the American film "Pirates of the Caribbean: At World’s End," directed by Gore Verbinski While the film serves as entertainment, it presents significant cultural elements that translators must address Set in a historical Caribbean context dominated by feudalism, the film reflects a vastly different social and linguistic landscape compared to today Its narrative captivates audiences with a range of emotions, from horror to romance and peace to war Featuring diverse cultural influences, including elements from China and Africa, the film poses a unique challenge for translators tasked with conveying its culture-bound aspects to Vietnamese-speaking audiences.
Cultural differences can lead to misunderstandings and mis-translations in translation work This study investigates the challenges posed by culture-bound elements in movie dialogues and offers suggestions for translating these elements into Vietnamese Given the limited research on this topic in Vietnam, the researcher aims to provide valuable insights for translators of films and other audiovisual materials Ultimately, this study seeks to assist translators and interpreters across various fields.
Aim, Objectives and Research Questions
The overarching aim of this study is to investigate the audiovisual translation problems of culture-bound elements (CBEs) in the film Pirates of the Caribbean: At
World’s End This aim is broken to be the following objectives:
Identifying and categorising the CBEs in the film;
Finding the translation problems of CBEs in the film;
Offering some suggestions on using possible strategies for the translations of CBEs in the film
To achieve the above aim and objectives, the study raises the following research questions for exploration:
1 What are the main culture-bound elements contained in the film Pirates of the Caribbean: At World’s End?
2 What are the major problems in translating the culture-bound elements in the film Pirates of the Caribbean: At World’s End?
Corpus and Methodology
The selected film to be used as the corpus of the current study is the American film
Pirates of the Caribbean: At World’s End produced by Jerry Bruckheimer in 2008
The initial step in the research involves downloading the film, specifically an mp4 file with Vietnamese subtitles from www.phimmoi.net, alongside the English film script sourced from www.script-o-rama.com Additionally, examples from the VTV version aired on Starmovie are recorded, although the identities of the Vietnamese translators remain undisclosed Chapter 2 will commence with a brief introduction to the film, covering its producers, context, plot, and main characters.
Before collecting and analysing the data, the researcher will firstly study the theoretical framework concerning culture-bound elements and translation strategies Henceforth, the following procedure will be conducted:
To address the initial research question, the researcher will analyze the film using the downloaded English script, documenting and categorizing the culture-bound elements present in the characters' dialogues according to a specified framework.
The study will analyze the Vietnamese translations of culturally bound expressions (CBEs) in the film, aiming to identify translation issues By comparing the translated versions with the original, the researcher will assess the appropriateness and accuracy of the CBEs' translations based on personal experience and research insights Subsequently, the study will propose translation strategies for the identified elements, drawing on established taxonomies from the theoretical framework.
This study employs a qualitative approach, utilizing a theoretical framework for corpus analysis The findings will be presented quantitatively, highlighting the frequency of occurrences within the data.
Scope of the Study
This study aims to identify culture-bound elements in the American film "Pirates of the Caribbean: At World’s End," analyze the translation challenges associated with these elements, and propose potential translation strategies The analysis is limited to the film's content, focusing specifically on cultural references found in character dialogues and speeches, rather than providing a comprehensive evaluation of all culture-bound elements or translation issues in audiovisual products Additionally, the selected Vietnamese translations are reviewed solely to identify translation problems related to culture-bound elements, without assessing the quality of other translators' versions It is important to note that this study does not address specific types of audiovisual translation, such as subtitling, dubbing, or interpreting.
Design of the Study
The study will be organised as follow:
The first part, Introduction, will consist of five parts: Rationale, Aims and Research Questions, Scope of the Study, Corpus and Methodology and Design of the Study
The Development section of the article includes two chapters The first chapter offers a theoretical background that defines translation, explores the role of culture in translation, categorizes culture-bound elements, and discusses concepts related to audiovisual translation, along with various taxonomies of translation strategies The second chapter is titled "The Translation of "
The article examines the culture-bound elements in the film "Pirates of the Caribbean: At World’s End," focusing on their categorization and the translation challenges encountered when converting them from English to Vietnamese It also proposes effective translation strategies to address these cultural nuances, ensuring that the film's essence is preserved in the Vietnamese version.
The last part, Conclusion, will recapitulate the main contents of the study, point out limitations of the study, and provide some suggestions for further research.
THEORETICAL BACKGROUND
The Theories of Translation
Translation has evolved into a vast and intricate field within applied linguistics since it began receiving scientific attention in the 1960s Over time, the understanding and definition of translation have shifted, reflecting its complex nature and the diverse perspectives that have emerged throughout its development.
Translation is defined by Newmark (1988) as a craft that involves replacing a written message in one language with the equivalent message in another language He highlights the importance of the author's intention when translating a text, underscoring that effective translation goes beyond mere word substitution to convey the original meaning accurately.
Having the same idea as Newmark (1988), Webber (1968) defined translation as
Translating a text from a source language (SL) to a target language (TL) requires ensuring that the original message is conveyed clearly for readers Achieving absolute accuracy in meaning and content is essential, which emphasizes the importance of equivalence in translation.
Webber's (1968) views on translation were partially adopted by other scholars, including Bell (1991), who emphasized the importance of semantic and stylistic equivalence in the translation process Bell defined translation as the expression of content from a source language into a target language while maintaining these critical equivalences, highlighting that effective translation goes beyond mere word-for-word conversion.
The rapid growth of the global film industry has led countries to cultivate unique film cultures at varying stages of development To cater to a diverse international audience, advancements in technology have integrated language as a vital means of storytelling in films This evolution presents a significant challenge for directors and producers as they strive to translate their cinematic works into multiple languages effectively.
In the late 1990s, translators and scholars began addressing the challenges of translating films and TV programs as audiovisual texts This type of content poses unique difficulties, as it encompasses not only linguistic elements but also incorporates sound and visual components.
The term "audiovisual," as defined by the Oxford Dictionaries, refers to the combination of sight and sound, typically through images and recorded speech or music Audiovisual texts encompass a variety of products, including films, plays, operas, and video games, all of which incorporate multimedia elements such as sounds, music, and visuals As a result, these products are classified as audiovisual or multimedia texts.
Audiovisual translation (AVT) involves the translation of audiovisual texts, as defined by Luis Perez Gonzales in the Routledge Encyclopedia of Translation Studies This field encompasses various methods of translating content that combines both visual and auditory elements, ensuring that the original message is effectively conveyed to a different linguistic audience.
Audiovisual translation is a branch of Translation Studies concerned with the transfer of multimodal and multimedial texts into another language and/or culture
Jorge Dias Cintas and Remael (2007: 13) offer a distinct perspective on audiovisual translation, defining it as “the translation of products in which the verbal dimension is supplemented by elements in another media.” This definition effectively clarifies the essence of audiovisual products, making it a more satisfactory explanation of the field.
Audiovisual products differ from other text types due to their incorporation of multiple codes beyond just verbal language Chaume (2004) categorizes these codes into ten distinct types, highlighting the complexity of audiovisual texts (Sacconi, 2013).
The linguistic code serves as the foundational text that connects various forms of translation According to Chaume, this text should be perceived as oral and spontaneous, resembling spoken language rather than traditional written form.
The paralinguistic code is conventional symbols indicating brackets, silences, pauses (p 17)
The musical code encompasses the melodies and rhythms of songs, while the special effects code includes sound elements like laughter and applause.
The sound arrangement code encompasses both diegetic sound, which originates from the story itself, and non-diegetic sound, which comes from external sources, such as an off-screen narrator.
The iconographic code is when iconographic symbols that are not known by the target audience appear and they need to be explained in some way within the film (p 19) 52
The photographic code encompasses variations in lighting, perspective, and color usage Chaume illustrates this concept by noting that a specific color may evoke a particular emotion in one country, while in the target country, it could be linked to entirely different associations.
The planning code refers to the types of shots that could be present in film
In close-ups and extreme close-ups, the text has to respect lip synchrony (pp
19 – 20) It is also linked to synchronization with body movements (p 20)
The mobility code is a crucial aspect of scene composition, referring to the strategic placement of characters within the scene, including their proximity to each other and the camera Effective character positioning can significantly enhance the overall visual narrative, while also emphasizing the importance of lip synchrony to create a believable and immersive experience.
The graphic code refers to the written text that appears on the screen, such as titles, intertitles, texts and subtitles (p 21)
Culture Bound Elements in Translation
Translation studies have evolved significantly over time, leading to a diverse range of approaches As noted by Munday (2001: 1), translation is inherently multilingual and interdisciplinary, incorporating perspectives from linguistics, communication, and culture Despite the variety of approaches, a common concept of equivalence unites the different definitions within the field of translation studies.
Equivalence is a fundamental concept in translation studies, yet its true nature remains a topic of debate Roman Jakobson (cited in Munday, 2001) asserts that complete equivalence between languages is unattainable, while the Encyclopedia of Translation Studies (2009) defines equivalence as the relationship between the source text (ST) and its target text (TT) Notably, Peter Newmark (1988) emphasizes that achieving equivalence is the primary goal of any translation, underscoring its significance in the translation process.
The concept of equivalence in translation can be explored through various approaches Munday (2001) presents a quantitative-based method that categorizes equivalence into one-to-one, one-to-many, many-to-one, one-to-part-of-one, and nil equivalence, emphasizing the quantity of equivalent elements between source and target languages Other scholars define equivalence through meaning-based (Koller, 1989), function-based (Nida, 1964), or form-based (Baker, 1994) perspectives, highlighting the diverse interpretations of equivalence in translation practices.
Baker (1994) identified two levels of equivalence in translation: word level and above-word level The word level focuses on translating individual linguistic units, while the above-word level emphasizes the overall sense and meaning of the text Munday (2001) supports this distinction by describing word-to-word translation and sense-to-sense translation In sense-to-sense translation, it is crucial for translators to preserve the author's intention from the source text, which may lead to challenges in achieving precise meaning at the word level Consequently, when translating meanings between languages, reliance on word-to-word translation can result in issues of non-equivalence.
Equivalence is widely regarded by scholars as the fundamental concept in translation Consequently, non-equivalence presents significant challenges for translators, often leading to substantial issues in the translation process.
“untranslatability” Baker (1994: 21-26) suggested 11 problems of non-equivalence at word level These problems can be listed as:
The source-language concept is not lexicalized in the target language
The source-language word is semantically complex
The source and target languages make different distinctions in meaning
The target language lacks a superordinate
The target language lacks a specific term (hyponym)
Differences in physical or interpersonal perspective
Differences in frequency and purpose using specific forms
The use of loan words in the source text
The issue of culture-specific concepts is a primary concern in translation studies, garnering significant attention from numerous academic scholars This challenge arises from the need to accurately convey meanings that are deeply rooted in specific cultural contexts.
In translation, source-language words can convey concepts that are entirely unfamiliar to the target culture, whether they are abstract or concrete These concepts may pertain to religious beliefs, social customs, or specific types of food, and are commonly known as "culture-specific" elements (Baker, 1994: 21).
The concept of culture and its specific terms, concepts, and elements in translation has been widely examined by numerous authors in the field Various definitions and related issues surrounding these cultural elements have been approached from multiple perspectives This topic will be explored in greater detail in the following paragraphs.
In general, culture can be defined as “the customs, beliefs, art, way of life and social organisation of a particular country or group.” This definition is given by the
Culture encompasses all elements that shape a community, as defined by Oxford Dictionaries Anthropologist Edward Tylor (1871) described culture as a "complex whole," which includes the knowledge, beliefs, arts, laws, morals, and customs acquired by individuals within human society.
Translations are deeply intertwined with target cultures, as noted by Toury (cited in Ray, 2008: 129), highlighting that cultural context is crucial in the translation process Newmark (1988: 94) further emphasizes this connection by defining culture as the unique way of life and expressions of a community that speaks a specific language Consequently, each language community possesses its own distinct cultural identity, underscoring the importance of cultural nuances in translation.
Language and culture are fundamentally intertwined, as highlighted by Risager (2006), who asserts that they are shared phenomena among all humanity This inseparability is further emphasized by Lotman (1978), who notes that language cannot exist without cultural context, and culture is centered around natural language However, despite their interdependence, language and culture maintain distinct roles, with the transfer of linguistic meanings being just one aspect of the broader translation process, as discussed by Bassnett.
According to Bassnett (1980), imposing the values of the source culture onto the target culture can be perilous Effective translation requires not only clarity in lexical meaning but also cultural acceptance by the target audience Consequently, translators must recognize and address various elements during the translation process, particularly those that are culture-bound.
1.2.3 Culture-bound Elements in Translation
1.2.3.1 Definitions Culture-bound Elements (CBEs)
Baker (1994) identified culture-specific concepts as a significant challenge in translation, complicating the translator's task The complexity and breadth of culture make it difficult to precisely define and recognize these culture-bound elements As noted by Franco Aixela (1996: 56-57, cited in Ranzato, 2013), this issue underscores the intricate relationship between language and cultural context in the translation process.
67), the first difficulty arising in defining a culture specific element is that every element in a language, including even that language, is culturally specific
In the field of translation studies, particularly within audiovisual translation (AVT), there is a notable lack of systematic definitions for cultural elements While some scholars have attempted to define these elements, their perspectives vary significantly, employing a diverse range of terminology including culture-specific, culture-bound elements, references, expressions, and terms.
From a socio-linguistic view point, Nord (1997: 34) referred to these cultural elements as cultureme He defined cultureme as “a social phenomenon of a culture
X that is regarded as relevant by members if this culture and, when compared with a corresponding social phenomenon in a culture Y, is found to be specific to culture
X.” This definition does not emphasise the role of culturemes in translation; however, a relationship between cultures was partially shown Besides, it can be inferred that it is, to some extent, problematic for the members of culture Y to understand this X-culture-bound element
Concluding Remarks
In this chapter, a brief review over translation and audiovisual translation has been presented From that, the roles of culture and translation equivalence are explained
Besides, it can also be seen that the translation of a film as an audiovisual product involves not only the verbal code but also the support from other media
This chapter explores the concept of Culture-Bound Elements (CBEs) through various definitions and taxonomies, highlighting that CBEs are influenced by specific cultures and encompass both intralinguistic and extralinguistic cultural contents Additionally, it discusses translation strategies for CBEs, using the notable taxonomy by Dias-Cintas and Remael (2007) as the foundational framework for the current study.
In the next chapter, the CBEs appearing in the selected American film, Pirates of the Caribbean: At World’s End, and the translation of these elements are discussed
CHAPTER 2: THE TRANSLATION OF CULTURE-BOUND ELEMENTS
A Brief Introduction to Pirates of the Caribbean: At World’s End
The data of the current analysis are taken from the American feature film entitled
"Pirates of the Caribbean: At World's End is the final installment of the Pirates of the Caribbean trilogy, produced by Jerry Bruckheimer This film is part of a larger series that includes five chapters, comprising the original trilogy and two additional full-length films."
The Pirates of the Caribbean trilogy, produced by Jerry Bruckheimer and directed by the American director Gore Verbinski, consists of three feature products named
Pirates of the Caribbean: The Curse of the Black Pearl (2003), Pirates of the
Caribbean: Dead Man’s Chest (2006) and Pirates of the Caribbean: At World’s
The film trilogy, concluding in 2007, follows the thrilling adventures of five main characters: Captain Jack Sparrow (Johnny Depp), Hector Barbossa (Geoffrey Rush), Joshamee Gibbs (Kevin McNally), Will Turner (Orlando Bloom), and Elizabeth Swann (Keira Knightley) Set against a fictional historical backdrop inspired by real-world events, the narrative unfolds in a world dominated by the British Empire and the East India Company, where pirates emerge as powerful symbols of freedom in their struggle against oppressive rulers.
In the film "At World’s End," the narrative picks up from the previous installments as Lord Beckett, head of the East India Company, seizes control of Davy Jones and his ship, the Flying Dutchman With Jones under his command, Beckett aims to eradicate piracy once and for all, advancing his ruthless agenda.
In a daring plan to confront Lord Beckett and the East India Trading Company, Will, Elizabeth, Barbossa, and their fellow pirates set out to rescue Captain Jack Sparrow from Davy Jones's Locker, where he has been trapped since the events of "Dead Man's Chest." As one of the Nine Pirate Lords, Jack's return is crucial for summoning Calypso, the ancient goddess whose power is essential to vanquish Beckett's formidable navy.
"Pirates of the Caribbean: At World’s End" is a 169-minute film featuring a script of over 9,580 words, set during the Golden Age of Piracy, roughly between 1650 and 1720 This historical period, coinciding with the reign of King George II of Great Britain, saw intense conflicts between pirates and the navies of major powers like Spain and England The film captures the essence of this era, showcasing a rich pirate culture and a multicultural environment that serve as central themes throughout the narrative.
Data and Examples Format
This chapter will illustrate the analysis and discussion with various examples and images from the chosen film The examples will highlight dialogues featuring CBEs and will be presented in two distinct formats.
First, to illustrate the presence of CBEs in the film, the examples will be presented in the following format:
Context: Calypso has been released to become a giant woman Barbossa and the Black Pearl crew are kneeing before her
In a humble plea to Calypso, Barbossa expresses his contrition and requests mercy for himself, his ship, and his crew He acknowledges his fulfilled vow and seeks the goddess's favor, urging her to unleash her wrath upon those who falsely claim dominion over them.
In this chapter, each example is organized into a table with two key sections The first section, found in the top row, outlines the context of the dialogue, detailing the situation and the characters involved The second section features the original film dialogue, showcasing the extracted lines that include culturally based expressions (CBEs).
Second, to illustrate the suggestions for translation strategies, the format of the examples will be slightly changed as follows:
Context: Jack Sparrow recognises the presence of Barbossa at Davy Jones‟s Locker
Original Film Dialogue TL Translation (by phimmoi.net)
JACK SPARROW: Oh Hector! It‟s been too long, hasn‟t it?
BARBOSSA: Aye Isla de Muerta, remember? You shot me
JACK SPARROW: Ồ Hector! Đã lâu quá rồi nhỉ?
BARBOSSA: Ừ, Isla de Muerta, nhớ chứ?
The second part of each example table will feature two columns: the first column will display the Original Film Dialogue, while the second column will present a TL Translation of that dialogue This TL Translation will be the Vietnamese version sourced from phimmoi.net, VTV, or provided by the researcher, with the source of the translation cited in parentheses.
type Additionally, each example is numbered in *italics* and positioned above the example, with the text in the example table formatted to a font size of 11.
Additionally, the film's visuals will be highlighted through carefully selected images, which will be printed in vibrant colors to enhance the overall presentation.
Culture-bound Elements in the Original Version
The current research organizes data into four key categories: elements from the source culture, intercultural elements, elements from third cultures, and elements from the target culture The accompanying pie chart and table illustrate the frequency of these elements in the audio-visual text.
Table 2: CBEs in the Film over the Four Main Categories
Number of Occurrence Percentage Elements from Source Culture 86 57.7%
Out of 149 collected elements, 86 originate from Anglo-American culture, making up 57.7% of the total data In contrast, the fewest elements are derived from other cultural sources.
In the analysis of cultural elements in the film, it is noted that intercultural elements shared between the target culture (TC) and source culture (SC), such as colors and symbols like the heart and "tame the sea," appear only 12 times In contrast, elements specific to third cultures account for 51 occurrences, representing 34.2% of the total data, while elements unique to Vietnamese culture are absent from the text.
In the analyzed audiovisual text, intralinguistic elements are present 89 times, predominantly as idiomatic expressions and slang, while extralinguistic references appear 60 times The extralinguistic references primarily consist of real-world elements such as drinks and proper names, although some are uniquely crafted for the text The distribution of these two sub-categories highlights the interplay between language and real-world context within the content.
Table 3: Intralinguistic Elements and Extralinguistic References
In addition to verbal components, the film incorporates significant non-verbal elements, both visual and acoustic, that enhance the storyline and are classified as extralinguistic These elements, discussed in section 2.2.2.2, primarily exhibit synchronous and realistic characteristics; however, the film also features a few asynchronous elements, such as pieces of clothing, and intertextual references like Isla de Muerta A comprehensive analysis of the contextual background elements (CBEs) found in the original version of the film can be found in the Appendix.
2.3.1 The Main CBEs throughout the Corpus
The following sections will provide the examples of the main CBEs in the film It can be seen that most of the elements belong to the nautical field
2.3.1.1 Talking Like Pirates: The Nautical Languages
The film's theme revolves around piracy in the Caribbean Sea, depicting the adventures of its main characters, the pirates, within a fictional historical context This setting is inspired by the actual events of Caribbean history from 1650 to 1720, known as the Golden Age of Piracy Consequently, piracy has emerged as a dominant cultural element throughout the selected audiovisual text.
The pirates in this movie communicate in a kind of special dialect which is, in the current study, temporarily called the pirate dialect (dialectblog.com)
In the film, Captain Jack Sparrow finds himself in Davy Jones's locker aboard the Black Pearl, experiencing a surreal hallucination where he leads a crew made up entirely of his own duplicates.
JACK: Haul the halyard! Slacken braces!
CREW: Aye, captain! Slacken braces!
JACK: Step lively with a will!
CREW: Aye, aye! - Right away, sir!
JACK: Man the yards, you filthy toads!
JACK: Haul the sheets handsomely! Scandalize the lateens!
CREW: Aye, sir! Right away, sir!
In the thrilling climax of "The Black Pearl," Captain Barbossa stands at the edge of the ship, poised to face the ominous Flying Dutchman amidst a swirling maelstrom As tension builds, Elizabeth prepares to instruct him to take the helm, setting the stage for an epic confrontation on the high seas.
ELIZABETH: Captain Barbossa! We need you at the helm!
BARBOSSA: Aye, that be true!
The pirate dialect, often referred to as ESCs, is a unique form of non-standard English that mimics the accents of Southwest England This distinctive speech, characterized by its strange tone, is commonly associated with pirates in film Examples from contemporary sources highlight how pirates communicate by substituting standard words and phrases with slang, resulting in an exotic yet impolite style that is prominently embodied by the captain.
Barbossa, a key character, frequently uses the term "aye," a nautical expression derived from the Old English word meaning "yes" or "even so." The phrase "aye aye sir," commonly used by sailors and pirates, translates to "yes sir," but carries a distinct connotation While "aye" signifies acceptance of an order, "yes" merely responds to a yes-no question.
Context: Calypso has been released to become a giant woman Barbossa and the Black Pearl crew are kneeing before her
Barbossa humbly approaches Calypso, expressing his servitude and remorse He requests mercy for himself, his ship, and his crew, while asking her to direct her wrath towards those who falsely claim to be her masters or his.
An important aspect to consider is the unique speech patterns of pirates, where "me" often replaces the possessive "my" and the object "me" in conversation Additionally, it is noticeable that the copular verb "be" is occasionally omitted, as demonstrated in example 2.
The origins of the pirate language used in popular culture remain uncertain, yet expressions like "handsomely" and "aye" have become iconic in the US and UK, largely due to literature and cinema Notably, Bruckheimer's Pirates movies are part of a long tradition of piracy in art, as pirates are frequently depicted in various media In American culture, pirates are often romanticized as heroic figures, with classic works such as "Peter Pan," "Treasure Island," "Sinbad the Sailor," and the "Pirates of the Caribbean" film series highlighting their enduring appeal.
The film's narrative centers around high-seas adventures featuring ships, sailors, pirates, and captains, incorporating various elements of nautical language.
The opening song of the film serves as a concise summary of the entire storyline, presented in a folk rhythm reminiscent of sailors' chants This musical piece incorporates maritime slang and pirate idioms, enriching the narrative with its authentic seafaring essence An example of this can be found in Extract 4, which illustrates the song's thematic depth.
Translation Problems of CBEs and Some Translation Strategies
2.4.1 Translation Problems of CBEs in the Current Film
Cultural elements play a crucial role in the translation process, often presenting challenges even for experienced translators While professional translators typically excel in audiovisual (AV) translation of culturally bound elements (CBEs), inaccuracies can still arise This analysis reveals that issues with the corpus stem not only from the translators themselves but also from cultural nuances By examining both the original and Vietnamese texts, several key problems have been identified.
Translators do not recognize the CBEs
Translators fail to translate the CBEs
There is no equivalent in Vietnamese
The equivalents in Vietnamese are not accurate or adequate to some extents
There are many equivalents in Vietnamese
The examples provided highlight various issues previously discussed Most of these instances are sourced from the Vietnamese version available at www.phimmoi.net, while additional examples have been documented by the researcher from the VTV version aired on Starmovies.
Context: The talk between Barbossa and Sao Feng at Sao Feng‟s base in Singapore
Original Film Dialogue TL Translation (by phimmoi.net)
SAO FENG: You come into my city and you betray my hospitality…
BARBOSSA: I assure you I had no idea
SAO FENG: That he would get caught! …You intend to attempt the voyage to Davy Jones's
Locker But I cannot help but wonder
SAO FENG: Các người đến thành phố của tôi, phụ bạc lòng hiếu khách của tôi…
BARBOSSA: Tôi xin cam đoan nếu tôi có cách khác
Sao Feng khẳng định rằng hắn sẽ bị bắt, trong khi ông ta bày tỏ sự quan tâm đến việc vào chiếc rương của Davy Jones Tuy nhiên, hắn không thể cung cấp thêm sự trợ giúp và đặt câu hỏi về lý do đằng sau điều này.
In example 21, the idioms "to have no idea" and "cannot help but" are relatively straightforward; however, the website's translators fail to recognize them, resulting in incorrect translations Additionally, the literal translation strategy applied to the phrase "Davy Jones’s Locker" is deemed inappropriate, as previously discussed in example 10 (section 2.3.1.2) This misinterpretation occurs repeatedly throughout the website's translated content.
Context: Sao Feng and Elizabeth are arguing at Sao Feng‟s base
Original Film Dialogue TL Translation (by phimmoi.net)
SAO FENG: Elizabeth Swann! There is more to you than meets the eye, isn't there? And the eye does not go wanting
SAO FENG: Elizabeth Swann! Cô cần quan sát nhiều hơn đấy Mắt cô không nhìn thấy tất cả đâu
In example 22, the idiom "more to you than meets the eye" and the pun "the eye does not go wanting" present challenges for translators who may overlook their meanings As a result, their translations can deviate significantly from the original text Furthermore, the absence of a specific translation strategy leads to translators simply rephrasing the dialogue based on their personal interpretations.
Context: Barbossa is sailing the Black Pearl into the battle against Davy Jones and the
Original Film Dialogue TL Translation (by phimmoi.net)
BARBOSSA: More speed! Haul your wind and hold your water!
BARBOSSA: Nhanh nữa lên! Đón lấy hướng gió và dựa theo dòng nước!
The phrase "to hold someone's water" means to be patient, but some translators may misinterpret idioms, leading to literal translations For instance, VTV's translation on Starmovies rendered it as "đừng có sợ!" which indicates a recognition of the idiom but a misunderstanding of its meaning While both translations are contextually acceptable, they ultimately fall short of accurately conveying the original intent.
Cultural Bound Expressions (CBEs) pose significant translation challenges due to their deep ties to specific cultures, often leaving translators from different backgrounds at a loss A key issue arises when certain cultural elements in English lack direct equivalents in Vietnamese, highlighting the unique nature of extralinguistic CBEs that are exclusive to their originating culture This phenomenon is prevalent, as seen in film examples that include proper names like Calypso and Kraken, idiomatic phrases such as "meets the eye" and "hold your water," and unique elements created solely for the film, like Isla de Muerta.
In translation, when multiple equivalents exist for elements in the target language (TL), two main scenarios arise The first scenario involves equivalents that fail to convey the original meaning from the source language (SL), particularly with slang and dialects For instance, the nautical term "aye," which means yes, has several Vietnamese equivalents like rõ, vâng, ừ, đúng rồi, and phải; however, these do not resonate with Vietnamese audiences in nautical contexts, complicating accurate translation The second scenario is more straightforward, where a single English word has various Vietnamese equivalents, each applicable in specific contexts For example, the title "captain" can translate to đại uý, thuyền trưởng, or đội trưởng, depending on the situation, while "lord" may be rendered as ngài (as in Lord Cutler Beckett) or thủ lĩnh/trùm (for pirate lords), highlighting the importance of context in translation.
To ensure effective translation, translators must first thoroughly analyze the original texts to identify and comprehend cultural elements Employing appropriate strategies for translating these elements is crucial, but context analysis plays a vital role as well It enables translators to gain a comprehensive understanding of the text, allowing them to select the most suitable strategies for each specific situation.
Halliday and Hasan (1990) identified three key components of the context of situation: (1) field, which refers to the subject matter of the text that influences the language used—in this case, nautical terminology; (2) tenor, which describes the relationship between participants in a conversation, such as that between a father and son; and (3) mode, which encompasses the medium of communication (spoken or written) and the rhetorical approach (expository, instructive, or persuasive).
According to Taylor (1998), these three components can affect the choice of translators in the ways as follows:
Field: what terms to use, to what extent the writer‟s context is familiar to the
TA, the type of grammatical structures to employ (active/passive);
Tenor: the choice of register to apply (formal/informal, modern/archaic, technical/non-technical);
Mode: the organisation of text to choose (information focus or given and new information)
Besides, in AVT, it is necessary to consider the supports from other media such as sound, tone of voice or image to enhance the quality of translation
In the next sessions, some suggestions on possible strategies for the translation of CBEs in the corpus movie will be offered
One significant issue in translating Culture-Bound Expressions (CBEs) is the use of inappropriate strategies, which can diminish translation quality, as illustrated by the literal translation of "Davy Jones’s Locker" on a website The selection of translation strategies is crucial; translators must thoroughly analyze the text and context to identify the most appropriate approach from various options This section explores potential strategies for translating CBEs, drawing examples from the film corpus and utilizing a modified taxonomy by Dias-Cintas and Remael (2007) to align with the current study's objectives It's important to recognize that multiple strategies may be applicable for a single element, and not all strategies from the Dias-Cintas and Remael taxonomy are utilized.
According to Dias-Cintas and Remael (2007), elements such as food, drinks, names, or historical events may be directly borrowed from the source text (ST) for use in the target text (TT) when no suitable translations exist This strategy resembles Pedersen's concept of "retention," which allows for slight adjustments to meet target language (TL) conventions, such as modifying spelling or omitting articles This translation approach was once common among Vietnamese audiences, particularly in books and TV programs, leading to terms like Anh (England), Hà Lan (Holland), and Na-pô-lê-ông (Napoléon) However, there has been a shift in recent years, with proper names increasingly being borrowed directly from the English original, as observed in contemporary media and literature.
The film analyzed presents various instances where translation strategies are applied, particularly for names and places While loan translations are often suitable, there are scenarios where this method may not be sufficient The examples provided illustrate situations where the use of loan translations is deemed appropriate.
Context: Jack Sparrow recognises the presence of Barbossa at Davy Jones‟s Locker
Original Film Dialogue TL Translation (by phimmoi.net)
JACK SPARROW: Oh Hector! It‟s been too long, hasn‟n it?
BARBOSSA: Aye Isla de Muerta, remember? You shot me
JACK SPARROW: Ồ Hector! Đã lâu quá rồi nhỉ?
BARBOSSA: Ừ, Isla de Muerta, nhớ chứ?
As mentioned, Isla de Muerta is a fictional place in the film Beside a loan, another version will be suggested in the calque session (2.4.2.2)
Context: Pintel and Ragetti, two of the pirates, are standing on Kraken‟s dead body
Original Film Dialogue TL Translation (by the researcher)
ONE OF THE PIRATES: Pintel and Ragetti,
Kraken slayers We could serve up as slice as souvernir
ONE OF THE PIRATES: Pintel và Ragetti chính là những người đã tiêu diệt Kraken
Chúng ta có thể cắt một lát của nó mang về làm kỷ niệm đó
As the audience can see in the scene that Kraken is a giant octopus, there is no comprehension problem in applying a loan for this element
Context: Calypso is being released on the board of the Black Pearl
Original Film Dialogue TL Translation (by the researcher)
RAGETTI: (whispering) Calypso… I release you from your human bond
RAGETTI: (whispering) Calypso … Ta giải phóng nàng khỏi thân xác của con người
In this context, as Barbossa mentioned earlier, the phrase should be uttered with the tenderness reserved for a lover, making it appropriate for lovers to address each other solely by their names.
Calque is a literal translation of an element According to Dias-Cintas and Remael
In 2007, it was noted that calque is employed when there is no direct equivalent in the target language (TL) Authors suggest that literal translation, or calque, can effectively translate public offices with appropriate explanations The analysis of the film reveals that literal translation can also apply to fictional names created solely for the film, which Pedersen (2005) categorizes as text-internal elements.
Context: The pirate lords are talking about a war at the Brethren court inside Shipwreck cove
Original Film Dialogue TL Translation (by the researcher)
MRS CHING: Shipwreck Cove is a fortress
A well-supplied fortress There is no need to fight if they cannot get to us
MRS CHING: Vịnh Xác Tàu là một pháo đài kiên cố Vậy nếu chúng không thể vào đây tìm ta thì cần gì phải đánh nhau cơ chứ?
Concluding Remarks
This chapter presents an analysis of the translation of culturally bound expressions (CBEs) in the film "Pirates of the Caribbean: At World’s End." The findings highlight key issues related to the effectiveness and accuracy of these translations, emphasizing their impact on the overall understanding of the film's cultural nuances.
The analysis of the movies reveals that cultural boundary elements (CBEs) can be categorized into four distinct groups, with social cultural (SC) elements significantly outnumbering others, while no elements from traditional culture (TC) are present The films, set in a nautical historical context featuring pirates as main characters, predominantly showcase CBEs related to nautical and pirate languages, including dialects and slang A few shared elements exist between SC and TC, such as the idiomatic expression "to tame the sea" and terms like "sail" and "colors," alongside influences from third cultures like Calypso.
In the film, elements such as the Kraken and Davy Jones's Locker play a crucial role in the storyline, while non-verbal cues like the attire of pirates and royal soldiers, along with features from the ride, contribute to the overall atmosphere However, these visual elements have limited impact on the translation of the narrative.
Translators often encounter challenges when translating cultural elements, which can result in low translation quality This issue arises from inappropriate strategic choices and a lack of thorough context analysis According to Bassnett (1980), imposing the values of the source culture onto the target culture can be problematic Cultural elements are inherently difficult to translate due to their specificity, and in many cases, exact equivalents may not exist in the target language Furthermore, when multiple equivalents are available, the translator must carefully select the most appropriate option for the given context, as each equivalent may be suitable for different situations.
Context analysis is crucial for selecting effective translation strategies for culturally bound expressions (CBEs) This article introduces Halliday and Hasan's (1990) model of context of situation as a valuable tool for this analysis Translators must also thoroughly examine the audiovisual texts and their multimedia components to identify and comprehend cultural elements Additionally, the article proposes suitable translation strategies for CBEs based on the taxonomy developed by Dias-Cintas and Remael, enhancing the overall translation process in the analyzed film.
Summary
This study explores the challenges of audiovisual translation related to Culture-bound Elements (CBEs) in the film "Pirates of the Caribbean: At World's End" (2007), produced by Jerry Bruckheimer Key issues addressed include the identification of CBEs and their impact on translation accuracy and audience understanding.
The study highlights the significance of equivalence as a central concept in translation, emphasizing that culture is also a critical factor It points out that culture-specific concepts often present challenges related to non-equivalence during the translation process (Baker, 1994).
Audiovisual translation encompasses more than just verbal code transfer; it also integrates various media elements like sound and visual codes In the context of translating CBEs, the significance of these additional codes is equally vital alongside the verbal text.
The study explores the definitions of Cultural Borrowings in English (CBEs) and Cultural Specific References (CSRs), synthesizing insights from notable authors such as Pedersen (2005), Dias-Cintas and Remael (2007), Chiaro (2009), and Ranzato (2013) It defines CBEs as both extralinguistic and intralinguistic elements unique to specific cultures, categorizing them into four main types: elements from source cultures, elements from target cultures, intercultural elements, and elements from third cultures, following Ranzato's taxonomy with slight modifications Additionally, the study employs the taxonomy of Dias-Cintas and Remael (2007), also adjusted, as a foundational framework for discussing translation strategies.
The analysis, informed by the CBEs categorization and notable taxonomies such as those by Chiaro (2009) and Dias-Cintas and Remael (2007), reveals a diverse range of cultural elements in the selected movie It concludes that these elements are not solely derived from Anglo-American culture but are also influenced by various other cultures.
Set during the Golden Age of Piracy from the 1650s to the 1720s, the film prominently features nautical language and culture, including pirates and their distinctive dialects and slang Additionally, it incorporates various English idioms and expressions Like many American films, this one also draws on elements from other cultures, which play a significant role in shaping the storyline, such as the concept of "pieces of eight."
The film features various non-verbal cultural brand elements (CBEs), such as the pirates' attire and nods to the Disney ride, which, while visually impactful, have minimal influence on the translation process.
The challenges in translating Culture-Bound Expressions (CBEs) in films stem from two main areas Firstly, translators often struggle with context analysis and may choose inappropriate strategies, leading to inadequate translations Secondly, cultural equivalence poses significant issues; when there is no direct equivalent in the target language (TL), or when multiple equivalents exist, the translator must make contextual choices Therefore, effective context analysis and strategic selection are crucial for accurately translating CBEs in films.
Pirates of the Caribbean: At World’s End in particular
The study on translation strategies utilizes the taxonomy by Dias-Cintas and Remael (2007), identifying seven strategies for translating cultural background elements (CBEs) in film It highlights that certain elements may be translated using multiple strategies, with the choice depending on the text's context Additionally, translators must familiarize themselves with the text to grasp its cultural significance fully Analyzing the context and considering supplementary media elements, such as sound, images, and voice tones, is essential for selecting the most appropriate translation strategies.
Limitations and Suggestions for Further Research
Beside the findings, due to the limitation of time and scale, the current study still reveals the following limitations:
The analysis was performed on a limited corpus, which restricts its ability to fully represent the complexities of Cultural Bound Elements (CBEs) in Audiovisual Translation Consequently, the strategies proposed in the study may not be sufficiently comprehensive.
This study provides a general overview of the translation of culturally bound expressions (CBEs) in audiovisual (AV) texts, without focusing on specific forms of audiovisual translation such as dubbing or subtitling As a result, the challenges identified may not be tailored to each distinct type of AVT.
Thirdly, the film has only focused on the verbal elements and the corpus is not large enough; thus, the non-verbal elements in AVT are not treated adequately
Fourthly, due to the limitation of the researcher‟s cultural and cross-cultural knowledge, some CBEs in the corpus might have not been found
To overcome the limitations above, further studies are expected to:
1 increase the volume of the corpus so that a more comprehensive analysis can be made It is suggested that the corpus includes different genres of films with different contents so that a comparative analysis can be done
2 conduct some analysis on the CBEs and translation strategies for a particular type of audiovisual translation such as dubbing, subtitling or interpreting
3 analyse the effects of the non-verbal elements on the process of AVT
Researchers need to improve their cultural and cross-cultural knowledge to effectively identify Culture-Bound Expressions (CBEs) in audiovisual texts This enhanced understanding will enable them to address the challenges of translating CBEs from English to Vietnamese more meaningfully.
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APPENDIX CULTURE-BOUND ELEMENTS IN THE ORIGINAL FILM
1 CBEs in the Original Version
Number of Occurrence Percentage Elements from Source Culture 86 57.7%
Extralinguistic references and intralinguistic elements:
2 Elements from Source Culture (ESCs)
Non-verbal Elements (3 elements, 9 occurrences)
All hands: RT, InL, Sync
As content as a cucumber: RT, InL,
Aye (aye captain): RT, InL, Sync
Bloody hell: RT, InL, Sync
Cast a slight pall: RT, InL, Sync
Fiddler’s Green: Rt, InL, Sync
Filthy toads: RT, InL, Sync
Fire in the hole: RT, InL, Sync.nc
Get my sea legs: RT, InL, Sync
Heave-ho: RT, InL, Sync
Hold your water: RT, InL, Sync
Loose cannon: RT, InL, Sync.nc
Lord: RT, InL, Sync.Me (Meself, me ship me crew): RT, InL, Sync
Me hearties: RT, InL, Sync
The visual references to the Ride at Disney: RT, ExL, Sync
The acoustic references to the Ride at Disney: RT, ExL, Sync
The royal costumes: RT, ExL, ASync
Shipwreck cove: RT, ExL, Sync
Steady as she goes: RT, InL, Sync
Sweat of a man’s brow: RT, InL, Sync
Strength of his back: RT, InL, Sync
To broadside: RT, InL, Sync
Be (That be true): RT, InL, Sync
Wash my hand: RT, InL, Sync
Yo-ho: RT, InL, Sync
Your majesty: RT, InL, Sync
Your highness: RT, InL, Sync
3 Elements from Target Culture (ETCs)
There is no element found in the film for this category
Non-verbal Elements (0 element, 0 occurrence)
Sail the sea: RT, InL, Sync
Tame the sea: RT, InL, Sync
5 Elements from Third Culture (E3Cs)
Non-verbal Elements (3 elements, 7 occurrences)
Davy Jones’s Locker: RT, InL, Sync
Pirates costumes: RT, ExL, ASync Pirates flags: RT, ExL, Sync.