Statement of the problem and the rationale of the study
According to Baker (2004, p.40), movies are considered the most significant art form in the human world In Vietnam, the film industry, although still emerging, has experienced rapid growth and is cherished by audiences of all ages Trinh (cited in Megastar Hé Lộ Doanh Số, 2012) notes that the Vietnamese film industry has seen substantial growth, with Megastar's box office revenue increasing from $13.8 million in 2009 to $47.8 million in 2012 By 2012, Hollywood films accounted for 80% of the movies shown in Megastar Cineplex (Thị Trường Điện Ảnh, 2012) Consequently, movie translation has become a crucial aspect of translation in Vietnam, surpassing the importance of book and news translation.
Aware of this trend, quite a lot of dedicated Vietnamese researchers have conducted studies on movie translation “A Study on Film Translation” by Van
While previous studies, such as Thanh's (2001) analysis of film script translation, have explored various aspects of movie translation, they often overlook the crucial topic of translating movie titles Prendergast (n.d.) emphasizes that a movie's title is vital for marketing and significantly influences its success This sentiment is echoed by researchers like Patterson (2008) and May (2010), who recognize that an engaging title can spark audience interest Therefore, the translation of film titles is essential in the realm of movie translation, as noted by Mei (2010).
In an effort to explore the translation of movie titles in Vietnam, Duong (2006) conducted a study on the translation of English movie titles into Vietnamese, followed by Minh's (2014) research on the principles guiding this translation process These studies have illuminated various aspects of movie title translation, including their functions, features, and the strategies employed However, the critical area of translation quality assessment, a significant concern for translation theorists and revision boards (Benhaddou, 1991), remains unexamined Given the increasing number of films released internationally due to globalization, the quality of film title translation has become increasingly important.
Controversies surrounding the quality of translated movie titles have arisen in countries where Hollywood films are distributed Hawley (2008) notes that translating movie titles can result in the loss of cultural and aesthetic elements from the original titles Additionally, Andersen (2010) emphasizes the significance of accurate translation in preserving the essence of the films.
The translation of English movie titles into Vietnamese often leads to misunderstandings between the film and its audience, as highlighted by Kelan and Wei (2006), who note issues such as "messy and low-quality" translations, as well as "alienation and assimilation." This challenge affects not only translators but also film critics and moviegoers in Vietnam Kha (2012) addresses these inadequacies in his article, emphasizing the complexities and confusions surrounding the translation process.
Ruelle (2010) highlights several challenges encountered by Vietnamese translators, particularly the loss of emotional depth and original meaning when translating movie titles between Vietnamese and English.
Determining what constitutes a good translated movie title remains a complex issue As noted by Heller (2014), it is often necessary to "reframe a linguistic expression or cultural phenomenon" for audiences unfamiliar with American culture Critics of movie title translations frequently rely on personal feelings and knowledge, which can lead to biased and unjustified assessments due to the lack of a solid theoretical framework Therefore, employing an appropriate theoretical approach is crucial for evaluating the quality of movie title translations in Vietnam, as it provides audiences with a clearer understanding of the appropriateness of these translations and aids in addressing existing shortcomings.
Besides, titles have three main functions including “informative function”,
Translating film titles effectively is crucial, as it involves both the aesthetic function and vocative function, requiring translators to balance accuracy with audience appeal To achieve this, identifying suitable techniques for translating English movie titles into Vietnamese is essential By developing a set of applicable techniques, translators can streamline the process and produce more engaging titles that resonate with the target audience.
According to Hong (2010), CGV Cineplex holds a competitive edge in Vietnam due to its superior quality and quantity of movies The HSC annual report (2011) also identifies CGV as the leading company in the Vietnamese theater industry Therefore, leveraging CGV Cineplex's film title resources and translators will enhance the research's aims and objectives, ultimately confirming the study's validity and reliability.
All the reasons above have inspired the researcher to conduct a study on
“ Assessing the translations of English movie titles released in CGV Cineplex from
Aims and objectives of the study
This research paper evaluates the quality of translated movie titles distributed by CGV Cineplex between 2011 and 2014, utilizing a translation criticism framework adapted from Newmark (1988).
This study aims to identify the strategies used for translating effective film titles at CGV Cineplex between 2011 and 2014 By conducting interviews with the translators responsible for these successful translations, the research seeks to uncover valuable techniques that can enhance the quality of future translations.
To achieve these objectives, the research was undertaken to answer the following questions:
1 To what extent do the translated titles meet the standard as proposed in Newmark‟s translation quality assessment framework?
2 What techniques can be used in translating movie titles as suggested by translators?
Significance of the study
The paper will be fairly useful for people who have to translate or assess translated movie titles and researchers who happen to have an interest in the topic
The study aims to assist those involved in evaluating film titles, particularly in Vietnam, where translated titles must pass through specific testing phases, as noted by Tran (2012) Before a title is released, it is assessed by local distribution managers and the original studio If approved, the title is released; if not, it is returned for revisions By adopting the research framework used in this study, film distributors can effectively assess translated titles prior to submission, reducing the likelihood of rejection and streamlining the editing process, ultimately saving significant time and resources.
The study offers valuable insights for translators tasked with translating movie titles by outlining criteria for assessing translation quality, helping them avoid common pitfalls and providing justification against public criticism Additionally, the paper presents practical techniques used by experienced translators, enabling readers to select and apply the most suitable methods for achieving high-quality translations in specific contexts.
This study aims to provide a comprehensive understanding of the complexities surrounding the quality assessment of movie titles, serving as a foundation for future research Rather than attempting to establish universal laws or generalizations, it focuses on in-depth insights that can guide further investigations into the quality assessment of various types of titles.
Scope of the study
First, although “ Assessing the translation of English movie titles released in
The study titled "CGV Cineplex from 2011 to 2014" focuses on the translated titles of the three most dominant movie genres—action, animated, and comedy—released by CGV Cineplex during this period This selection was made due to the limited number of films in other genres, such as horror, romance, and drama, which each had fewer than ten titles Additionally, the complexity of translation quality assessment necessitated a concentrated approach, allowing the researcher to ensure a thorough evaluation within the constrained timeframe.
The study exclusively involved translators from CGV Cineplex who had experience translating movie titles between 2011 and 2014 This selective approach aimed to gather detailed insights from participants, enhancing the understanding of the complexities surrounding the translation process.
Methods of the study
To address the research questions, the researcher employed a qualitative approach consisting of two phases In the first phase, English movie titles and their translations from CGV Cineplex were evaluated using Newmark's (1988) translation quality assessment framework In the second phase, successful translators identified in phase one were interviewed to uncover the strategies and techniques they utilized for effective translations The collected data was then analyzed and synthesized to provide answers to the research questions, with a comprehensive methodology detailed in Chapter 2, Part 2 of the paper.
Organization of the paper
The research paper includes three main parts as follows:
The introduction outlines the core problem and rationale behind the study, detailing its aims, objectives, and scope It emphasizes the significance of the research and identifies key questions that will guide the entire investigation.
Part B of the research paper comprises three chapters Chapter 1, titled "Theoretical Background," establishes the foundational concepts, including the definition of translation, translation strategies, a framework for assessing translation quality, and an overview of movie titles Chapter 2, "Research Methodology," outlines the samples and participants involved, the instruments used, and the procedures for data collection and analysis Finally, Chapter 3, "Results and Discussion," addresses the research questions through data presentation, analysis, and a comparative review of the findings.
Part C: Conclusions summarizes the main issues discussed in the paper, the limitations of the research, several recommendations related to the studied issue and some suggestions for further investigation
After Part C are the reference list and appendices.
THEORETICAL BACKGROUND
An overview on translation strategies and equivalence
First of all, is necessary to understand the concept of translation mentioned by many translation theorists to obtain an overall picture of the translation
Translation is defined by various scholars, highlighting its significance as a linguistic phenomenon and a human activity Wassety (cited in Ghadi, 2010) describes translation as “a legitimate offspring of the phenomenon of language,” while Ghadi (2010) emphasizes that it is an activity carried out by individuals to communicate ideas and thoughts across different languages These perspectives offer a foundational understanding of translation as both a linguistic process and a communicative endeavor.
Le and Nguyen (2008, p.3) highlight that translation can be viewed in two ways: as “a product” or “a process.” As a “product,” translation refers to the final text that has been translated, while as a “process,” it emphasizes the activity involved in the act of translating.
Translation studies have evolved significantly, leading to the classification of translation into two primary branches: written translation and oral translation, often referred to as interpreting (Munday, 2001, p.17) This distinction is essential for understanding the different methodologies and practices involved in each type of translation.
This paper focuses on written translation, deliberately excluding oral translation, which is typically referred to as interpreting It primarily addresses issues related to written translation and aims to explore the translation of English movie titles into Vietnamese Throughout this research, the term "translation" will specifically refer to written translation.
Translation is a multifaceted process, as highlighted by various scholars in the field Banja (2009) describes the translator as a "message conveyor," emphasizing the process of translation itself Harmant and Stork (1972) assert that the goal of translation is to closely replicate the grammatical and lexical features of the source language by finding appropriate equivalents in the target language Similarly, Dubois (1973) defines translation as expressing the content of one language in another while maintaining semantic and stylistic equivalences Newmark (1982) characterizes translation as a craft aimed at replacing a written message in one language with the same message in another He further simplifies this concept in "A Textbook of Translation" (1988), defining it as the rendering of a text's meaning into another language, aligning with the author's original intent.
In this paper, translation is defined as the process of accurately conveying the meaning and aesthetic nuances of the source text (ST) into the target text (TT) in written form.
Extensive research in translation strategies reveals a diversity of definitions and perspectives among various authors and theorists Each researcher presents unique viewpoints, leading to a range of interpretations and descriptions of translation strategies.
Baker (1992, p.26) identifies eight effective strategies employed by professional translators to address challenges in translation tasks These strategies include: using a more general term, cultural substitution, loan words with or without explanations, paraphrasing with related or unrelated words, omission, and illustration While Baker's strategies are clearly articulated, they primarily focus on word-level translation, highlighting the need for a broader approach that extends beyond individual words.
Translation strategies can be categorized into "global" strategies, which address entire texts, and "local" strategies, focused on specific text segments, as defined by Bell (cited in Ordudari, 2007) This understanding is supported by prominent translators and scholars, including Newmark (1988) and Vinay and Darbenet.
In this paper, the term "translation strategies" is defined as the methods and procedures used in translation that address entire texts and their segments, providing a comprehensive understanding of the nature of translation strategies.
Until the latter part of the 20th century, translation theory was often confined to a narrow debate, described by Munday (2001) as being “locked in” and characterized by Steiner (1998) as a “sterile” controversy surrounding the concepts of “literal,” “free,” and “faithful” translation methods.
The rich translation tradition of the Arab world, particularly during the Abbasid period in Baghdad, showcased a significant focus on translating Greek scientific and philosophical texts into Arabic, often using Syrian as an intermediary language This era was marked by intense translation activity, highlighting the importance of both "literal" and "free" translation methods as described by Baker (2004).
The first [method] […] was highly literal and consisted of translating each Greek word with an equivalent Arabic word and, where none existed, borrowing the Greek word into Arabic
(Baker, 2004, p.320) Newmark, a famous translator and translation theorist, also differentiates between word-for-word and sense-for-sense approaches However, he also finds that
The concept of the "triumph" of the "consumer" is often illusory, as it highlights the need to bridge the gap between the source and target languages This can be achieved through a systematic approach that includes eight distinct translation methods, which are visually represented in a V-diagram.
Figure 1.1 Newmark‟s V_diagram of translation methods
Newmark (1988) presents a theory of translation procedures that translators can employ to address smaller segments of text His practical approach and comprehensive descriptions have led to widespread recognition of his methods, significantly influencing many subsequent scholars in the field (Thuy).
This study explores translation strategies, distinguishing between global and local approaches, and incorporates eight translation methods along with sixteen procedures as outlined by Newmark (1988).
Translation quality assessment
1.2.1 A review on models of translation quality assessment
Testing a translation is essential to ensure it accurately conveys the source text's message while sounding natural in the target language (Larson, 1984) The quality assessment of a translation is central to translation criticism (House, 2001) Consequently, numerous efforts have been made to establish effective evaluation methods for translations.
“evaluate the quality of a translated work” (Faghih & Jaza‟ei, 2015)
Larson (1984) presents a model for translation quality assessment (TQA) that emphasizes the comparison of the translated text with the original This model evaluates translation based on three key criteria: accuracy, clarity, and naturalness.
1) Accuracy: conveys all the information that is in the source text Sometimes the translator struggles with reformulating the message and may include information that is not in the source text or meant in the source text This information should be removed from the translation
2) Clarity: the translation must be understandable to the people who are depending on it for information A translation may be accurate without being clear It tends to contain ambiguity Ambiguity is when a phrase or sentence could have more than one meaning in a specific context so the target audience is not sure of the intended meaning
3) Naturalness: A translation can be accurate and clear and still not be natural A natural translation is idiomatic and uses the grammatical forms ordinarily used in the target language Ideally the translation does not sound like a translation, instead it sounds like a text originally created in that language
While the model may seem straightforward, it merely outlines three factors that translators must consider during the translation process The interrelationship between these factors is not explicitly defined, leading to ambiguity in the criteria This is evident as one native speaker may perceive the translated text as natural, while another may disagree.
An assessor using this model may struggle to determine if a translated text achieves the same impact on readers as the original does in the source language.
One highly regarded model in translation theory is House's (1977) framework, which emphasizes the preservation of meaning across languages House identifies three fundamental aspects of meaning: Semantic, Pragmatic, and Textual This theoretical foundation underscores the importance of maintaining the integrity of meaning during the translation process.
The semantic aspect is the most easily accessible from the three aspects and has been given preference by evaluators However, the pragmatic aspect, which is
"the particular use of an expression on a specific occasion" (House, 1977, p.27) is very important in translation because translation deals with language in use
The textual aspect of language is often overlooked, yet it plays a crucial role in translation Elements such as substitutions, anaphora, and ellipses contribute significantly to the overall meaning of a text, and it is essential to maintain these features to ensure accurate translation.
House (1977) emphasizes that translation should aim for functional equivalence, ensuring that both the source and translated texts serve the same purpose To achieve this, a thorough analysis of the text is essential to reveal its intended function.
The model's foundation distinguishes it from other equivalence criteria by focusing on the text's function in a specific context, rather than relying on the writer's intentions—an aspect that cannot be empirically examined—or the reader's responses, which are difficult to quantify According to House (1977), the function of a text is defined as "the application or use of what the text has in the particular context of a situation" (p 37).
Newmark (1988) suggests a translator-focused approach to Translation Quality Assessment (TQA) through five key topics: first, a concise analysis of the source language (SL) text, emphasizing its intention and functional aspects; second, the translator's interpretation of the SL text's purpose, chosen translation method, and intended readership; third, a selective yet representative comparison between the translation and the original; fourth, an evaluation of the translation from both the translator's and critic's perspectives; and fifth, an assessment of the translation's potential role within the target language culture or discipline.
The TQA model proposed by House necessitates a deep understanding of functional grammar (Tien, cited in Thuy, 2009) However, given the number of movie titles analyzed in this research and the specific context of CGV Cineplex, applying House's model proves impractical Therefore, the TQA model recommended by Newmark is more suitable for this situation.
Newmark's translation quality assessment (TQA) model, established in 1988, is recognized for its practical application in evaluating translation quality (Thuy, 2009) Tien (2007) highlights that the steps within this framework stem from the real-world experiences of translators, making it user-friendly and relevant to their concerns Despite its simplicity, Newmark's model is grounded in essential theories vital for assessing translation quality It emphasizes the communicative aspects of translation rather than merely focusing on textual elements, which is particularly relevant for movie titles that serve as tools for engaging audiences Consequently, Newmark's TQA framework, known for its simplicity and adaptability, is deemed the most suitable approach for assessing the collected movie titles in this research.
Newmark (1988, p.186) suggests a model of TQA which consists of 5 “topics” This model is presented in detail as follows:
1) Text analysis: In this very first step, the assessor should analyze the author‟s purpose, that is, the attitude he takes towards the topic In addition an indication of the source text‟s category and type should be analyzed Newmark (1988, p.184) also noted that under no circumstances should the assessor “discuss the author‟s life, other words or general background”
An overview on movie titles
The word “movie” sounds simple and familiar to people, however; it is still necessary to clearly define the term in order to avoid any ambiguity
According to OALD, Movie (n.d.) is “a series of moving pictures recorded with sound that tells a story, shown at the cinema/movie theater” and its synonym is
The term "film" refers to a series of moving pictures recorded with sound that tells a story, typically shown in cinemas or on television, as defined by the OALD While both films and movies can be screened in cinemas, only films encompass moving pictures broadcast on television This research focuses specifically on films shown at CGV Cineplex, using the terms "film" and "movie" interchangeably to describe this medium.
The genre of a movie significantly impacts the translation strategy employed for its title This paper examines how movie genre serves as a crucial factor in evaluating the translation of selected film titles.
Movie classification is a challenging task due to the vast diversity of films available According to IMDB, the world's largest movie database, there are 26 distinct genres, including Action, Comedy, Family, History, Documentary, Reality-TV, and Talk-show However, IMDB's approach to categorizing genres often combines TV series with films, potentially leading to confusion in movie classification.
Andersen (2010) identifies three primary film genres: Romance, Comedy, and Children's movies While he offers an in-depth analysis of each genre, his classification does not encompass the full spectrum of movie types.
Films can be categorized into various genres such as Western, Musical, Comedy, Science Fiction, War, Detective, Gangster, Horror, Film Noir, Social-Political Drama, and Adventure, among others (Tan, 2015) However, this classification method may be inadequate as it lacks clear explanations and criteria for distinguishing between the different genres.
Fischoff (1998) identifies fourteen movie genres, including Action-Adventure, Drama, Comedy, Romance, Musical, Horror, Animation, Science-Fiction, Fantasy, Murder, Biblical, Documentary, Sport-based, and Animal-based, providing detailed descriptions and examples for each However, this research focuses on three predominant genres at CGV Cineplex, making it unnecessary to cover all fourteen Consequently, this paper will concentrate on the Action, Comedy, and Animation genres.
Action films primarily emphasize high-speed sequences, daring feats, and explosive scenes involving guns and vehicles The narratives are predominantly male-driven, prioritizing male interests and values, even when women are portrayed as heroes or villains While there are exceptions like "Thelma and Louise" and "La Femme Nikita," female characters generally occupy subordinate roles and receive less focus in these films.
Comedy is a genre of film that humorously portrays people, relationships, or events, often using jokes, one-liners, or amusing situations Characterized by its satirical tone and typically cheerful endings, comedy focuses on triumphing over unpleasant circumstances to create comic effects and ensure a happy or successful conclusion The primary aim of comedy is to entertain and amuse the audience This genre encompasses various sub-genres, including romantic comedy, comedy of humors, and tragicomedy, each defined by its unique source of humor, context, and delivery style.
Animation is a genre of film created by simulating movement through a sequence of images or frames, with television cartoons serving as a prime example In the realm of multimedia presentations, computer animation plays a crucial role It's important to distinguish between animation and video; while video captures continuous motion and divides it into individual frames, animation begins with separate images and combines them to create the illusion of fluid motion.
1.3.3.1 Functions of movie titles in English
Turgut (2012) emphasizes that a movie title serves as a significant design element, capable of hinting at both the film's narrative and its genre, while also reflecting the overall mood of the movie.
Discussing the functions of movie titles, Duong (2006) states that titles can
A film's title plays a crucial role in capturing audience interest, even if it appears vague or abstract It serves as a hook that stimulates curiosity and desire to watch the movie Providing information about the film can be achieved by summarizing the main plot, uncovering its themes, and offering insightful ideas that resonate with viewers Ultimately, an effective title acts as an attractor, drawing in potential audiences and enhancing their engagement with the film.
Andersen (2010) emphasizes that film titles play a crucial role in attracting audiences, as they are considered the most prominent and visually appealing aspect of a movie's promotional materials.
“displayed” to public before films “run” in the cinemas
Both perspectives on movie titles hold merit, yet limiting their role to merely providing information and attracting audiences undermines the artistic creativity involved in their creation, as noted by Wang (2007) Wang and Sun (2007) identify three primary functions of movie titles: the informative function, the aesthetic function, and the creative expression inherent in the writer's vision.
The informative function of language, as noted by Newmark (1988), emphasizes the importance of conveying factual information about external realities In the context of film, movie titles serve a similar purpose by providing potential audiences with relevant details about the film, such as its genre, main characters, and plot For instance, the title "The Dark Knight Rises" (2012) indicates that the film is an action movie centered around a hero known as "the Dark Knight."
Newmark (1988, p.42) suggests that aesthetic function means “please the senses” Regarding movie titles, this function allows audience to gain sensory
“enjoyment” by using “delicate language” which may contain “vivid images, musical words or various rhetorical devices” (Sun, 2007) In fact, not all the movie titles can perform this function
The vocative function of language is designed to engage the readership or addressees, prompting them to act, think, or feel in a manner intended by the text (Newmark, 1988) When applied to movie titles, this function specifically targets moviegoers, aiming to capture their attention and spark psychological interest in the films (Sun, 2007).
1.3.3.2 Characteristics of movie titles in English
Principles in translating movie titles
Quite a few assumptions about the principles or standards in translating movie titles have been made so far Wang (2007) advocates 4 main principles:
1) Faithfulness: It requires the translator to put in time and energy on the conciseness of the script and try to display the connotation of the movie
2) Cultural awareness: The translator should be aware of cultural information, fully understand it, and properly translate it to the understanding of the target audience
3) Combination of commercial and aesthetic effects: A well-translated title should be a perfect combination of attractiveness and quaintness, and capable of achieving both commercial and aesthetic effects
4) Artistic quality: The movie title itself is an art A good translation must be a good artistic work
The assumption reveals a lack of clarity in distinguishing between "aesthetic effects" and "artistic quality," as noted by Wang (2007), which may result in confusion for readers.
Meanwhile, Duong (2006) remarks 4 standards that a translator should meet when translating movie titles as follows:
1) Faithfulness to the context: The faithfulness is shown in the way that the title should be in either direct or indirect connection with the movie itself
2) Consideration of movie genres: It is necessary to take movie genres into account The translated titles should be produced in a way that can convey the movie genre
3) Cultural awareness: Translation should be acculturation and negotiation between two cultures and translation is now culturally oriented A translator should be aware of and knowledgeable about the extinctive features of English movie titles to avoid mistranslation
4) Combination of commercial and aesthetic effects: Commercially, a movie title is crucial in marketing and appealing to the moviegoers However, the translation cannot go too far out of the original and the movie itself
Duong (2006) and Wang (2007) appear to share the similar ideas However, here, Duong proposes “consideration of movie genre” which is not mentioned by Wang
Minh (2014) conducted research on the principles of translating English movie titles into Vietnamese, identifying three key guidelines for translators These principles emphasize the importance of fidelity to the original titles, the necessity of meeting commercial objectives, and the need to consider cultural differences.
1) Being faithful to the originals: This means a translation should remain loyal to the original titles As original titles are created with certain functions including descriptive, aesthetic and vocative functions, translators should take more account of them That is the beautiful and natural sounds of the SL text should be preserved as well as compromising on meaning where appropriate However, it is noteworthy “originals” should not be restricted to movie titles only; rather it should extend to movies‟ content In other words, a translation is still considered accurate if it stays faithfully or precisely reflects the content of the movie
2) Fulfilling commercial purpose: This is the most decisive and influential principle to bear in mind because the aim of a title and, also, its translation is to attract as many moviegoers as possible Adhering to the principle, translators must make their translations understandable to audience, be able to convey the movie‟s genre and then be ear-catching In addition, a translation should also be brief and succinct to facilitate key art Key art is a specialized term denoting a movie‟s banner, poster, fliers and trailer Original poster and trailer have been designed with a fixed space for the title to attract audience‟s attention Hence, if the translated title is too long compared to the original one, key art designer will encounter difficulties Ideally, a translation should have the same length as the original title to fufill this principle However, due to quite a few differences between the two languages, it is acceptable for a translator to produce longer translation compared to the original title Even in these cases, translators should never make their translations four words longer than the original text
3) Being aware of cultural differences: This means translators should avoid sensitive words Regarding cultural differences between Vietnamese and English, translators should avoid using sensitive words These include sex-related words, political words, violence-related words, religious words There are two main reasons for this Firslty, those words seem to be unacceptable to the majority of Vietnamese people Secondly, such sensitive words, especially politics-related and religion- related ones are not permitted by Vietnamese authorities who are reluctant to develop political sensitivity Furthermore, cultural difference also refers to cultural words or pharses in English These words and phrases should also be adapted to make them accurate, natural and appropriate in Vietnamese
This chapter provides an overview of translation, including strategies, quality assessment, and movie titles Translation is fundamentally the process of accurately conveying the meaning and aesthetic values of the source text (ST) into the target text (TT) It outlines eight translation methods—Word-for-word, Literal, Faithful, Semantic, Adaptation, Free, Idiomatic, and Communicative—alongside sixteen translation procedures such as Transference, Naturalization, and Modulation Among various quality assessment models, Newmark's framework is highlighted as the most suitable for this research, encompassing five key areas: text analysis, the translator's purpose, comparison with the original, evaluation of the translation, and considerations for the translation's future.
Movies are defined as a series of moving pictures with sound that tell a story, typically shown in cinemas English movie titles serve three primary functions: informative, aesthetic, and vocative, which contribute to their notable characteristics Many English movie titles include proper names, often related to characters or settings, and they tend to be brief, appearing as single words, phrases, or occasionally sentences Additionally, these titles can be descriptive, outlining the topic, or allusive, connecting to external references When translating movie titles from English to Vietnamese, particularly in CGV Cineplex, translators must adhere to standards such as maintaining fidelity to the original title and content, fulfilling commercial objectives, and being mindful of cultural differences.
RESEARCH METHODOLOGY
Qualitative approach
The study employs both qualitative and quantitative approaches to enhance the understanding of translation quality assessment and translation techniques, as integrating these methods can yield insights unattainable by either approach alone (Woolcock & Rao, 2003) To evaluate translation quality, a framework will be used that combines a contrastive analysis of original English movie titles and their translations, allowing for a statistical assessment of the translated titles Additionally, interviews with translators will provide an insider's perspective on the field (Burns, cited in Le, 2010) This dual approach enables the research to comprehensively analyze both the translated movie titles and the translators themselves, ultimately addressing the core research issues.
Setting
The study was carried out at CGV Cineplex, which began operations in Vietnam in 2005 Over the course of a decade, CGV Cineplex has established itself as the premier distributor of Hollywood films in the country, commanding an impressive 90% share of Vietnam's movie industry revenue (Long, 2015).
Before a movie is released in Vietnam, its title must go through several phases Initially, the marketing team at CGV Cineplex introduces the upcoming film A group of translators is then tasked with translating the movie's title and subtitles, followed by discussions to select the most appropriate Vietnamese title for submission to the distribution manager If the title is not approved at this stage, re-translation is required Once the distribution manager approves the title, it is sent to the original studio for final approval, where it is referred to as the "local title." If the local title receives approval, the movie is released; if not, it returns to CGV for further editing The rigor of this process largely depends on the original studios and the significance of the films, particularly blockbusters like Avatar (2009) and Thor.
In 2011, movies were released in Vietnam under their original English titles, requiring distributors to obtain permission from the Cinema Department of Vietnam (Tran, 2012).
Figure 2.1 The process of releasing a local movie title in CGV Cineplex
Design of the study
This research aims to evaluate the quality of Vietnamese translations of English movie titles and propose techniques to minimize errors in the translation process To achieve this, a contrastive analysis was conducted between original titles and their translations, assessing their quality Additionally, interviews were held with successful translators of the selected movie titles to explore effective translation techniques Consequently, the study was structured into two distinct phases.
Phase one aimed to address the initial research question regarding the evaluation of translated movie titles This phase focused on analyzing the titles of animated, action, and comedy films released at CGV Cineplex from 2011 onward.
2014 would be collected and analyzed
The study took advantage of purposive sampling, in which samples are
The current research focuses specifically on animation, comedy, and action movie titles released in 2011 at CGV Cineplex, selected purposefully to align with the researcher's objectives of gaining insight into these particular genres (Burns, 2000, p.465).
Initially, the researcher aimed to analyze all English movie titles released by CGV Cineplex since its inception in Vietnam in 2006 for a comprehensive study However, challenges arose that hindered this goal With approximately 50 movies released annually, the total would reach around 400 titles from 2006 to 2014, raising concerns about managing such a large sample size within a four-month timeframe Additionally, the researcher faced difficulties locating a database that listed movies screened at CGV Cineplex from 2006 to 2010.
Movie titles were chosen based on specific criteria, focusing exclusively on animation, comedy, and action films released by CGV Cineplex Additionally, all selected titles must be original in English and current, ensuring they are accessible and reliable for research purposes.
Between 2011 and 2014, CGV Cineplex showcased 126 movies, which were carefully selected based on specific criteria These films were divided into three main genres: animation, comedy, and action Within each genre, the titles were further categorized into two sub-types: descriptive titles and allusive titles.
In this phase of the study, document observation was selected as the primary data collection method due to its ability to provide credible evidence, as noted by Eisner (1991) This approach is particularly effective for generating detailed descriptions of specific phenomena, events, organizations, or programs, as highlighted by Stake (1995).
As contrastive analysis was chosen as the data collection method, the instruments employed to gather data would be 126 selected movie titles in English and their Vietnamese translated versions
In this stage, the data collection procedure basically consisted of two main steps as follows:
The very initial and essential step of this research is collecting the titles of the animation, comedy and action movies shown in CGV Cineplex from 2011 to
In 2014, the researcher gathered session times for movies by visiting the official Cineplex website and conducting Google searches This process allowed for easy identification of movie genres, leading to the selection of films from three specific categories: animation, comedy, and action.
Most foreign films in Vietnam are only available with translated titles Each movie's title is typically translated by its local distributor, but not all films screened at CGV are distributed by Cineplex To ensure the accuracy of CGV Cineplex's translated titles, it was essential to confirm that these titles corresponded to films released by Cineplex This verification process involved searching on YouTube using the format: Vietnamese title + CGV/Megastar trailer The trailers usually indicate distribution by CGV or Megastar Cineplex at the beginning or end, and the original English title is also presented at the conclusion of the trailer.
Step 2: Establishing database of original and translated movie titles
To facilitate the analysis and comparison of movie titles, a comprehensive database was created that includes original English titles alongside their Vietnamese translations The collected titles were categorized into three genres: animation, comedy, and action movies Within each genre, titles were further classified as allusive or descriptive For animated films, there were 14 descriptive titles and 4 allusive titles In the comedy genre, the breakdown included 9 descriptive titles and 7 allusive titles Action movies featured a significant number of titles, with 70 being descriptive and 22 allusive.
The data analysis procedures were based on Newmark's (1988) assessment framework, which encompasses five key topics: ST analysis, translator's purpose analysis, and translation Since the titles selected for this study had already been released prior to the analysis, the focus was on the first four topics The assessment included a systematic evaluation of various genres, specifically animation, comedy, and action movies.
Step 1: Analyzing the source text
An in-depth analysis of original movie titles was conducted to determine their characteristics, specifically whether they are descriptive or allusive, and to examine the language used in entitling films.
Step 2: Analyzing the translator’s purpose
The characteristics of translated titles were also studied This aimed to identify whether the translator had made any changes when translating the titles from English into Vietnamese
Step 3: Comparing the translations with the originals
This article analyzes the translation strategies employed for the titles of animation, action, and comedy movies, focusing on how translators addressed specific challenges in the source language texts It examines the major issues encountered in title translations, including cultural references, proper names, and sequel titles, and discusses the methods used to resolve these problems By categorizing these challenges, the study aims to provide insights into the complexities of translating movie titles across different genres.
The accuracy of a translation is evaluated based on both the translator's and assessor's standards A translation is deemed successful if it remains semantically and pragmatically faithful to the original text, with the assessor comparing it to the movie's content Movie title translators adhere to specific principles, ensuring that translations reflect the film's content, are understandable to the audience, and are succinct Ultimately, translations are categorized into four groups: 1) Fully meet the TQA framework; 2) Only meet the translator's standard; 3) Only meet the assessor's standard; and 4) Fail to meet the TQA framework.
After each step, the findings were synthesized to answer the research question regarding to what extent the translations meet the requirements in the translation quality assessment framework (Newmark, 1988)
The researcher evaluated the translations of selected movie titles and identified effective translation strategies, though the findings were subjective To address this limitation, Phase two involved interviewing translators who achieved successful translations in Phase one, allowing them to share the techniques they employed to navigate challenges in translating movie titles.
