Abstract
This article examines the question of the holding capacity of subtitles with respect to the connotations, levels of language and especially a balanced equivalence vis-à-vis the original dialogue of a film. Basing our research on an objective corpus, we have studied two French films, the English subtitled versions of which are still quite popular, Au revoir les enfants and 37°2 le matin ('Betty Blue'). We have drawn on current theories of translation in general and of subtitling in particular. We have also drawn on the notion of literary equivalence in the field of translation (Ponce, Hatim and Mason, Vinay and Darbelnet and others), as well as on the notion of connotation (as developed by Kerbrat-Orecchioni).
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