A Probe Into Subtitle Translation Of Documentaries In The Light Of Reception Aesthetics Theory

Documentary films are artistic works that perform both entertaining and educational functions, and they are commodities as well. With its unique features, subtitle translation of documentaries is quite different from the conventional translation, for in addition to abiding by all the general principles of interlingual conversion, it is also subject to special technical restrictions from time, space, character number, line, pictures and sounds. And it is distinct from the subtitle translation of other films and television programs as well, for the methods and principles applicable to other types of subtitle translation are not all suitable for subtitle translation in its case.Applying the theory of reception aesthetics as its interpretive framework, this paper takes a close look at possible factors involved in E-C subtitle translation of documentary films and explores practical strategies for dealing with these factors. Reception aesthetics theory puts its focus on the reader and her horizon of expectation, understood in terms of a set of potential and variable aesthetic expectations on the reader’s part.The age of globalization and cultural fusion has significantly enhanced Chinese audience’s ability to accommodate and learn from other cultures in the world, effectively expanding the space for foreignizing translation. At the same time, the target audience of documentaries has been growing in size and diversity. All these trends are posing tough new challenges to the traditional standards and strategies of subtitle translation.Studies in this paper show that in the light of reception aesthetics, subtitle translation of documentary films is required to give a place of central importance to the response of audience. It must be highly sensitive and responsive to any change and variation in the target audience’s aesthetic standards and receptive ability, giving adequate consideration to various factors affecting the contours of Chinese audience’s horizon of expectations, and adopting flexible and mixed translation strategies to satisfy the audience’s interests and needs.