Автор: Пользователь скрыл имя, 10 Апреля 2013 в 23:35, дипломная работа
Целью данной работы является выявление и описание лингвистических и экстралингвистических особенностей перевода кино и видеопродукции. Данные особенности включают в себя как чисто лингвистические так и экстралингвистические.
Задачи исследования состоят в следующем:
1.Изучить теоретический материал лингвистического и экстралингвистического характера по вопросам, касающимся перевода кино- и видеопродукции
2.Выявить основные подходы к переводу широкоформатной продукции
3.Дать характеристику особенностям перевода диалогической и монологической речи в фильмах, а также особенностям перевода авторского дискурса
Введение............................................................................................................2
Теоретическая часть
1.Общие сведения о переводе кино- и видеопродукции.............................4
2.Перевод диалогической речи....................................................................12
3.Открытый диалог и его особенности.......................................................14
4.Сценарий фильма как дискурс.................................................................17
5.Диалогическая типология высказываний................................................19
6.Конститутивная неоднородность авторского дискурса в фильмах......24
7.Диалог как стратегия авторского дискурса.............................................28
Практическая часть
1.Перевод:Отрывок из сценария к фильму “Твин Пикс”.(Twin Peaks)...................32
2.Переводческий комментарий....................................................................57
Заключение..................................................................................................60
Список использованной литературы.........................................................61
Оригинал отрывка сценария к фильму “Twin Peaks”..............................62
imprinted on it. Take a look.
Desmond comes around and takes a look.
On a piece of paper.
CLOSEUP: DESMOND
Pondering what he has seen.
ON THE SCENE
We move across to a clock on the wall that reads: 5:04.
DISSOLVE TO:
THE SAME CLOCK
It now reads 3:33. Stanley zips up a regulation body bag around
Teresa.
DISSOLVE TO:
18. EXT. MORGUE - LATE NIGHT
Desmond and Stanley come out of the morgue.
STANLEY
Geez, Agent Desmond, it's three-thirty
in the morning. Where are we going to
sleep?
DESMOND
We're not. You and I are going to get
some food.
STANLEY
Yes, it's been several hours since we've
eaten. I didn't realize that so much
time had past, did you, Agent Desmond?
Desmond takes a long look at Stanley.
STANLEY (continued)
You've got your own M.O., don't you,
Agent Desmond?
Desmond gets in and starts the car.
19. EXT. HAP'S DINER - LATE NIGHT
Establish.
20. INT. HAP'S DINER, MANAGER'S OFFICE - LATE NIGHT
Desmond and Stanley talk with JACK, the manager who has black wavy
hair with a black full mustache to match, shiny silk shirt with silver
strands sown in and an Indian turquoise belt. He has a sign on his
shirt that says, "Say 'Goodbye' to JACK".
A GUY in the room is working on a light that keeps buzzing and
shorting out. He doesn't really know what he's doing so he is
poking at the wiring.
JACK
Had the FBI here once before. Back in
the fifties when Hap was running the
place.
DESMOND
Where's Hap?
JACK
He's dead - good and dead.
DESMOND
Sorry to hear it.
JACK
He didn't suffer.
DESMOND
I'd like to ask you a few questions about
Teresa Banks
JACK
Sheriff Cable's already asked me a few
questions about Teresa Banks. She
worked nights for a month. That's it.
DESMOND
Any friends?
JACK
No.
DESMOND
Ever see her with someone else?
JACK
No.
DESMOND
Did she ever mention any friends?
JACK
No.
(pointing)
Ask Irene over there.
He gestures thru a door that leads out to the diner, pointing out a
woman behind the counter.
JACK (continued)
Now, her name _is_ Irene and it _is_ night.
Don't take it any further than that.
There's nothin' good about it.
21. INT. HAP'S DINER - SAME
They sit at the counter and IRENE comes over to them. Behind her is
the coffee and she is working on a cigarette. Lipstick smeared on
the coffee cup.
IRENE
Take a good look around. There's nobody in
this place - you're meetin' the reason
why. What'll it be?
DESMOND
How come Jack let's you work here?
IRENE
Jack and I are united in holy matrimony.
DESMOND
Say no more.
Stanley is casing the restaurant as Irene pours them a couple of cups
of coffee.
DESMOND
(showing credentials)
Federal Bureau of Investigation, Special
Agent Chet Desmond. I'd like to ask you
a few questions about Teresa Banks.
Jack said you knew her. How well?
IRENE
She only worked here a month. Nice
girl. Never seemed to get here on time
though. Ask me she had a little problem
with --
She makes a sniff to indicate a "cocaine problem".
IRENE (continued)
Came looking for a job with a friend of
hers. Pretty girl. Could've been her
sister.
DESMOND
What happened to her?
IRENE
There was only one job. Teresa took the
job. Her friend took a hike. Never saw
her again.
DESMOND
Did you ever see Teresa take cocaine?
IRENE
No.
DESMOND
Do you take cocaine, Irene?
IRENE
No, I do not. I never took cocaine or any
other drugs. I don't take drugs.
STANLEY
Nicotine is a drug. Caffeine is a drug.
IRENE
Who's Shorty? Those drugs are legal.
DESMOND
He's with me.
(back on the track)
Anything you would like to tell us about
Teresa Banks that would help us out?
IRENE
I've thought about that. I think her
death is what you would call a "freak
accident".
DESMOND
Thanks.
An OLD GUY, long and skinny, smoking, gets Desmond's attention.
OLD GUY
You talking about that little girl that
was murdered?
DESMOND
You have something to tell us?
OLD GUY
Yeah.
DESMOND
What?
OLD GUY
I can tell shit from shinolah. Gets me
along way down that road.
Desmond moves away from him.
STANLEY
You think we ought to question him?
Desmond looks down at the coffee cup in Stanley's _left_hand_.
DESMOND
What time is it, Stanley?
Stanley checks his watch pouring hot coffee on himself.
STANLEY
Oh...
Desmond guides his laugh into a cough.
STANLEY
(looking at his watch while his
legs burn)
Agent Desmond, it's...
DESMOND
It's late, Sam.
STANLEY
(to himself as be dabs his pants
with napkins)
It's not late, it's early. Really early.
Irene comes up to them with her purse in her hand. She is going off
duty.
IRENE
You know, I never told anybody, but once
for about three days, just before her
time, Teresa's arm went completely
dead.
DESMOND
What do you mean?
IRENE
Her left arm. It was numb. She said she
couldn't use it. Said it had no feeling.
Probably from the drugs she was taking.
(after a beat)
I just thought I ought to tell you.
DESMOND
Thanks.
Stanley watches her leave.
STANLEY
I doubt it was drugs, more likely a
problem with a nerve. I could recheck
the arm for injuries, but for real nerve
work we are going to have to take the
body back to Portland.
DESMOND
I think that's a good idea.
22. EXT. HAP'S DINER - NEAR DAWN
As Desmond and Stanley head towards their car.
DESMOND
I think we should see the sun rise at the
Canyon Trailer Park.
STANLEY
Are you speaking to me in a code?
DESMOND
No, Sam, I'm speaking plainly and I mean
just exactly what I say.
STANLEY
In that case, we should go to the Canyon
Trailer Park.
Irene walks past them and towards the parking lot.
STANLEY AND DESMOND
Thanks, Irene. Good...
(catch themselves)
Good morning.
STANLEY
Thank god it is morning.
23. EXT. CANYON TRAILER COURT - DAWN
Desmond and Stanley drive thru to the manager's trailer which is
surrounded by a small white picket fence. They park and step to the
trailer. Desmond knocks twice on the door. From inside they hear a
voice that makes Cole's voice sound like a whisper.
VOICE
OH, GOD, WHAT... WHAT...
Just then Desmond and Stanley notice a sign on the door that reads.
"DO NOT EVER DISTURB BEFORE 9
A.M... EVER"
VOICE
CAN'T YOU READ!
STANLEY
Nine's really late. We are really early.
They both fumble for their badges as they hear the manager coming
closer to the door. They meet the manager, CARL RODD.
CARL
God damn, this better be
important.
He stops in the middle of this when he sees the badges.
DESMOND
Federal Bureau of Investigation, Special
Agent Chet Desmond and Agent Sam
Stanley. Sorry to disturb you, but we
would like to see Teresa Banks' trailer,
please.
CARL
More popular than Uncle's Day at a
whorehouse.
(takes one step out of his trailer)
GOD DAMN, THAT MORNING SUN IS
BRIGHT! BLUE BRIGHT.
Carl steps thru the little picket fence's gate and leads them towards
Teresa's Trailer.
CARL (continued)
Mrs. Simmons owns the trailer and she
lives in town. Teresa rented it about a
month ago.
DESMOND
Did she have someone with her?
CARL
Right. She had a friend with her. The
friend took off.
DESMOND
Was there an argument?
CARL
Not that I know of. But arguments do
happen, don't they?
DESMOND
Yes they do. Did she have visitors?
CARL
No, hey, I already told this whole damn
thing to Sheriff "Not-Quite-Able"...
Here's the trailer now.
He swings open the door.
CARL (continued)
And this is exactly the way she left it. I
never touched a GOD DAMN THING.
(frustration rising)
GOD!
Desmond and Stanley go in.
24. INT. TERESA'S TRAILER
Desmond smells the room. He and Stanley look around. Stanley leans
over to Desmond.
STANLEY
(whispers)
She lived alone.
DESMOND
She must have known someone.
Desmond notices her personal effects on the dresser, but no ring.
DESMOND (continued)
You better dust this place, Sam.
STANLEY
I'll get my kit.
25. EXT. CANYON TRAILER COURT
Stanley walks towards the car. He writes in his note book.
STANLEY
(to himself)
5,600 dollars.
26. INT. TERESA'S TRAILER
Desmond notices a picture hanging on the wall. Takes the picture
down and looks at it thru his magnifying glass.
(more)
INSERT - PICTURE
Teresa Banks is wearing a ring.
BACK ON THE SCENE
Stanley returns with his equipment. Desmond shows him the photograph.
DESMOND
Take a look at this.
STANLEY
She's wearing a ring.
Stanley studies it.
DESMOND
My guess is there isn't enough detail in
the photo to get an idea of the design on
the ring, but we should do a blowup of
this anyway.
STANLEY
(squinting at the picture)
May I see the magnifying glass, Agent
Desmond?
(takes a look, then looks at
Desmond)
There doesn't seem to be enough detail
in the photo to ascertain the design on
the ring.
Carl leans in from the outside.
CARL
I'm gonna make myself some Good
Morning America. You want some?
Both nod "yes".
DISSOLVE TO:
27. INT. TERESA'S TRAILER - LATER
Stanley is finishing up his work. Carl brings them their coffee.
Desmond tastes the coffee under Sam's watchful eye.
DESMOND
You weren't kiddin'. This stuff's got the
sting of the forty-eight hour blend.
CARL
That's right. That's the best coffee
you're gonna get around here.
STANLEY
(watching Desmond drink)
We really do need a good "wake me up",
don't we, Agent Desmond?
(after a long look from Desmond)
We really do need a good "wake me up",
don't we, Agent Desmond?
A WOMAN sticks her head into the trailer. She has an ice pack over
one eye and a load of idle curiosity. Desmond notices her.
DESMOND
Did you know Teresa Banks?
She just nods in the negative and leans back out. Behind her is
Deputy Cliff, who looks into the trailer.
CLIFF
Hey, how's J. Edgar doin'?
(to Carl)
Bet you appreciate them bustin' your
mornin' in half, eh, Carl? Bet they woke
you up.
CARL
They're only doing their job.
DESMOND
What are you doing here in the trailer
court, Deputy?
CLIFF
Maybe I just live here, what do you
think about that?
DESMOND
Can I ask you where you were the night
Teresa Banks was murdered?
CLIFF
You can tell J. Edgar that I was at a
party and I got fifteen fuckin'
witnesses.
CARL
Maybe if you did a little less partyin'
that little girl would still be alive.
CLIFF
Is that right, Mr. Jack Daniels?
DESMOND
Did you know Teresa Banks?
CLIFF
Got a couple of cups of coffee at Hap's
from her. That's it. By the way where
do you get off questioning a lawman? I
could ask you the same question.
DESMOND
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