번역가의 영상해독과 자막-번역: 자막과 시점(視點)의 관계를 중심으로

Abstract

This paper attempts to examine the roles of viewpoints in the practice of subtitling. Oftentimes, the audiovisual translator's lack of visual literacy has been pointed out as one the major problems when subtitling. (Chang, 2008:33) But then how to exactly define visual literacy becomes rather complex and is not a simple question. In this context, we aim to limit our focus to the question: how do translators understand films? Moreover, we intend to shed light particularly on the roles of viewpoints, which is an indispensable element for filmic comprehension. For the audience of modern films who can be potentially omnipresent in the space of cinema, the game of viewpoints that is led by the director is one of the keys to understanding cinematic description. (Magny, 2011:88) Throughout history the issue of viewpoints was on the rise since the end of 19th century among novelists such as Marcel Proust and Henry James, and is still being widely discussed in the academic fields of research in literature as well as cinema. Such awareness of a problem is directly related to a series of some critical questions: who watches and who sees?; Who talks and who knows? Such questions are mainly studied and addressed in this paper. We have four examples from four films: Rear window (AlfredHitchcock, 1954), L'homme qui ment (Alain Robbe-Grillet, 1968), Ma nuit chez Maud (Eric Rohmer, 1969), The Dark knight (Christopher Nolan, 2008). In this paper, we will examine roles of the viewpoint and subtitles (in English, Korean, Japanese) in some scenes from these films. We try to elucidate the complex roles of viewpoints while particularly highlighting the discrepancy in understanding the films by different translators.