 When you are drawing the conclusions from your research, it is also time for you to go back to the objectives you set from the start. The objectives initiate your research, so it is only reasonable to have the results echo them to demonstrate the coherence of your research.
The objectives and the results below are taken from a research paper entitled ＾The Power of Film Translation￣. Read them and try to find out if the results echo the objectives. Please write your answers to the questions in the space provided.
Objectives
Each country cultivates a different tradition of translating films and subscribes to one of the two major modes: dubbing and subtitling as far as cinema translation is concerned, or sometimes to a third, minor, mode！voiceover！in the case of television translation. The decision as to which film translation mode to choose is by no means arbitrary and stems from several factors, such as historical circumstances, traditions, the technique to which the audience is accustomed, the cost, as well as on the position of both the target and the source cultures in an international context (Dries, 1995). This research focuses on cinema translation only and aims to demonstrate that dubbing is a form of domestication whereas subtitling can be regarded as foreignisation. However, this does not mean that television translation is less worthy of academic investigation. On the contrary, analysis of television translation constitutes an excellent material for further research, and it is only disregarded here for reasons of clarity and lucidity of argumentation.
Results
Films can be a tremendously influential and extremely powerful vehicle for transferring values, ideas and information. Different cultures are presented not only verbally but also visually and aurally, as film is a polysemiotic medium that transfers meaning through several channels, such as picture, dialogue and music. Items that used to be culture-specific tend to spread and encroach upon other cultures. The choice of film translation mode largely contributes to the reception of a source language film in a target culture.
On balance, there is no universal and good-for-all mode of translating films. As was stated above, the methods are dependent upon various factors, such as history, tradition of translating films in a given country, various audience-related factors, the type of film to be rendered, as well as financial resources available. What is also of primary importance here is the mutual relationship between the source and target cultures, as it will also profoundly influence the translating process.
All things considered, the two major translation modes, i.e. dubbing and subtitling, can be said to occupy the two opposite ends of the domestication-foreignisation continuum. As it was shown in this article, dubbing is a domesticating strategy which neutralises foreign elements of the source text and thus privileges the target culture. In contrast, subtitling is an example of a foreignising strategy since it stresses the foreign nature of a film and it is a source-culture-bound translation. It is clear that translated material can be domesticated or foreignised to different extents, and hence be placed somewhere along the domestication-foreignisation continuum.
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