多此一舉還是必要之舉？從「聲畫關係」看動畫電影的配音與字幕翻譯

Abstract

聲畫同步（synchronization）是配音翻譯的一項重要理論，以嘴型同步、動作同步，以及說話時間同步三個面向來檢視一部配譯影片在聲音與畫面之間的關係是否協調。同樣作為影視文本的一種，卻少有研究從聲畫關係的角度來探討字幕翻譯是否也能滿足這樣的同步性。好萊塢動畫電影在臺灣播映時，通常會分為國語配音版及原聲字幕版，本文針對《動物方城市》和《魔法滿屋》兩部電影進行個案分析，從聲畫同步理論的觀點來探究配音翻譯與字幕翻譯各自在聲畫關係上的同步程度，並進一步討論兩種文本在本質上的差異及存在的必要性，以及歌曲配譯追求同步性的可行性。研究結果發現，配音翻譯大多嚴謹遵守了聲畫同步的原則，字幕翻譯則以簡化原則為主，而字數限制是形成兩者差異的根本原因，因為配音翻譯必須依循原文的句長，字幕翻譯卻受到閱讀速度及畫面呈現的限制而必須精簡，使其難以滿足聲畫同步。

As the crucial theory in dubbing translation, synchronization examines the relationship between sound and image in a dubbed film from three perspectives: lip synchronization, kinetic synchronization, and isochrony. While subtitling translation also deals with sound and image, few studies have examined whether it can satisfy such synchronization from the perspective of the sound-image relationship. This thesis focuses on the case studies of two animation movies, Zootopia and Encanto, to examine the differences in synchronization between dubbing and subtitling from the viewpoint of synchronization theory. It also discusses the feasibility of synchronization in song translation. Based on the analysis, most dubbed lines strictly adhere to the principle of synchronization between sound and image, while subtitling focuses more on simplification. The word limit is the fundamental reason for the difference between the two. While dubbed dialogue must follow the sentence length of the original text, subtitles have to be concise due to the limitation of reading speed and on-screen space, making it hard to meet the need for synchronization.