CHAPTER IITHEORITICAL FRAMEWORK

A. Translation1. Definition of translation

Translation is transferring an idea from the source language

(SL) to the target language (TL). Every country have their own

language, therefore a translation was needed to communication each

other people in the world. In another ways, translation has been

used to transfer written or spoken the source language (SL) into the

target language (TL).

In translation, the form of the source language is replaced by the

form of receptor (target) language. "Translation is a craft consisting in

the attempt to replace a written message and/or statement in one

language by the same message and/or statement in another

language". According to Newmark’s statement the message of language

is very important. Study translation can avoid a misunderstanding for the

source language to the target language. Produces a good translation,

the translator is able to understand ideas and thought, including the

message expressed in the source language and representing the target

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language. Translation is important function in language, without

translation we will not know the meaning from another language.1

Larson (1991: 17) states that the ideal translation will be accurate as

to meaning and natural as to the receptor language forms used. An

intended audience who is unfamiliar with the source text will readily

understand it. The success of a translation is measured by how

closely it measures up to these ideals. The ideal translation should be:

1. Accurate: reproducing as exactly as possible the meaning of the source

text.

2. Natural: using natural forms of the receptor language in a way that is

appropriate to the kind of text being translated.

3. Communicative: expressing all aspects of the meaning in a way that is

readily understandable to the intended audience.2

2. Translation Process

In translation study, there is a translation process to make a good

translation. As Harianto’s statement, there are two concepts in

translation process; old concept and modern concept. Old concept

translation means just transfers the message from the source language

into the target language. While in modern concept which is proposed1 Peter Newmark, A Textbook of Translation (London: Prentice Hall, 1988).

2 Mildred L. Larson, Translation: theory and practice, tension andinterdependence (American Translators Association scholarly monographs,Binghampton, NY: State University of New York, 1991).

10

by Nida and Taber in Harianto (2004) states that translating process

indicates and is been to undergo three phases; (1) analyzing or

understanding the meaning, the concept, and the message of the source

language, (2) transferring the result of analysis into the similar message into

the target language, and (3) restructuring the transferred message into

good target language by equivalent words.3 Besides that,

according to Newmark, there are four processes of translation, there

are:

(1) The SL text level, the level of language, where one begins and which

one continually (but not continuously) goes back to. This is the

level of literary translation of the source language into the target

language, the level of translation has to be eliminated, but also

acts as a connective of paraphrase and the paper-down of

synonyms. Translation is pre-eminently the occupation in which the

translator has to be thinking several things at the same times.

(2) The referential level, the level of objects and events, real or imaginary,

which progressively has to be visualized and built up, and which is an

essential part, first of the comprehension, then of the reproduction

process. One should not read a sentence without seeing it on the

3 Nida, E. A., & Taber, C. R, The theory and practice of translation (Leiden:E.J. Brill, 1974).

11

referential level, whether text is technical or literary or

institutional, one has to make up mind summarily and continuously.

(3) The cohesive level, which is more general and grammatical,

which traces the train of thought, the feeling tone (positive or

negative) and the various presuppositions of the SL text. This

level encompasses both comprehension and reproduction: it presents

an overall picture, to which the language level has to be adjust. This

level also links the first and the second level. It follows both the

structure and the moods of the text.

(4) The level of naturalness, of common language which is appropriate to

the writer or the speaker in a certain situation. Natural depends on the

relationship between the writer and the readership and the topic

or situation. What is natural in one situation may be unnatural in

another, but everyone has a natural, ‘neutral’ language where

spoken and informal written language more or less coincide.4

In the other hand, depending on the unit language to be translated,

the translator has recognized three approaches to translation, such as

translation at the level of word (word for word translation),

translation at the level of sentence, and conceptual translation. In the

process translation, the translator should be not change the meaning and

4 Peter Newmark, A Textbook of Translation (London: Prentice Hall, 1988).

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the massage from the source language to the target language, in purpose

to make the audience or the readers understand.

3. Translator

A translator is someone who has competence of both source and

target languages. To conduct a translation is not an easy thing to do.

When translating in every text, the translator has some rules. They

not only just transfer the idea from the source language to the target

language but they also should establish an equivalent translation from

English to Indonesian since they have different system and structure.

Depending on the unit language to be translated, the translator

has recognized three approaches to translation, such as translation at the

level of word (word for word translation), translation at the level of

sentence, and conceptual translation. All of the approaches are to make a

naturally meaning without change the meaning and make it clearly. In the

process of translation need a person who understand well to translate

the source language to the target language. A translator has

competence both the source and the target language. Dealing with

subtitles, the translator usually uses the subtitling strategies to analyze

the source language. On the other hand, a translator should be

familiar with culture, custom, and social setting of the source language

and target language. According to Bassnett, there are statements

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correlated to the ability that translators should have: 1. Accept the

untranslatability of the SL phrase in the TL on the linguistic level 2.

Accept the lack of a similar cultural convention in the TL 3. Consider the

range of TL phrases available, having regard to the presentation of

class, status, age, sex of the speaker, his relationship to the listeners and the

context of their meeting in the SL. 4. Consider the significance of the

phrase in its particular context-i.e. as a moment of high tension in the

dramatic text. 5. Replace in the TL the invariant core of the SL phrase

in its two referential systems of culture out of which the text has sprung.5

Generally, translators should meet three requirements, first,

familiarity with the source language, next, familiarity with the target

language, and the last is familiarity with the subject matter to

perform their job successfully. Based on this premise, the translator

discovers the meaning behind the forms in the source language (SL) and

does his best to produce the same meaning in the target language (TL) using

the TL forms and structures.

4. Audiovisual Translation (AVT)

According to Kuhiwczak & Littau, translation is important thing to

study language. It has always been a central part of communication.

Translation Studies (TS), as a field of research has developed over the last5 S. Bassnett, Translation Studies (2nd Ed.) (London and New York: Routledge1991).

14

two decades, during which screen translation has slowly emerged as a new

area.6 The approach from the new field of Translation Studies is

Audiovisual Translation (AVT). Also Baker & Hochel said that audiovisual

translation is about two forms, they are Subtitling and Dubbing.

“Subtitling is visual, involving the superimposition of a written text onto

the screen. Dubbing, on the other hand, is oral; it is one of a number of

translation methods which makes use of the acoustic channel in screen

translation”.7

Ghaemi and Benyamin state, in globalization, exchange of

information as well as culture are inevitable, and translation between

languages and cultures is necessary thing. Audiovisual Translation (AVT)

which translating, subtitling, and dubbing TV programs, is a relatively

recent category in the area of translation. Besides AVT, other writers

refer to this translation category as audiovisual language transfer, which is

a term used to recognize the process through which an audiovisual

program containing materials in a source language is rendered clearly

as well as accurately to be satisfactorily understood by the target

audience, who are strangers to the source language.

While translation mostly deals with one approach only, which

is written, but in Audiovisual Translation (AVT), according Gottlieb a

6 Kuhiwczak, Piotr and Karin Littau, (eds.), A Companion to Translation Studies(Clevedon: Multilingual Matters, 2007).7 Mona Baker, & Hochel. B, Dubbing. In M. Baker (Ed.), Routledge encyclopediaof translation studies (London: Routledge, 1998), 74.

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translator has to deal with four channels involved in the production of

meaning in an audiovisual media, which are as follow:8

(1) Verbal auditory channel (VAC), including dialogue,

background voices, and sometimes lyrics.

(2) Non-verbal auditory channel (NAC), including music, natural

sound, and sound effects.

(3) Verbal visual channel (VVC), including superimposed titles

and written signs on the sceen.

(4) Non-verbal visual channel (NVC), picture composition and flow.

Meaning produced by the translation in the target language

relies heavily on these channels, as they serve as the context for

the translation.

B. Subtitle 1. Definition of subtitle

One of the ways to translate the foreign film and television

program is subtitling. Subtitles are text derived from either a transcript or

screenplay of the dialog or commentary in films, television programs, video

games, and the like, usually displayed at the bottom of the screen, but can

also be at the top of the screen if there is already text at the bottom of the

8 H. Gottlieb, “Subtitling – a New University Discipline”, In C. Dollerup, & A.Loddegaard (eds.) Teaching Translation and Interpreting: Training, Talent andExperience (Amsterdam and Philadelphia: John Benjamins Publishing Company,1992).

16

screen. They can either be a form of written translation of a dialog in a

foreign language, or a written rendering of the dialog in the same language,

with or without added information to help viewers who are deaf or hard of

hearing to follow the dialog, or people who cannot understand the spoken

dialogue or who have accent recognition problems.9

According to Baker, subtitle are textual versions of the dialogue

in films and television programs. It can be defined as the

transcription of film or TV dialogue presented simultaneously on the

screen.10 According to Gottlieb, subtitles are displayed in the bottom

of screen and in the middle position, one line is consider of 40

characters (35 characters in Europe) and the second line is shorter

than the first one, including of space and punctuation. The

minimum duration is 3 second and the maximum is 5 second for one

line. For two line the duration is 7 second and the maximum is 8 second.11

Diaz Cintas said, traditionally, there existed two types of subtitles, there

are interlingual subtitles, which imply transfer from a SL to a TL, and

intralingual subtitles, for which there is no change of language.12 In

9 https://en.wikipedia.org/wiki/Subtitles (retrieved in 25 Mei 2020).10 Mona Baker, Routledge Encyclopedia of Translation Studies (New York: Routledge, 2001).11 H. Gottlieb, “Subtitling – a New University Discipline”, In C. Dollerup, & A. Loddegaard (eds.) Teaching Translation and Interpreting: Training, Talent and Experience (Amsterdam and Philadelphia: John Benjamins Publishing Company, 1992).12 Cintaz, Diaz, http://www.literarytranslation.com/workshops/subtitling (Workshop: Subtitling, 2000).

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interlingual subtitles, a translator can apply some strategies in translating

the source language (SL) subtitle into the target language (TL).

Translation subtitling is different with the translation,

especially translation of written text. When translate a film or a TV

program the translation, translator firstly, watches the picture and

listens to the audio (sometimes having access to a written transcript

of the dialogue as well) sentence by sentence, and then writes subtitles in

the target language as same as the meaning of the source language.

Subtitles can be used to translate dialog from a foreign language to the

native language of the audience. It is the quickest and the cheapest method

of translating content.

Translating subtitle texts, utterances or conversation in a

film appeared on screen is not an easy task for the translators.

Hatim and Mason (in Venuti 2000) in Politeness in Screen Translating

state that there are four kinds of difficulties working on subtitling. The

first one is the shift in mode from speech to writing. The second is the

factor which governs the medium or channel in which meaning is to be

conveyed. The third one is the reduction of the source text as a

consequence of (2) above and last but not least is the requirement of

matching the visual image.13

13 Venuti, L,The Translation Studies Reader (New York: Routledge, 2000).

18

Nida and Taber state, to understanding the subtitle, the translator

uses translation process. The translation process divided into three

steps, they are analysis, transfer, and restructure. Firstly, the translator

maker received the script of the movie. Then, they will analyze and replace

it into the target language, and the last is rearrange it to be suitable

to be displayed into subtitle.14

Subtitles exist in two forms; open subtitles are 'open to all' and

cannot be turned off by the viewer; closed subtitles are designed for a

certain group of viewers, and can usually be turned on/off or selected

by the viewer - examples being teletext pages, DVB Bitmap subtitles,

DVD/Blu-ray subtitles. Subtitles can appear in one of 3 types they are:15

(1) Hard (also known as hardsubs or open subtitles)we can see

this subtitle in karaoke song lyrics that usually used various

colors, fonts, sizes, animation (like a bouncing ball) etc. to

follow the lyrics. However, these subtitles cannot be turned off.

(2) Prerendered (also known as closed) we can find this subtitle

on DVD. It is possible to turn them off or have multiple

language subtitles and switch among them, but the player

has to support such subtitles to display them.

14 Nida, E. A., & Taber, C. R, The theory and practice of translation (Leiden: E.J. Brill, 1974).15 https://en.wikipedia.org/wiki/Subtitles (diakses pada tanggal 25 Mei 2020).

19

(3) Soft (also known as softsubs or closed subtitles)is like a captions,

we can turn them on or turn them off. Softsubs are included

with the video file, but sometimes the fansubbers (a fans of

certain film that translated the subtitle into other

language)release only the subtitle file and we have to download

the video separately.

2. Subtitling Strategies

Makes a good and relevant subtitle it is not easy, the translator

must understand well the rules about subtitling. Another rules to

translate the subtitle uses the subtitling strategies. As translation

procedures, subtitling strategies are also the technical devices in

translation world. However, subtitling is used to transfer the meaning of

dialogues in one language into a text in another language. (Fawcett in

Bogucki: 2004).16

In a 1992 study, Henrik Gottlieb, an experienced translator in the

area of audiovisual translation, formulated a number of

fundamental classifications of subtitling strategies. There are ten

strategies included under these classifications17 (Gottlieb, 1992: 166).

16 Bogucki,Lukasz, The constraint of relevance in subtitling, http://www.jostrans.org/issue01/art_bogucki_en.php.17 H. Gottlieb, “Subtitling – a New University Discipline”, In C. Dollerup, & A.Loddegaard (eds.) Teaching Translation and Interpreting: Training, Talent andExperience (Amsterdam and Philadelphia: John Benjamins Publishing Company,

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Although Gottlieb himself does not give a complete and detailed

explanation on each of these strategies, other writers citing him have put

efforts to comprehensively explain all of his strategies. The following

are Gottlieb’s subtitling strategies as exemplified by Taylor (2000),

Ghaemi and Benyamin (2010), Saputra (2003: 23), Harianto (2005: 14)

and several other writers.

In this e arthesis, the researcher uses subtitling strategies from

Gottlieb (1992: 166). There ten (10) subtitling strategies, they are

expansion, paraphrase, transfer, imitation, transcription, dislocation,

condensation, decimation, deletion, and resignation.18

Gottlieb’s translation strategies for subtitling films are as follows:

1. Expansion

Expansion is used when the dialog in the SL need an

explanation to gain the audience comprehension because the

cannot retrieve the culture nuance of the SL. Example:

Source Language Target Language

You will have two marriages.

One long, one short.

Kau bisa mengalami 2

kali pernikahan.

1992).18 H. Gottlieb, “Subtitling – a New University Discipline”, In C. Dollerup, & A.Loddegaard (eds.) Teaching Translation and Interpreting: Training, Talent andExperience.

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Yg satu awet, satunya lagi

hanya sebentar.

2. Paraphrase

Paraphrase is used used when the phrase in the SL

cannot be reconstructed in the same syntactic way in the TL,in

other words, the translation in the TL is syntactically

different from the SL but the meaning is still maintained to

be comprehended by the audience. Example:

Source Language Target Language

And when I look into your

eyes, I hear dolphins clapping.

Dan saat aku menatapmu,

Kudengar lumba2 mengepak..

3. Transfer

Transfer refers to the strategy of translating translating

the SL completely and correctly into the TL translating the

SL completely and correctly into the TL. Example:

Source Language Target Language

...have many friends,

many experiences.

...punya banyak teman,

banyak pengalaman.

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4. Imitation

Imitation is used to translate the proper noun like

names, places, country, product brand. Example:

Source Language Target Language

Amelia, will you let me dance

with you?

Amelia, boleh aku berdansa

denganmu

5. Transcription

Transcription is used when there exist unusual term, the

third language and nonsense language in the SL. Example:

Source Language Target Language

No, divorziata. Tidak, bercerai.

6. Dislocation

Dislocation is adopted when the SL employs some sort

of special effect, for example a silly song in a cartoon film,

where the translation of the effect is more important than the

content.Example :

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Source Language Target Language

Spider-Pig, Spider-Pig,

does whatever a Spider-

Pig does, can he swing,

from a web? No he can’t,

he’s a pig, Look out! He is

Spider-Pig.

Babi Labalaba, Babi

Labalaba. Melakukan

apapun yang dilakukan Babi

Labalaba. Dapatkah ia

berayun dari

jaringnya? Tidak bisa, dia

seekor babi. Lihatlah. Dia

seekor Babi Labalaba.

7. Condensation

Condensation is applied to solve the problem of

limitation of subtitle lines. This can also create efficiency

by eliminating the redunduncies.Example :

Source Language Target Language

So glad to finally meet you.

Nice to finally meet you.

Senang akhirnya bisa

bertemu dengan anda.

Sama-sama

8. Decimation

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Decimation is omitting important element that are confusing

the audience and some taboo words. Example :

Source Language Target Language

What, drawn, and talk of

peace?

I hate the word

Damai?

Aku benci kata itu

9. Decimation

Decimation is omitting important element that are confusing

the audience and some taboo words. Example :

Source Language Target Language

My son, please, please,

please buy a ticket.

Anakku, tolong, tolong belilah

tiket.

10. Resignation

Resignation is applied when the translator does not

find the solution in translating the SL subtitle and that

the meaning is inevitably lost. Example:

Source Language Target Language

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It begins when the object

of your affection...

NO TRANSLATION

C. Dialogue1. Definition dialogue

For some, dialogue is a focused and intentional conversation, a space

of civility and equality in which those who differ may listen and speak

together. For others it is a way of being—mindful and creative relating. In

dialogue, we seek to set aside fears, preconceptions, the need to win; we

take time to hear other voices and possibilities. Dialogue can encompass

tensions and paradoxes, and in so doing, new ideas—collective wisdom—

may arise. Diana Chapman Walsh describes it this way:

It's when we let our guard down and allow our differences and doubts to

surface and interact that something authentic and original can begin to

emerge, tentatively, in the spaces between us. And I've found that it's

often in these fleeting and complicated moments that the heart and mind

can come into synchrony, pointing to altogether novel educational

possibilities. The key is to remain alert to those moments and to move

with them when they arise.

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We know that the most effective process for discovering these layers of

meaning is through interactive and iterative dialogues and that if we

undertake them sincerely and openly—and patiently—we can

sometimes find our way to something entirely new. We assume that

individual voices speak and act for the system as a whole, and we listen

carefully or a variety of voices and the competing values they

represent.

(1) From David Bohm On Dialogue

"Dialogue" comes from the Greek word dialogos . Logos means

'the word', or in our case we would think of 'the meaing of the word'.

And dia means through'—it doesn't mean 'two'.... The picture or image

that this derivation suggests is of a stream of meaning flowing among

and through and between us. This will make possible a flow of meaning

in the whole group, out of which may emerge some new understanding.

It's something new, which may not have been in the starting point at all.

It's something creative. And this shared meaning is the 'glue' or 'cement'

that holds people and societies together.

The object of a dialogue is not to analyze things, or to win an argument,

or to exchange opinions. Rather, it is to suspend your opinions and to

look at the opinions—to listen to everybody's opinions, to suspend

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them, and to see what all that means.... We can just simply share the

appreciation of the meanings, and out of this whole thing, truth emerges

unannounced—not that we have chosen it.

Everything can move between us. Each person is participating, is

partaking of the whole meaning of the group and also taking part in it.

We can call that a true dialogue.

Dialogue is the collective way of opening up judgments and

assumptions.

(2) From Paolo Freire Pedagogy of the Oppressed

Dialogue is the encounter between men, mediated by the world,

in order to name the world. Hence, dialogue cannot occur between

those who want to name the world and those who do not wish this

naming – between those who deny others the right to speak their

word and those whose right to speak has been denied them.

(3) From William Isaacs Dialogue and the Art of Thinking Together

Dialogue... is a conversation with a center, not sides. It is a way

of taking the energy of our differences and channeling it toward

something that has never been created before. It lifts us out of

polarization and into a greater common sense, and is thereby a means

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for accessing the intelligence and coordinated power of groups of

people.

The roots of the word dialogue come from the Greek words dia and

logos . Dia mean 'through'; logos translates to 'word' or 'meaning'. In

essence, a dialogue is a flow of meaning . But it is more than this too. In

the most ancient meaning of the word, logos meant 'to gather together',

and suggested an intimate awareness of the relationships among things

in the natural world. In that sense, logos may be best rendered in

English as 'relationship'. The Book of John in the New Testament

begins: "In the beginning was the Wrod ( logos )". We could now hear

this a "In the beginning was the Relationship."

To take it one step further, dialogue is a conversation in which people

think together in relationship. Thinking together implies that you no

longer take your own position as final. You relax your grip on certainty

and listen to possibilities that result simply from being in relationship

with others – possibilities that might not otherwise have occurred.

To listen respectfully to others, to cultivate and speak your own voice,

to suspend your opinions about

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others—these bring out the intelligence that lives at the very center of

ourselves—the intelligence that exists when we are alert of possibilities

around us and thinking freshly.

(4) From Jon Kabat-Zinn Coming to Our Senses

...we speak of dialogue as the outer counterpart to the inward

cultivation of moment-to-moment non-judgmental awareness, or

mindfulness.... No one needs to dominate in a dialogue, and indeed, it

would cease being a dialogue at that point if one person or group

attempted to control it. We watch the arising of and listen to the voicing

of ideas, opinions, thoughts and feelings, and drink them all in in a

spirit of deep inquiry and intentionality, much as we do in resting in

awareness in formal meditation practice, allowing it all to be treated as

equally valid of at least being seen, heard and known without editing,

censoring, vetting, or rejecting. A greater intelligence that seems to

reside in the group but is not in any one person often emerges,

surprisingly, and with it a deeper collective understanding as a direct

consequence of such spaciousness and openheartedness.

(5) From Bruce Mallory and Nancy Thomas When the Medium is the

Message

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...the need for inclusive forms of sustained and civil dialogue has

become paramount... By this we mean inter-group and interpersonal

conversations in which those present are granted an equal voice at the

table, regardless of their formal status within the institution. And those

at the table need to be engaged for a length of time sufficient to

interrogate, deliberate and communicate. By consciously moving away

from the win-lose model of traditional debate to a more equitable, safe

and sustained approach to problem-solving, we can foster both ethical

principles and democratic governance.

(6) From Patricia Romney The Art of Dialogue

Dialogue is focused conversation, engaged in intentionally with

the goal of increasing understanding,

addressing problems, and questioning thoughts and actions. It engages

the heart as well as the mind. It is different from ordinary, everyday

conversation in that dialogue has a focus and a purpose.... Dialogue,

unlike debate or even discussion, is as interested in the relationship(s)

between the participants as it is in the topic or theme being explored.

Ultimately, real dialogue presupposes an openness to modify deeply

held convictions.

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The raising of questions, what I have called elsewhere the spirit of

wonder, is a sine qua non of dialogue. Living in the questions is a good

place to begin.

(7) From Diana Chapman Walsh Trustworthy Leadership

It's when we let our guard down and allow our differences and

doubts to surface and interact that something authentic and original can

begin to emerge, tentatively, in the spaces between us.

And I've found that it's often in these fleeting and complicated

moments that the heart and mind can come into synchrony, pointing to

altogether novel educational possibilities. The key is to remain alert to

those moments and to move with them when they arise.

We know that the most effective process for discovering these layers of

meaning is through interactive and iterative dialogues and that if we

undertake them sincerely and openly—and patiently—we can

sometimes find our way to something entirely new. We assume that

individual voices speak and act for the system as a whole, and we listen

carefully for a variety of voices and the competing values they

represent.

(8) From Margaret Wheatley and Myron Kellner-Rogers A Simpler Way

32

Life coheres into selves and system. In its great cohering

motions, life is a poet. It brings together seemingly separate elements to

create and discover new meaning.... The only way to know a system is

to play with it. Life's restless urge to experiment and discover, its great

tinkering, its wild surprises, invite us to become experimenters.

We can support systems in being resilient by encouraging them to

exercise their freedom to explore new connections and new

information.... Open and inquiring, such systems become wiser about

themselves.19

2. Cinematic Dialogue

Cinematic dialogue is oral speech between fictional characters. This

distinguishes dialogue from other types of cinematic language such as

voice-over narration, internal monologue, or documentary interviews,

which have different characteristics.

Since the birth of the cinema, it has been said that "film is a visual

medium." Supposedly, films must tell their stories visually—editing,

deep focus, lighting, camera movement, and nifty special effects are

what really count. Dialogue, on the other hand, is just something we have

to put up with. Even the term "film viewing" does not take into account19 https://www2.clarku.edu/difficultdialogues/learn/index.cfm (Accessed : 25 August 2020)

33

the role of dialogue. We are accustomed to the analogy of the filmgoer as

voyeur, surreptitiously spying on the actions of the on-screen characters.

Yet what is overlooked is that viewers are also auditors. In fact, they are

eavesdroppers, listening in on conversations purportedly addressed to

others, but conversations that—in reality—are designed to communicate

vital information to the listeners in the dark.

Dialogue, by its very nature, is deceptive. The characters on the screen

speak not from their hearts but from a script; they whisper secrets to a

vast public; they speak to inform the audience, not each other. Watching

a film, on one level we are conscious of this duplicity, but on another we

willingly suspend disbelief. Dialogue that betrays its true address to the

moviegoer or sounds implausible is often condemned as clumsy because

it fractures this fictional compact. But sometimes screenwriters

intentionally use dialogue to wink at the audience, as in Scream (1996),

when one of the characters says: "Oh, please don't kill me, Mr.

Ghostface, I wanna be in the sequel!" Moreover, who is to say what is

"out of character" for a fictional character? In Hollywood Shuffle (1987)

Robert Townsend asks us to reconsider our expectations about what is

"true to life" when he presents an African American actor speaking in a

stereotypical black dialect and then reveals the actor's actual speaking

voice to be British and very cultured. Thus, all of the rules about

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dialogue usage offered by screenwriting handbooks should be viewed

skeptically, as any rule may be violated for calculated effect.20

3. The important of dialogue in film

Dialogue is the most important part of the film because it

makes the film seem mature and solidly crafted. A movie with bland

dialogue and cheesy lines comes off as immature and makes the

screenwriter look like he didn’t try his hardest to create the best film he

could. Quentin Tarantino is the perfect example of why dialogue is the

most important part of a movie. This is because his viewers can watch

two men sitting at a table for 15 minutes just taking, as in the beginning

of Inglorious Basterds. The scene can seem boring at a glance but the

dialogue makes it much more intense and grabbing for the viewer.

Dialogue is more than just another aspect of film. It can elivate a movie

to a new level. Good dialogue creates better characters because it shows

their depths. Bad dialogue can make characters seem bland and boring

just like a regular person. As mentioned before, it can make a plain scene

into a gripping and entertaining movie of its own.

Dialogue is the most important part of a film because it changes the way

we watch and perceive the movie. Dialogue hints at underlying aspects

20 http://www.filmreference.com/encyclopedia/Criticism-Ideology/Dialogue.html (Accessed : 25 August 2020)

35

of a character and mentions things that may be important later in the

film. Dialogue is the meat between the bread of the movie. 21

D. Film

1. Definittion of film

Film, is a kind of multimedia, both a visual medium and an aural

one. In general translation, the readers see it with their eyes, but read it

in mind. They get messages only by a visual channel. The audience of film

watch what characters are doing and hear what they are talking about,

messages reach the audience through visual and acoustic channels.

Obviously, fascination of dubbed film lies in harmonious cooperation

between visual and acoustic channels, which demands the target

language should cope with the original images in the film as naturally as

possible. What’s more, films and TV plays are supposed to act directly on

the sense of sight of the audience, not on the sense of hearing. As Martin

points out, “Picture is the basic element of the language of film.”

“However... it is normal and unquestionable that in the film utterance

forms a constituent element of the reality and play a fundamental role

in achieving realism... In fact, utterance is a component of the visual picture

and therefore, it is subject to the movement of the pictures.”22 We can notice

21 https://nofilmschool.com/boards/discussions/why-dialogue-most-important-part-film (Accessed : 25 August 2020)

22 Martin, M, The Languages of films (Beijing: China Film Press, 1977).

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that the translation of utterance should be synchronized with the settings of

the scenes, the identity of the characters, their movements, gestures,

facial expressions, pauses and lip movements; in that pictures transfer the

major part of the messages and pictures play the much more important role.

2. Synopsis of the Film

October, 1962. Italian-American Bronx native Tony Vallelonga - long

called Tony Lip by those that know him for being able to BS his way out of

anything - largely uses that ability to BS, his street smarts and his fists to do

his job in "customer relations" (i.e. a glorified bouncer) at the Copa, where

he has to deal with well dressed toughs and thugs, albeit with a smile and

often without they knowing that he is screwing them. Like most of his

Italian-American friends and family, he is a working class bigot, as

demonstrated by his actions concerning some black laborers who did work

in his and his wife Dolores' apartment.

until the new year, Tony has to find another job in the interim, he, without

telling Dolores, pawning some of his valuables in the meantime to put food

on their and Their two adolescent sons' table. When he is given the inside

scoop on a job working for Dr. Don Shirley, he only did not know before

meeting Dr. Shirley that the Dr. refers to his multiple Ph.D.s, and that he is

a classically trained pianist (the head of the popular music playing Don

Shirley Trio) instead of a physician, but arguably most importantly that he

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is a well educated, wealthy and refined black man. The job is not only as

chauffeur as Tony initially thought, but to be his all-expenses and well paid

general foot soldier, especially in the area of security, for the eight week

tour he has arranged for the trio with his record label, much of that tour in

the Deep South (the last scheduled date being December 23rd in

Birmingham, Alabama) hence the need for especially that security in he

being black.

Renegotiating the terms, learning that Dr. Shirley actually recruited him

based on his reputation for being able to get the job done, and getting the

okay from Dolores in the stipulation that he make it home for Christmas or

else, Tony accepts the job. Beyond the obvious hazards of the race relations

aspect of the job once they get to the Deep South, they will not only have to

get over their own differences as humans in their moral and ethical values to

survive with each other for eight weeks, but deal with the general role

reversal of the uneducated white man being subservient to the well-

educated black man. In that aspect, Dr. Shirley may have other issues in the

Deep South as not fitting into either the white or black populations in

general23.

23 https://www.imdb.com/title/tt6966692/plotsummary (retrieved in 25 Mei 2020).