操控论视角下历史纪录片的配音翻译 ：《八九点钟的太阳》为例 = Voiceover translation of history documentary from the perspective of manipulation theory : a case study of Morning Sun

“纪录电影”一词最早出现在30年代纽约《太阳报》约翰·格里尔逊撰写的一篇评论中。在二战爆发前的1930年代，纪录片被各国（尤其是德国、日本、英国、美国和苏联）政府用来作为动员与宣传的工具，一直到二战结束才暂告一段落。纪录片多数时候都带有采访成分，然而，其内容因制片地区而异，往往以受访者的第一语言进行呈现。当这些作品传到海外地区时，海外观众若无法理解纪录片中的采访内容，而纪录片中又有大量的采访内容，造成观众无法理解采访中传达的内容之余，甚至影响对纪录片的诠释。为了使纪录片国际化，纪录片的采访内容通常会翻译受访者的谈话内容，并以配音形式让海外观众明白其内容。 然而，观看纪录片的观众来自世界各地，配音翻译是否能够完完整整地将原作的讯息传达给不同的观众？再者，以历史纪录片为例，观众对纪录片中反映的历史时段的诠释取决于经过配音翻译的采访内容。配音翻译的忠实性因此成了海外观众在理解纪录片内容非常关键的因素。 本文将以美国历史纪录片《八九点钟的太阳》为例，以勒弗维尔（Andre Lefevere）的操控理论（Manipulation Theory）来探讨纪录片中采访内容配音翻译的策略、翻译导向和解决方法。The term “Documentary Film” was first coined by John Grierson in a review published by the New York Sun in the 1930s. Prior to World War II in the 1930s, documentaries were used by the governments of countries such as Germany, Japan, England, America and Soviet Union as a tool for mobilization and propaganda. The end of World War II marked the end of this trend. However, it is not uncommon for documentaries to feature interviews, which depending on the country of production, will be presented in the dominant language of the interviewees. In documentaries which interviews make up a significant portion, the inability to make sense of the interview component in the documentary will hinder the comprehensive understanding of the audiences internationally. To facilitate the understanding of international audiences, translation taking the form of voiceover will be employed when it comes to the handling of interviews in a documentary.Bachelor of Art