3 Research Methodology 9

3。1  Research Questions 9

3。2  Research Methods 9

3。3  Participants 10

3。4  Data Collection 10

3。5  Data Analysis 10

4 Results and Discussion 12

4。1  Participants' Reception Level 12

4。2  Participants' Preference 15

5 Conclusion 20

5。1  Major Findings 20

5。2  Limitations and Suggestions for Further Research 21

Acknowledgements 22

References 23

Appendix关于娱乐化潮流下影视字幕翻译改写情况接受度调查问卷 25

Figure and Tables

Figure 1  Source of Participants 10

Table 1  Objective Factors and the Audience's General Attitude 11

Table 2  The Participants' Reception toward Poetry Translation 12

Table 3  The Participants' Reception toward Catchwords Translation 13

Table 4  The Participants' Reception toward Similar Objects Translation 14

Table 5  The Participants' Reception toward Antiquated Translation 15

Table 6  The Participants' Preference toward Poetry Translation 16

Table 7  The Participants' Preference toward Catchwords Translation 17

Table 8  The Participants' Preference toward Other Types of Translation 18

1 Introduction

1。1Research Background

With the rapid spread and development of the internet and the increasingly frequent exchanges between China and foreign countries, more and more foreign movies and TV Series pour into Chinese market。 Subtitling as a carrier of culture exchanges has played an important role, and gained more and more attention。 

From 1980s, China has changed fundamentally both in politics and economy。 In the late 1980s, entertainment films came to its climax for the first time, while the consumption values reflected were extremely incompatible with the prevailing collectivism, nationalism and heroism。 With the development of market economy and the change in political environment, the social values were to some extent changed by commercial awareness, which has been the major turning point of the mainstream culture of Chinese film industry。 The function of movies shifted from education to entertainment。 In the 1990s, national ideology culture, realism, romanticism and modernism gradually retreated from the center of cultural stage, which marks the naissance of the era of Chinese popular culture。 The whole film industry has shown a trend of entertainment (Liang, 2006)。 Driven by economical concerns, filmmakers put more humorous elements, popular and colloquial words into films。论文网

In 2013, a survey conducted by China Film Association showed that the average age of Chinese audience was 21。5 and it was estimated to slightly increase to 22。 And in 2014, 11558 effective questionnaires of We-chat displayed that the people born between 1975 and 1996 were the mainstay (90%) of Chinese film industry, among which the post-85s (the college students) was the mainstay, covering 70%。 What’s more, among the 11558 participants, 55。18% has a college degree, 27。87% high school degree and 9。2% master’s degree。 Furthermore, the Entgroup pointed out the loyal audience were those aged from 19 to 30 (Entgroup。cn)。 In 2015, American magazine Variety proposed the average age of Chinese audience was 21。8, and the film market became younger and younger (Global Times)。