Subtitling Strategies Of Translation Of Maleficent Movie Into Indonesian

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SUBTITLING STRATEGIES OF TRANSLATION OF

MALEFICENT MOVIE INTO INDONESIAN

A THESIS

BY

SHINTA DWI LIANA HUTABARAT

REG. NO 110705005

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

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SUBTITLING STRATEGIES OF TRANSLATION OF

MALEFICENT MOVIE INTO INDONESIAN

A Thesis By:

Shinta Dwi Liana Hutabarat Reg. No. 110705005

Supervisor, Co. Supervisor,

Dr. H. Muhizar Muchtar, M.S Drs. Muhammad Syafi’ie Siregar, M.A

NIP.19541117 198003 1 002 NIP. 19561113 198601 1 001

Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra in Department of English

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

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Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination.

Head, Secretary,

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Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan.

The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on Friday, 28thAugust 2014

Dean of Faculty of Cultural Studies

University of Sumatera Utara

Dr. H. Syahron Lubis, MA

NIP.19511013 197603 1 001

Board of examiners

Dr. H. Muhizar Muchtar, M.S

Rahmadsyah Rangkuti, MA. Ph.D

Drs. H. Chairul Husni, M.Ed. TESOL

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AUTHOR’S DECLARATION

I, SHINTA DWI LIANA HUTABARAT, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS. EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS, THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR AWARDED ANOTHER DEGREE.

NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGEMENT IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed :

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COPYRIGHT DECLARATION

NAME : SHINTA DWI LIANA HUTABARAT

TITLE OF THESIS :

SUBTITLING STRATEGIES OF

TRANSLATION OF MALEFICENT

MOVIE INTO INDONESIAN

QUALIFICATIONS : S-1/ SARJANA SASTRA DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER LAW OF THE REPUBLIC OF INDONESIA.

Signed :

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ABSTRACT

The thesis entitled ‘Subtitling Strategies of Translation of “Maleficent” Movie into Indonesian’ is a linguistics study. This study appears because of the importance of translation role in the development of knowledge, information and entertainment in the world. This thesis was done to answer the curiosity of the writer about what strategies is applied in subtitling English subtitles into Indonesian. The objective of this study was to find out the strategies of translation in “Maleficent” movie into Indonesian and to find out what strategiesweremostly applied to subtitle them. In order to identify and classify the strategies applied in subtitling English subtitles in “Maleficent” Movie into Bahasa Indonesia, Gottlieb theory about strategies of translationwas used. The method of the analysis was descriptive qualitative method. As the result of the analysis, expansion was occured as astrategy that usually uses in the subtitle. Expansion was found in the subtitling of 35(26.31% )occurrences, while condensationwas found in the subtitling of 33 (24.81% ) occurrences, transfer was found in the subtitling of 28 (21.05%) occurrences, deletion was found in the subtitling of 14 (10.52%) occurrences, paraphrase was found in the subtitling of 12 (9.02) occurrences, imitation was found in the subtitling of 9 (6.7%) occurrences and decimationwas found in the subtitling of 2 (1.5%) occurrences.

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ABSTRAK

Skripsi yang berjudul ‘Subtitling Strategies of Translation of “Maleficent” Movie into Indonesian’ adalah sebuah studi linguistik. Studi ini muncul karena pentingnya peran terjemahan dalam perkembangan ilmu pengetahuan, informasi dan hiburan di dunia. Skripsi ini dibuat untuk menjawab rasa penasaran penulis tentang strategi apakah yang dipakai oleh penerjemah dalam menejemahkan subtitle bahasa Inggris ke dalam bahasa Indonesia. Tujuan dari penelitian ini adalah untuk melihat terjemahan dari subtitle bahasa Inggris ke dalam bahasa Indonesia dan untuk menemukan strategi terjemahan apa yang digunakan oleh penerjemah untuk menerjemahkannya. Dalam penelitian ini, teori yang dipakai untuk mengidentifikasi dan mengklasifikasikan strategi terjemahan yang digunakan oleh penerjemah adalah teori strategi penerjemahan Gottlieb. Dan metode penelitian yang dipakai dalam penelitian ini adalah metode deskriptif kualitatif. Hasil dari penelitian ini, strategi expansion yang biasa dipakai dalam menerjemahkan subtitle. Expansion ditemukan sebanyak 35 (26,31%) temuan, sementara condensation ditemukan sebanyak 33 (24,81%) temuan, transfer ditemukan sebanyak 28 (21, 05%) temuan, deletion ditemukan sebanyak 14 (10,52%) temuan, paraphrase ditemukan sebanyak 12 (9,02%) temuan, imitation ditemukan sebanyak 9 (6,7%) temuan dan decimation ditemukan sebanyak 2 (1,5%) temuan.

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ACKNOWLEDGEMENT

Alhamdulillah, in the name of Allah SWT, the writer would like to thank

Allah SWT, for all the mercy and blessing that I have and for thechance and power

that given to me to complete this thesis. Praises and greets to Muhammad SAW who

has brought us to the luminous era and lead us to the goodness of mankind.

The writer sincere gratitude also goes to the Dean of Faculty of Cultural

Studies, University of North Sumatera, Dr. SyahronLubis, M.A, the Head and the

Secretary of English Department, Dr. H. Muhizar Muchtar, M.S and

RahmadsyahRangkuti, M.A. Ph.D for all of the facilities and opportunities given to

the writer during the study.

First and foremost, the writer would like to thank the writer supervisor and

co-supervisor, Dr. Muhizar Muchtar, M.S and Drs. Muhammad Syafi’ie Siregar,

M.A for the guidance, support, advice, and constructive comments during the writing

of this thesis.

The writer special thanks are expressed to the writer beloved parents, Jakon

Tua Hutabarat and Wahyuliah Nasution and also beloved brothersAkbar Hutabarat

and Fariz Hutabaratfor giving the writer an endless support, love and attention.

A really big thanks are addressed to Nova and Puput, and to the writer best

partner, Cristine, and also to my best friends Zen Elvia, Soraya, Verina, Ima,

Masyita, Sheila, and many more that I can’t mention them all one by one.And a

sincere thanks for all people in GGS’s big family of Plaza Medan Fair, for Umik

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The other special thanks goestokekelengenku, Chandra Bhancinwho always

support and giving me love and affection.

I am really grateful to have everyone supporting me in the process of

finishing this thesis. For their caring, support, love and affection, I really thank them.

And I am really sorry if maybe I forget to mention some names here.

Finally, the writer has to admit that this thesis is far from being perfect. Thus

any comments, suggestions, and criticism will be humbly accepted. May Allah SWT

bless us.Amin.

Medan 5 September,2015

The Writer

Shinta Dwi Liana Hutabarat

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TABLE OF CONTENT

Page

AUTHOR’S DECLARATION ………..………. v

COPYRIGHT DECLARATION ………. vi

ABSTRACT ... vii

ABSTRAK ... ... viii

ACKNOWLEDGEMENT ... ix

TABLE OF CONTENT …………... xi

CHAPTER I INTRODUCTION 1.1. Background of Analysis... 1

1.2. Problem of Analysis... 4

1.3. Objective of Analysis... 4

1.4. Scope of Analysis... 4

1.5. Significance of Analysis... 5

CHAPTER II REVIEW OF LITERATURE 2.1. Subtitling …………..………... 6

2.2. Types of Subtitling… .………..……….. 7

2.3. Subtitle Rules……… ……….. 7

2.4. Strategies of Translation ………..…... 10

2.4.1. Transfer……… 10

2.4.2. Expansion……… 11

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2.4.4. Condensation ……… 12

2.4.5. Decimation ……… 12

2.4.6. Imitation ……… 13

2.4.7. Transcription ………. 13

2.4.8. Dislocation ………. 13

2.4.9. Deletion ………. 14

2.4.10. Resignation ……….. … 14

CHAPTER III METHODS OF ANALYSIS 3.1. Method of Study ….………..…. 15

3.2. Source of Data ……….... 15

3.3. Data Collecting Method ………. 16

3.4. Data Analysis Method ………... 17

CHAPTER IV ANALYSIS AND FINDINGS 4.1. Analysis ……..……… 18

4.1.1. Identifying The Strategies of Translation ………. 18

4.1.2. Classifying and Analyzing The Data Based on The Strategies of Translation ……….. 23

4.1.2.1. Transfer………..………. 23

4.1.2.2. Expansion ...……… 29

4.1.2.3. Paraphrase ………...… 42

4.1.2.4. Condensation ………... 46

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4.1.2.6. Imitation ……… 57

4.1.2.7. Deletion ………. 59

4.2. Findings ………..……… 65

CHAPTER V CONCLUSION AND SUGGESTION

5.1. Conclusion ……… 66

5.2. Suggestion ……… 67

REFERENCES ……… 68

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ABSTRACT

The thesis entitled ‘Subtitling Strategies of Translation of “Maleficent” Movie into Indonesian’ is a linguistics study. This study appears because of the importance of translation role in the development of knowledge, information and entertainment in the world. This thesis was done to answer the curiosity of the writer about what strategies is applied in subtitling English subtitles into Indonesian. The objective of this study was to find out the strategies of translation in “Maleficent” movie into Indonesian and to find out what strategiesweremostly applied to subtitle them. In order to identify and classify the strategies applied in subtitling English subtitles in “Maleficent” Movie into Bahasa Indonesia, Gottlieb theory about strategies of translationwas used. The method of the analysis was descriptive qualitative method. As the result of the analysis, expansion was occured as astrategy that usually uses in the subtitle. Expansion was found in the subtitling of 35(26.31% )occurrences, while condensationwas found in the subtitling of 33 (24.81% ) occurrences, transfer was found in the subtitling of 28 (21.05%) occurrences, deletion was found in the subtitling of 14 (10.52%) occurrences, paraphrase was found in the subtitling of 12 (9.02) occurrences, imitation was found in the subtitling of 9 (6.7%) occurrences and decimationwas found in the subtitling of 2 (1.5%) occurrences.

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ABSTRAK

Skripsi yang berjudul ‘Subtitling Strategies of Translation of “Maleficent” Movie into Indonesian’ adalah sebuah studi linguistik. Studi ini muncul karena pentingnya peran terjemahan dalam perkembangan ilmu pengetahuan, informasi dan hiburan di dunia. Skripsi ini dibuat untuk menjawab rasa penasaran penulis tentang strategi apakah yang dipakai oleh penerjemah dalam menejemahkan subtitle bahasa Inggris ke dalam bahasa Indonesia. Tujuan dari penelitian ini adalah untuk melihat terjemahan dari subtitle bahasa Inggris ke dalam bahasa Indonesia dan untuk menemukan strategi terjemahan apa yang digunakan oleh penerjemah untuk menerjemahkannya. Dalam penelitian ini, teori yang dipakai untuk mengidentifikasi dan mengklasifikasikan strategi terjemahan yang digunakan oleh penerjemah adalah teori strategi penerjemahan Gottlieb. Dan metode penelitian yang dipakai dalam penelitian ini adalah metode deskriptif kualitatif. Hasil dari penelitian ini, strategi expansion yang biasa dipakai dalam menerjemahkan subtitle. Expansion ditemukan sebanyak 35 (26,31%) temuan, sementara condensation ditemukan sebanyak 33 (24,81%) temuan, transfer ditemukan sebanyak 28 (21, 05%) temuan, deletion ditemukan sebanyak 14 (10,52%) temuan, paraphrase ditemukan sebanyak 12 (9,02%) temuan, imitation ditemukan sebanyak 9 (6,7%) temuan dan decimation ditemukan sebanyak 2 (1,5%) temuan.

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CHAPTER I INTRODUCTION

1.1 Background of the study

Western society has already expanded their invasion. Its expansion of

knowledge, information, and entertainment in multimedia. Those are coming in form

of TV programs, videos, movies,etc. They are in the form of original languages and

cultures, cause the significant increase of the number of consuming subtitle version

programs. Foreign movies especially Hollywood have dominated the movie industry

in Indonesia. Neither adults nor teenagers and children are the audience. High quality

pictures and good story, make Hollywood movies are increased in demand in

Indonesian. Almost all of Hollywood movies are produced in English, which are

difficult to understand by Indonesian , this condition can be a problem because of the

difference of language used. Therefore, the producers must transfer English as the

source language to certain target language.In this case is Indonesian language, in

order to make the audience is easier to understand and enjoy the movies. So, the field

of movie translation begins to set the pace in translation study and screen translation

or Audiovisual Translation (AVT) is the central to it.

Audiovisual is arranged as the media of acquiringinformation and

entertainment. To accommodate the market demand, audiovisual translation is

developed to give contribution as a society media. Since the terms of audiovisual

media gained an international audience, consequently the development of translation

methods have been increased. The movie industry recently became an extremely

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since only small percentage of the world’s population understood English,

consequently, a growing need to find appropriate screen translation approaches.

AVT is conventionally categorized into subtitling and dubbing. Each of

theminterfered with the original text to different extent. Basically, dubbing is refered

to anytechnique of covering the original voice in an audio-visual production by

another voice.On the other hand, the activity of subtitling is the process of translation

where onelanguage as source language is transfered into other languages as a target

language. Itinvolves transferring the characteristics of spoken dialogue to the written

mode. For thesubtitler, subtitling is not always an easy job because it has some

constraints andlimitations. Many of the translators have tried some various ways to

cover the constraints, and the attempts have been done to observe what strategies are

adopted in subtitling work.As stated above that audiovisual media can be accessed in

subtitle, the term of subtitle may concern to the process involving two languages.

Subtitle is transferring the characteristic from spoken dialogue to written mode,

which is commonly placed at the bottom and spaced two lines on the screen. In the

original subtitle will be at all times available to the audience. It is more preferable

cause subtitle allows the viewers to understand the meaning without diminish

enjoyment of the movie. Furthermore, subtitle can be an alternative to enrich

knowledge from source language. By considering the advantage of subtitle,

broadcasting development of the subtitle welcomed since it gives massive effort to

the audience. Nowadays, the broadcast subtitle is much demanded.

In interpreting source language into subtitle, translators may adopt different

strategies to convey dialogue or other content to the target language.Thereby, they

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proposed several strategies that can be applied in subtitle. One of them is

condensation. This strategy is characterized by the part of condensed linguistic

elements such as repetition or exclamation (Georgakopoulou, 2009, p.27-29). For

example, the utterance of the original text “Oh my God. No, no, no!” will be

displayed in subtitle “Ya tuhan. Tidak!”. The utterance “no” has involved in

repetition. Linguistic element such as repetition is intentionally to be condensed.

Gottlieb (1994) has devised ten strategies which he classifies as expansion,

paraphrase, transfer,imitation, transcription, dislocation, condensation, decimation,

deletion, and resignation. Expansion strategy is one of the strategy occurs in the

utterance of subtitle. There are some reasons of the subtitler did expansion. It makes

the viewer easier to understand, the other reason is to get universal equivalence or

because of grammatical requirement. Indonesian audiovisual industries such as film

and TV programs are still imported. Most of them in English, as the result, the

subtitle play important role and subtitling industries have to increase. Therefore, the

number of audiovisual research especially subtitle is still on the limits. By means for

that reason, the writer gains so much interest in this area. Pay attention to Indonesian

subtitle as the focus on this research, hence, the writer limits the research which

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1.2 Problem of the Study

The study aims to provide answer to these following questions :

1. What kinds of subtitling strategiesare found in the movie entitled

Maleficent?

2. Which strategies are mostly occured in the subtitling Maleficent?

1.3 Objective of the Study

There are two major purposes by which the researcher expected to find out as

the answerto the problems mentioned earlier :

1. To describe the subtitling strategies found in the Maleficent movie.

2. To find out the mostly used subtitling procedures to translate script of

Maleficent movie into Indonesian.

1.4 Scope of Analysis

The research is focused on the subtitle strategies which are interpreted in

Indonesian subtitles. The writer observes subtitle strategies used in interpreting

Indonesian as target language in form of subtitle. The data are taken from an British

film entitled Maleficent. The theory of subtitle strategies is purposed by Gottlieb

(1994). Gottlieb has devised ten strategies which are classified as expansion,

paraphrase, transfer,imitation, transcription, dislocation, condensation, decimation,

deletion, and resignation. They are conducted in Indonesian subtitling strategies used

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1.5 Significance of the Study

This thesis is intended to be helpful theoretically and practically.

Theoretically, this thesis is expected to enlarge the knowledge of translation to

the readers or the students of English Department. This thesis may also be a

reference for those who are interested in learning translation studies. Practically, this

present analysis is expected to be helpful for people who want to be a translator or

currently works as a translator. As subtitle is one of the most important part in

learning translation through the movie, hence by knowing the theory of strategy in

subtitling they would more understand about how to translate the texts more

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CHAPTER II

REVIEW OF RELATED LITERATURE

2.1. Subtitling

According to Baker and Saldanha, subtitling is counted as the audiovisual

translation. They divide translation into four types; literary translation, audiovisual

translation, scientific translation and technical

translation.http://books.google.co.id/books/about/Routledge_Encyclopedia_of_Trans

lation_St.htmlid=eXsDckV5GuMC&redir_esc=y/ (Accessed on January 10th 2014)

Literary translation is the translation of the literary works.Scientific

translation is the translation of the terms in the field of science and technology of all

kinds. Technical translation is a type of specialized translation involving the

guides, etc.). Audiovisual is the translation of any material in audio, visual or

audiovisual format. The four major aspects that are included in this section are

subtitling, dubbing, software localization and multimedia, and audio description

(Luyken, 1991:153–165).

Subtitle as a branch of audiovisual translation is textual versions of the dialog

or commentary in films, television programs, video games, usually displayed at the

bottom of the 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 additional information to help viewers who are deaf and hard-of-hearing to

follow the dialog, or people who cannot understand the spoken dialogue or the

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2.2. Types of Subtitling

Gottlieb (quoted by Baker, 1992:247) distinguishes subtitling into two types;

intralingual subtitling and interlingual subtitling.

Intralingual subtitling is a vertical, in the sense that involves taking speech

down in writing, changing mode but not language. This includes

• Subtitling of domestic programmes for the deaf and the hard of hearing

• Subtitling of foreign-language programmes for the language learners.

Interlingual subtitling is a diagonal, in the sense that the subtitler crosses over

from speech in one language to writing in another, thus there is the changing in mode

and the language.

2.3. Subtitle Rules

William (2002:7-10) lists some rules in making standard subtitle for a movie

screen:

a. Subtitles must be on screen for long enough to be read by a deaf or hard-of-

hearing viewer who will also be trying to take in other visual information at the

same time.

(1) A short and familiar word or phrase - 1.12 to 2 seconds.

e.g.: Hello .

or: Excuse me.

(2) Up to half a line - 2 to 2.12 seconds.

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or: See you tomorrow.

(3) One line - 2.12 to 3 seconds.

e.g.:How long will it take us to go home?

or:He´s got a real headache.

(4) One line and a little bit - 3.12 seconds.

e.g.: How long will it take Johanna to go

home?

(5) Up to one and a half lines - 4 to 4.12 seconds.

e.g.: It is important to tell her about

the decision we made.

(6) Two lines - 5 to 6 seconds.

e.g.: I think it would be a very good idea

to keep dangerous dogs on a leash.

(7) Two lines and a little bit - 6.12 seconds.

e.g.: How long will it take the whole cast

to come home by taxi to Duals, North

Dyfed?

(8) Two and a half lines - 7 seconds.

e.g.: The best thing about going abroad is

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the British weather .

(9) Three lines - 7.12 to 8 seconds.

e.g.: What will the City do about the Tory

Government´s humiliating defeat

in the House of Commons last night?

b. In both live and pre-recorded subtitling, timings are intended to be flexible. The

standard timings shown in the Appendix are intended to provide general

guidelines.

c. It is crucial that subtitles are displayed for a sufficient length of time for

viewers to read them. The subtitle presentation rate for pre-recorded

programmes should not normally exceed 140 words per minute. In exceptional

circumstances, for example in the case of add-ons, the higher rate of 180 words

per minute is permitted.

d. To ensure both legibility and readability, the maximum for subtitle text should

be roughly 32 or 34 characters per line.

e. Lines should be broken at logical points. The ideal line-break will be at a piece

of punctuation like a full stop, comma or dash. If the break has to be elsewhere

in the sentence, avoid splitting the following parts of speech.

f. Good line-breaks are extremely important because they make the process of

reading and understanding far easier. However, it is not always possible to

produce good line-breaks as well as well-edited text and good timing. Where

these constraints are mutually exclusive, then well edited text and timing are

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g. If the text will fit on one line, do not rearrange it on to two lines. One line takes

less time to read than two short lines and it causes less disruption to the picture.

Similarly, do not rearrange two lines of text on to three lines, unless there is a

very bad line-break between lines 1 and 2.

2.4. Strategies of Translation

According to Gottlieb (1994:294), “The goal of adequacy- and even less

equivalence is not always reached in any type of translation”. To assess the quality of

a specific subtitling, the rendering of each segment of verbal film must be analyzed

with regard to stylistic and semantic value. Based on his experience as a television

subtitler, he has devised ten strategies which are used by subtitlers. Those are :

a. Transfer

Transfer is a strategy of translation which there is no additional

explanation or modifying of view, because the subtitler translates the

dialogue by literal word. In addition, the usage of this strategy also maintains

the structure of the original text.

Example: Monte: I Need a drink

Monte: Aku butuh sebuah minuman

This subtitling uses transfer strategy. There is no addition or deletion

in that phrase. The subtitler translates the dialogue literally. “I need a drink”

which is translated “Aku butuh sebuah minuman” and it is very similar in the

syntax and meaning. Transfer strategy is used in this the process of

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b. Expansion

Expansion is used when the original text (SL) requires an additional

explanation in translation because of some cultural nuance are not retrievable

in TL.Linguistic element such as repetition is intentionally to be condensed.

Example: Clown: Whatever you need

Clown: Apapun yang kau butuhkan

The phrase “Whatever you need” is translated into “Apapun yang kau

butuhkan ”. The explanation word is purposively added by the subtitlerto

clarify the dialogue.

c. Paraphrase

Paraphrase is used when the subtitler does not use the same

syntactical rules in subtitling the dialogue. In other words, using this strategy

the subtitler changes the structures of the subtitle and makes it easier to

understand and readable by the audience.

Example: Monte: She’s black-hearted whore and i’m done with her.

Monte: Dia pelacur berhati jahat dan aku sudah tak peduli

dengannya.

The use of paraphrase strategy could be seen on “black- hearted” which

was translated into “berhati jahat”. “black hearted” which was a figurative

language meaning “disposed to doing or wishing evil” or “without any moral

quality orgoodness”, and black was close to the dark and evil world so the

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d. Condensation

Condensation is a translation to make the text brief to miss

unneccesary utterance by using the shorter utterance, but it does not lose the

message. Sometimes pragmatic effect can be lost by using condensation

strategy. Therefore, the real aim of the text must be conveyed.

Example: Monte: Ah, I don't believe I will.

Monte: Aku takkan bisa.

On the subtitle above, it could be seen clearly that the subtitler uses

condensation strategy, if it is translated into word-to-word the sentence

structure in TL, the meaning is the same as SL text.

e. Decimation

Decimation is used to translate when the actors are quarrelling with

the fast speaking. So, the translator is also to condense the utterance because

the utterances have difficulty to be absorbed quickly from unstructured

written text.

Example: Monte: You're not, by any chance, referring to Spot, are you?

Monte: Maksud anda Spot?

The phrase “You’re not, by any chance, referring to Spot, are you?”

was translated “Maksud anda spot?” It is not translated word-to-word

because it was represented by “are you?” which in TL could be translated

“maksud anda?”.

f. Imitation

Imitationis re-writing the word of the original text. Imitation is

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newspaper, and the tittle of untranslated literary works, names of company

and instituitions, addresses, etc.

Example: Charlotte: Did your Jubal McLaws ever love a woman?

Charlotte: Apa Jubal Mclaws pernah jatuh cinta?

“Jubal McLaws” was a name of a character in a story; therefore,

thesubtitler did not have to translate it.

g. Transcription

Transcription is used in the case where a term is unusual even in the

source text as the text uses the third language, or nonsense language.

Example: Monte: Railroad Pinkertons are hot on our trail, amigo

Monte: Jalur kereta Pinkertons sasaran kita, teman

Transcription strategy is used in translating the dialogue. It could be

seen in word “amigo” which was translated into “teman”. The word “amigo”

was a third language which was a Spanish word meaning friend.

h. Dislocation

Dislocationis an adopted translation when the original employs some

sort of special effect as it is found a silly song in cartoon film, where the

translation of the effect is more important than the content.

Example : The soundtrack of Dora The Explore Cartoon

Source Language Target Language

If there is a place you got to go

I’m the one you need to know

Kalau kau mencari tempat

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I’m the map

If there is a place you got to get

I can get you there I bet

I’m the map

Aku peta

Kalau kau mencari lokasi

Akulah yang kau cari

Aku peta

i. Deletion

Deletion refers to the elimination of parts of a text which this term

carryless semantic meaning; therefore, it can be deleted without changing the

informationto the audience.

Example: Charlotte: That’s enough

Charlotte: Cukup

The sentence “that’s enough” into “cukup”. The word “that’s” in this

term carryless semantic meaning; therefore, it can be deleted without

changing the informationto the audience.

j. Resignation

Resignation is used to describe the strategy adopted when there is no

translation solution can be found and meaning is inevitably lost.

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METHOD OF THE STUDY

3.1. Method of the Study

Qualitative research is used in this study and its technique of analysis is

descriptive research method. Firstly, qualitative method is used in order to explain

and describe the data.

This descriptive researchattempts to describe thesubtitling strategies which

are used in Maleficentmovie. Fraenkel and Wallen (1993:23) state that the

descriptive method is used to explain, analyze, and classify something through

various techniques, survey, interview, questionnaire, and test.Descriptiveresearch is

designed to obtain the information concerning the status of the phenomena. It is

directed to determine the nature of a situation, as it exists at the time of investigation.

In this research, the researcher chooses the descriptive qulitative methodbecause the

purpose of this study is to describe the phenomena of translation, especiallythe

subtitling strategies which are used in Maleficentmovie.

3.2. Source of Data

The data of this thesis is the subtitles and its sources are the movie of

Maleficent. The observation is to find out the subtittle which consists of the subtitling

strategies of translation.

(31)

The dataanalyzed in this study is the strategy of translation in “Maleficent”

movie. These data are considered to be relevant for this study because they are

collected by using technique of sampling. Purposive sampling is used to collect the

required data. Bailey (1987:94) also cites:

“In purposive sampling the investigator does not necessarily have a quota to fill

within from various strata, as in quota sampling, but neither does he or she just pick

the nearest warm bodies, as in convenience sampling. Rather, the researcher uses his

or her on judgement about which respondents to choose and picks only those who

best meet the purposes of the study.”

In addition Arikunto (2006:139) says, “Sampel bertujuan atau purposive

sample dilakukan dengan cara mengambil subjek bukan didasarkan atas strata,

random atau daerah tetapi didasarkan atas adanya tujuan tertentu. Teknik ini

biasanya dilakukan karena beberapa pertimbangan, misalnya alasan keterbatasan

waktu, tenaga, dan dana sehingga tidak dapat mengambil sample yang besar dan

jauh” (purpose of sample or purposive sample is done by taking a subject out of

strata, random or area, but this is based on a certain purpose. This technique is

usually done because of some considerations, for example the limitation of time,

energy, and find, so it cannot take a great and far sample).

(32)

a. Classifying the subtitles into 10 types of subtitle strategy based on

Gottlieb’s devision. They are ten strategies which can be classified as

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

condensation, decimation, deletion, and resignation.

b. Tabulating the data

c. Counting the percentage of subtitle strategy types that found in the movie

�

��100% =N

X = number of the obtained items

Y = Number of all data

N = The percentage from all types

(Butler, 1985:25)

d. Finding out the most dominant of the subtitle strategy in the movie

(33)

ANALYSIS AND FINDINGS

4.1. Analysis

As stated in chapter two, In interpreting source language into subtitle,

translators may adopt different strategies to convey dialogue or other content to the

target language. Gottlieb (1994) proposed several strategies that can be applied in

subtitle.

In this research, there are 133subtitles were found. Based on the theory of

Gottlieb (1994), there are 7 strategies occured in subtitling idioms in “Maleficent”

movie. The most dominant strategy is expansion with 35 (26.31%) occurences, then

condensation with 33 (24.8%) occurrences, transfer with 28 (21.05%) occurences,

deletion with 14 (10.52%) occurrences, paraphrase with 12 (9.02%) occurences,

imitation with 9 (6.7%) occurrances, and decimation with 2 (1.5%) occurences.

4.1.1. Identifying The Strategies of Translation

After collecting the data, the next step is to identify the strategiess that being

used in subtitling based on Gottlieb theory (1994). The data identification are shown

in the table below:

No. English Subtitle Indonesian Subtitle Strategy

(1) Let us tell an old story a new. biar kuceritakan pada kalian suatu kisah lama.

Transfer

(2) how well you know it. apa kalian mengetahuinya dengan

baik.

Paraphrase (3) So vast the discord between

them

Di salah satu kerajaan itu hiduplah manusia sepertimu dan aku

Transfer

(5) No! No! Don't do it! Tidak! Tidak! Jangan lakukan itu! Transfer

(6) Ha, you missed me! Kau tak mengenaiku! Condensation

(7) What's all the fuss about? Ada keributan apa ini? Condensation

(34)

(9) Humans, here. Ada manusia disini. Expansion

(10) No! They mean to kill me. Tidak! Mereka ingin membunuhku. Transfer

(11) It's not right to steal, Mencuri itu suatu kejahatan, Paraphrase

(12) Come out! Come outthis instant!

Keluarlah! Keluarlah sekarang juga! Condensation

(13) I believe he's just a boy. Kurasa dia masih anak-anak. Condensation

(14) I'm called Stefan. Namaku Stefan. Imitation

(15) Give what back? Mengembalikan apa? Paraphrase

(16) If I knew you would throw it away,

Jika aku tahu kau akan membuangnya,

Deletion

(17) I delivered it home, Aku membawanya pulang, Transfer

(18) Someday, you know, I'll live there.

Suatu hari, aku akan tinggal disana. Condensation

(19) So, your parents are farmers then?

Jadi orang tuamu petani? Deletion

(20) We'll see each other again. Sampai jumpa lagi. Condensation

(21) You really shouldn't come back here,you know.

Kau tak boleh kembali kemari. Condensation

(22) And If I made that choice?if I came back, would you be here?

Jika aku memilih untuk kembali, apakah kau tetap disini?

Condensation

(23) Your ring! Iron burns fairies. Cincinmu! Logam membakar peri. Transfer

(24) He, who had so little in the world

Padahal Stefan memiliki kehidupan yang begitu miskin,

Expansion

(25) And her heart was moved Dan hati Maleficent tersentuh. Transfer

(26) Thus did the young thief whohad hoped to steal a jewel

Anak muda yang dulunya berusaha mencuri permata

Condensation

(27) After all these weeks,look who came back.

Setelah sekian lama ini, lihat siapa yang kembali.

Dia mengatakan padanya bahwa itu merupakan ciuman cinta sejati.

Transfer

(30) But it was not to be. Tapi sebenarnya bukan. Condensation

(31) There they are! Itulah tempatnya! Expansion

(32) Well, I say: Crush them! Tapi aku berkata, Hancurkan

mereka!

Expansion

(33) Go no further! Jangan melangkah lebih jauh lagi! Expansion

(34) A king does not take ordersfrom a winged elf.

Sang Raja tidak menerima perintah dari “kurcaci bersayap”.

Transfer

(35) You are no king to me! Kau bukanlah Raja bagiku! Transfer

(36) Arise and stand with me! Bangkit dan bertempurlah

bersamaku!

Transfer

(37) Hold the line! Pertahankan posisi! Transfer

(38) To the king! Lindungi Raja! Paraphrase

(39) You will not have the Moors. Kau tak akan bisa menguasai Moors. Imitation

(35)

(41) When I ascended to the throne

Saat aku naik tahta Condensation

(42) I promised the people Aku berjanji pada rakyatku Expansion

(43) Each of you swore allegiance to meand to that cause

Kalian semua bersumpah bersekutu bersamaku demi tujuan itu

Deletion (44) Defeated in battle. Is this to

be my legacy?

Kita kalah perang.Apakah ini akan jadi warisanku?

Paraphrase (45) I see you're waitingfor me to

die.

Aku tahu kalian menunggu ajalku tiba.

Condensation

(46) It won't be long, Saat itu segera datang, Paraphrase

(47) to take the throne and care for my daughter.

untuk naik tahta dan menikahi putriku.

Condensation (48) Who among you is worthy? Siapa diantara kalian yang pantas

mendapatkannya?

Expansion (49) Maleficent, I've cometo warn

you.

Maleficent, aku datang untuk memperingatkanmu.

Imitation (50) King Henry will stopat

nothing.

Raja Henry akan mengerahkan segala upaya.

Imitation

(51) I have avenged you, Sire Kubalaskan dendammu, Tuan. Condensation

(52) She is vanquished? Dia sudah tewas? Transfer

(53) Ah, you have done well,my son

Kau melakukannya dengan baik, nak Condensation

(54) I shall do my best to be a worthy successor.

Akan kulakukan yang terbaik untuk menjadi penerusmu yang layak.

Expansion

(55) I got you! Kutangkap kau! Transfer

(56) Wicked bird! Dasar kau burung jahat! Expansion

(57) What have you done to my beautiful south?

Apa yang kau lakukan pada tubuh indahku?

Deletion (58) Would you rather I let them

beat you to death?

Apa kau lebih suka kubiarkan mereka memukulimu sampai mati?

Expansion

(59) Stop complaining Berhentilah mengeluh Transfer

(60) I saved your life Aku menyelamatkanmu Condensation

(61) What do I call? Siapa namamu? Condensation

(62) And in return for saving my life, I am your servant.

Sebagai imbalan menyelamatkan nyawaku, aku akan jadi pelayanmu.

Expansion

(63) Whatever you need. Menjadi apapun yang kau inginkan. Expansion

(64) Yeah, but not a dog! Ya, tapi tidak jadi anjing! Expansion

(65) O, my God, it's a girl! Ya Tuhanku, anaknya perempuan! Expansion

(66) Well, I saw nothing. Aku tak melihat apapun Paraphrase

(67) But there's been a Tapi ada Condensation

(68) King Stefan and the Queenhave had a child.

Raja Stefan dan Ratunya telah memiliki seorang anak.

Imitation

(69) There'll be a christening. Akan ada upacara pembaptisan. Paraphrase

(70) They say it 's to bea grand celebration.

Mereka bilang akan ada perayaan mewah.

Expansion

(71) How wonderful! Menyenangkan sekali! Expansion

(72) Look, there's the baby! Lihatlah bayi disana itu! Paraphrase

(36)

(74) I'm not telling you again. Tak akanku katakan lagi Paraphrase (75) I am Knotgrassof the

Moorland fair folk.

Aku Knotgrass dari kaum peri Moorland.

Imitation (76) These are not just any old

gifts.

Ini bukanlah sembarang hadiah. Condensation

(77) For you see, we are magic! Seperti yang kalian lihat, kami makhluk ajaib!

Expansion (78) My wish is that you'llnever

be blue.

Harapanku supaya kau tak pernah bersedih

Transfer (79) Only happy,all the days of

your life.

Hanya ada kebahagiaan di sepanjang hidupmu.

Paraphrase

(80) Well, well. Lihatlah ini. Expansion

(81) Royalty, nobility the gentry and…

Keluarga kerajaan, kaum terhormat bangsawan dan …

Expansion

(82) How quaint Menakjubkan sekali Expansion

(83) I must say I really felt quite distressed

Harus kuakui aku merasa sangat sedih

Paraphrase

(84) You're not welcome here Kau tak disambut disini Transfer

(85) What an awkward situation Situasi nan canggung sekali Deletion

(86) You're not offended? Kau tak tersinggung? Transfer

(87) Why no Mengapa tersinggung? Expansion

(88) And to show I bear no ill-will

Untuk membuktikan aku tak berniat jahat

Deletion (89) I too shall bestowa gift on

the child.

Aku juga akan memberikan hadiah bagi anak ini.

Transfer

(90) Stay away from the princess! Menjauhlah dari putri! Condensation

(91) Listen well, all of you. Dengarkanlah, kalian semua Deletion

(92) Beloved by allwho meet her. Dicintai oleh semua orang yang bertemu dengannya

Expansion (93) Before the sun sets onher

16th birthday

Sebelum mentari terbenam pada ulang tahunnya yang ke 16

Transfer (94) and fall into a sleeplike

death!

dan jatuh tertidur seolah telah mati! Expansion

(95) A sleep from whichshe will never awaken!

Tertidur dimana dia takkan pernah terbangun lagi!

Paraphrase (96) Maleficent, please don't do

this.

Maleficent, jangan lakukan ini. Imitation

(97) I'm begging you. Kumohon padamu Transfer

(98) I like you begging. Aku suka saat kau memohon Expansion

(99) The princess canbe woken from herdeath sleep

Sang putri bisa dibangunkan dari tidur surinya

Transfer (100) This curse will lastuntil the

end of time!

Kutukan ini akan bertahan sampai dunia berakhir!

Transfer (101) No power on earthcan

change it!

Tak ada kekuatan di Bumi ini yang mampu mematahkannya!

Expansion (102) while his soldiers rode far

and wide to hunt Maleficent down

sementara pasukannya berkuda ke segala penjuru untuk memburu Maleficent

(37)

(103) But she made wallsof her own

Tapi Maleficent mendirikan tembok pertahanannya sendiri

Expansion

(104) What do you mean? Apa maksudmu? Condensation

(105) Well, we have to blend in,don't we?

Kita harus mampu membaur, kan? Decimation

(106) So, gather around, ladies. Berkumpullah kemari, nona-nona. Deletion

(107) Oh, that went quite well. Oh, hasilnya bagus. Condensation

(108) Now, there' ll be no questions asked.

Sekarang, jangan banyak Tanya lagi. Condensation

(109) We are no longer fairies. Kita bukan lagi peri. Expansion

(110) No flying? Tak boleh terbang? Expansion

(111) No, no, no.And no magic. Tidak. Tidak ada sihir. Decimation

(112) Yes, you've heard. Ya, kau mendengarku Expansion

(113) Come on. Here you go. Kemarilah. Ini dia. Deletion

(114) It's so ugly you could almostfeel sorry for it.

Dia begitu buruk rupa sampai kau merasa kasihan padanya.

Expansion

(115) I hate you.Beastie. Aku membencimu, makhluk buruk Expansion

(116) Maybe she might be hungry. Mungkin dia lapar. Condensation

(117) Then feed her! Cepatlah beri dia makan! Expansion

(118) It's gonna to starve withthose three looking after it.

Dia bisa kelaparan jika dirawat ketiga peri itu.

Condensation

(119) You're cheating. Kau curang. Condensation

(120) We're starting again. Kita mulai lagi. Deletion

(121) Greedy, bloated goat! Dasar kambing gemuk serakah! Expansion

(122) Stop doing that. Hentikan kelakuanmu. Deletion

(123) You two are having a go at me and I will not tolerate

Jika kalian melakukan itu padaku aku tak akan tinggal diam

Paraphrase

(124) This is all your fault! Ini semua salahmu! Transfer

(125) Not a wall, not Maleficent! Begitu juga tembok itu dan Maleficent!

Imitation (126) Oh, look! The little beast is

about to fall off the cliff.

Oh,lihat! Makhluk buruk itu akan terjatuh dari tebing.

Condensation

(127) Up, up. Gendong, gendong. Transfer

(128) Go on. Go, go, go. pergilah. Pergi. Pergi. Condensation

(129) She was not the only one who wished to get through.

Tapi bukan hanya dia saja yang ingin masuk kesana.

Condensation (130) How could you do that to

me?

Teganya kau melakukan itu padaku? Paraphrase

(131) You said, anything I need! Kau bilang rela menjadi apapun! Paraphrase

(132) Well, I'll be a mealy worm, gladly! Anything but a filthy, stinking

aku lebih suka menjadi cacing gemuk daripada Anjing kotor bau

Condensation

(133) Fine, next time I'll turn youinto a mealy warm.

Baiklah, lain kali akan kurubah kau menjadi cacing gemuk.

Transfer

(38)

The next step, after the data are identified, the data are classified and by

giving the brief explanation about the strategies of translation.

4.1.2.1. Transfer

Transfer is a strategy of translation which there is no additional explanation

or modifying of view, because the subtitler translates the dialogue by literal words. In

addition, the usage of this strategy also maintains the structure of the original text.

No. English Subtitle Indonesian Subtitle

(1) Let us tell an old story a new. biar kuceritakan pada kalian suatu

kisah lama. (4) In one kingdom lived folk like you

and me

Di salah satu kerajaan itu hiduplah manusia sepertimu dan aku

(5) No! No! Don't do it! Tidak! Tidak! Jangan lakukan itu!

(10) No! They mean to kill me. Tidak! Mereka ingin membunuhku.

(17) I delivered it home, Aku membawanya pulang,

(23) Your ring! Iron burns fairies. Cincinmu! Logam membakar peri.

(25) And her heart was moved Dan hati Maleficent tersentuh.

(27) After all these weeks,look who came back.

Setelah sekian lama ini, lihat siapa yang kembali.

(28) So, what do you do for fun? Jadi, apa yang kau lakukan untuk

bersenang-senang?

(29) He told her it was true love's kiss. Dia mengatakan padanya bahwa itu merupakan ciuman cinta sejati. (34) A king does not take ordersfrom a

winged elf.

Sang Raja tidak menerima perintah dari “kurcaci bersayap”.

(35) You are no king to me! Kau bukanlah Raja bagiku!

(36) Arise and stand with me! Bangkit dan bertempurlah

bersamaku!

(37) Hold the line! Pertahankan posisi!

(52) She is vanquished? Dia sudah tewas?

(55) I got you! Kutangkap kau!

(59) Stop complaining Berhentilah mengeluh

(78) My wish is that you'llnever be blue. Harapanku supaya kau tak pernah bersedih

(84) You're not welcome here Kau tak disambut disini

(86) You're not offended? Kau tak tersinggung?

(89) I too shall bestowa gift on the child. Aku juga akan memberikan hadiah bagi anak ini.

(93) Before the sun sets onher 16th birthday

(39)

(97) I'm begging you. Kumohon padamu (99) The princess canbe woken from

herdeath sleep

Sang putri bisa dibangunkan dari tidur surinya

(100) This curse will lastuntil the end of time!

Kutukan ini akan bertahan sampai dunia berakhir!

(124) This is all your fault! Ini semua salahmu!

(127) Up, up. Gendong, gendong.

(133) Fine, next time I'll turn youinto a mealy warm.

Baiklah, lain kali akan kurubah kau menjadi cacing gemuk.

Data Analysis:

1. Let us tell an old story a new.

The real meaning of the subtitle is ´to tell something ´, so the English subtitle can be

translated literally becomes “biar kuceritakan pada kalian suatu kisah lama”.

4. In one kingdom lived folk like you and me

The real meaning of the subtitle is ´to explain the kingdom ´, so the English subtitle

can be translated literally becomes “Di salah satu kerajaan itu hiduplah manusia

sepertimu dan aku”.

5. No! No! Don't do it!

The real meaning of the subtitle is clearly exist in the subtitle, so the English subtitle

can be translated literally becomes “Tidak! Tidak! Jangan lakukan itu!” without

addition and replication.

11. No! They mean to kill me.

can be translated literally becomes “Tidak! Mereka ingin membunuhku.” without

(40)

can be translated literally becomes “Aku membawanya pulang” without addition and

replication.

23. Your ring! Iron burns fairies

can be translated literally becomes “Cincinmu! Logam membakar peri” without

25. And her heart was moved

can be translated literally becomes “Dan hati Maleficent tersentuh” without addition

and replication.

27. After all these weeks,look who came back.

can be translated literally becomes “Setelah sekian lama ini, lihat siapa yang

kembali.” without addition,replication and deletion.

28. So, what do you do for fun?

can be translated literally becomes “Jadi, apa yang kau lakukan untuk

bersenang-senang?” without addition,replication and deletion.

29. He told her it was true love's kiss.

can be translated literally becomes “Dia mengatakan padanya bahwa itu merupakan

ciuman cinta sejati.” without addition,replication and deletion.

(41)

can be translated literally becomes “Sang Raja tidak menerima perintah dari

“kurcaci bersayap”” without addition,replication and deletion.

35. You are no king to me!

can be translated literally becomes “Kau bukanlah Raja bagiku!” without

addition,replication and deletion.

36. Arise and stand with me!

can be translated literally becomes “Bangkit dan bertempurlah bersamaku!” without

37. Hold the line!

can be translated literally becomes “Pertahankan posisi!” without

52. She is vanquished?

can be translated literally becomes “Dia sudah tewas?” without addition,replication

and deletion.

(42)

can be translated literally becomes “Kutangkap kau!” without addition,replication

and deletion.

59. Stop complaining

can be translated literally becomes “Berhentilah mengeluh” without

78. My wish is that you'llnever be blue.

can be translated literally becomes “Harapanku supaya kau tak pernah bersedih.”

without addition,replication and deletion.

84. You're not welcome here

can be translated literally becomes “Kau tak disambut disini” without

86. You're not offended?

can be translated literally becomes “Kau tak tersinggung?” without

(43)

can be translated literally becomes “Aku juga akan memberikan hadiah bagi anak

ini” without addition,replication and deletion.

93. Before the sun sets onher 16th birthday

can be translated literally becomes “Sebelum mentari terbenam pada ulang tahunnya

yang ke 16” without addition,replication and deletion.

97. I'm begging you

can be translated literally becomes “Kumohon padamu” without addition,replication

and deletion.

99. The princess canbe woken from herdeath sleep

can be translated literally becomes “Sang putri bisa dibangunkan dari tidur surinya”

without addition, replication and deletion.

100. This curse will lastuntil the end of time!

can be translated literally becomes “Kutukan ini akan bertahan sampai dunia

berakhir!” without addition, replication and deletion.

(44)

can be translated literally becomes “Ini semua salahmu!” without addition,

replication and deletion.

127. Up, up.

can be translated literally becomes “Gendong, gendong.” without addition,

replication and deletion.

133. Fine, next time I'll turn youinto a mealy warm.

can be translated literally becomes “Baiklah, lain kali akan kurubah kau menjadi

cacing gemuk.” without addition, replication and deletion.

4.1.2.2. Expansion

Expansion is used when the original text (Source Language) requires an

additional explanation in translation because of some cultural nuance are not

retrievable in Target Language.Linguistic element such as repetition is intentionally

to be condensed.

No. English Subtitle Indonesian Subtitle

(9) Humans, here. Ada manusia disini.

(24) He, who had so little in the world Padahal Stefan memiliki kehidupan yang begitu miskin,

(31) There they are! Itulah tempatnya!

(32) Well, I say: Crush them! Tapi aku berkata, Hancurkan mereka!

(33) Go no further! Jangan melangkah lebih jauh lagi!

(40) Not now, nor ever! Tidak sekarang dan juga selamanya!

(42) I promised the people Aku berjanji pada rakyatku

(48) Who among you is worthy? Siapa diantara kalian yang pantas

mendapatkannya?

(45)

successor. menjadi penerusmu yang layak.

(56) Wicked bird! Dasar kau burung jahat!

(58) Would you rather I let them beat you to death?

Apa kau lebih suka kubiarkan mereka memukulimu sampai mati?

(62) And in return for saving my life, I am your servant.

Sebagai imbalan menyelamatkan nyawaku, aku akan jadi pelayanmu.

(63) Whatever you need. Menjadi apapun yang kau inginkan.

(64) Yeah, but not a dog! Ya, tapi tidak jadi anjing!

(65) O, my God, it's a girl! Ya Tuhanku, anaknya perempuan!

(70) They say it 's to bea grand celebration.

Mereka bilang akan ada perayaan mewah.

(71) How wonderful! Menyenangkan sekali!

(73) Concentrate, please! Tetap berkonsentrasi!

(77) For you see, we are magic! Seperti yang kalian lihat, kami makhluk

ajaib!

(80) Well, well. Lihatlah ini.

(81) Royalty, nobility the gentry and… Keluarga kerajaan, kaum terhormat bangsawan dan …

(82) How quaint Menakjubkan sekali

(87) Why no Mengapa tersinggung?

(92) Beloved by allwho meet her. Dicintai oleh semua orang yang

bertemu dengannya

(94) and fall into a sleeplike death! dan jatuh tertidur seolah telah mati!

(98) I like you begging. Aku suka saat kau memohon

(101) No power on earthcan change it! Tak ada kekuatan di Bumi ini yang mampu mematahkannya!

(103) But she made wallsof her own Tapi Maleficent mendirikan tembok

pertahanannya sendiri

(109) We are no longer fairies. Kita bukan lagi peri.

(110) No flying? Tak boleh terbang?

(112) Yes, you've heard. Ya, kau mendengarku

(114) It's so ugly you could almostfeel sorry for it.

Dia begitu buruk rupa sampai kau merasa kasihan padanya.

(115) I hate you.Beastie. Aku membencimu, makhluk buruk

(117) Then feed her! Cepatlah beri dia makan!

(121) Greedy, bloated goat! Dasar kambing gemuk serakah!

Data analysis:

9. Humans, here.

If the subtitle is literally translated it will become “manusia, disini”, but the real

meaning of the subtitle is ´to tell the existence of the same creature´. Here, the

(46)

translated, the real meaning of the ST cannot be delivered well or we can say it is

unequal. Therefore, the strategy which is used is expansion that gives explanation,

while adding the word “ada” to make it easier to understand.

24. He, who had so little in the world

If the subtitle is literally translated it will become “Dia, yang memiliki sangat kecil di

bumi”, but the real meaning of the subtitle is ´to tell the situation of Stefan´. Here, the

translator translated it as “Padahal Stefan memiliki kehidupan yang begitu miskin,”,

since if the subtitle literally translated, the real meaning of the ST cannot be

delivered well or we can say it is unequal. Therefore, the strategy which is used is

expansion that gives explanation, while adding the word “padahal” and “kehidupan”.

Then, to make it easier to understand, the translator replicates “He” become “Stefan”

and “so little in the world” means that he does not has anything.

31. There they are!

If the subtitle is literally translated it will become “Disana mereka”, but the real

meaning of the subtitle is ´to tell the place to attack´. Here, the translator translated it

as “Itulah tempatnya,”, since if the subtitle literally translated, the real meaning of

the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy

which is used is expansion that gives explanation, while replicates the word

“tempatnya”. Then, to make it easier to understand, the translator replicates “they”

(47)

32. Well, I say: Crush them!

If the subtitle is literally translated it will become “Baiklah, Aku katakan: Hancurkan

mereka”, but the real meaning of the subtitle is ´to tell the order to attack´. Here, the

translator translated it as “Tapi aku berkata, Hancurkan mereka!,”, since if the

subtitle literally translated, the real meaning of the ST cannot be delivered well or we

can say it is unequal. Therefore, the strategy which is used is expansion that gives

explanation, while adding the word “tapi” to make it easier to understand.

33. Go no further!

If the subtitle is literally translated it will become “Pergi tidak lebih jauh”, but the

real meaning of the subtitle is ´to tell don’t come closer´. Here, the translator

translated it as ”Jangan melangkah lebih jauh lagi!”, since if the subtitle literally

translated, the real meaning of the ST cannot be delivered well or we can say it is

unequal. Therefore, the strategy which is used is expansion that gives explanation,

while replicates the word “go” become “ melangkah “. Then, to make it easier to

understand, the translator replicates “go no further” means that don’t come closer to

the Moors.

40. Not now, nor ever!

If the subtitle is literally translated it will become “Tidak sekarang atau pernah”, but

the real meaning of the subtitle is ´to tell the King can’t be in charge of Moors until

whenever´. Here, the translator translated it as ” Tidak sekarang dan juga

selamanya!”, since if the subtitle literally translated, the real meaning of the ST

cannot be delivered well or we can say it is unequal. Therefore, the strategy which is

(48)

“selamanya”. Then, to make it easier to understand, the translator replicates “nor

ever” become “Dan juga selamanya”.

42. I promised the people

If the subtitle is literally translated it will become “Aku berjanji orang”, but the real

meaning of the subtitle is ´to tell that the King has promised something for his

people´. Here, the translator translated it as ”Aku berjanji pada rakyatku”, since if the

subtitle literally translated, the real meaning of the ST cannot be delivered well or we

can say it is unequal. Therefore, the strategy which is used is expansion that gives

explanation, while adding the word “pada” and “-ku” to make it easier to understand.

48. Who among you is worthy?

If the subtitle is literally translated it will become “Siapa diantara kalian adalah

pantas”, but the real meaning of the subtitle is ´to tell who deserve to get the throne

of the king´. Here, the translator translated it as ” Siapa diantara kalian yang

pantasmendapatkannya?”, since if the subtitle literally translated, the real meaning of

the ST cannot be delivered well or we can say it is unequal. Therefore, the strategy

which is used is expansion that gives explanation, while adding the word

“mendapatkannya” to make it easier to understand.

54. I shall do my best to be a worthy successor.

If the subtitle is literally translated it will become “aku akan melakukan terbaikku

untuk menjadi seorang penerus yang pantas”, but the real meaning of the subtitle is

´to promise´. Here, the translator translated it as ” Akan kulakukan yang terbaik untuk

menjadi penerusmu yang layak.”, since if the subtitle literally translated, the real