The Commentary Translation Study of Province Presenting Film from the Perspective of Multimodal Discourse Analysis——Taking Publicity Film of Presenting Hubei to the World as an Example

LIU Bin,JIA Xue

(University of South China,Hengyang 421001,China)

Abstract: The researchers take Publicity Film of Presenting Hubei to the World as an example, guided by multimodal discourse analysis, to analyze its commentary translation from four levels of culture, context, content and expression and study how to optimize the translation effect with the help of different modes.It is found that the translators thoroughly consider the impact of visual and auditory symbols in the translation, approach target language readers as much as possible, make the translation match the movie lens, blends text, visual, and auditory symbols.In addition, the interaction between various modes to optimize the translation effect of propaganda video commentary is also explored in the research.

Keywords: Multimodal; Commentary Translation; Context; Expression

In the context of globalization, China needs to actively strengthen its cultural soft power construction, spread the voice of China, and establish the image of China, so that the world can better understand China. The global promotion film project launched by the Ministry of Foreign Affairs is a good way to convey the voice of China to foreign audiences and one of the ways for the world to understand China’s political, economic, and cultural development. Local image publicity films combine various audiovisual symbols such as images, sounds, and colors, which can construct a more three-dimensional, vivid, and intuitive perceivable local image. The Publicity Film of Presenting Hubei to the World is an important initiative by the Ministry of Foreign Affairs to promote Hubei globally after the pandemic in Wuhan. Telling the story of Hubei through this publicity film is of great significance for reshaping Hubei’s image since the pandemic and provides a window for Hubei’s further opening and stepping onto the international stage.

To achieve effective dissemination of this publicity film, translation plays a crucial role. Researchers conducted descriptive studies on the translation of this publicity film from a multimodal perspective, analyzing it from four levels: culture, context, content, and expression, revealing the translation characteristics, and attempting to contribute to improving the quality of external publicity translation, promoting Chinese culture, enhancing China’s international discourse power, and facilitating Sino-foreign exchanges and cooperation.

1. Multimodal Discourse Analysis Theory and Commentary Translation

Barthes began studying the rhetoric of images in the 1970s, but multimodal discourse analysis theory only gained academic attention in the 1990s, with its hallmark achievement being the publication of the co-authored book by Kress and Van Leeuwen, Reading Images:the Grammar of Visual Design in 1996[1]. Kress & Van Leeuwen pointed out that multimodal refers to all channels and media involved in the communication process, which includes not only basic linguistic symbols encountered in life but also resources such as colors, images, music, and color saturation[2]. The main theoretical background of multimodal discourse analysis is the systemic functional linguistics proposed by Halliday, and scholars have discussed multimodal discourse analysis from the perspectives of systemic functional linguistics and cognitive linguistics. In 2013, both perspectives emerged almost simultaneously, and there were also discussions using other theories to explore the use of multimodal discourse[3]. The article by Li Zhanzai in 2003, Social Semiotic Analysis of Multimodal Discourse, sparked attention and discussion in the domestic academic community regarding multimodal discourse analysis[4]. Zhang Delu proposed a comprehensive theoretical framework for multimodal discourse analysis, including cultural, contextual, content, and expression levels, exploring the forms and relationships of multimodal discourse as well as the construction of multimodal discourse grammar[5]. Currently, the research status and development of multimodal discourse analysis in China show multidisciplinary and interdisciplinary characteristics, not only involving systemic functional linguists but also other linguistic schools, such as cognitive linguistics, pragmatics, rhetoric, and corpus theory and technology, all participating in the research field of multimodal discourse analysis[4]. Currently, the research on multimodal translation in China is primarily focused on film translation, followed closely by multimodal translation teaching, while research in other areas is relatively scattered[6].

Using multimodal and commentary translation as keywords, I found only four related journal articles through CNKI, the first being Huang Shujun’s (2017) study on the translation of commentary for urban image publicity films from a multimodal perspective — taking the Hangzhou publicity film of the G20 summit as an example[7]. The only core journal article is that by Wu Jianguo et al. (2020) studying the intertextuality strategies in the translation of the national image publicity film Angle commentary, which applied multimodal intertextuality strategies in the translation of commentary[8]. Currently, the research on the translation of external publicity film commentary from the perspective of multimodal discourse analysis is highly inconsistent with the important status and role of external publicity films.

In external publicity films, commentary features various modes of discourse, including textual, auditory, and visual elements, where publicity personnel fully utilize text, images, sounds, and videos for promotion. Commentary translation combines characteristics of subtitle translation and dubbing translation[9]. In previous studies, researchers often focused mainly on the translation of linguistic texts, paying little attention to the influence of visual and auditory symbols on translation. However, when discussing the translation of commentary, researchers cannot only consider the translation of the linguistic text; they must analyze it within a context constructed by textual, visual, and auditory multimodal symbols. Traditional translation studies often emphasize the language of the translated text while neglecting other aspects of translation information transmission. With the advent of the media convergence era, the translation of external publicity film commentary is no longer limited to the transmission of linguistic text information, but presents a system that encompasses the logical semantic relationships of language, visual, and auditory multimodal elements. The theoretical framework based on linguistic text translation cannot meet the research needs of multimodal translation supported by modern information technology. To address the aforementioned translation research issues, I have conducted a study on the translation of external publicity film commentary from a multimodal perspective, hoping to enhance the understanding of external publicity film commentary translation and research, broaden its theoretical system, and the research territory of multimodal pragmatic theory; providing references for better storytelling of Chinese narratives, spreading the voice of China, and promoting the dissemination of Chinese culture.

2. Multimodal and Multi-layered Discourse Analysis of the Commentary Translation of the Publicity Film of Presenting Hubei to the World

On April 12, 2021, the Hubei Global Special Promotion Event was held in the Blue Hall of the Ministry of Foreign Affairs, themed “Heroic Hubei: Reborn for New Glories”. This was the first provincial promotion event held by the Ministry of Foreign Affairs after the pandemic and was tailored for Hubei on the first anniversary of Wuhan’s reopening. This promotion event had the highest number of foreign diplomats and representatives attending in the Blue Hall of the Ministry of Foreign Affairs, indicating recognition of Hubei and Wuhan’s achievements in pandemic control and showcasing the expectation for China’s development prospects after the pandemic[10]. Seizing this opportunity, the Ministry of Foreign Affairs launched the Publicity Film of Presenting Hubei to the World, showcasing Hubei’s economy, politics, culture, geographical environment, historical sites, social humanities, outstanding contributions during the pandemic, and political, economic, and technological development since the pandemic from a macro and panoramic perspective, causing a significant sensation both domestically and internationally, and making a positive contribution to shaping Hubei’s international image.

This film can successfully bridge cultural differences and reach a consensus with foreign audiences, with translation playing a vital role. The Publicity Film of Presenting Hubei to the World enhances the visual quality through rich visual language, using light, scene selection, and composition; choosing suitable background music to strengthen emotional resonance with the audience; reasonably retaining synchronous sound to increase authenticity and presence; and pairing appropriate commentary that interacts with the visuals. This publicity film fully utilizes various modes such as text, visual, and auditory symbols in coordination, presenting a vivid, comprehensive image of the heroic Hubei to the audience. Researchers, based on multimodal discourse analysis theory, discuss the translation of the commentary of the Publicity Film of Presenting Hubei to the World from four levels: culture, context, content, and expression.

(1) Cultural Level

The cultural level is the key aspect that enables multimodal communication, consisting of the ideological system formed by human thinking patterns, philosophies of life, living habits, and all social unwritten rules, as well as the communicative procedures or structural potentials that can concretely realize this ideology[5]. Professor Zhang Delu emphasizes the cultural components in subtitles, as the adequacy of cultural element translation directly affects the audience’s understanding and acceptance[11]. The translation of external publicity film commentary should first consider the audience’s acceptance. Translators need to take cross-cultural factors into account, approaching the target language readers as much as possible, reducing cultural alienation, and bridging the gap with the target language readers. During the translation process, translators should also consider the matching degree of the translation with the language, culture, and content in the video.

Example 1 [00:04] China’s central region, by the banks of the Yangtze River, a gateway to nine provinces.

Translation: By the banks of Yangtze River lies a gateway to China heartland.

Accompanied by magnificent background music, the film opens with a satellite view of China, then zooms in to reveal Hubei, where the Yangtze River runs through, clearly showing its central location in the heart of China. The Qing History Draft records: Hubei is a critical area upstream of the Yangtze River, and Wuhan is the gateway to nine provinces, historically a strategic location for conflicts in the southeast. Located in central China, Hubei occupies a pivotal position, known as “Hubei’s connection means central China’s connection, central China’s connection means nationwide connection”, making it a key point for interaction between east and west, north and south, and the economic focus of China, known as “gateway to nine provinces”[12]. “Gateway to nine provinces” is a term with significant cultural connotation, describing the major roads that connect various places, while “gateway” implies a passage to broader areas, highlighting the geographical importance of Hubei throughout history. The film’s Chinese subtitles use three four-character phrases, which are concise and match the length of the subtitles and the background video content. The translator did not translate word-for-word but reorganized the order to translate as “By the banks of…”. The translation uses “Yangtze River” as the subject, translating the central part as “heartland” and “gateway” for “九省通衢”, clearly conveying the meaning of the source language while being concise and powerful. The translation corresponds to the timing of the Chinese subtitles, perfectly matching text, sound, and visual multimodal symbols, achieving an excellent communication effect.

Example 2 [8:36] The government acts as a service provider for enterprises, responding to requests and not interfering unnecessarily.

“店小二” originally referred to the staff responsible for receiving customers in tea houses, taverns, and inns. The enthusiastic attitude and attentive service of “店小二” are crucial for creating a good experience for customers. Leaders in Zhejiang and Shanghai have advocated that government departments and officials should act as “店小二” for enterprises and grassroots service. Consequently, “店小二” has gradually evolved to have new meanings. On December 3, 2018, the term “店小二” was announced as one of the top ten buzzwords of 2018 by Yao Wen Jiao Zi, referring to a slogan for government departments regarding their self-construction, meaning the government should do everything possible to provide good service for enterprises, enhance service awareness, and willingly act as a “店小二” for enterprises. The occupational title “店小二”, rich in traditional Chinese cultural characteristics, is very unfamiliar to contemporary foreign audiences. The translation adopts a “释+译” strategy, translating it as “service provider”, effectively conveying the essence of the role while aligning with the Chinese Communist Party’s commitment to serving the people, thus establishing a positive government image.

Due to the differences in ideological systems at the cultural level, some culturally relevant information from China lacks corresponding terms or historical origins in English. When translating such texts, translators should strive to engage with target language readers, seeking equivalent expressions in the target language that reflect the connotation of the source language while replicating the cultural experience of the source language. At the same time, translators should reasonably adjust the wording and order in the translation, ensuring that the translation adheres to the language habits of the target language while also matching the translation with non-linguistic modal symbols such as sound and video, fully leveraging the advantages of multimodal discourse.

(2) Contextual Level

In specific contexts, communication is constrained by contextual factors, including discourse range, discourse tone, and discourse mode[5]. Discourse range refers to the social activities involved in the text; discourse tone indicates the role relationships and communication intentions between participants; discourse mode refers to the media or channels of communication. Hu Zhuanglin divides context into contextual context (linguistic context), situational context, and cultural context[13]. Situational context refers to the surrounding circumstances, the nature of the events, the relationships between participants, time, place, and manner at the time the text occurs[14]. When the publicity film conveys information or expresses meaning to foreign audiences, subtitles and context work together to enhance audience understanding and perception[8]. Therefore, the translation of commentary should fully consider contextual factors, paying attention to the coherence and fluency of sentences, and making appropriate additions or omissions when necessary[15]. Translators should position the translation of commentary within a multimodal context constructed by text, sound, video, and other symbols, fully considering the interaction between different modal symbols.

Example 3 [01:08] We lock the demon in our homes so that it won’t get to our brothers and sisters outside.

This was said by a citizen wearing a mask facing the camera after Wuhan’s lockdown, expressing a sense of responsibility and consideration for the larger picture. The citizen’s words in the film are both sorrowful and heroic, and the next shot transitions to a statue wearing a mask, echoing the citizen’s image and the COVID-19 pandemic at that time. As the citizen speaks, their body language, with a mask, a slightly choked voice, a serious expression, clenched fists, and a forward-leaning posture, corresponds with the English subtitle “We lock the demon in our homes” as shown in Figure 1. The next shot shifts to a statue of a local specialty, “热干面” (hot dry noodles), with the English subtitle “so that it won’t get to our brothers and sisters outside”, where the statue also wears a mask, smiling with a determined gaze, while the surrounding streets are empty and silent, as shown in Figure 2. The film creates a tragic situational context here. Moreover, both the citizen and the statue wear masks, indicating that the awareness of disease prevention among the Chinese people has deeply rooted in their hearts, reflecting the consciousness of collectivism and a community of shared human destiny.

Figure 1

Figure 2

“We lock the demon in our homes” refers to the government’s announcement to close all exits from Hubei. The term “demon” originates from the Old Testament in the Jewish Bible, referring to a confusing and harmful spirit, where any unusual events, such as mysterious diseases, sudden deaths, or poor harvests, are attributed to demons. Here, the citizen uses “demon” to metaphorically refer to the COVID-19 virus; thus, translating it directly as “demon” effectively conveys the speaker’s meaning based on Western religious traditions and the context of the film. The latter part of the original text serves as a reason explaining the first part, while the translation uses a purpose clause introduced by “so that” to connect the translation. Here, the causal relationship of the original text is altered, and the logic of the translation is more conducive to the acceptance and understanding of the target language audience. Additionally, the original text uses only the term “brother” to express other Chinese compatriots, and translating it as “brothers” alone may imply discrimination against women in the target language, so the translation adds “sisters” to fully convey the original meaning. The translation showcases the hidden meaning of the original text and the image of the people of Wuhan uniting as one, sacrificing personal interests for the greater good.

Example 4 [03:40] You pulled me back from the verge of death. You’re the reason I’m alive and well today.

This is what an elderly patient said to doctors after recovering from COVID-19. In the film, this 89-year-old man speaks with emotion and gratitude while looking at the doctors. As shown in Figure 3.

Figure 3

From Figure 3, it can be seen that the composition of the image features the elderly recovered patient in the center, with doctors on either side. However, the focal point of the shot is on the doctors, while the recovered patient in the center is slightly blurred. Although the doctors wear masks, their relieved smiles are still clearly visible. The term “verge of death” is a culturally rich expression in Chinese. The second part of the original sentence connects to the first part with “so” as a result, while the translation splits it into two sentences, translating the first part as “you pulled me back from the verge of death”, indicating the doctors’ efforts to save the patient from death, indirectly reflecting the severity of the pandemic situation in Wuhan, highlighting the dedication and sacrifice of medical personnel. Especially the second part, “You’re the reason I’m alive and well today” emphasizes the importance of the doctors in giving the patient a second chance at life, creating the image of selfless heroes and guardians of people’s health.

The language context in the film cannot be simply understood as the relationship between the language level’s preceding and following context; the shots, videos, and audio signals in the film are all inseparable parts of the context. The translation of commentary cannot only consider the linguistic aspect, but must also take into account the context in which the speaker is situated, especially the synchronization of the film’s shots and commentary. Translators should observe and interpret the meaning and focus of each shot, employing appropriate translation methods to adjust the translated sentences to match the context, effectively conveying the deeper meanings of the language and the images of the characters they create.

(3) Content Level

Zhang Delu divides the content level into meaning and form levels. The meaning level includes the discourse meaning and conceptual meaning composed of several parts, interpersonal meaning, and thematic meaning; the form level reflects the interrelation of different modal forms, collectively embodying discourse meaning, such as visual grammar, auditory grammar, tactile grammar, etc.[5] For the publicity film, sound, subtitles, and video collectively construct a multimodal discourse system. The purpose of the Ministry of Foreign Affairs in this publicity film, whether for investment attraction or seeking cooperation, is to convey the voice of Hubei to the world and promote the charm of Hubei to achieve promotional goals. The film’s form level mainly manifests in the auditory modality of sound, including music, language, and sound effects, while the visual modality consists of text, subtitles, images, and video, creating a blended effect, with the audience’s constructed meaning being multifaceted[8].

Example 5 [6:59] A heroic victory was achieved in all three battles against COVID-19, floods, and poverty.

This sentence is a high evaluation of Hubei’s achievements over the past year in combating the pandemic, natural disasters, and poverty alleviation. From a textual perspective, both the original and translated texts merely state the facts and do not evoke strong resonance from the audience. At this moment, the advantages of multimedia modalities come to the fore, as multiple modes work together to convey meaning. This sentence appears as a summarizing statement after introducing the three aspects of the pandemic, flood, and poverty, with successive images deepening the audience’s understanding of the great victories achieved by Hubei over the past year. The pandemic visuals reflect the return of “humanity” and “smoke of life”, aerial shots of 1179 public health projects being built; flood visuals depict soldiers bravely facing the severe flooding caused by the largest rainfall since the founding of New China; and the poverty alleviation visuals show abundant harvests, the number of remaining impoverished people being 58,000, and the smiles of happiness on people’s faces. The film uses a 90-second aerial music of China, which works together with the visuals to provide supplementary information beyond the pure text, creating a stunning sensory feast for the audience, making them marvel at the determination of Wuhan and Hubei to fight against difficulties and their unwavering resolve to succeed.

The translation rearranges the word order and changes the subject, translating “heroic answer” as “A heroic victory” as the subject of the translation, while “three battles against…” is translated as “three battles against…” with “all” for emphasis, making the translation more aligned with the language habits of the target audience. The publicity film features commentary in English, with Chinese subtitles displayed below, and the visual language features mature crops, coordinating with the background music to jointly convey information. This indicates that in a year filled with challenges, the people of Hubei have withstood various tests, ultimately achieving victory and abundant harvests, as shown in Figure 4.

Figure 4

The auditory and visual content level of external publicity films and the translation of purely linguistic text commentary should present a kind of integrated, synchronized multimodal output mechanism, making the conveyance of the film’s connotations richer and fuller. The multi-layered integration and interaction of text, images, and audiovisual content can more effectively convey meaning, enhancing the audience’s genuine experience and presence.

(4) Expression Level

The expression level, also known as the media level, includes two major categories: linguistic and non-linguistic. Linguistic includes pure language and accompanied language. From the perspective of traditional linguistic research, the media forms that achieve meaning transmission mainly consist of two types: sound symbols transmitted by sound waves and written symbols generated by pens, etc.[5] The commentary voice-over belongs to sound, while Chinese and English subtitles belong to characters. The media forms of accompanied language play a complementary and reinforcing role in conveying the meaning of language, including sound effects, volume, pitch, frequency, accent, tone, as well as the shape, size, and spatial layout of fonts[5]. The publicity film also adopts various forms of accompanied language to reinforce the pure language.

In the voice-over, the film employs a deep, resonant male voice, with clear pronunciation and a well-paced rhythm that engages the audience’s emotions; in terms of background music, different music is used during different periods of Hubei’s narration to convey different communicative messages: a solemn and touching sound during the pandemic, a gentle and soothing sound during the victory over the pandemic, and a stirring tune during the poverty alleviation, narrating Hubei’s development over the past year from silence and uncertainty to a vibrant and hopeful scene; in the subtitle layout, the film features English narration with Chinese subtitles positioned below the video, and due to the constraints of character length and the film’s visuals, subtitles remain on screen for no more than six seconds to ensure the audience can grasp the information within a limited timeframe[16].

Additionally, non-linguistic media for expressing meaning includes the communicator’s body movements and the non-linguistic means used in meaning expression, such as tools and environments[8].

Example 6 [4:53] As spring comes, vitality returns to the city.

The visuals depict the rising sun, geese returning from the south, cherry blossoms blooming, and people strolling in the park, enjoying and photographing the cherry blossoms, showcasing a lively and vibrant scene. This visual enriches the meaning of the pure text, with the arrival of spring symbolizing Wuhan’s rebirth and flourishing. English is a form-oriented language, while Chinese is a meaning-oriented language. The former pursues structural completeness and logical rigor, while the latter values brevity, requiring the listener to infer the deeper meaning in the corresponding contextual level. The original text reflects the characteristics of Chinese without a subject and brevity. The original consists of two four-character phrases; the translation leads with “As…” as an accompanying clause, using “vitality” as the subject and adding “the city” to render the translation more structurally and logically complete, aligning with the language style of the target audience.

Example 7 [5:58] Hubei steadily resumed business activities and reopened schools and markets.

The visuals showcase factory workers, service staff from the food and beverage industry, and school security personnel opening doors that had been closed for a long time. Students return to their long-missed campuses, and restaurants are bustling with customers. The visuals and commentary work together to demonstrate Wuhan and Hubei’s return to normalcy in economic and cultural activities post-pandemic. Similarly, the original exhibits the characteristics of Chinese without a subject and is highly concise; the translation adds “Hubei” as the subject. The term “steadily” serves as the adverb of “steady”, meaning “in a stable, continuous, and firm manner”; while “resumed” is the past tense of “resume”, meaning “to restart, return to, recover”. The original term “推动” is translated as “steadily resumed”, combining the subsequent terms “复……复……” into the predicate; the words “工” and “产” in “复工复产” are simplified to “business activities”, rendering the translation concise and unambiguous.

Example 8 [9:52] An open Hubei hopes to work with you to create new miracles.

At the end, the visuals showcase beams of light passing by, symbolizing rebirth, with a phoenix flying in the lower left corner, echoing the theme of the promotion event and symbolizing a bright and beautiful future. As shown in Figure 5, the color scheme features primary colors of red, yellow, and blue, with Chinese and English subtitles printed in white. Warm colors such as red, yellow, and orange balance psychological temperature[17]. Cool colors such as blue, gray, and similar shades provide a refreshing feel. In the color composition, red is on the left, blue in the center, and a golden phoenix reborn in the lower left corner, flapping its wings and sparkling like neon lights across the screen, symbolizing the glorious return, achieving a balanced state of “warmth within coolness and coolness within warmth”, creating a beautiful contrast through color differences. The primary colors can be mixed to create all colors of paint, implying that the reborn Hubei has infinite possibilities and will create new glories again. In terms of font, the theme of the promotion event is displayed in the largest font size, with the characters for “Hubei” in a different font from the other text to emphasize the subject of this promotion. The original text is an inviting type of material, warmly inviting foreign audiences to invest and develop in Hubei. The translation adopts a direct translation strategy, faithfully conveying the original content while adhering to the original structure, achieving both form and spirit. Direct translation also helps the West understand the original ideas and styles, clearly conveying the meaning and emotions of the original text.

Figure 5

In the expression level, the publicity film fully utilizes non-linguistic media such as environment and colors to supplement and strengthen the shortcomings of the language level; employing a large amount of accompanied language such as voice-over, synchronous sound, imagery, and variations in tone and font size for emphasis or weakening. In terms of translation, the translator also pays attention to the sound, shape, and meaning of the target language, striving to adopt various methods to reproduce the beauty of the original language’s sound, shape, and meaning, which plays a crucial role in effectively disseminating the original ideas and styles.

3. Conclusion

The translation of the commentary for the Publicity Film of Presenting Hubei to the World in 2021, based on linguistic textual symbols, fully considers the impact of non-linguistic symbols such as visual and auditory symbols. At the cultural level, it strives to approach target language readers, reducing their sense of unfamiliarity and enhancing their acceptance of the publicity; at the contextual level, the translation matches the shots, enhancing the impact of language on the audience and improving the expression effect of the translation; at the content level, the multi-layered integration of text, images, and video content works together to deepen the target language readers’ sensory experience; at the expression level, the interaction between linguistic and non-linguistic levels fully reproduces the beauty of the original language’s sound, shape, and meaning, enhancing the publicity effect of the film. The joint action of multimodal elements optimizes the translation effect of the film commentary, strengthens the audience’s absorption of information, and enhances the publicity effect of the film.

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