@article{Lee_2016, title={The Subtitling of Indigenous Values in the Film Seediq Bale}, url={https://riviste.unimi.it/index.php/AMonline/article/view/6848}, DOI={10.13130/2035-7680/6848}, abstractNote={<p>The movie Seediq Bale, directed by Wei Te-Sheng and produced by John Woo, is a Taiwanese historical drama epic film <br />based on the Wushe Incident in 1930. The story depicts the Wushe Incident, which happened in central Taiwan <br />while it was under Japanese rule. Mona Rudao, a then chief of Seediq indigenous village Mahebu, led warriors <br />against Japanese authorities due to the long-term colonial oppression. In response, the Japanese mounted <br />a relentless counter-attack, killing over three hundred Seediq people. Often compared by the media in Taiwan <br />to the films Braveheart and The Last of the Mohicans, the film, released in 2011, is so far the most expensive <br />production in Taiwan cinema history. Different language registers are present in the movie, including Mandarin, <br />Japanese, and the Seediq language; this can be a great challenge for the translator when translating <br />the subtitles into English. Nonetheless, it is believed that ideologies can be manifested in language use. <br />So, the study attempts to disclose the translator¡¦s hidden indigenous ideologies in the English subtitles <br />s/he provided. Moreover, as subtitling translation involves a multiplicity of verbal and non-verbal semiotic modes, <br />those visual and audio elements could also contribute to the final product of subtitle translations. <br />Hence, the study, in addition to the translator¡¦s indigenous ideologies and handling of ethnic issues <br />in translation, also looks at how the translator worked with semiotic modes in designing the subtitles <br />for the target context.</p>}, journal={Altre Modernità}, author={Lee, Tzu-yi Elaine}, year={2016}, month={feb.}, pages={58–67} }