Reconfiguring a Chinese superhero through the dubbed versions of Monkey King: Hero is Back (2015)

Abstract

The paper aims to investigate how a Chinese heroic legend was reconfigured for Western viewers through the English-dubbed versions of a case-study film, Monkey King: Hero is Back (2015). The ultimate goal of the study is to shed new light on how dubbing practice may better cater to Western target audiences. Based on two macrolevel translation theories, three translation models, and the two microlevel translation strategies, this paper discusses the most commonly used film translation strategies for English dubbing in the case-study film and their implications for the effectiveness of translation. The findings suggest that driven by the target-audience orientation, English-dubbing strategies often use standard language constrained by linguistic and cultural disparities as opposed to dynamic, adaptive Chinese dubbing.

Comparative Studies on English Translation of the Four Main Characters’ Titles in “Xiyouji”

“…According to ProQuest, a well-known international academic database, there are nine articles and theses related to translation studies of -The Journey to the West‖ by the end of 2023, among which three are image and title studies, such as the character Lady White Bone (Wu, 2023), animating Sun Wukong (Ayers, 2022) and reconfiguring the image of Su Wukong through the dubbed versions of -Monkey King: Hero is Back‖ (Liang, 2022). Wu (2023) examines the creation and evolution of a gendered skeleton monster associated with the dead body, particularly in the context of skeleton fantasy.…”

“…Ayers (2022) deconstructs the intersection of Maoist-era i propaganda and Chinese folk-art traditions, focusing on the symbolic transformation of Sun Wukong in Wan Laiming's 1964 animated film -Havoc in Heaven.‖ It analyzes the role of artists at the Shanghai Animation Film Studio, arguing that the lack of direct party intervention and emphasis on nationalized Chinese animation led to a productive environment. Liang (2022) examines the transformation of a Chinese heroic legend for Western audiences through English-dubbed versions of the film -Monkey King: Hero is Back (2015).‖ It explores translation strategies, employing macro and micro-level theories, and identifies target-audience-oriented practices, emphasizing standard language over dynamic adaptation in Chinese dubbing.…”

On the Character Design of Monkey King in the Animated Film The Monkey King: The Return of the King

“…The image of Sun Wukong is vividly depicted with full character. Just as Zhang Guangyu said in the article "Trying to talk about the art of art films", "the use of dramatic techniques to create characters for actors", this typical characteristic symbol has laid the historical status of Sun Wukong's animation image [4].…”