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AN ANALYSIS OF THE TRANSLATION OF THE IDIOMATIC
EXPRESSIONS USED IN THE SUBTITLES OF TANGLED
A THESIS
BY :
MUCHAMAD SULIMAN
NPM : 29181030
ENGLISH DEPARTMENT
FACULTY OF LANGUAGE AND LITERATURE
WIJAYA PUTRA UNIVERSITY
SURABAYA
2013
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A THESIS
Submitted in Partial Fulfillment of the Requirements for
the Sarjana Sastra Degree in English
BY :
MUCHAMAD SULIMAN
NPM : 29181030
ENGLISH DEPARTMENT
FACULTY OF LANGUAGE AND LITERATURE
WIJAYA PUTRA UNIVERSITY
SURABAYA
2013
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APPROVAL SHEET I
Thesis by : MUCHAMAD SULIMAN
NPM
: 29181030
Title
: AN ANALYSIS OF THE TRANSLATION OF THE IDIOMATIC
This thesis is qualified and approved to be examined by the examination
committee.
Surabaya, July 4, 2013
Advisor
Drs. Mas Moeljono
NIP.13012820200
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APPROVAL SHEET II
Thesis by : MUCHAMAD SULIMAN
NPM
Title
: 29181030
: AN ANALYSIS OF THE TRANSLATION OF THE
IDIOMATIC EXPRESSIONS USED IN THE SUBTITLES
TANGLED
OF
This thesis has been defended before the Examination Committe of
the Faculty of Language and Literature on August 1, 2013. It has been already
accepted as a partial fulfillment of the requirements for the Sarjana Sastra Degree
in English.
Surabaya, August 1, 2013
Examination Committe
Dra. Arjunani, M.M
Examiner I
Yulis Setyowati, S.pd
Examiner II
Acknowledged by
The Dean of the Faculty of Language and Literature,
(Dra. Arjunani, M.M)
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DECLARATION
I hereby declare that this submission is my own work and that, to the best of my
knowledge and belief, it contains no material previously published or written by
another person nor material which to a substantial extent has been accepted for the
award of any other degree or diploma of the university or other institute of higher
education, except where due reference has been made in the text of the thesis
Writer
Muchamad Suliman
NPM : 29181030
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LESSON OF THE DAY
A MAN WHO NEVER MADE A MISTAKE, NEVER MADE ANYTHING.
THE TRICK IS TO BE RESPONSIBLE AND TO LEARN FROM YOUR
MISTAKES, AND YOU CAN DO THAT.
DESTINY IS NOT THE PATH GIVEN TO US. IT IS THE PATH WE CHOOSE
FOR OURSELVES.
This thesis is dedicated to :
My dear beloved late Mom and Dad
My wife to be
My friends at English Department
My friends at Movie, Poetry and Book Club
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ACKNOWLEDGEMENT
First of all, the writer would like to thank Allah SWT, for giving him
strength along all his way. Peace and blessing are upon his beloved prophet,
Muhammad SAW and all of his family, his disciples and his followers.
The completion of this thesis would not have been possible without the
invaluable help, assistance, precious advice, suggestions, understanding and
encouragement that have been received from the writer‘s advisor, Drs. H. Mas
Moeljono. The writer would like to express his sincere gratitude to him for
guiding the writer conducting this research and has been so generous in devoting
his time and knowledge to the writer.
In the term of completing his study, the writer would like to express his
deepest gratitude to the Dean of Faculty of Language and Literature, Dra.
Arjunani, M.M; The Head of English Literature Department, Mrs. Yeni
Probowati, S.Pd; The Head of English Study Centre, Mrs. Yulis Setyowati, S.Pd;
and to all lecturers who have taught him a lot of thing during his study. The writer
also wish to convey his heartfelt gratitude to all his past and present teachers for
their help and advice.
The writer‘s big family deserves his deepest esteem more than anyone else
does, for financial, spiritual and moral support through both hard and good times;
his dear beloved late parents, Rani and Suwardi; his brothers and sisters, Sholeh,
Maimunah, Ashari, So‘in and Suwarti.
In addition, the writer would like to thank to the following fellows, friends
and acquaintances; classmates at 2009 English Literature Class, Prima, Jose,
Sarwita, Idrus, Atik and the others – for the joy and friendship; friends at Movie,
Poetry and Book Club in the United States Consulate General Surabaya; Public
Affairs Officer, Andrew Veveiros; IRC Director and staff, Mr. Christian and Mrs.
Esti; Book Club Conductor, Julie Veveiros; Movie and Poetry Club Conductor,
Kate Burril; Administration Officer at American Corner Airlangga University,
Mr. Agung; English Dialogue Conductor at American Corner Airlangga
University, Mr. Puguh; and my fellow members, Ms. Vivi, Mr. Petrus, Mrs.
Rindra, Mrs. Yuni and many others – for the joy, friendship, good times,
invaluable sharing and priceless bonds.
The last but not the least, the writer is deeply thankful to the individuals
that are too numerous to mention who have been encouraging him along the way.
The writer
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ABSTRACT
Name
: MUCHAMAD SULIMAN
NPM
: 29181030
Program
: S-1
Department
: English Department
Faculty
: Faculty of Language and Literature
Institution
: Wijaya Putra University
Idioms are the gems of a language, they can be considered as a part of
everyday language. They are the essence of any language and the most
problematic part to handle with. Translating English idioms is not an easy task
because not all English idioms have equivalents in Indonesian idioms due to
linguistic, especially cultural differences. Not all idioms have direct equivalents in
other languages, because they are linguistic expressions which are typical for a
language and specific to a single culture. It is impossible to define any unique
approach in the translating process since so many idioms are culturally specific
and thus the pragmatic meaning must be much more prized than the literal
meaning. If they are to be translated literally or word-for-word, they probably lead
to extreme confusion.
This thesis is qualitatively approached and aims to propose the integrated
translation method, one indispensable and important tactic to Indonesian
translation of English idioms based on Newmark‘s eight translation methods
which then becomes a reasonable choice and the quality of translation are decided
by the translator‘s cultural awareness and creativity. The writer finds that most
English idiomatic expressions in Tangled movie script are literally translated. This
thesis presents the definition of idioms and to see what they are. Then, it classifies
the idioms into different categories. In the end, gives some techniques and
procedures to translate them.
Finally, the writer hopes that this thesis will be useful for both theoritical
and practical source in learning how to translate English idioms and also for those
who conduct further study about translation of English idioms.
Keywords: Idiomatic Expression, Translation, Subtitle.
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TABLE OF CONTENT
APPROVAL SHEET I .......................................................................................... i
APPROVAL SHEET II ....................................................................................... ii
DECLARATION ................................................................................................ iii
LESSON OF THE DAY ..................................................................................... iv
ACKNOWLEDGEMENT ................................................................................... v
ABSTRACT ....................................................................................................... vi
CHAPTER I ........................................................................................................ 1
INTRODUCTION ............................................................................................... 1
1.1 Background of the Study ............................................................................ 1
1.2 Statement of The Problem ......................................................................... 4
1.3 Objective of The Study............................................................................... 4
1.4 Significance of The Study ......................................................................... 4
1.5 Limitation of The Study ............................................................................ 5
1.6 Definition of Key Terms............................................................................ 5
CHAPTER II ....................................................................................................... 6
REVIEW OF RELATED THEORIES ................................................................. 6
2.1 Definition of Translation ............................................................................ 6
2.2 Translation Procedure................................................................................. 7
2.2.1 Newmark‘s Translation Procedure ....................................................... 7
2.2.2 Vinay and Darbelnet‘s Translation Procedure .................................... 15
2.3 Idiomatic Expression ................................................................................ 19
2.3.1 Classification of Idioms .................................................................... 21
2.3.2 Difficulties in Translating Idiomatic Expression ................................ 24
2.4 Subtitling ................................................................................................ 27
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2.5 Theoritical Framework ............................................................................. 29
2.6 Review of Related Studies ........................................................................ 29
CHAPTER III .................................................................................................... 32
RESEARCH METHODOLOGY ....................................................................... 32
3.1 Research Approach .................................................................................. 32
3.2 Corpus...................................................................................................... 32
3.3 Technique of Data Collection ................................................................... 33
3.4 Technique of Data Analysis ...................................................................... 34
CHAPTER IV.................................................................................................... 36
DATA PRESENTATION AND ANALYSIS ..................................................... 36
4.1 Data Presentation ..................................................................................... 36
4.2 Identification Table .................................................................................. 39
4.3 Analysis of the Misinterpreted Idioms ..................................................... 41
CHAPTER V ..................................................................................................... 50
CONCLUSION AND SUGGESTION ............................................................... 50
5.1 Conclusion ............................................................................................... 50
5.2 Suggestion................................................................................................ 52
BIBLIOGRAPHY .............................................................................................. 53
APPENDIX ....................................................................................................... 55
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CHAPTER I
INTRODUCTION
1.1 Background of the Study
Susan Bassnet (2002, p.12) proposed a definition of translation as follows:
What is generally understood as translation involves the rendering of a
source language (SL) text into the target language (TL) so as to ensure
that (1) the surface meaning of the two will be approximately similar
and (2) the structures of the SL will be preserved as closely as
possible but not so closely that the TL structures will be seriously
distorted.
Jeremy Munday (2008: p.5) noted that
the process of translation between two different written languages
involves the translator changing an original written text (the source
text or ST) in the original verbal language (the source language or SL)
into a written text (the target text or TT) in a different verbal language
(the target language or TL).
However, the main objective of translation is to deliver the message from the
source language (SL) to the target language (TL). Problems usually arise when
people deal with idiomatic expressions, especially idiomatic expressions in
movies. It is simply because they are spoken, not written and the conversation
among the casts happens so fast that the viewer barely capture the whole line of
the conversation. The differences of culture in which the movie is produced also
influence the meaning of each idiomatic expression.
In his article ‗On Linguistic Aspects of Translation‘, Roman Jakobson
distinguishes three types of translation (Lawrence Venuti, 2000, p.114):
1. Intralingual translation, or rewording (an interpretation of verbal
signs by means of other signs in the same language).
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2.-Interlingual translation or translation proper (an interpretation of
verbal signs by means of some other language).
3. Intersemiotic translation or transmutation (an interpretation
ofverbal signs by means of signs of nonverbal sign systems).
Christine Ammer (1997, p.iii) noted that
―An idiom is a set phrase of two or more words that means something
different from the literal meaning of the individual words. For
instance, the phrase to change one’s tune has nothing to do with music
but means ‗to alter one‘s attitude.‘ Similarly to hit the nail on the head
often has nothing to do with carpentry but means simply ‗to be
absolutely right‘ ―
Idioms are the Idiosyncrasies of a language. Often defying rules of logic, they
pose a great difficulties for non-native speakers. Idioms can also be
unrecognizable for non-native speakers, consequently they translate them literally.
The meaning would be awkward and does not make any sense, thus making it far
away from the intended meaning. Moreover the culture of both languages are
different.
Translating idioms has been a puzzling problem for many people.
Someone must comprehend translation and idiomatic expression because they are
interconnected. Take an example, my hands are full, people tend to translate this
idiomatic expression literally in Indonesian as “tanganku penuh”, but of course
that is not the correct meaning. Thus demanding us to have a good skill in
translation.
In this case, the movie script that would be analized is based on a movie
entitled Tangled
produced by Walt Disney Animation Studios which was
released in 2010. It is loosely based on the German fairy tale “Rapunzel”. The
genre of the movie is computer-animated musical fantasy-comedy film. The film
tells the story of a lost princess who possesses long magical hair, the princess is
stolen by a woman named Gothel since she just born. The movie simply portrays
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a lost princess named Rapunzel who possesses magic hair that glows when she
sings a special song for it and a young man who is a thief named Eugene
Fitzherbert or more known as Flynn Rider. The two are in an accidental and
awkward romance after one awkward meeting. Both Rapunzel and Flynn face the
same fun adventure in search of Rapunzel‘s true identity. In time, they fall in love
with each other. In Indonesia, the story is much like the story of Bawang Merah
and Bawang Putih, only without Bawang Merah representation. In Tangled
Rapunzel is represented by Bawang Putih who is abused by a wicked mother.
There are so many idiomatic expressions found in the dialogue of the
movie. The amount of idiomatic expressions is sufficient to be researched to find
out whether there is misinterpreted expressions or not. Since every idiom has its
own meaning and can not be translated literally, there should be a particular
treatment for the process of subtitling. The writer found and downloaded both
English and Indonesian subtitle from subscene.com. Subscene.com is a database
of subtitles for international movie viewers. According to Simon Slangen, a staff
writer and ebook editor at MakeUseOf.com in his article ―The 3 Best Subtitle Sites
For Your Movies & TV Series” in February 16, 2010, subscene.com is one of the
best subtitle database. He said that
From all the best subtitle sites over the web, Subscene stands out. Use
it once, and you‘ll be hooked. Aside from looking great, it has an
incredibly user-friendly and reliable interface, and offers pretty much
all the subtitles you need.
The subtitles match perfectly with the conversation and the image flow, it makes
subscene.com as a valid and reliable source of the primary data.
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1.2 Statement of The Problem
Based on the background of the study explained above, the writer found
the problem as follows :
1. What idiomatic expressions are found in Tangled ?
2. Is there any misinterpretation resulting in incorrect translations of idiomatic
expressions in the script of Tangled ?
3. How does the writer probably analyze the idiom to produce suitable
translation for Tangled ?
1.3 Objective of The Study
Through the analysis of the primary data, that is a movie script, the writer
would like to find the idiomatic expressions and identify whether there are any
idiomatic expressions in the movie script of Tangled which are misinterpreted by
the translator. The next objective is trying to analyze and give more suitable
translation for the misinterpreted idioms based on the context.
1.4 Significance of The Study
1. For the writer, this study is expected to broaden knowledge about the
translation of idiomatic expressions in the movie script.
2. For the institution, this study is aimed to be one of the references for further
study about translation of idiomatic expressions.
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3. For general people, this study is expected to be the starting point for those
who would like to do movie translation so that they can provide correct
translation of idiomatic expressions.
1.5 Limitation of The Study
The study that is conducted in this research is limited only in the area of
translation of idiomatic expression in the movie script of Tangled.
1.6 Definition of Key Terms
The definiton of key terms in this study is intended to give a clear
perspective of some terms to avoid misinterpretation, the terms are :
1. Idiomatic expression : An idiom is a set phrase of two or more words that
means something different from the literal meaning of the individual words.
2. Source language : The originating language that will be translated into
another language.
3. Target language : The destination language in which the source language will
be translated into.
4. Movie script : List of dialogues that are spoken by the casts of the movie.
5. The writer : The conductor of this research.
6. The script writer/Translator : The person who makes the Indonesian subtitle
of the movie Tangled.
CHAPTER II
REVIEW OF RELATED THEORIES
2.1 Definition of Translation
Translation is a process of communication, the objective of translating is
to impart the knowledge of the original to the foreign reader. Many scholars
define translation in many ways. However, the core of each is just the same. The
elements of translation are Source Language (SL), Target Language (TL), and
Equivalency. Jeremy Munday noted in his book Introducing Translation Studies :
Theories and application (2008, p.5)
The process of translation between two different written languages
involves the translator changing an original written text (the source
text or ST) in the original verbal language (the source language or SL)
into a written text (the target text or TT) in a different verbal language
(the target language or TL).
Another theory of translation constructed by Susan Bassnet in her book
Translation Studies (2002, p.12) said
What is generally understood as translation involves the rendering of a
source language (SL) text into the target language (TL) so as to ensure
that (1) the surface meaning of the two will be approximately similar
and (2) the structures of the SL will be preserved as closely as
possible but not so closely that the TL structures will be seriously
distorted.
However, Peter Newmark (1988, p.5) has another definition of translation, ―It is
rendering the meaning of a text into another language in the way that the author
intended the text.‖
The belief of equivalency is the core issue in translation. Susan Bassnett
(2002, p.34) noted that :
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The problem of equivalence, a much-used and abused term in
Translation Studies, is of central importance. Translation involves far
more than replacement of lexical and grammatical items between
languages and, as can be seen in the translation of idioms, the process
may involve discarding the basic linguistic elements of the SL text
and then problems of determining the exact nature of the level of
equivalence aimed for begins to emerge.
The question of defining equivalence is being pursued by two lines of
development in translation studies. The first, rather predictably, lays an emphasis
on the special problems of semantics and on the transfer of semantic content from
SL to TL. With the second, which explores the question of equivalence of literary
texts, together with more recent developments in discourse analysis, have
broadened the problem of equivalence in its application to the translation of such
texts. The question of cultural difference between SL and TL also plays another
difficulties in reaching equivalency. Susan Bassnett (2002, p.36) noted that
James Holmes, for example, feels that the use of the term equivalence
is ‗perverse‘, since to ask for sameness is to ask too much.
Equivalence in translation, then, should not be approached as a search
for sameness, since sameness cannot even exist between two TL
versions of the same text, let alone between the SL and the TL
version.
In this case, translating idioms takes the writer a phase further in examining the
question of meaning and translation , due to culture bound.
2.2 Translation Procedure
2.2.1 Newmark‘s Translation Procedure
Newmark mentions ―While translation methods relate to whole
texts, translation procedures are used for sentences and the smaller units
of language‖ (1988, p.81). Newmark also emphasizes one problem
concerning translation by stating ―the central problem of translating has
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always been whether to translate literally or freely‖. The argument has
been going on for a long time, many writers favoured some prominency
of free translation: the spirit, not the letter; the sense not the words; the
message rather than the form; the matter not the manner. However, this
argument was turned upside down, it was at the turn of the nineteenth
century, when the study of cultural anthropology suggested that the
linguistic barriers were insuperable and that language was entirely the
product of culture, the view that translation impossibly gained some
equivalency, so it must be as literal as possible. The tendency of
Newmark‘s theory of translation and the emphasis of translation method
can be seen in the V diagram below :
SL emphasis
Word-for-word translation
Literal translation
Faithful translation
Semantic translation
TL emphasis
Adaptation
Free translation
Idiomatic translation
Communicative translation
SL emphasis means that the translation follows what is common, normal
or simply most used in the source language, such as the structure, the lexis
and the culture. Whereas TL emphasis means that the translator does not
only consider the discourse, but also any other aspects, such as the
structure, the lexis and the culture on the target language. The writer tries
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to explain Newmark‘s eight methods of translation (1988, p.45-47) as
follows :
1. Word-for-word translation
This is often showed as interlinear translation, with The TL
immediately below the SL words. The SL word-order is preserved and the
words translated singly by their most common meanings, out of context.
Cultural words are translated literally. The main use of word-for-word
translation is either to understand the mechanics of the source language or
construe a difficult text as a pre-translation process. In Bahasa Indonesia,
we can find some examples of this kind of translation, such as:
1. SL : Look, little guy, you-all shouldn‘t be doing that.
TL : Lihat, kecil anak, kamu semua harus tidak melakukan itu.
According to that translation, the translation is awkward and makes no
sense because of the phrase ‗kecil anak‘ is not instantly accepted or
understood in the structure of Bahasa Indonesia. The meaning of the
phrase ‗harus tidak‘ is also incorrect. Both phrases should be translated as
‗anak kecil‘ and ‗seharusnya tidak‘ and the whole translation should be
‗Lihat anak kecil, kalian semua seharusnya tidak melakukan itu.‘
2. SL : I like that clever student.
TL : Saya menyukai itu pintar anak.
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The translation is not accepted in Bahasa Indonesia, because the
translation should be ‗anak pintar itu‘ instead of ‗itu pintar anak‘ and the
whole translation is supposed to be ‗Saya menyukai anak pintar itu.
3. SL : I will go to New York tomorrow.
TL : Saya akan pergi ke New York besok.
4. SL : Joanne gave me two tickets yesterday.
TL : Joanne memberiku dua tiket kemarin.
The translation of sentence 3 and 4 are not so bad as the translation of
sentence 1 and 2 because the structure of both sentences are not so
complex.
2. Literal translation
The SL grammatical constructions are transformed to their nearest
TL equivalents but the lexical words are again translated singly, out of
context. As a pre-translation process, this indicates the problems to be
solved. Here are some examples of literal translation :
1. SL : It‘s raining cats and dogs.
TL : Hujan kucing dan anjing.
2. SL : His heart is in the right place.
SL : hatinya berada di tempat yang benar.
3. SL : The sooner or the later the weather will change.
TL : Lebih cepat atau lebih lambat cuaca akan berubah.
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Seen from the translation, some literally translated sentences make no
sense. For instance, sentence 1 is supposed to be translated as ‗Hujan
lebat‘ or ‗Hujan deras‘.
As for sentence 2 is hould be translated as ‗Hatinya tentram‘, and sentence
3 is supposed to be translated as ‗ Cepat atau lambat cuacanya akan
berubah‘.
3. Faithful translation
A faithful translation tries to reproduce the precise contextual
meaning of the original within the constraints of the TL grammatical
structures. It 'transfers' cultural words and preserves the degree of
grammatical and lexical 'abnormality' (deviation from SL norms) in the
translation. It attempts to be completely faithful to the intentions and the
text-realisation of the SL writer. The translation sometimes feels hard to
understand and sounds unfamiliar. Examine the following example :
1. SL : Ben is too well aware that he is naughty.
TL : Ben menyadari terlalu baik bahwa ia nakal.
2. SL : I have quite few friends.
TL : Saya mempunyai samasekali tidak banyak teman.
4. Semantic translation
Semantic translation is distinct from 'faithful translation' only in as
far as it must take more account of the aesthetic value (that is, the beautiful
and natural sounds of the SL text, compromising on 'meaning' where
appropriate so that no assonance, word-play or repetition jars in the
finished version. Further, it may translate less important cultural words by
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culturally neutral third or functional terms but not by cultural equivalents.
The distinction between 'faithful' and 'semantic' translation is that the first
is uncompromising and dogmatic, while the second is more flexible,
admits the creative exception to 100% fidelity and allows for the
translator's intuitive empathy with the original. Semantic translation is
more flexible than faithful translation, in other words, it i more connected
to the TL. Have a look at the following example :
1. SL : He is a book-worm.
TL : Dia (laki-laki) adalah seorang yang suka sekali membaca.
The phrase book-worm is flexibly translated and somehow suitable
with cultural context and functional constraint in the TL. However the
sentence is less exactly translated, it is supposed to be ‗Dia seorang
kutu buku.‘
5. Adaptation
This is the 'freest' form of translation. It is used mainly for plays
(comedies and poetry; the themes, characters, plots are usually preserved,
the SL culture converted to theTL culture and the text rewritten. The
deplorable practice of having a play or poem literally translated and then
rewritten by an established dramatist or poet has produced many poor
adaptations, but other adaptations have 'rescued period plays. The
following is a song lyric adapted into Bahasa Indonesia.
SL : hey Jude, don’t make it bad
Take a sad song and make it better
Remember to let her into your heart
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Then you can start to make it better
TL : kasih, dimanakah
Mengapa kau tinggalkan aku
Ingatlah-ingatlah kau padaku
Janji setiamu takan ku lupa
6. Free translation
Free translation reproduces a little excessive translation. It focuses
on the matter without considering the manner, or the content without the
form of the original. Usually it is a paraphrase much longer than the
original, a so-called 'intralingual translation, often prolix and pretentious,
and not translation at all.
Here are the examples of this kind of translation :
1. SL : The flowers in the garden
TL : Bunga-bunga yang tumbuh di kebun.
2. SL : How they live on what he makes ?
TL : Bagaimana mereka dapat hidup dengan penghasilannya ?
In example 1, there is a shift of meaning in the prepositional phrase ‗in the
garden‘ which becomes a clause ‗yang tumbuh di kebun‘ in the TL.
Whereas in example 2, the clause ‗on what he makes‘ is paraphrased as
‗dengan penghasilannya‘ in the TL.
7. Idiomatic translation
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Idiomatic translation reproduces the 'message' of the original form
but tends to distort nuances of meaning by preferring colloquialisms and
idioms where these do not exist in the original form. The translation is not
recognized by the readers as something hard to be understood. Here are
some examples :
1. SL : I can relate to that.
TL : Aku mengerti maksudnya.
2. SL : Excuse me ?
TL : Maaf, apa maksud anda?
3. SL : A quick swim in the morning makes me feel like a million dollars.
TL : Berenang di pagi hari membuatku sehat wal‘afiat.
8. Communicative translation
Communicative translation attempts to render the exact contextual
meaning of the original in such a way that both content and language are
readily acceptable and comprehensible to the readership. This method
emphasizes on the principles of communication. An example of this kind
of translation can be understood in the translation of the word ‗spines‘ in
the phrase ‗thorns spines in old reef sediments.‘ If the word ‗spines‘ is
translated by a Biologist, then it would be ‗spina‘ (a Latin technical term).
Since the word is translated for more general readers or audience, therefore
the word is translated as ‗duri‘.
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2.2.2 Vinay and Darbelnet‘s Translation Procedure
On the other hand, Vinay and Darbelnet (2000, p.84) suggested
two major translation strategies. They are direct, or literal translation and
oblique translation. Together, the two strategies make up seven methods
of translation. In the listing which follows, the first three methods are
direct and the others are oblique.
1. Borrowing
Borrowing is the simplest translation method. It would not even
need discussion in this context if translators did not occasionally need to
use it in order to create a stylistic effect. For instance, in order to
introduce the flavour of the source langugae (SL) culture into a
translation, from American English, Mexican Spanish food names
―tequila‖ and ―tortillas‖, and so on. There are two kinds of Borrowing,
the pure borrowing and naturalised borrowing. The following are other
examples ;
1. Pure borrowing : harddisk, pizza, lasagna, hotdog, etc.
2. Naturalised borrowing :
SL : Computer
TL : Komputer
2. Calque
A calque is a special kind of borrowing in which a language
borrows an expression form of another, but then translates literally each
of its elements. The result is either:
1. A lexical calque, as in the following example :
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Science-fiction translated as Science-fiction
Secretary-General translated as Sekretaris Jenderal
The two are examples of calque which respect the syntactic structure
of the TL, whilst introducing a new mode of expression.
2. A structural calque, as in the second example, below, which
introduces a new construction into the language, e.g.:
Ministry of Public Works
Kementrian Pekerjaan Umum
The structural interference from the source language to the target
language is the typical characteristic of calque.
Literal translation is the direct conversion of a SL text into a
grammatically and lexically appropriate TL text in which the translators‘
task is limited to observing the adherence to the linguistic formal state of
the TL. Below is an example of literal translation from English into
Bahasa Indonesia :
SL : Put your books on the table.
TL : Letakkan buku-bukumu di atas meja.
Each of those words can be easily translated from English into
Bahasa Indonesia by looking up the dictionary. If there were conceptual
dictionaries with bilingual signifiers, translators would only need to look
up the appropriate translation under the entry corresponding to the
situation identified by the SL message. But such dictionaries do not exist
and therefore translators start off with words or units of translation, to
which they apply particular procedures with the intention of conveying
17
the desired message. Since the positioning of a word within an utterance
has an effect on its meaning, it may well arise that the solution results in
a grouping of words that is so far from the original starting point that no
dictionary could give it. Given the infinite number of combinations of
signifiers alone, it is understandable that dictionaries cannot provide
translators with ready-made solutions to all their problems. Only
translators can be aware of the totality of the message, which determines
their decisions. In the final analysis, it is the message alone, a reflection
of the situation that allows us to judge whether two texts are adequate
alternatives.
4. Transposition
Transposition method attempts to replace one word class with
another without changing the meaning of the message. Here are the
examples of transposition from English into Bahasa Indonesia :
1. SL : Once he is done elaborating the accounting material, he will go
out.
TL : Begitu dia selesai menjabarkan materi akuntansinya, dia akan
keluar.
2. SL : Once his accounting elaboration is done, he will go out.
TL : Begitu penjabaran materi akuntansinya selesai, dia akan keluar.
5. Modulation
Modulation is varying the form of the message, obtained by a
change in the point of view. This conversion can be justified when,
although a literal, or even transposed, translation results in a
18
grammatically correct utterance, it is considered unsuitable, unidiomatic
or awkward in the TL. Below are some examples of modulation from
English into Bahasa Indonesia :
1. SL : You are going to have a child.
TL : Anda akan menjadi seorang Bapak.
2. SL : I cut my finger.
TL : Jariku tersayat. Instead of Aku momotong jariku.
3. SL : David stood there looking at her, and the room was swimming.
TL : David hanya berdiri memandangnya, ruangan serasa berputar.
The word ‗swimming‘ means ‗berenang‘ in Bahasa Indonesia, but it
translated as ‗berputar‘. There is a change in point of view. It is awkward
if translated literally‘ ruangan serasa berenang.‘
6. Equivalence
We have repeatedly stressed that one and the same situation can be
rendered by two texts using completely different stylistic and structural
methods. In such cases we are dealing with the method which produces
equivalent texts. The classical example of equivalence is given by the
reaction of an amateur who accidentally hits his finger with a hammer: if
he were Indonesian his cry of pain would be transcribed as ―Aduh!‖, but
if he were English this would be interpreted as ―Ouch!‖. Another striking
case of equivalences are the many onomatopoeia of animal sounds, e.g.:
Some examples in English into Bahasa Indonesia :
1. SL : cock-a-doodle-do
TL : kukuruyuuk
19
2. SL : meow
TL : meong
7. Adaptation
This seventh method reaches the extreme edge of translation: it is
used in those cases where the type of situation being referred to by the SL
message is unknown in the TL culture. In such cases translators have to
create a new situation that can be considered as being equivalent.
Adaptation can, therefore, be described as a special kind of equivalence, a
situational equivalence. Adaptations are particularly frequent in the
translation of book and film titles for example ‗Snow White‘ which is
adapted into Bahasa Indonesia as ‗Putri Salju‘ and ‗Sleeping Beauty‘ as
‗Putri Tidur‘. Another example of this translation is ‗Snake in the grass‘
whic is translated as ‗musang berbulu ayam‘.
2.3 Idiomatic Expression
An idiom is generally understood as a group of words in a fixed order that
have a particular meaning that is different from the meaning of each word
understood on its own. Oxford Advanced Learner‘s dictionary (1995, p.589)
defines idiom as a phrase or sentence whose meaning is not clear from the
meaning of its individual words and which must be learnt as a whole unit.
Christine Ammer (1997, p.iii) states that the true test of an idiom is whether it
changes meaning when rendered word for word in another language.
The definition and opinion above obviously show the particular
characteristics of idiom, and unlike other phrases idioms have several restrictions
20
due to its particular characteristics. Baker (1992, p.63) clarifies the restrictions of
idiom into several points:
1. Change the order of the words in it (e.g. ‗the short and the long of
it‘).
2. Delete a word from it (e.g. ‗spill beans‘).
3. Add a word to it (e.g. ‗the very long and short of it‘, ‗face the
classical music‘)
4. Replace a word with another (e.g. ‗the tall and the short of it‘, bury
a hatchet‘)
5. Change its grammatical structure (e.g. ‗the music was faced‘).
Concerning the idiomatic expressions used in the movie, it is typically
American movies that use a lot of idiomatic expressions which are naturally
connected with the American idioms. In short, the movie is a modern Walt Disney
Animation which embraces traditional "princess" fare with Tangled, a cheeky
retelling of the Brothers Grimm‘s classic fairy tale, Rapunzel. In this more actionoriented musical comedy, Rapunzel is a princess who was abducted as a baby and
raised as a virtual prisoner in a remote castle by the evil woman, Mother Gothel.
Rapunzel has 70 feet of magic, golden hair, hair that keeps Mother from aging.
Having spent her entire life within the tower (with just Mother and the tiny, silent
chameleon Pascal for company), Rapunzel is full of curiosity about the outside
world. One day while Mother Gothel is away, Rapunzel is frightened by a surprise
visitor coming through her window, the dashing, roguish bandit Flynn Rider.
Flynn is not only on the run from his brutish former cohorts, the Stabbington
Brothers, but also from the royal guards after escaping a jeweled tiara he had
stolen. Tangled might ultimately be a modern Disney classic, and moreover this
movie has a lot of fun, full of humor, adventure, and good music. Those
characteristics result in the use of many idiomatic expressions during conversation
and the songs.
21
2.3.1 Classification of Idioms
In order to help to understand idioms better, there is a classification
of them. Idioms can be grouped into five categories, they are
colloquialisms, proverbs, slangs, allusions and phrasal verbs. Below is a
brief definition of each with some examples.
1. Colloquialism
Colloquialism is an expression not used in formal speech or
writing. Colloquialism or colloquial language is considered to be
characteristic of or only appropriate for casual, ordinary, familiar, or
informal conversation rather than formal speech or writing. They are
used in daily conversations. Below are the examples of colloquialism :
1. SL : He died of laughter.
Tl : Dia tertawa terbahak-bahak.
2. SL : This cellphone has been on the blink for two weeks.
TL : Telepon seluler ini sudah rusak selama dua minggu.
2. Proverbs
Proverb is a simple way of speaking. It is used the time when we
want to make our speech more concrete and more understandable. It is
popularly used and repeated and expresses facts and truth based on
common sense. Wolfgang Mieder is an American scholar working on
proverb. He defines proverb as follows:
A proverb is a short, generally known sentence of the folk which
contains wisdom, truth, morals, and traditional views in a metaphorical,
fixed and memorizable form and which is handed down from generation
22
to generation.
The reason to use proverbs can be to choose a way of saying a fact
gently and smoothly and to make it more reliable and valid. Other times,
they are used to carry more weight in a discussion. Another reason can be
to give more taste and beauty to our speech. Good speakers try to make
use of proverbs to attract their audience.
Examples of english proverb and their meaning in Bahasa
Indonesia can be actions speak louder than words or the expression no
pain, no gain which refers to the situation of suffering in order to gain the
thing we have intended to achieve.
1. SL : Actions speak louder than words.
TL : Tindakan lebih berarti daripada kata-kata.
2. SL : A half of loaf is better than none.
TL : Sedikit itu lebih baik daripada tidak sama sekali.
3. SL : A picture is worth more than a thousand words.
TL : Sebuah gambar jauh lebih mudah dimengerti daripada
penjelasan panjang lebar.
3. Slang
Slang is the use of highly informal words and expressions that are
not considered as the standard use of language. It is often used as a way
to say words that are not appropriate or somehow taboo. Slang lowers
the dignity of formal or serious speech or writing and replace a well-
23
known conventional synonym. Slang is used to add humor and fun to
one‘s speech. Here are examples of slang :
1. SL : He has been such a horse’s ass.
TL : Dia itu memang menyebalkan.
2. SL : Your friend over that corner is a chicken.
TL : Temanmu yang di pojok itu penakut.
4. Allusion
Allusion is a figure of speech that makes a reference to a place,
event, literary work, myth, or work of art, either directly or by
implication. Allusion can also be defined as ―a brief reference, explicit
or indirect, to a person, place or event, or to another literary work or
passage‖.
1. SL : He was a real Romeo with the ladies.
TL : Dia benar-benar romantis terhadap gadis-gadis.
5. Phrasal verb
Phrasal verb is the combination of a verb and a preposition, a verb
and an adverb, or a verb with both an adverb and a preposition. A
phrasal verb often has a meaning which is different from the original
verb.
They are usually used informally in everyday speech as opposed to the
more formal verbs. For example the informal use these phrasal verbs :
1. SL : Grace told me that she wanted to start over.
TL : Grace bilang dia ingin mulai dari awal lagi.
2. SL : Let me speak to Jennifer before you hang up.
24
TL : Ijinkan aku bicara dengan Jennifer sebelum kau tutup
teleponnya.
2.3.2 Difficulties in Translating Idiomatic Expression
Translating idioms is a difficult task for anyone especially if he or
she is not aware of the cultural differences of the source and target
languages. The main problems are recognizing idioms and distinguishing
idiomatic from non-idiomatic expressions.
It is sometimes even hard to find the right equivalent for a single word
without finding equivalence for a sequence of words that convey one
specific meaning. Idiomatic expression translation is difficult due to the
lack of sense of equivalence in the TL. Idioms are culturally specific,
which means that they may express a sense that doesn‗t occur in the TL.
Baker (1992, p.68) stresses this point when she says:
Idioms and fixed expressions which contain culture-specific items are
not necessarily translatable. It is not the specific items of expression
contain but rather the meaning it conveys and its association with
culture-specific context which can make it untranslatable or difficult
to translate.
Baker (1992, p.65) also implies the major problems of dealing with idiom
are the ability to recognize and interpret and idiom correctly. The
translation of idiomatic expressions needs a particular efforts and for that
reason idiom requires certain method of translation .
One problem with sentences that contain idioms is that they are
typically ambiguous. In the sense that either literal or idiomatic translation
is possible. To deal with such problem, Newmark has some method of
translation including a method called idiomatic translation. Once an idiom
25
is recognized and interpreted correctly, there will be other difficulty. That
is the process of finding the equivalent expression in the target language.
Here, the writer tries to emphasize the obstacles in translating idiom based
on Baker‘s summary (1992, p.68-71) as follows :
1. An idiom or fixed expression may have no equivalent form in the target
language. The way a language chooses to express, or not express, various
meanings cannot be predicted and only occasionally matches the way
another language chooses to express the same meanings. One language
may express a given meaning by means of a single word, another may
express it by means of a transparent fixed expression, a third may express
it by means of an idiom, and so on. It is therefore unrealistic to expect to
find equivalent idioms and expressions in the target languages as matter of
course.
Like single words, idioms and fixed expressions may be culture-specific.
Formulae such as Merry Christmas which relate to specific social or
religious occasions provide good examples.
Idioms and fixed expressions which contain culture-specific items are not
necessarily untranslatable. It is not the specific items an expression
contains but rather the meaning it conveys and its association with culturespecific contexts which can make it untranslatable or difficult to translate.
It is not the specific items an expression contains but rather the meaning it
conveys and its association with culture-specific contexts which can make
it untranslatable or difficult to translate. For example, the English
expression he doesn't care a fig.
26
2. An idiom or fixed expression may have a similar counterpart in the
target language, but its context of use may be different; the two
expressions may have different connotations, for instance, or they may not
be pragmatically transferable. To sing a different tune is an English idiom
which means to say or do something that signals a change in opinion
because it contradicts what one has said or done before.
3. An idiom may be used in the source text in both its literal and idiomatic
senses at the same time. Unless the target-language idiom corresponds to
the source-language idiom both in form and in meaning, the play on idiom
cannot be successfully reproduced in the target text. E.g. He was deaf to
his father's advice or I ran short of money last week.
4. The very convention of using idioms in written discourse, the contexts
in which they can be used, and their frequency of use may be different in
the source and target languages. English uses idioms in many types of text,
though not in all. E.g. take no thought for tomorrow or stick to your guns.
The main cause of error in translation is human factor, the translator is not
able to identify idiomatic expression, and the ability could affect the
choice of the method and later influencing the final result in the target
language. It has been known that idiomatic expression is not always
obvious and is not fixed in their form. Moreover there are various types of
idiom, some are easily recognizable than others.
Baker (1992, p.65) emphasizes the main problems about idiomatic
expressions:
27
the ability to recognize and interpret idiom correctly, and the
difficulties involved in rendering the various aspects of meaning that
an idiom or fixed expression conveys into the target language.
2.4 Subtitling
This thesis mainly discusses translation of idiomatic expression in Tangled
movie script. It needs some approaches which concern with idiomatic translation
and translation of movie script.
There are two ways to transfer message from the source language to the
target language (language transfer) in a movie, they are subtitling and dubbing.
Both are essentially the same, that is to transfer the message from the source
language dialogue to the target language diologue, yet technically different.
Oxford Advanced Learner‘s Dictionary (1995, p.1193) defines subtitling as words
that translate what is said in a film in a different language and appear on the
bottom of the screen.
In a broader definition, subtitles are textual versions of the dialog or
commentary in films, television programs, video games, and the like, 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 added information to help viewers
who are deaf and hard of hearing to follow the dialogue, or people who cannot
understand the spoken dialogue or who have accent recognition problems.
Oxford Advanced Learner‘s Dictionary (1995, p.359) defines that dubbing
means to replace the original soundtrack of a film with one in a different
language. In this case, dubbing becomes the replacement of the dialogue and
28
narration of the foreign language (known as the Source Language), into the
language of the viewing audience (known as the Target Language). It is basically
translating other-language television programs to the language that suits the
current viewers.
Translating movie or subtitling is interesting since it is not the same with
translating book, because the language that is used for subtitling needs to be more
compact, it is not only because of the space limit but also the time constrain. The
writer lists these processes separately below, noting that the order of these
activities are done while watching a movie with subtitle on the screen.
1. Reading the subtitles
2. Decoding the subtitles: This involves decoding the syntactic and semantic
content of the subtitles to arrive at a pragmatically acceptable interpretation.
Viewers "supplement the semiotic content of the subtitles with information from
other audiovisual channels—notably the image, and prosodic features in the
dialogue".
3. Watching the image flow
4. Deciphering the visual information: Cinema is a specific language, a language
of its own, and the composition of images in cinema convey much more than what
we see in real life in the street. Montage makes images speak, and the way the
film is constructed adds meaning to what happens in the film (narrative, action,
etc.)
5. Connecting each segment of the image flow to the underlying story
6. Listening to (or just hearing) the sound (dialogue, effects, music)
7. Guessing what is about to happen
29
8. Remembering what has already happened to make fresh deductions during
following sequences.
2.5 Theoritical Framework
From the theories described above, the writer uses Peter Newmark theory
as the framework to analyze the data. The expected result of translation in the
formulation of message from the source language into the target language to be
understandable and convey the same message. In translating idiomatic expression,
a translator should use correct method of translation because the method will
effect the result. Newmark (1988, p.45-47) constructed the methods of translation
as follows :
1. Word-for-word translation.
3. Faithful translation
4. Semantic translation
5. Adaptation
6. Free translation
7. Idiomatic translation
8. Communicative
This theory is taken because in this theory, there is a method which is
required to analyze the data in this study, that is idiomatic translation.
2.6 Review of Related Studies
There are three studies which are closely related to this thesis. The first is
30
―AN ANALYSIS OF THE IDIOMATIC TRANSLATION FOUND IN THE
SUBTITLES OF MOVIE ENTITLED SCREAM‖ conducted by Dhian
Ambarwati, a student at English Department, Airlangga University graduated in
2006. Dhian Ambarwati‘s study can be said as the closest study to this thesis. It is
simply because the object of research between the two studies is the same, which
is the translation of idiomatic expression found in movie script. However, there
are two obvious differences between the two studies. They are the data source and
how the writer presents the data.
The second study was also conducted by a student from English
Department, Airlangga University named Choirun Nisa‘ entitled ―AN
ANALYSIS OF THE TRANSLATION METHOD USED IN THE ENGLISH
SUBTITLE OF AN INDONESIAN FILM ENTITLED BERBAGI SUAMI‖, this
study was completed in 2008. The writer started conducting the study by
collecting the data. The data was obtained by comparing the original film script in
the script book with the utterances in the film. Then, the writer wrote the english
subtitle in the first part of the film and made a table to put and compare
Indonesian utterances and the English subtitles. Meanwhile analyzing the data, the
writer classified the data based on Peter Newmark‘s translation method applied in
the subtitles. Finally the writer interpreted the result of the analysis.The result
showed that the translation methods found in the subtitles were communicative
translation, faithful translation, free translation and adaptation. In addition the
most frequently applied translation method was communicative translation.
Later, the writer found another study completed in 2005 entitled ―A
STUDY OF SUBTITLING ENGLISH MOVIE ENTITLED LADDER 49” by
31
Mahesti Pramodya Wardhani, a student at the English Department, Airlangga
University. This study used qualitative descriptive analysis. The writer collected
the data by looking for movie which matches with the research. The writer
transcripted the subtitle of the movie by listening and writing every utterance
made by the movie players. By using utterance in the fourth and fifth scene of
Ladder 49 and using five procedures from seven translation methods, the writer
tried to find out whether the Indonesian subtitling conveys the same message as
the one in the source language, in this case is English. The five procedures are
literal translation, modulaion, equivalent, adaptation and transformation. Many
misleding mistakes were found in the subtitle. Moreover, the translation of the
subtitle does not convey the same message from the source language into the
target language. The writer concluded that good translation must reproduce the
information given in the source text. The language must be adapted to its readers
and it should be appropriate for people who read or listen to it.
CHAPTER III
RESEARCH METHODOLOGY
3.1 Research Approach
This is an interpretive qualitative study. It emphasizes the importance of
analysis performance of the writer. The writer sets out empirical observations,
consisting of descriptive and analytical passages. The intention is to provide the
reader with a sense of the ‗real world‘. Punch (2006, p.3) explains that qualitative
research does not use numerical data, he also states that the research questions and
method are more general in the beginning and become more focused as the study
progresses. Through close contact with the research field in question for a
prolonged period of time, the writer develops a profound understanding and
becomes able to formulate a conceptually rich theory explaining the analysis
based on curiousity. Contact with the field of research is based on observations, or
analysis of documents and other related source of the object of research.
3.2 Corpus
The writer chooses a movie entitled Tangled as the data source of this
study. The movie is chosen because it has sufficient number of idiomatic
expression.
In short, the movie is a modern Walt Disney Animation which embraces
traditional "princess" fare with Tangled, a cheeky retelling of the Brothers
32
33
Grimm‘s classic fairy tale, Rapunzel. In this more action-oriented musical
comedy, Rapunzel is a princess who was abducted as a baby and raised as a
virtual prisoner in a remote castle by the evil woman, Mother Gothel. Rapunzel
has 70 feet of magic, golden hair, hair that keeps Mother from aging. Having
spent her entire life within the tower (with just Mother and the tiny, silent
chameleon Pascal for company), Rapunzel is full of curiosity about the outside
world. One day while Mother Gothel is away, Rapunzel is frightened by a surprise
visitor coming through her window, the dashing, roguish bandit Flynn Rider.
Flynn is not only on the run from his brutish former cohorts, the Stabbington
Brothers, but also from the royal guards after escaping a jeweled tiara he had
stolen. Tangled might ultimately be a modern Disney classic, and moreover this
movie has a lot of fun, full of humor, adventure, and good music. Those
characteristics result in the use of many idiomatic expressions during conversation
and the songs. The movie script of Tangled which is chosen for this study consists
of 19 scenes, 1041 lines of English conversation and 1024 lines of Indonesian
conversation in a whole 100 minutes.
3.3 Technique of Data Collection
First, he writer takes Tangled movie script as the data source of this study.
Both English and Bahasa Indonesia script are found on a website named
subscene.com. Second, the writer matches the movie dialogues and the subtitles in
order to write the whole translation of the movie subtitle. The writer writes the
entire subtitle in the movie, both the Indonesian and the English subtitle. The
34
writer uses the primary data from subscene.com because both of them are wellmatched with the dialogues in the movie.
Third, the writer tries to find some sentences which contain idiomatic
expression and decide some sentences whic contain idiomatic expression.
Fourth, after writing down the subtitles of the movie, the writer lists the
English idioms which are found in the subtitles and matches the with their
translation in Indonesian. The procedures of collecting the data are :
1. Searching and downloading both English and Indonesian script from
subscene.com
2. Matching the original subtitle in English and also the subtitle in Bahasa
Indonesia with the dioalogues in the movie.
3. Finding some sentences which contain idiomatic expression.
3.4 Technique of Data Analysis
After collecting the data, the writer does some steps to analyze the data.
First, the writer classifies the data into the type of translation based on Newmark‘s
theory. Those are word-for-word translation, literal translation, faithful
translation, semantic translation, adaptation, free translation, idiomatic translation,
and communicative translation.
35
Second, from the sentence which contain idiomatic expression, the writer
points the idioms which are misinterpreted ; those are idiomatic expressions
which are incorrectly translated into Indonesian during the conversation.
Some translations of the idiomatic expressions are incorrect because they
are misleading, this is simply because the background of the conversation and the
speakers‘ intended message do not match.
Finally, the writer explores the data which have been classified into the
eight types of translation by Newmark. After that, the writer makes his own
interpretation about the data, which are idiomatic ranslation. The data analysis
procedure can be listed as follows:
1. Collecting the idiomatic expressions and their translation from both scripts,
English and Bahasa Indonesia.
2. Identifying the idioms which are misinterpreted using the procedures of
translation by Peter Newmark.
3. Interpreting the result.
4. Drawing conclusion.
CHAPTER IV
DATA PRESENTATION AND ANALYSIS
4.1 Data Presentation
The movie script that will be analyzed in this chapter was taken and
downloaded from the internet. To analyze the data, the writer will compare the
data in the source language and that in the target language. From the comparison,
some data will be found and the writer tries to analyze whether the idiomatic
translations of the subtitle are suitable with the context or there is any misleading
translation of the idiomatic expression of the movie script. The following are
some idiomatic expressions found in the script and presented in the form of a list.
However, the writer does not claim that it is an exhaustive list, because of the
writer‘s insufficient mastery of English and the ability to understand idioms which
are bound to culture. Some idioms are easily found and understood by the
Indonesian speaking audience and some others are not.
Table 1.1 List of Idiomatic Expressions in Tangled
No.
1.
English Idiomatic
Indonesian
Expressions
Translation
a hop skip and a boat
tanpa terasa
ride away
2.
you get the jist
kalian mengerti, kan
36
37
3.
one way or another
bagaimanapun juga
4.
skip the drama
lewati dramanya
5.
my hands are full
tangan ku penuh
6.
flea-bag
kutu-tas
7.
dropped the issue
masalahnya sudah
beres
8.
Gesundheit
gesundheit
9.
in a situation
di sebuah situasi
10.
picking up bits and
mengambil
pieces
kesimpulan kecil
smells like the color
baunya seperti warna
brown
coklat
12.
call it a day
cukup untuk hari ini
13.
work this out
menyelesaikan ini
14.
play it safe
hati-hati
15.
big lug
lug besar
16.
I don't do back story
aku tidak mau cerita
11.
itu
38
17.
we made it
kita berhasil
18.
cut him off at
bawa kepala nya ke
19.
like wild dogs chasing
seperti anjing liar
their tails
mengejar ekor nya
20.
be on your way
pergilah saja
21.
for the record
sebagai catatan
22.
he's such a dream boat
ia memang seperti
yang kau impikan
23.
lost in thought
sedang melamun
24.
all good things to those
semua hal-hal yang
who wait
baik
kepada mereka yang
menunggu
25.
It's crystal clear
sangat jelas
26.
holding out on us
menyembunyikan
again?
sesuatu lagi pada
kami?
39
4.2 Identification Table
The following is the identification table which shows the existence of
misinterpretation.
Table 1.2 Identification Table of the Misinterpretation of Idioms
No.
English
Idiomatic Indonesian Translation
Misinterpreted
Expressions
Yes
1.
No
√
a hop skip and a boat tanpa terasa
ride away
2.
you get the jist
kalian mengerti, kan
√
3.
one way or another
bagaimanapun juga
√
4.
skip the drama
lewati dramanya
√
5.
my hands are full
tangan ku penuh
√
6.
flea-bag
kutu-tas
√
7.
dropped the issue
masalahnya sudah beres
8.
Gesundheit
Gesundheit
√
9.
in a situation
di sebuah situasi
√
10.
picking up bits and mengambil
pieces
11.
kesimpulan
kecil
smells like the color baunya
brown
√
coklat
seperti
warna √
√
40
√
12.
call it a day
cukup untuk hari ini
13.
work this out
menyelesaikan ini
14.
play it safe
hati-hati
15.
big lug
lug besar
√
16.
i don't do back story
aku tidak mau cerita itu
√
17.
we made it
kita berhasil
18.
cut him off at
bawa kepala nya ke
19.
like wild dogs chasing seperti
√
√
anjing
√
√
√
liar
their tails
mengejar ekor nya
20.
be on your way
pergilah saja
√
21.
For the record
Sebagai catatan
√
22.
he's such a dream boat
ia memang seperti yang √
kau impikan
√
23.
lost in thought
sedang melamun
24.
all good things to those
semua hal-hal yang baik
who wait
kepada
mereka
√
yang
menunggu
25.
it's crystal clear
26.
holding
again?
out
√
sangat jelas
on
us
menyembunyikan
sesuatu lagi pada kami?
√
41
4.3 Analysis of the Misinterpreted Idioms
The following is the analysis of the misinterpreted idioms.
Some idioms are misinterpreted because the translator used wrong method
of translation and some others are misinterpreted simply because the
translator‘s lack of knowledge in vocabulary and grammar in both English
and Bahasa Indonesia.
1. a. Expression : skip the drama
b. Subtitle
: lewati dramanya
This colloquial idiom is interjectingly used by Mother Gothel when
asking Rapunzel to quit looking forward the outside world. Mother Gothel
indirectly asks Rapunzel to forget her wish, that is seeing the outside world.
The translation of this colloquial idiom is slightly misleading since there is
no drama in the movie. Christine Ammer (1997, p.589) mentions that the
expression ―skip it‖ means ―drop the subject or ignore the matter‖. It is
obvious that the expression ―skip the drama‖ is derived from the expression
―skip it‖, only with more definite object. Yet, the meaning is almost likely
the same.
Spears (1996, p.305) notes that the expression ―skip it‖ means
―lupakan saja‖. This is an informal expression when someone talks about
thing number one and he doesn not want to talk about the thing number two
and go straight to thing number three. The writer prefer translating it
idiomatically as ―lupakan saja‖.
2. a. Expression : my hands are full
42
b. Subtitle
: tanganku penuh
Flynn uses this expression when he is asked by his partners, The
Stabbington Brothers,
to help them climb up the cliff, but Flynn
colloquially tries to refuse it by saying ―my hands are full‖. The fact is that
Flynn does not want to help them to climb up the cliff. Once again the
translator translated a colloquial idiom literally. It sounds a little ridiculous
because Flynn‘s hands are not a jar or a pail to fill that the translator uses
the word ―penuh‖. Just like when we do not want to help someone, we
indirectly refuse by saying ‗saya sedang sibuk‖ instead of ―tanganku
penuh‖, don‘t we?
Based on the above consideration, the writer thinks that it is
supposed to be semantically translated as ―saya/aku sedang sibuk‖.
3. a. Expression : flea-bag
b. Subtitle
: kutu-tas
Swearing is common in American informal conversation, including
this one. Flynn accidentally rides on Maximus, an anthropomorphic royal
horse. Once Maximus realizes that he is being ridden by the thief that he has
been chasing, he stops right away. Flynn forces Maximus to run again by
saying ―flea-bag‖, it makes Maximus even angrier and makes him try to
retrieve the satchel that is carried by Flynn and soon both are in the middle
of the fight for the tiara. According to thefreedictionary.com, flea-bag is a
slang which means ―a flea ridden or worthless animal‖. It is awkward to
translate ―flea-bag‖ as ―kutu tas‖, the writer thinks it is going to be suitable
43
if the slang is translated as ―kuda tak berguna‖. Because a horse is supposed
to be a ride, and Maximus simply does not want to be ridden by any person
in this scene.
4. a. Expression : Gesundheit
b. Subtitle
: Gesundheit
Gesundheit is a tricky slang in the script. According to
english.stackexchange.com the interjection ―Gesundheit‖ was historically
brought by German immigrants and borrowed into English, it is said after
someone sneezes and commonly translated as ―Bless you‖.
However in this context, it makes least sense when Flynn uses this
slang to Rapunzel, since Rapunzel did not sneeze at all. The subtitle is
obviously incorrect and confusing to Indonesian speaking audience. The
writer interprets this slang just as joke which is uttered to Rapunzel when
she tries to correct her name to Flynn. Therefore the writer semantically
translates this slang as ―Tuhan memberkatimu‖ since it is used in a joking
way.
5. a. Expression : in a situation
b. Subtitle
: di sebuah situasi
Flynn tries to explain his condition to Rapunzel when he was
chased by the royal guards. He calls his being chased by the royal guards as
―in a situation‖ which semantically makes no sense at all. Flynn‘s intention
using this expression is to describe his situation before he is taken hostage
by Rapunzel. The subtitle ―di sebuah situasi‖ is completely unacceptable in
44
Bahasa Indonesia because of its width of interpretation area. The writer
interprets this colloquial idiom as ―dalam masalah‖. This colloquial idiom is
mostly used in military conversation. When something goes wrong, the
soldiers use ―in a situation‖ or ―have a situation‖ as the usual expression.
6. a. Expression : smells like the color brown
b. Subtitle
: baunya seperti warna coklat
Flynn uses this allusion when he tries to scare rapunzel in the
Snuggly Duckling bar. Rapunzel is scared and she tries to stay away from
everybody in the bar. Since the translator uses word-for-word translation,
the result is ridiculous. According to wiki.answers.com, color brown
philosophically means something natural. It is the symbol of earth and the
ground. The writer thinks that it is supposed to be translated as ―memang
begitulah kira-kira‖.
7. a. Expression : work this out
b. Subtitle
: menyelesaikan ini
Accroding to Oxford Dictionary (1995, p.1376), to work
something out means to find the answer to something or to solve something.
Flynn uses this expression while talking to the bandits in the Snuggly
Duckling bar who want to capture him and turn him in to the kingdom. His
intention is to make a bargain that could be beneficial to him and the
bandits. This phrasal verb is semantically translated, yet it is still less correct
than it should be. The writer thinks that the more correct translation is
45
―menemukan solusinya‖ rather than ―menyelesaikan ini‖ which sounds
unclear and too wide.
8. a. Expression : big lug
b. Subtitle
: lug besar
Another ridiculous translation found in the script. This slang is
used by Mother Gothel to tease the short old man in the back of the Snuggly
Duckling bar. This slang is figuratively used during the conversation
between the old man and Mother Gothel. Mother Gothel tries to get the old
man‘s attention by saying ―big lug.‖
This slang is borrowed by the translator from the source language,
which resulted in ridiculous translation. According to Cambridge Advanced
Learner‘s Dictionary Third Edition, ―big lug‖ means ―a man you like‖.
urbandictionary.com defines ―big lug‖ as a man that acts the opposite of
what his overall image reflects or acts against the stereotypical image of the
tough guy. Based on all those definition, the writer concludes that the most
suitable translation is ―pria besar or jagoan‖
9. a. Expression : I don‘t do back story
b. Subtitle
: aku tidak mau cerita itu
This colloquial idiom is freely translated by the translator. The
translation is communicatively and semantically understood, yet it is not the
correct translation. This expression is used when Flynn is being asked by
Rapunzel about his past life. Flynn refuses to tell Rapunzel about that by
saying ―I don‘t do back story‖, but then he tells her anyway. The word
46
―back‖ indicates that the ―story‖ is obviously about Flynn‘s past life, how he
used to be. Therefore the writer thinks that the expression should be
semantically translated as ―aku tidak mau cerita tentang masa lalu‖.
10. a. Expression : cut him off at
b. Subtitle
: bawa kepalanya ke
The Stabbington Brothers escape from the royal guards, then they
set out to revenge to Flynn. This phrasal verb is incorrectly translated
regarding the context. The phrasal verb ‗cut him off‘ is not intended to
express cutting Flynn‘s head off. Oxford Dictionary (1995, p.289) in
number four phrasal verb section explains that ―to cut somebody or
something off‖ means ―to stop the supply of something to somebody‖.
Another use is ―to block or obstruct something‖. ―cut him off at‖ in this
context is more likely means ―to intercept‖ Flynn from travelling to the
kingdom with Rapunzel. So, the phrasal verb ―cut him off at‖ should be
translated as ―mencegatnya di‖ instead of ―bawa kepalanya ke‖.
11. a. Expression : be on your way
b. Subtitle
: pergilah saja
The Stabbington Brothers were about to be content with the tiara
only, but then Mother Gothel gives another bait by saying ―be on your
way‖. Of course they are attracted by that expression. Unfortunately, this
colloquial idiom is freely translated as ―pergilah saja‖. It is semantically
understandable but contextually incorrect. Mother Gothel‘s intention is to
47
let the Stabbington Brothers to decide what they want to do after they get
the tiara, but she offers something more than that to them. The writer thinks
that the expression is close to ―have it your way‖ which colloquially means
―whatever‖. Therefore the translation should be ―terserah kalian‖ rather than
―pergilah saja‖.
12. a. Expression : for the record
b. Subtitle
: sebagai catatan
Rapunzel uses this expression to emphasize something to Flynn,
she prefers the name Eugene Fitzherbert, Flynn‘s real name, to Flynn Rider.
Spears (1996, p.106) notes that the meaning of this colloquialism is ―agar
diketahui‖. In the past, this expression was mostly used during the press
conference in order to get something clear or straight. The translator
translated this colloquialism literally, just because the word ―record‖ means
―catatan‖ in Bahasa Indonesia. However, it is such a poor translation. The
writer thinks that the most equivalent expression is ―asal tahu saja‖. It is
widely used in Bahasa Indonesia as a colluquial way of speaking.
13. a. Expression : he‘s such a dreamboat
b. Subtitle
: ia memang seperti yang kau impikan
A bluff from Mother Gothel to Rapunzel about Flynn. Mother
Gothel tries to provoke Rapunzel, so that she would leave Flynn. She tells
Rapunzel that Flynn is just a fraud and then she gives the satchel with the
tiara in it. She orders Rapunzel to give that satchel to Flynn and see what
48
happens next. Mother Gothel also scares Rapunzel that she would be left by
Flynn. The translator tries to translate this colloquial idiom semantically,
but the result is less correct although it is acceptable in Bahasa Indonesia.
Cambridge Advanced Learner‘s Dictionary Third Edition defines that
―dreamboat‖ means ―a very physically attractive person‖. In Bahasa
Indonesia, it can be translated as ―pujaan‖. The writer tries to translate the
expression semantically, and the result of the whole translation should be
―dia memang pujaan‖.
14. a. Expression : all good things to those who wait
b. Subtitle : semua hal-hal yang baik kepada mereka yang menunggu
The Stabbington Brothers agree to join Mother Gothel to revenge
to Flynn. Now they are ready to ambush Flynn and Rapunzel, but then they
are stopped by Mother Gothel. She tries to remind the Stabbington Brothers
that if they are patient enough to wait till the right moment, they will get
more than they want. The proverb is poorly translated since the translator
used literal translation. It is understandable but semantically unacceptable.
The writer propose one equivalent proverb in Bahasa Indonesia, that is
―kesabaran itu buahnya manis‖.
15. a. Expression : holding out on us again ?
b. Subtitle
: menyembunyikan sesuatu lagi kepada kami ?
When Flynn reencouters the Stabbington Brothers, he is going to
give the the satchel with the tiara in it, but it is too late. The Stabbington
49
Brothers are already provoked by Mother Gothel that Rapunzel, the girl who
is with Flynn, is worth than a thousand tiaras. The Stabbington Brothers
want her instead. Oxford Dictionary (1995, p.567) defines ―hold out on
somebody‖ means ―to refuse to give something, especially information‖.
One of the Stabbington Brothers uses this phrasal verb because formerly,
they were tricked by Flynn. The translation is semantically correct, yet the
word ―kepada‖ is not the suitable word for the structure. It is supposed to be
―menyembunyikan sesuatu lagi dari kami ?‖
CHAPTER V
CONCLUSION AND SUGGESTION
5.1 Conclusion
Translating subtitle of a movie needs special skill and insight, since there
are several aspects that can affect the result of the translated text, such as the
background of the conversation, the limited space and time of the appearing
subtitle and the most important is the different language between the source
language and the target language.
To translate idioms, the translator should identify them from those
expressions which are not idioms, then, investigates the classification to which
that particular idiom belongs and selects the suitable strategy for his translation.
During this process, the translator should be careful of the naturalness and
readability of his text. He would better try his best to find equivalences to transfer
both the form and the meaning and be thoughtful of not deleting the whole or
eliminating the uncorresponding part of the idiom. The translator also needs to
develop sensitivity to the use of idioms in the receptor language and uses them
naturally to make the translation lively and keep the style of the source language.
There will often be words in the source language which are not idioms but are
best translated with an idiom.
The analysis and interpretation of the result lead to some general
conclusion about the translation procedures applied in the translation of subtitle in
movie Tangled. From the interpretation of the misinterpreted idioms, the writer
50
51
found out that instead of applying the proper method of translating idiomatic
expressions, the translator of the subtitle in the movie Tangled employs other
unsuitable procedures. Those idioms are mostly misinterpreted because the
translator used literal translation for most idioms, which later becomes incorrect
method.
In translating the idiomatic expressions in this movie, the translator should
take into account about the background of the conversation and the true meaning
of the idiomatic expression. Consequently the subtitle will correspond with the
visual image and the speaker‘s utterance. Since no languages are the same with
others, idioms in every language are different. Therefore, to translate idiom, a
translator should have a good understanding about the source language. In
addition, the definiton of some idiomatic expression can not be found in the
dictionary. Thus, besides looking up the meaning of idiomatic expression in
dictionary, it is necessary to look for it in other more updated sources for example
by checking it in thefreedictionary.com or urbandictionary.com
It is empirical that the meaning of an idiom is complicated and multileveled, a ‗network of relations‘ as devious as the channels of mind in the brain.
The more communication happens, the more generalization. Moreover for
translating idioms, it is arguably the most complex and problematic task of
translation.
In the end, the writer expects that this study would be a valuable asset of
reference for generations to come who conduct more advanced study in
translation.
52
5.2 Suggestion
Translating English subtitle into Indonesian needs a lot of works and
understanding about both culture in the source language and the target language.
The translation should also have aesthetic value besides being understandable.
Based on this research, the writer would give three suggestions as follow:
1. For the writer, it is suggested to broaden knowledge about idioms and culture,
both English and Indonesian.
2. For the institution, it is suggested to encourage the students to conduct
research in the field of subtitle translation because it is a wide and interesting
area to observe and analyze.
3. For other researchers who want to conduct the same research, it is suggested
that the analysis be conducted in a more profound way and broaden the scope
of the research area in order to find other yet unidentified linguistic cases. For
general readers who do not have sufficient knowledge about the translation of
a movie subtitle, they need to be more careful in absorbing the linguistic
aspect from subtitle since not all the translations in subtitle are correct.
BIBLIOGRAPHY
Ambarwati, Dhian. 2006. ―An Analysis of the Idiomatic Translation Found In the
Subtitles of Movie Entitled Scream”. A Thesis. (Unpublished). Surabaya:
Airlangga University.
Ammer, Christine. 1997. The American Heritage: dictionary of idioms. Boston:
Houghton Mifflin Company.
Baker, Mona. 1992. In Other Words: A Coursebook On Translation. London and
New York: Routledge.
Bassnett, Susan. 2002. Translation Studies: Third Edition. London and New
York: Routledge.
English.Stackexchange.gesundheit.http://english.stackexchange.com/question/393
33/how-did-gesudnheit-work-its-way-into-common-american-usage.
Accessed on april 20, 2013.
Hornby, A. S. 1995. Oxford Advanced Learner’s Dictionary of Current
English:Fifth Edition. Oxford: Oxford University Press.
LenteraKecil.
Penulisan
Daftar
Pustaka
Dari
Internet.
http://LenteraKecil/PenulisanDaftarPustakaDariInternet. Accessed on
March 17, 2013.
MakeUseOf. The 3 Best Subtitle Sites For Your Movies & TV Series.
http://The3BestSubtitleSitesForYourMovies&TVSeries. Accessed on August
16, 2013.
Munday, Jeremy. 2008. Introducing Translation Studies: Theories and
Application: Second Edition. London and New York: Routledge.
Newmark, Peter. 1988. A Textbook of Translation. Hertfordshire: Prentice Hall
International.
Nisa‘ Choirun. 2008. ―An Analysis of the Translation Method Used In the English
Subtitle of An Indonesian Film Entitled Berbagi Suami”. A Thesis.
(Unpublished). Surabaya: Airlangga University
Pramodyawardhani, Mahesti. 2005. “A Study of Subtitling English Movie Entitled
Ladder 49”. A Thesis. (Unpublished). Surabaya: Airlangga University.
Punch, Keith F. 2006. Developing Effective research Proposals: Second Edition.
London: Sage.
Slangen, Simon. 2013. The 3 Best Subtitle Sites For Your Movies & TV Series.
http://www.slideshare.net/simonslangen Accessed on August 16, 2013.
53
54
Spears, Richard A.1996. Dictionary of English Idioms. Jakarta: Penerbit Erlangga.
Subscene. English subtitle for Tangled. http://www.subscene.com/English-subtitle
for-Tangled2010. Accessed on April 1, 2013.
Subscene. Indonesian subtitle for Tangled. http://www.subscene.com/Indonesiansubtitle for-Tangled2010. Accessed on April 1, 2013.
Thefreedictionary. Fleabag. http://www.thefreedictionary.com/fleabag. Accessed
on April 20, 2013.
TranslationDirectory. Subtitling. http://TranslationDirectory/Subtitling. Accessed
on March 17, 2013.
Urbandictionary.
big
lug.
http://www.urbandictionary.com/define.php?term=big%20lug. Accessed on
April 20, 2013.
Vinay, J. P. and Darbelnet, J. 2000. A Methodology for Translation. In: Venuti,
Lawrence,. The Translation Studies Reader. New York: Routledge.
Walter, Elizabeth. 2008. Cambridge Advanced Learner’s Dictionary: Third
Edition. Cambridge: Cambridge University Press.
Wiki.answers.the colorbrown.http://wiki.answers.com/Q/what does the color
brown mean. Accessed on April 20, 2013.
Wikipedia. Tangled. http://Wikipedia/Tangled. Accessed on March 15, 2013.
APPENDIX
1. English Subtitle
2. Indonesian Subtitle
55
Appendix 1 : English Subtitle
11
00:01:34,222 --> 00:01:39,028
1. a hop
skip and a boat ride away
Well, centuries pass and
kingdom.
12
00:01:39,291 --> 00:01:42,389
The kingdom was ruled by a beloved
King and Queen.
13
00:01:43,606 --> 00:01:46,525
And the Queen, well she was about
to have a baby,
14
00:01:46,735 --> 00:01:49,007
but she got sick,
15
00:01:49,068 --> 00:01:50,805
really, sick.
16
00:01:50,806 --> 00:01:52,246
She was running out of time.
17
00:01:52,247 --> 00:01:54,745
And that's when people usually start
to look for a miracle.
18
00:01:54,746 --> 00:01:58,298
Or in this case, a magic golden flower.
19
00:01:58,869 --> 00:02:01,867
Ahhh, I told you she'd
be important.
20
00:02:01,869 --> 00:02:04,179
You see instead of sharing the
suns gift,
21
00:02:04,180 --> 00:02:07,257
this woman, Mother Gothel,
hoarded its healing power
there grew a
22
00:02:07,258 --> 00:02:10,165
and used it to keep herself
young for hundreds of years.
23
00:02:10,166 --> 00:02:14,246
And all she had to do,
was sing a special song.
24
00:02:14,247 --> 00:02:22,214
*Flower gleam and glow,
let your power shine*
25
00:02:22,215 --> 00:02:30,519
*Make the clock reverse,
bring back what once was mine*
26
00:02:30,520 --> 00:02:35,221
*What once was mine*
27
00:02:35,222 --> 00:02:38,236
2. you get the jist.
All right,
to it, she turns young, creepy, right?
28
00:02:49,464 --> 00:02:51,499
We've found it!
29
00:02:56,189 --> 00:03:00,609
The magic of the golden flower,
healed the queen.
30
00:03:02,355 --> 00:03:05,507
A healthy baby girl,
a princess was born.
31
00:03:05,508 --> 00:03:07,608
With beautiful golden hair.
32
00:03:16,025 --> 00:03:17,246
I'll give you a hint.
33
00:03:17,248 --> 00:03:19,024
That's Rapunzel.
She sings
34
00:03:20,624 --> 00:03:26,583
157
00:13:09,877 --> 00:13:12,698
*Guess I always knew this day was coming.*
158
00:13:12,699 --> 00:13:16,640
*Know that soon you'd want
to leave the nest.*
159
00:13:16,641 --> 00:13:19,030
- *Soon, but not yet. Shhh..*
- But
160
00:13:19,031 --> 00:13:25,100
*Trust me pet,
Mother, knows best.*
161
00:13:26,896 --> 00:13:28,366
*Mother knows best,*
162
00:13:28,368 --> 00:13:30,139
*listen to your mother.*
163
00:13:30,140 --> 00:13:32,681
*It's a scary world
out there.*
164
00:13:32,682 --> 00:13:34,598
*Mother knows best.*
165
00:13:34,599 --> 00:13:39,465
3. One way or another,
*
will go wrong, I swear.*
166
00:13:39,467 --> 00:13:42,487
*Ruffians, thugs, poison Ivy,
quicksand.*
167
00:13:42,488 --> 00:13:45,204
*Cannibals, and snakes,
the plague... yes.*
168
something
00:13:45,206 --> 00:13:48,731
*Also large bugs, men with pointy teeth.*
169
00:13:48,732 --> 00:13:52,619
*And stop, no more,
you'll just upset me.*
170
00:13:52,620 --> 00:13:55,285
*Mother's right here,
mother will protect you.*
171
00:13:55,286 --> 00:13:58,927
*Darling here's what I suggest.*
172
00:13:58,928 --> 00:14:02,276
4.Skip the drama,
*
stay with Mama.*
173
00:14:02,277 --> 00:14:07,992
*Mother, knows best.*
174
00:14:09,558 --> 00:14:12,982
*Mother knows best.
Take it from your mumsey.*
175
00:14:12,983 --> 00:14:15,259
*On your own, you won't survive.*
176
00:14:15,260 --> 00:14:18,938
*Sloppy underdressed, immature, clumsy,*
177
00:14:18,939 --> 00:14:21,306
*Please, they'll eat you up,
alive.*
178
00:14:21,308 --> 00:14:25,181
*Gullible, naïve,
positively grubby.*
179
00:14:25,182 --> 00:14:28,120
*Ditzy and a bit,
well, hmm vague.*
180
00:14:28,121 --> 00:14:31,158
*Plus I believe, getting
kinda chubby.*
207
00:16:47,236 --> 00:16:49,145
Now help us up, pretty boy.
208
00:16:49,146 --> 00:16:52,058
Sorry,
5. my hands are full.
209
00:16:52,869 --> 00:16:54,184
What?
210
00:16:54,884 --> 00:16:57,057
RYDER!
211
00:17:02,918 --> 00:17:05,508
- Retrieve that satchel with any force.
- Yes, sir!
212
00:17:22,618 --> 00:17:24,395
We got him now, Maximus.
213
00:17:32,366 --> 00:17:33,495
Heeyah!
214
00:17:37,952 --> 00:17:40,436
Heeyah! Come
6. flea-bag,
215
00:17:42,817 --> 00:17:43,844
No.
216
00:17:43,846 --> 00:17:45,354
No, stop it.
217
00:17:45,355 --> 00:17:46,525
Stop it.
218
00:17:46,903 --> 00:17:48,101
Give it to me.
219
00:18:16,443 --> 00:18:17,498
forward.
HAH!
I'm leading up to that.
246
00:22:50,746 --> 00:22:53,049
Because I really thought
we
7. dropped the issue,
247
00:22:53,050 --> 00:22:55,027
No Mother, I'm just saying,
248
00:22:55,028 --> 00:22:57,906
you think I'm not strong enough
to handle myself out there.
249
00:22:57,907 --> 00:23:01,379
Oh darling, I know you're not strong
enough to handle yourself out there.
250
00:23:01,381 --> 00:23:04,639
- But if you just...
- Rapunzel, we're done talking about this.
251
00:23:04,640 --> 00:23:05,899
- Trust me,...
- Rapunzel.
252
00:23:05,900 --> 00:23:07,288
- ...I know what I'm
- Rapunzel.
253
00:23:07,289 --> 00:23:09,484
- Oh, come on.
- Enough with the lights, Rapunzel.
254
00:23:09,495 --> 00:23:14,026
You are not leaving this tower,
EVER!
255
00:23:19,643 --> 00:23:23,504
Oh, great. Now I'm the bad guy.
256
00:23:36,292 --> 00:23:39,454
sweetheart.
All I was gonna say, mother
is that...
283
00:26:20,929 --> 00:26:22,869
But may I just say.
284
00:26:24,236 --> 00:26:26,107
Hi!
285
00:26:28,010 --> 00:26:29,753
How you doing?
286
00:26:29,754 --> 00:26:31,259
The name's Flynn Ryder.
287
00:26:32,850 --> 00:26:35,138
How's your day going, huh?
288
00:26:35,334 --> 00:26:40,029
Who else knows my location,
Flynn Ryder?
289
00:26:40,030 --> 00:26:41,577
- All right, Blondie.
- Rapunzel.
290
00:26:42,065 --> 00:26:43,725
8. Gesundheit,
here's the deal.
291
00:26:43,726 --> 00:26:46,519
9. in a situation,
I was
Gallivanting through the forest.
292
00:26:46,601 --> 00:26:48,671
I came across your tower and...
293
00:26:48,671 --> 00:26:52,034
Ho, oh no, where is my satchel?
294
00:26:52,035 --> 00:26:55,576
I've hidden it, somewhere you'll
never find it.
295
00:26:58,377 --> 00:27:00,160
00:32:17,949 --> 00:32:20,754
Oh my gosh, this would kill her.
371
00:32:20,755 --> 00:32:24,093
THIS IS SO FUN!
372
00:32:24,094 --> 00:32:27,737
I am a horrible daughter,
I'm going back.
373
00:32:27,738 --> 00:32:30,388
I am never going
baaaccckkk!
374
00:32:30,389 --> 00:32:34,380
I am a despicable human being.
375
00:32:34,381 --> 00:32:36,440
WAHHOOOOO!
376
00:32:36,441 --> 00:32:39,047
Best day, ever!
377
00:32:47,610 --> 00:32:50,674
You know, I can't help but notice,
378
00:32:50,675 --> 00:32:53,963
you seem a little at war
with yourself, here.
379
00:32:54,452 --> 00:32:57,415
- What?
10. picking up
bits and pieces,
- Now, I'm only
380
00:32:57,416 --> 00:32:59,827
of course, over protective mother,
forbidden road trip.
381
00:32:59,828 --> 00:33:01,412
I mean, this is serious stuff.
382
433
00:37:25,990 --> 00:37:28,953
What are you getting?
Because to me, it's part man smell.
434
00:37:28,954 --> 00:37:30,836
And the other part is
really bad man smell.
435
00:37:30,837 --> 00:37:33,272
I don't know why, but overall,
11. smells like the color
brown.
it just
436
00:37:33,273 --> 00:37:34,290
Your thoughts?
437
00:37:34,800 --> 00:37:36,964
That's a lot of hair.
438
00:37:36,965 --> 00:37:39,921
She's growing it out, is that blood
on your moustache?
439
00:37:39,922 --> 00:37:42,517
Goldie, look at this, look at
all the blood on his moustache.
440
00:37:42,518 --> 00:37:44,978
Look sir, that's a lot of blood.
441
00:37:45,961 --> 00:37:47,838
Hey, you don't look so good, Blondie.
442
00:37:47,839 --> 00:37:50,214
Maybe we should get you home.
12. Call it a day.
443
00:37:50,214 --> 00:37:53,423
Probably be better off. This is a five
star joint after all.
444
00:37:53,424 --> 00:37:56,891
And if you can't handle this place, well
maybe you should be back in your tower.
445
00:37:56,893 --> 00:37:59,582
Is this you?
446
00:38:01,785 --> 00:38:04,575
No, no this is being mean.
447
00:38:04,576 --> 00:38:05,827
Oh, it's him all right.
448
00:38:05,828 --> 00:38:08,036
Gretel, go find some guards.
449
00:38:08,037 --> 00:38:12,210
That reward's going to
buy me a new hook.
450
00:38:12,211 --> 00:38:13,654
I can use the money.
451
00:38:13,655 --> 00:38:15,684
What about me?
I'm broke.
452
00:38:16,572 --> 00:38:19,608
- Boys, stop!
- We can
13. work this out.
453
00:38:19,609 --> 00:38:21,708
Hey, leave him alone.
454
00:38:21,712 --> 00:38:26,109
- Gentlemen, please.
- Give me back my guide, ruffians.
455
00:38:26,169 --> 00:38:28,511
HOO, HAH, HOO, HOO!
456
00:38:33,983 --> 00:38:35,808
00:43:06,906 --> 00:43:08,391
Thanks for everything.
530
00:43:12,168 --> 00:43:15,119
I believe this is the man
you're looking for.
531
00:43:15,120 --> 00:43:16,937
You got me.
532
00:43:17,779 --> 00:43:19,407
Sir, there's no sign of Ryder.
533
00:43:23,678 --> 00:43:24,933
Maximus.
534
00:43:32,275 --> 00:43:33,799
What's he doing?
535
00:43:43,565 --> 00:43:46,581
A passage, come on men,
let's go.
536
00:43:46,924 --> 00:43:49,634
Corman, make sure those
boys don't get away.
537
00:43:54,519 --> 00:43:55,573
14. Play it safe.
538
00:43:57,871 --> 00:43:59,296
We'll go get the crown.
539
00:44:07,087 --> 00:44:10,882
I gotta dream,
I got some dream.
540
00:44:11,249 --> 00:44:15,851
I..., ohhh, somebody get me a glass.
541
00:44:15,852 --> 00:44:20,082
Because I just found me a
tall drink of water.
542
00:44:20,083 --> 00:44:24,170
Oh stop it, you
15. big lug.
543
00:44:24,171 --> 00:44:26,649
Where does that tunnel lead out?
544
00:44:26,650 --> 00:44:27,726
Knife!
545
00:44:30,145 --> 00:44:31,624
Well, that got us safe.
546
00:44:31,625 --> 00:44:34,964
Didn't know you had that in you
back there. That was pretty, impressive.
547
00:44:34,965 --> 00:44:37,307
I KNOW!
548
00:44:37,308 --> 00:44:40,083
I know...
549
00:44:42,565 --> 00:44:45,327
Sooo, Flynn.
550
00:44:45,328 --> 00:44:46,528
Where are you from?
551
00:44:46,529 --> 00:44:48,714
Whoa, whoa, sorry Blondie,
16. I don't do back story.
552
00:44:48,715 --> 00:44:51,611
However I am becoming very
interested in yours.
553
00:44:51,612 --> 00:44:54,087
Now I... I know I'm not suppose
to mention the hair.
554
I have magic hair that glows
when I sing.
593
00:49:32,533 --> 00:49:33,593
What?
594
00:49:35,779 --> 00:49:39,896
I have magic hair,
that glows when I sing.
595
00:49:40,973 --> 00:49:44,249
*Flower gleam and glow.
Let your power shine.*
596
00:50:33,851 --> 00:50:35,413
17. We made it.
597
00:50:36,007 --> 00:50:37,277
Her hair glows.
598
00:50:37,278 --> 00:50:40,002
We're alive.
I'm alive!
599
00:50:40,003 --> 00:50:42,834
I didn't see that coming.
You're hair actually glows.
600
00:50:42,835 --> 00:50:44,724
- Eugene...
- Why does her hair glow?
601
00:50:44,725 --> 00:50:46,043
- Eugene!
- What?
602
00:50:47,183 --> 00:50:49,874
It doesn't just glow.
603
00:50:52,302 --> 00:50:53,934
Why is he smiling at me?
604
00:51:18,407 --> 00:51:19,629
I'll kill him.
605
00:51:19,630 --> 00:51:21,358
I'll kill that, Ryder.
606
00:51:22,732 --> 00:51:24,851
We'll
18. cut him off at
the kingdom.
607
00:51:24,852 --> 00:51:27,079
And get back the crown, come on.
608
00:51:28,538 --> 00:51:29,668
Boys.
609
00:51:30,963 --> 00:51:35,750
Perhaps you want to stop acting
19. like wild dogs chasing their
tails,
610
00:51:35,751 --> 00:51:37,857
and think for a moment.
611
00:51:39,928 --> 00:51:42,258
Oh, please there's no
need for that.
612
00:51:47,711 --> 00:51:51,540
Well if that's all you desire,
then
20. be on your way.
613
00:51:51,541 --> 00:51:54,472
I was going to offer you something
worth one thousand crowns,
614
00:51:54,473 --> 00:51:56,485
would have made you rich beyond belief.
615
00:51:56,486 --> 00:51:58,483
And that wasn't even the best part.
616
668
00:55:48,113 --> 00:55:51,126
Um, well I should uh...
669
00:55:51,806 --> 00:55:54,572
I, I should get some
more firewood.
670
00:55:55,186 --> 00:55:56,203
Hey.
671
00:55:57,304 --> 00:56:02,605
21. For the record,
much better than, Flynn Ryder.
672
00:56:04,506 --> 00:56:07,394
Well, then you'd be the first.
673
00:56:08,057 --> 00:56:09,379
But, thank you.
674
00:56:18,232 --> 00:56:21,523
Well, I thought he'd never leave.
675
00:56:21,524 --> 00:56:22,822
Mother?
676
00:56:22,823 --> 00:56:24,827
Hello, dear.
677
00:56:24,828 --> 00:56:26,943
But I... I..., don't we...
678
00:56:27,157 --> 00:56:28,965
How did you find me?
679
00:56:28,966 --> 00:56:30,901
Oh, it was easy really.
I like Eugene Fitzherbert
680
00:56:30,902 --> 00:56:35,381
I just listened for the sound of
complete and utter betrayal,
and followed that.
00:57:48,350 --> 00:57:50,688
*Go ahead then give him, THIS!*
707
00:57:50,689 --> 00:57:51,879
How did you?
708
00:57:51,880 --> 00:57:53,776
*This is why he's here.*
709
00:57:53,778 --> 00:57:55,159
*Don't let him deceive you.*
710
00:57:55,160 --> 00:57:58,593
*Give it to him, watch, you'll see.*
- I will.
711
00:57:58,594 --> 00:58:02,229
*Trust me my dear, that's
how fast he'll leave you.*
712
00:58:02,230 --> 00:58:06,083
*I won't say I told you so... no.*
713
00:58:06,084 --> 00:58:08,341
*Rapunzel knows best.*
714
00:58:08,342 --> 00:58:10,029
*So if
22. he's such a dream
boat.*
715
00:58:10,030 --> 00:58:13,898
*Go and put him, to the test.*
- Mother, wait.
716
00:58:13,899 --> 00:58:19,746
*If he's lying, don't come
crying.*
717
00:58:19,747 --> 00:58:26,351
*Mother, knows best.*
718
00:58:30,819 --> 00:58:34,541
So, hey uh, can I ask you something?
719
00:58:35,294 --> 00:58:38,785
Is there any chance that I'm going
to get super strength in my hand?
720
00:58:38,786 --> 00:58:41,733
Because I'm not going to lie.
That would be stupendous.
721
00:58:43,240 --> 00:58:44,911
Hey, you all right?
722
00:58:45,306 --> 00:58:47,594
Oh, sorry, yes.
723
00:58:47,595 --> 00:58:50,827
Just um,
I guess.
23. lost in thought,
724
00:58:53,074 --> 00:58:55,139
I mean because here's the thing.
725
00:58:55,140 --> 00:58:57,178
Superhuman good looks,
I've always had 'em.
726
00:58:57,179 --> 00:58:59,970
Born with it, but superhuman strength?
727
00:58:59,971 --> 00:59:02,716
Can you imagine the possibilities, I'm just...
728
00:59:07,343 --> 00:59:14,042
24. All good things
to those who wait.
Patience boys.
729
00:59:28,691 --> 00:59:29,791
Hmm, what?
730
00:59:32,984 --> 00:59:35,430
01:09:07,990 --> 01:09:14,778
*Things, the way they were
Now she's here*
807
01:09:14,779 --> 01:09:19,586
*Shining in the starlight
Now she's here*
808
01:09:19,587 --> 01:09:24,150
*Suddenly I know
If she's here*
809
01:09:24,152 --> 01:09:31,148
25. It's crystal clear
*
I'm where I'm meant to go*
810
01:09:31,149 --> 01:09:35,596
*And at last, I see the light*
811
01:09:35,597 --> 01:09:39,590
*And it's like the fog has lifted*
812
01:09:39,591 --> 01:09:44,162
*And at last, I see the light*
813
01:09:44,163 --> 01:09:48,406
*And it's like the sky is new*
814
01:09:48,407 --> 01:09:59,386
*And it's warm and real and bright
And the world has somehow shifted*
815
01:10:01,824 --> 01:10:06,859
*All at once
Everything is different*
816
01:10:06,860 --> 01:10:11,449
*Now that I, see you.*
817
01:10:16,014 --> 01:10:25,905
*Now that I... see you.*
818
01:10:42,179 -->
832
01:11:39,709 -->
I shouldn't have
The crown is all
01:10:44,878
01:11:42,569
split.
yours.
833
01:11:42,570 --> 01:11:46,781
I'll miss you, but I think
its for the... best.
834
01:11:47,993 --> 01:11:51,439
26. Holding out on us again?
Hey, Ryder?
835
01:11:51,694 --> 01:11:54,697
- What?
- We heard you found something.
836
01:11:54,698 --> 01:11:57,843
Something much more valuable
than a crown.
837
01:11:58,323 --> 01:12:01,642
We want her, instead.
838
01:12:10,612 --> 01:12:15,304
I was starting to think you
ran off with the crown and left me.
839
01:12:21,665 --> 01:12:23,427
He did.
840
01:12:24,152 --> 01:12:26,413
What?
No.
841
01:12:26,414 --> 01:12:27,437
He wouldn't.
842
01:12:28,204 --> 01:12:30,079
See for yourself.
843
01:12:34,476 --> 01:12:35,915
Eugene?
Appendix 2 : Indonesian Subtitle
11
00:01:29,658 --> 00:01:31,563
Kau mungkin ingin mengingatnya.
12
00:01:31,564 --> 00:01:33,356
Dia sepertinya penting.
13
00:01:34,222 --> 00:01:39,028
Nah, berabad-abad berlalu dan
1. tanpa terasa,
ada sebuah kerajaan.
14
00:01:39,291 --> 00:01:42,389
Kerajaan ini diperintah oleh
Raja dan Ratu yang tercinta.
15
00:01:43,606 --> 00:01:46,525
Dan Ratu, yah dia akan
segera melahirkan,
16
00:01:46,735 --> 00:01:49,007
dan dia jatuh sakit,
17
00:01:49,068 --> 00:01:50,805
benar-benar, sakit.
18
00:01:50,806 --> 00:01:52,246
Dia mulai kehabisan waktu.
19
00:01:52,247 --> 00:01:54,745
Dan saat itulah orang biasanya mulai
mencari keajaiban.
20
00:01:54,746 --> 00:01:58,298
Atau dalam hal ini, bunga emas ajaib.
21
00:01:58,869 --> 00:02:01,867
Ahhh, aku sudah bilang wanita ini
sepertinya penting.
22
00:02:01,869 --> 00:02:04,179
Begini, bukannya berbagi
akan khasiat dari matahari tersebut,
23
00:02:04,180 --> 00:02:07,257
wanita itu, Ibu Gothel, malah
mengumpulkan kekuatan penyembuhannya
24
00:02:07,258 --> 00:02:10,165
dan digunakan untuk membuat dirinya
tetap muda selama ratusan tahun.
25
00:02:10,166 --> 00:02:14,246
Dan yang harus ia lakukan,
hanyalah menyanyikan lagu khusus.
26
00:02:14,247 --> 00:02:22,214
* Bunga berkilau dan bercahaya,
biarkan kau bersinar *
27
00:02:22,215 --> 00:02:30,519
* Buat waktunya mundur, dan
kembalikan apa yang pernah jadi milikku *
28
00:02:30,520 --> 00:02:35,221
* apa yang pernah jadi milikku *
29
00:02:35,222 --> 00:02:38,236
2. Kalian mengerti, kan.
Baiklah,
bernyanyi
pada bunganya, dan berubah muda, aneh kan?
30
00:02:49,464 --> 00:02:51,499
Aku sudah menemukannya.
31
00:02:56,189 --> 00:03:00,609
 Keajaiban bunga emas,
menyembuhkan sang Ratu.
32
00:03:02,355 --> 00:03:05,507
Seorang bayi perempuan yang sehat,
seorang Putri telah lahir.
33
00:03:05,508 --> 00:03:07,608
Dengan rambut emas yang indah.
Dia
34
00:03:16,025 --> 00:03:17,246
Aku beri petunjuk.
158
00:13:09,877 --> 00:13:12,698
* Kurasa aku selalu tahu hari ini akan datang .*
159
00:13:12,699 --> 00:13:16,640
* Tahu bahwa segera Kau ingin
meninggalkan sarang .*
160
00:13:16,641 --> 00:13:19,030
* Segera, tetapi belum.
161
00:13:19,031 --> 00:13:25,100
 Percayalah, Ibu Tahu yang terbaik *
162
00:13:26,896 --> 00:13:28,366
* Ibu tahu yang terbaik, *
163
00:13:28,368 --> 00:13:30,139
* dengarkan ibumu .*
164
00:13:30,140 --> 00:13:32,681
* dunia sungguh menakutkan
di luar sana .*
165
00:13:32,682 --> 00:13:34,598
* Ibu tahu yang terbaik .*
166
00:13:34,599 --> 00:13:39,465
3. Bagaimanapun juga
*
akan ada yang salah, aku bersumpah .*
pasti
167
00:13:39,467 --> 00:13:42,487
* Bajingan, preman, tanaman beracun,
pasir hisap .*
168
00:13:42,488 --> 00:13:45,204
* Cannibals, dan ular, wabah, ya .*
169
00:13:45,206 --> 00:13:48,731
* Juga serangga besar, pria dengan gigi runcing .*
170
00:13:48,732 --> 00:13:52,619
* Dan berhenti, sudah cukup,
Kau hanya akan membuatku kesal .*
171
00:13:52,620 --> 00:13:55,285
* Ibu di sini,
ibu akan melindungi mu.*
172
00:13:55,286 --> 00:13:58,927
* sayang inilah yang aku sarankan .*
173
00:13:58,928 --> 00:14:02,276
4. Lewati dramanya ,
*
tinggal dengan Mama .*
174
00:14:02,277 --> 00:14:07,992
* Ibu, tahu yang terbaik .*
175
00:14:09,558 --> 00:14:12,982
* Ibu tahu yang terbaik.
Percayalah pada ibumu.*
176
00:14:12,983 --> 00:14:15,259
* Bila Kau sendiri, Kau tidak akan bertahan .*
177
00:14:15,260 --> 00:14:18,938
* Ceroboh belum dewasa, kikuk, *
178
00:14:18,939 --> 00:14:21,306
* Tolong, mereka akan memakan mu,
hidup-hidup .*
179
00:14:21,308 --> 00:14:25,181
* Mudah tertipu, polos, sangat polos .*
180
00:14:25,182 --> 00:14:28,120
* bingung dan sedikit, baik, hmm kabur .*
181
00:14:28,121 --> 00:14:31,158
* Dan kurasa, agak gemuk .*
182
00:14:31,159 --> 00:14:34,978
* Aku hanya mengatakan,
Karena aku menyayangimu .*
Maaf,
5. tangan ku penuh.
210
00:16:52,869 --> 00:16:54,184
Apa?
211
00:16:54,884 --> 00:16:57,057
Ryder!
212
00:17:02,918 --> 00:17:05,508
Ambil tas itu bagaimanapun juga./
Baik, Pak!
213
00:17:22,618 --> 00:17:24,395
Kita mendapatkannya sekarang, Maximus.
214
00:17:32,366 --> 00:17:33,495
Heeyah!
215
00:17:37,952 --> 00:17:40,436
Ah, ayo
6. kutu-tas,
216
00:17:42,817 --> 00:17:43,844
Tidak
217
00:17:43,846 --> 00:17:45,354
Tidak, hentikan.
218
00:17:45,355 --> 00:17:46,525
HENTI....KAN!!!
219
00:17:46,903 --> 00:17:48,101
Berikan padaku.
220
00:19:31,805 --> 00:19:33,890
Akhirnya sendirian juga
221
00:21:09,522 --> 00:21:12,670
Oke, oke, oke, ada orang
maju.
di lemari ku.
222
00:21:12,671 --> 00:21:15,846
236
00:22:33,895 --> 00:22:36,583
Yah ibu, ada sesuatu
yang ingin kuberitahukan.
237
00:22:36,583 --> 00:22:39,268
Oh Rapunzel, kau tahu aku benci
meninggalkan mu setelah bertengkar.
238
00:22:39,269 --> 00:22:41,934
Terutama ketika aku tidak melakukan
kesalahan apapun.
239
00:22:41,935 --> 00:22:44,729
Oke, Aku telah banyak berpikir
tentang apa yang Kau katakan, sebelumnya.
240
00:22:45,757 --> 00:22:48,116
Aku harap Kau bukan memberbicarakan
tentang bintang tadi.
241
00:22:48,117 --> 00:22:50,745
lampu mengambang , dan ya
Aku mengarah ke situ.
242
00:22:50,746 --> 00:22:53,049
Karena aku benar-benar berpikir
7. masalahnya sudah beres,
243
00:22:53,050 --> 00:22:55,027
Tidak Ibu, Aku hanya mengatakan,
244
00:22:55,028 --> 00:22:57,906
Kau pikir Aku tidak cukup kuat
untuk menjaga diriku sendiri di luar sana.
245
00:22:57,907 --> 00:23:01,379
Oh Sayang, aku tahu Kau tidak cukup kuat
untuk menjaga diri di luar sana.
246
00:23:01,381 --> 00:23:04,639
Sayang.
Tetapi jika Kau hanya.../
Rapunzel, kita sudah selesai bicara tentang hal ini.
247
Rapunzel.
286
00:26:42,065 --> 00:26:43,725
8. Gesundheit,
sebenarnya begini.
287
00:26:43,726 --> 00:26:46,519
9. di sebuah situasi,
Aku berada
Berkeliaran melalui hutan.
288
00:26:46,601 --> 00:26:48,671
Aku melewati menara mu dan...
289
00:26:48,671 --> 00:26:52,034
Ho, Oh tidak, mana tas ku?
290
00:26:52,035 --> 00:26:55,576
Aku menyembunyikan nya, di suatu tempat dimana Kau
tidak akan pernah menemukannya
291
00:26:58,377 --> 00:27:00,160
di dalam pot itu, bukan.
292
00:27:06,033 --> 00:27:09,087
Ahh, hentikan itu
293
00:27:09,088 --> 00:27:11,818
Sekarang tersembunyi di mana Kau tidak akan pernah
menemukannya.
294
00:27:13,032 --> 00:27:16,143
Jadi, apa yang Kau inginkan,
dengan rambut ku?
295
00:27:16,143 --> 00:27:17,381
Memotongnya?/
Apa?
296
00:27:17,382 --> 00:27:19,041
Menjualnya?/ Tidak!
297
00:27:19,042 --> 00:27:21,960
Dengar, satu-satunya yang ingin
360
00:32:11,961 --> 00:32:13,950
Ibu akan sangat marah.
361
00:32:14,494 --> 00:32:17,944
Itu tidak apa-apa, apa yang dia tidak
tahu tidak akan membunuhnya, kan?
362
00:32:17,949 --> 00:32:20,754
Oh ya ampun, ini akan membunuhnya.
363
00:32:20,755 --> 00:32:24,093
INI SANGAT MENYENANGKAN!
364
00:32:24,094 --> 00:32:27,737
Aku sungguh anak yang tidak baik,
Aku akan kembali.
365
00:32:27,738 --> 00:32:30,388
Aku tidak akan pernah
kembaliiiii!
366
00:32:30,389 --> 00:32:34,380
Aku adalah manusia hina.
367
00:32:34,381 --> 00:32:36,440
WAHHOOOOO!
368
00:32:36,441 --> 00:32:39,047
Sungguh hari terbaikku!
369
00:32:47,610 --> 00:32:50,674
Kau tahu, aku perhatikan,
370
00:32:50,675 --> 00:32:53,963
Kau tampaknya sedikit perang
dengan diri sendiri, ya.
371
00:32:54,452 --> 00:32:57,415
Apa?/
10. mengambil kesimpulan
kecil.
Aku hanya
423
00:37:25,990 --> 00:37:28,953
Apa yang Kau dapatkan?
Karena buatku, itu sebagian bau manusia.
424
00:37:28,954 --> 00:37:30,836
dan bagian lainnya
benar-benar bau buruk manusia.
425
00:37:30,837 --> 00:37:33,272
Aku tidak tahu mengapa, tapi secara keseluruhan,
11. baunya seperti warna coklat.
426
00:37:33,273 --> 00:37:34,290
Pikiranmu?
427
00:37:34,800 --> 00:37:36,964
Itu adalah rambut yang banyak.
428
00:37:36,965 --> 00:37:39,921
Dia menumbuhkannya, apa itu darah di kumismu?
429
00:37:39,922 --> 00:37:42,517
Pirang, lihat ini, lihat
semua darah di kumisnya.
430
00:37:42,518 --> 00:37:44,978
Lihatlah, aku yakin itu darah yang banyak.
431
00:37:45,961 --> 00:37:47,838
Hei, Kau tidak terlihat begitu baik, Pirang.
432
00:37:47,839 --> 00:37:50,214
Mungkin kita harus pulang.
12. Cukup untuk hari ini.
433
00:37:50,214 --> 00:37:53,423
Mungkin akan lebih baik.
Ini memang tempat berbintang lima.
434
00:37:53,424 --> 00:37:56,891
Dan jika Kau tidak dapat menangani tempat ini,
mungkin lebih baik Kau kembali ke menara mu.
435
00:37:56,893 --> 00:37:59,582
Apakah ini Kau?
436
00:38:01,785 --> 00:38:04,575
Tidak, tidak ini kejam
437
00:38:04,576 --> 00:38:05,827
Oh, itu memang dia.
438
00:38:05,828 --> 00:38:08,036
Gretta, pergi panggil penjaga.
439
00:38:08,037 --> 00:38:12,210
aku akan mendapatkan kaitan baru.
440
00:38:12,211 --> 00:38:13,654
Aku memerlukan uang nya.
441
00:38:13,655 --> 00:38:15,684
Bagaimana denganku
Aku bangkrut
442
00:38:16,572 --> 00:38:19,608
Anak-anak, berhenti!/
Kita dapat
13. menyelesaikan ini.
443
00:38:19,609 --> 00:38:21,708
Hei, biarkan dia sendirian.
444
00:38:21,712 --> 00:38:26,109
Tuan-tuan, tolong./
Kembalikan pemanduku.
445
00:38:26,169 --> 00:38:28,511
Hoo, ha, ho, tidak, hoo!
446
00:38:33,983 --> 00:38:35,808
Jangan hidung, jangan hidung,
jangan hidung!
447
Kau menangkap aku.
522
00:43:17,779 --> 00:43:19,407
Sir, tidak ada tanda-tanda dari Ryder.
523
00:43:23,678 --> 00:43:24,933
Maximus.
524
00:43:32,275 --> 00:43:33,799
Apa yang dia lakukan?
525
00:43:43,565 --> 00:43:46,581
sebuah jalan, ayo anak buahku,
ayo kita pergi.
526
00:43:46,924 --> 00:43:49,634
Corman, pastikan mereka tidak lolos.
527
00:43:54,519 --> 00:43:55,573
14. Hati-hati.
528
00:43:57,871 --> 00:43:59,296
Akan ku ambil mahkotanya.
529
00:44:07,087 --> 00:44:10,882
Aku punya mimpi,
Aku punya mimpi,
530
00:44:11,249 --> 00:44:15,851
Aku... ohhh, seseorang ambilkan gelas.
531
00:44:15,852 --> 00:44:20,082
Karena aku baru saja menemukan
botol air yang tinggi.
532
00:44:20,083 --> 00:44:24,170
Oh hentikan, Kau
15. lug besar.
533
00:44:24,171 --> 00:44:26,649
Mengarah kemana terowongan itu?
534
00:44:26,650 --> 00:44:27,726
Pisau!
535
00:44:30,145 --> 00:44:31,624
Yah, aku harus katakan.
536
00:44:31,625 --> 00:44:34,964
Tidak tahu kau punya di dalam dirimu
Itu, cukup mengesankan.
537
00:44:34,965 --> 00:44:37,307
Aku TAHU!
538
00:44:37,308 --> 00:44:40,083
Aku tahu...
539
00:44:42,565 --> 00:44:45,327
Sooo, Flynn.
540
00:44:45,328 --> 00:44:46,528
Kau berasal dari mana?
541
00:44:46,529 --> 00:44:48,714
Whoa, whoa, maaf pirang,
16. Aku tidak mau cerita itu.
542
00:44:48,715 --> 00:44:51,611
Namun aku menjadi sangat
tertarik pada ceritamu.
543
00:44:51,612 --> 00:44:54,087
Sekarang aku. .. aku tahu aku tidak
boleh menyebut lagi rambutnya.
544
00:44:54,088 --> 00:44:55,901
Tidak boleh./
Atau, Ibu.
545
00:44:55,902 --> 00:44:58,745
Eh, eh./ Terus terang aku takut
bertanya tentang kataknya.
546
00:44:58,746 --> 00:45:00,102
17. Kita berhasil.
586
00:50:36,007 --> 00:50:37,277
Rambutnya bersinar.
587
00:50:37,278 --> 00:50:40,002
Aku masih hidup.
Aku masih hidup!
588
00:50:40,003 --> 00:50:42,834
Aku tidak menyangka itu.
rambut nya benar-benar bersinar.
589
00:50:42,835 --> 00:50:44,724
Eugene.../
Mengapa rambutnya bercahaya?
590
00:50:44,725 --> 00:50:46,043
Eugene!/
Apa?
591
00:50:47,183 --> 00:50:49,874
Ini tidak hanya bersinar.
592
00:50:52,302 --> 00:50:53,934
Kenapa dia tersenyum padaku?
593
00:51:18,407 --> 00:51:19,629
Aku akan membunuhnya.
594
00:51:19,630 --> 00:51:21,358
Aku akan membunuh, Ryder itu.
595
00:51:22,732 --> 00:51:24,851
kita akan
kerajaan.
18. bawa kepala nya ke
596
00:51:24,852 --> 00:51:27,079
Dapatkan kembali mahkota, ayolah.
597
00:51:28,538 --> 00:51:29,668
Anak-anak.
598
00:51:30,963 --> 00:51:35,750
Mungkin Kau ingin berhenti bertindak
19. seperti anjing liar mengejar
ekor nya.
599
00:51:35,751 --> 00:51:37,857
dan berpikir sejenak.
600
00:51:39,928 --> 00:51:42,258
Oh, tidak perlu begitu.
601
00:51:47,711 --> 00:51:51,540
Nah kalau hanya itu yang Kau inginkan,
20. pergilah saja.
602
00:51:51,541 --> 00:51:54,472
Aku tadinya akan menawarkan sesuatu
yang bernilai seribu mahkota.
603
00:51:54,473 --> 00:51:56,485
akan membuat kalian kaya luar biasa.
604
00:51:56,486 --> 00:51:58,483
Dan itu bahkan bukan bagian yang terbaik.
605
00:51:58,484 --> 00:52:00,070
Oh well, C'est la vie (Itulah Hidup).
606
00:52:00,071 --> 00:52:02,324
Nikmati mahkotanya
607
00:52:04,021 --> 00:52:05,565
Apa bagian terbaiknya?
608
00:52:06,029 --> 00:52:10,918
Pembalasan dendam pada Ryder Flynn.
609
00:52:17,537 --> 00:52:22,285
Jadi Kau bersikap aneh bersamaan dengan rambutmu
membungkus tanganku yang terluka..
650
00:55:21,394 --> 00:55:24,568
Dan... dan, untuk anak-anak,
tanpa balasan apa-apa.
651
00:55:24,569 --> 00:55:26,582
Aku tidak tahu, Aku...
652
00:55:27,593 --> 00:55:29,065
Itu tampak seperti pilihan yang lebih baik.
653
00:55:29,845 --> 00:55:32,561
Kau tidak boleh memberitahu siapa pun,
tentang hal ini, oke?
654
00:55:32,563 --> 00:55:35,127
Itu bisa merusak seluruh reputasi ku.
655
00:55:35,406 --> 00:55:38,034
Ahh, kita tidak menginginkan itu.
656
00:55:38,035 --> 00:55:40,806
Nah, hal tentang reputasi,
adalah hanya itu yang pria punya.
657
00:55:48,113 --> 00:55:51,126
Um,sebaiknya aku uh...
658
00:55:51,806 --> 00:55:54,572
Aku, sebaiknya aku mengambl kayu bakar lagi.
659
00:55:55,186 --> 00:55:56,203
Hey.
660
00:55:57,304 --> 00:56:02,605
21. Sebagai catatan,
Aku lebih suka Eugene
Fitzherbert
daripada, Flynn Ryder.
661
00:56:04,506 --> 00:56:07,394
Nah, maka Kau akan menjadi yang pertama.
662
701
00:58:02,230 --> 00:58:06,083
* Aku tidak akan mengatakan sudah
kukatakan.....tidak.*
702
00:58:06,084 --> 00:58:08,341
* Rapunzel tahu yang terbaik.*
703
00:58:08,342 --> 00:58:10,029
22. ia memang seperti yang
kau impikan .*
* Jika
704
00:58:10,030 --> 00:58:13,898
* Pergi dan ujilah dia .*/
Ibu, tunggu.
705
00:58:13,899 --> 00:58:19,746
* Jika dia berbohong, jangan datang
menangis .*
706
00:58:19,747 --> 00:58:26,351
* Ibu, tahu terbaik .*
707
00:58:30,819 --> 00:58:34,541
Jadi, hei eh,
boleh aku menanyakan sesuatu?
708
00:58:35,294 --> 00:58:38,785
Apakah ada kemungkinan bahwa aku akan
mendapatkan kekuatan yang sangat besar?
709
00:58:38,786 --> 00:58:41,733
Karena aku tidak akan berbohong.
Itu akan luar biasa.
710
00:58:43,240 --> 00:58:44,911
Hei, kau baik-baik saja?
711
00:58:45,306 --> 00:58:47,594
Oh, maaf, ya.
712
00:58:47,595 --> 00:58:50,827
Hanya um,
Kurasa.
23. sedang melamun,
713
00:58:53,074 --> 00:58:55,139
Maksudku karena ada satu hal.
714
00:58:55,140 --> 00:58:57,178
Ketampanan manusia super,
aku selalu memiikinya.
715
00:58:57,179 --> 00:58:59,970
Sedari lahir, tapi kekuatan manusia super?
716
00:58:59,971 --> 00:59:02,716
Dapatkah Kau membayangkan kemungkinannya, aku hanya...
717
00:59:07,343 --> 00:59:14,042
sabar anak-anak.
24. Semua hal-hal yang
baik
kepada mereka yang menunggu.
718
00:59:28,691 --> 00:59:29,791
Hmm, apa?
719
00:59:32,984 --> 00:59:35,430
Yah aku harap Kau
di sini untuk meminta maaf.
720
00:59:36,280 --> 00:59:39,042
Ahhh!
721
00:59:39,051 --> 00:59:43,504
Tidak, tidak turunkan aku.
Hentikan! Lepaskan Aku!
722
00:59:44,526 --> 00:59:46,740
Beri aku... dia!/
Aduh!
723
00:59:54,905 --> 00:59:55,938
Whoa!
788
01:08:44,736 --> 01:08:46,203
Kau tahu apa maksudku?
789
01:08:46,204 --> 01:08:49,054
Aku mulai mengerti.
790
01:08:53,506 --> 01:08:58,456
* Selama ini mengejar mimpi *
791
01:08:58,457 --> 01:09:02,823
* Selama bertahun-tahun Hidup di keraguan *
792
01:09:02,824 --> 01:09:07,989
* Selama itu tidak benar-benar melihat *
793
01:09:07,990 --> 01:09:14,778
* Hal-hal, seperti apa adanya
Sekarang dia ada di sini *
794
01:09:14,779 --> 01:09:19,586
* Bersinar dalam cahaya bintang
Sekarang dia ada di sini *
795
01:09:19,587 --> 01:09:24,150
* Tiba-tiba aku tahu
Jika dia ada di sini *
796
01:09:24,152 --> 01:09:31,148
25. Sangat jelas
*
Aku dimana aku seharusnya berada *
797
01:09:31,149 --> 01:09:35,596
* Dan akhirnya, aku melihat cahaya *
798
01:09:35,597 --> 01:09:39,590
* Dan kabut nya telah hilang *
799
01:09:39,591 --> 01:09:44,162
* Dan akhirnya, aku melihat cahaya *
800
01:09:44,163 --> 01:09:48,406
* Dan langit seperti baru
814
01:11:25,578 --> 01:11:27,135
Ahh, ada Kau.
815
01:11:27,136 --> 01:11:30,306
Aku telah mencari kalian di mana-mana
Sejak kita terpisah.
816
01:11:30,307 --> 01:11:32,806
Hey cambang terlihat bagus, ya?
817
01:11:32,808 --> 01:11:34,374
Kau pasti merasa bersemangat
818
01:11:36,574 --> 01:11:39,708
Bagaimanapun, hanya ingin mengucapkan,
819
01:11:39,709 --> 01:11:42,569
Seharusnya kita tidak berpisah.
mahkotanya milikmu.
820
01:11:42,570 --> 01:11:46,781
Aku akan merindukanmu, tapi aku pikir
ini untuk... yang terbaik.
821
01:11:47,993 --> 01:11:51,439
26. Menyembunyikan sesuatu lagi
pada kami?
'Ey, Ryder?
822
01:11:51,694 --> 01:11:54,697
Apa?/
Kami dengar Kau menemukan sesuatu.
823
01:11:54,698 --> 01:11:57,843
Sesuatu yang jauh lebih berharga
dari mahkota
824
01:11:58,323 --> 01:12:01,642
Kami ingin dia, sebagai gantinya.
825
01:12:10,612 --> 01:12:15,304
Aku mulai berpikir Kau

muchamadsu-83-1-mu.. - Digital Library UWP

Transcription

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