TRANSLATION SHIFTS IN THE JAPANESE-ENGLISH

TRANSLATION SHIFTS IN THE JAPANESE-ENGLISH

AND THE ENGLISH-INDONESIAN SUBTITLES

IN HOWL’S MOVING CASTLE MOVIE

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

MAURA MICHELLE KISKE TRISNATEA Student Number: 164214106

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA

YOGYAKARTA

2020

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ii

TRANSLATION SHIFTS IN THE JAPANESE-ENGLISH

AND THE ENGLISH-INDONESIAN SUBTITLE

IN HOWL’S MOVING CASTLE MOVIE

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

MAURA MICHELLE KISKE TRISNATEA Student Number: 164214106

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA

YOGYAKARTA

2020


vii

Your life goes on to whichever path you chose.

Stay true to yourself, and believe in those around you

no matter how unfair the world is to you.

Do your best, and be like a tree. Keep growing.

“And all you need is

And a little ”

-JM Barrie

負けないで

がんばってね


viii

For my beloved

I present

My hundred pages of love


ix

ACKNOWLEDGEMENTS

First of all, I want to present my deepest gratitude for my Jesus Christ,

who always give me the strength, patience, and passion to finish this research and

walk beside me in every step of the way.

My greatest love, hope, and thanks go to my amazing parents, who always

support me with their best efforts. Mom and dad, thank you because even though

you do not know my struggles and hardships, you keep believing that I will

always make the best of it. Also, for my two furry friends, Gilly and Puppy,

thanks for always accompany and comfort me during my hard times.

I want to send my gratitude to my thesis advisor, Harris Hermansyah

Setiajid, M.Hum. for all his guidance and suggestions from the very beginning of

conducting this thesis. I would also like to thank my co-advisor, Scolastica

Wedhowerti, S.Pd., M.Hum. for the criticism and suggestions that enrich my

study.

I also want to thank Yuki Matsuura and mbak Aurelia Nanda Phalya who

are willing to help me as my Japanese references. Thanks for your times, and

detailed explanations you gave to me. It really helped me a lot in my analysis.

To my goofy friends in campus, Ayu, Riris, Dimas, and others, who I

cannot mentioned one by one, thanks for being there for me in my tough times,

and always help brighten my days. Finally, to my dear Yosaphat Made. Thanks

for always supporting me and being there for me when no one else does.

Maura Michelle


x

TABLE OF CONTENTS

TITLE PAGE ....................................................................................................... ii

APPROVAL PAGE ............................................................................................ iii

ACCEPTANCE PAGE ....................................................................................... iv

STATEMENT OF ORIGINALITY ................................................................... v

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH .. vi

MOTTO PAGE .................................................................................................. vii

DEDICATION PAGE ....................................................................................... viii

ACKNOWLEDGEMENTS ................................................................................ ix

TABLE OF CONTENTS ..................................................................................... x

LIST OF FIGURES .......................................................................................... xiii

LIST OF TABLES ............................................................................................ xiv

ABSTRACT ........................................................................................................ xv

ABSTRAK ........................................................................................................... xvi

CHAPTER I: INTRODUCTION ....................................................................... 1

A. Background of the Study ................................................................................ 1

B. Problem Formulation ...................................................................................... 4

C. Objectives of the Study ................................................................................... 4

D. Definition of Terms ........................................................................................ 5

CHAPTER II: REVIEW OF LITERATURE ................................................... 6

A. Review of Related Studies .............................................................................. 6

1. Torre’s Research Paper “A Trilingual Translation of Selected Children’s

Tales Towards the Production of Culturally Relevant Materials” ................... 6

2. Fonte’s Thesis “A Trilingual Study of the Translation of Idioms in

Miguel Torga’s A Criação do Mundo” ............................................................ 7

3. Sunarto, Mukarto, Bismoko, and Dewi’s Article “Trilingual

Textualization to Deliver Indonesian Local Cultures to High School

Students” .......................................................................................................... 7

4. Susanti’s Undergraduate Thesis “Official and Pirated Versions of

Indonesian Translation Subtitle of Figurative Language in Maleficent: A

Study of Equivalence and Subtitling Strategies Applied” ............................... 8

5. Febriarieski’s Undergraduate Thesis “The Subtitle of the Figurative

Languages in Authorized and Unauthorized Versions of Maleficent Movie: A

Study of Equivalence and Readability” ........................................................... 9

B. Review of Related Theories .......................................................................... 10

1. Theory of Subtitle ................................................................................... 10


xi

2. Translation Shifts Theory ....................................................................... 10

a. Level Shifts ......................................................................................... 11

b. Category Shifts ................................................................................... 11

i. Structure Shifts ................................................................................ 11

ii. Class Shifts ...................................................................................... 12

iii. Unit Shifts ....................................................................................... 12

iv. Intra-system Shifts .......................................................................... 12

c. Semantic Shifts ................................................................................... 13

3. Subtitling Strategies Theory ................................................................... 13

C. Theoretical Framework ................................................................................. 17

CHAPTER III: METHODOLOGY ................................................................. 18

A. Areas of Research ......................................................................................... 18

B. Object of the Study ....................................................................................... 19

C. Method of the Study ..................................................................................... 19

D. Research Procedure ...................................................................................... 20

1. Types of Data ......................................................................................... 20

2. Data Collection ....................................................................................... 21

3. Population and Sample ........................................................................... 22

4. Data Analysis ......................................................................................... 22

CHAPTER IV: ANALYSIS AND DISCUSSIONS ......................................... 24

A. Translation Shifts Found in Howl’s Moving Castle Movie Subtitle ............ 24

1. Category Shift Analysis .......................................................................... 26

a. Structure Shift ..................................................................................... 26

i. ST1-ST2 Structure Shift Analysis ................................................... 28

ii. ST2-TT Structure Shift Analysis .................................................... 30

iii. Structure: Pre-post Modifier Shift Analysis .................................... 32

b. Class Shift ........................................................................................... 34

c. Unit Shift............................................................................................. 35

d. Intra-system Shift ................................................................................ 37

2. Semantic Shift Analysis ......................................................................... 40

B. Subtitling Strategies Applied in Howl’s Moving Castle Movie Subtitle ...... 53

1. Direct Transfer ....................................................................................... 55


xii

2. Calque ..................................................................................................... 57

3. Direct Translation ................................................................................... 60

4. Oblique ................................................................................................... 62

5. Explication .............................................................................................. 69

6. Paraphrase .............................................................................................. 74

7. Condensation .......................................................................................... 78

8. Adaptation .............................................................................................. 81

9. Addition .................................................................................................. 86

10. Substitution ......................................................................................... 90

11. Deletion ............................................................................................... 94

12. Permutation ......................................................................................... 96

CHAPTER V: CONCLUSION ....................................................................... 100

REFERENCES ................................................................................................. 103

APPENDIX ....................................................................................................... 107


xiii

LIST OF FIGURES

No. Figure Page

1. Figure 1. Predicate Concept in English 38

2. Figure 2. Scene 1 Screenshot 1 44


4. Figure 4. Scene 2 Screenshot 43













xiv

LIST OF TABLES

No. Table Page

1. Table 1. Schjoldager’s Subtitling Strategies 14

2. Table 2. Catford's Translation Shift Category 25

3. Table 3. Catford's Category Shift 25

4. Table 4. Structure Shift Analysis 27

5. Table 5. Structure: Pre-post Modifier Shifts Analysis 32

6. Table 6. Class Shifts Analysis 34

7. Table 7. Unit Shifts Analysis 35

8. Table 8. Intra-system Shifts Analysis 37

9. Table 9. Semantic Shifts Analysis 40

10. Table 10. Schjoldager's Subtitling Strategies 54

11. Table 11. Direct Transfer Strategy Analysis 55

12. Table 12. Calque Strategy Analysis 58

13. Table 13. Direct Translation Strategy Analysis 60

14. Table 14. Oblique Strategy Analysis 63

15. Table 15. Explication Strategy Analysis 69

16. Table 16. Paraphrase Strategy Analysis 75

17. Table 17. Condensation Strategy Analysis 78

18. Table 18. Adaptation Strategy Analysis 81

19. Table 19. Addition Strategy Analysis 87

20. Table 20. Substitution Strategy Analysis 90

21. Table 21. Deletion Strategy Analysis 95

22. Table 22. Permutation Strategy Analysis 97

23. Table 23. All Data Research 107


xv

ABSTRACT

KISKE TRISNATEA, MAURA MICHELLE. (2020). Translation Shifts in the

Japanese-English and the English-Indonesian Subtitle of Howl’s Moving

Castle Movie. Yogyakarta: Department of English Letters, Faculty of Letters,

Universitas Sanata Dharma.

Subtitle is one of the important elements in movies due to their worldwide

distribution which requires a translation understood by the local people. In

translating movie subtitle, the translators are sure to come across some problems

in the translations process. Translation shift is one of the major problems found in

translating subtitle. Shifts happen due to the adjustments between the Source Text

(ST) and the Target Text (TT). There are many shifts found in this research such

as level shift, categorical shift, and syntactical shift. Aside from translation shifts

occurrences, cultural differences also play an important role in translating a text or

a subtitle from one language to another.

This research is conducted to analyze the translation shifts found in the

Japanese-English and English-Indonesian subtitle of Howl’s Moving Castle

movie, and to identify the strategies applied in the Japanese-English and English-

Indonesian subtitling in the movie. The movie was originally made in Japanese,

and later the English version of the movie was released. The researcher intended

to identify the shifts through both versions of the movie and its Indonesian

subtitle.

The data were primary data which were collected from the transcription of

the English version of the movie and also from the Indonesian subtitle made by

Pein Akatsuki. The research applied empirical approach which sought for new

data and new information derived from the observation done by the researcher.

The empirical approach was applied to analyze the translation difference and to

relate the translations to the scenes and the characters’ actions. This research also

applied qualitative methods by analyzing the translated subtitle employed in the

movie.

In analyzing the data, the researcher applied translation shifts theory by

Catford and subtitling strategies by Schjoldager. The result shows that category

shift has the highest occurrence in the translation with structural difference at its

peak. Different language systems can lead to different translation methods and

create differences between the source texts and the target texts. However, the

analysis proves that the translators are able to transfer the idea from the original

text as all of the 12 strategies are applied, and the texts can be comprehended well.

Keywords: translation shift, subtitling strategy, movie subtitle.


xvi

ABSTRAK

KISKE TRISNATEA, MAURA MICHELLE. (2020). Translation Shift in the

Japanese-English and the English-Indonesian Subtitle in Howl’s Moving

Castle Movie. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra,

Universitas Sanata Dharma.

Takarir adalah salah satu elemen penting dalam film. Oleh karena

penyebarannya yang sangat luas, terjemahan sangat diperlukan agar film dapat

dimengerti oleh masyarakat. Dalam menerjemahkan takarir, para penerjemah pasti

dihadapkan dengan berbagai tantangan. Pergeseran makna terjemahan merupakan

salah satu masalah yang kerap ditemui dalam menerjemahkan takarir. Pergeseran

ini terjadi karena adanya penyesuaian dari Bahasa Sumber (BSu) ke Bahasa

Sasaran (BSas). Ada banyak pergeseran yang ditemukan dalam penelitian ini,

seperti pergeseran level, kategori, dan sintaksis. Selain salah terjemahan,

perbedaan budaya juga sangat berpengaruh dalam menerjemahkan suatu teks dari

satu bahasa ke bahasa lain.

Penelitian ini dibuat untuk menganalisis pergeseran makna terjemahan

yang ada di terjemahan tiga bahasa dalam subtitle film Howl’s Moving Castle, dan

untuk mengenali strategi yang digunakan dalam pembuatan takarir dari bahasa

Jepang-Inggris ke bahasa Inggris-Indonesia. Versi asli film tersebut diproduksi

dalam bahasa Jepang yang kemudian dibuat lagi dalam bahasa Inggris. Selain

dengan takarir Indonesian, analisis pergeseran makna terjemahan ini juga

dilakukan dengan meneliti kedua versi dari film tersebut.

Data yang digunakan ialah data primer yang dikumpulkan dari transkripsi

film versi bahasa Inggris dan takarir Indonesian yang diterjemahkan oleh Pein

Akatsuki. Penelitian ini menggunakan pendekatan empiris yang mencari data dan

informasi baru dari observasi yang telah dilakukan oleh peneliti. Pendekatan ini

digunakan untuk meneliti perbedaan yang ada dalam terjemahan dan untuk

mengaitkan terjemahan tersebut pa/da adegan dan perbuatan karakter dalam film.

Penelitian ini juga menggunakan metode kualitatif yang menganalisis hasil

terjemahan takarir yang digunakan dalam film.

Peneliti menggunakan teori pergeseran makna terjemahan milik Catford

dan strategi pembuatan takarir oleh Schjoldager dalam menganalisis sampel data.

Hasil penelitian menunjukkan bahwa pergeseran kategori memiliki tingkat

kejadian tertinggi dengan banyaknya angka perbedaan struktur dari ketiga

terjemahan tersebut. Perbedaan sistem bahasa dapat memunculkan perbedaan

metode penerjemahan dan adanya pergeseran diantara BSu dan BSas. Meskipun

demikian, para penerjemah berhasil menerjemahkan ide cerita dengan baik. Hal

ini dibuktikan dengan ditemukannya ke 12 strategi yang digunakan dalam

terjemahan.

Kata kunci: translation shift, subtitling strategy, movie subtitle.


1

CHAPTER I

INTRODUCTION

A. Background of the Study

In this modern era, technologies are getting more and more sophisticated

by the years. It affects not just the growth of the world, but also the daily life of

the people who live in it. In the world of moving pictures for example. Nowadays,

people love to go to the cinemas to watch movies. They can also enjoy them just

by sitting cozily on their sofas at home. After the 1920s, film makers reinvented

subtitles to help them with their communication problem (Language Reach,

2016). Subtitle is one of the important elements in movies due to their worldwide

distribution which requires a translation understood by local people. Subtitle acts

not only as a language communicator, but also plays an important role in foreign

influences. English as an influential language has been used as an international

language and learned by a lot of people in the world. Most commonly, an English

subtitle is always provided for movies not originally English. Sometimes, the

movies are also dubbed into English. Aside from that, subtitles were not only

made for movies that originally use languages other than English. They were also

made for English-based movies, so that the spectators can follow what the actors

are saying. Therefore, subtitles were made so that the spectators can understand

the movie better.

Subtitles have 6 (six) other importance according to Dann in a website 7

Reasons Your Videos Need Subtitles (n.d.), they are,


2

1) Not all of the spectators have the ability to hear well, 2) Many people

do not or cannot turn on the audio, 3) People prefer watching video with

subtitles, 4) Viewers are more engaged, 5) Subtitles increase video social

reach, and 6) Captions improve SEO.

One of the major problems found in translating movies are the cultural

differences between the source language (SL) and the target language (TL). “Such

interaction two or more cultures in the process of translation results in a creation

of a ‘hybrid’ text, which appears in the target culture by adopting some of the

features of the text in the source culture” (Ginter, 2002, p. 27). Another is the

change of the word meaning during the process of translation from one language

to another. It can be seen on how the translators choose the closest equivalent

words for the translation or how the translation sometimes loses their meanings.

Different languages have, of course, their own system which are not

compatible to each other. Translation activity tries to create an equivalent between

to differing languages in terms of referential, pragmatic, and intra-lingual

meaning, as elaborated by Sun in his article (2011).

For two sentences from different languages to be translationally equivalent

they must convey the same referential, pragmatic and intralingual

meaning. However, due to differences between two cultures, semantic

equivalence are limited to some degree (2011, p. 160).

The example can be taken from the word “the waiters and waitresses.” If

the phrase is translated into Indonesian, they become “pelayan-pelayan.” The

phrase originally indicates gender and plurality. But when it is translated into

Indonesian, it becomes genderless but still has the plurality sense. The phrase does

not lose its whole meaning, but it is considered as an effective translation because

it is not necessary to include the gender in Indonesian unless the gender becomes


3

an important matter such in a story. This matter can be found in translating

through a three language translation. It can be seen that different language

background can affect the translation from one language to another, even though it

is considered as an effective translation.

In this research, for example, Japanese is the source language 1 (SL1),

English acts as the target language 1 and also the source language 2, which

hereafter will be stated as SL2, and Bahasa Indonesia or the Indonesian language

is the target language (TL). What is said in Japanese may be translated well in

English, but loses some of its meaning in Indonesian because it is a rather

genderless language. It can also happen where in English the word loses some of

its meaning, and the word starts to refer to a different meaning in Indonesian. But

if a direct translation is applied, and the word is translated directly from Japanese

to Indonesian, the translation may be closer to what it means in the source

language 1 rather than it is first translated into English.

This study intends to examine the translation shifts that occurs between the

Indonesian subtitles and the English version of Howl’s Moving Castle movie and

also reviews some terms with the Japanese version of the movie to observe the

changes that happened during the translation process. The research analyzes the

translation shifts through the change of the word meaning, the word structure, and

the metaphorical terms in the subtitles. The example can be seen as follows:

Source Text

(Japanese) Kakureta dakedeshou, guntai ga ippai kiteru kara

Source Text 2

(English) No, he’s just hiding in the fog from those planes

Target Text

(Indonesian) Tidak, dia hanya bersembunyi dalam kabut di lembah


4

The object of the research is a movie from Disney Ghibli’s production,

entitled Howl’s Moving Castle. The movie, in Japanese language, tells about a

boy named Howl who was cursed because he ate a shooting star. Years after that,

Howl was famous for his handsomeness and strength, especially among women

throughout the kingdoms. Then, he met a girl named Sophie on her way to see her

sister. Due to her encounter with Howl, the witch of the Wasteland cursed and

turned her into an old lady. After she was cursed, she decided to leave her house

and life in the town and go to the mountains where the wizards and witches live.

Shortly, she found Howl and Calcifer, the fire demon who is actually the shooting

star itself previously consumed by Howl. Sophie eventually wanted to break the

curse between all three of them.

B. Problem Formulation

The research questions can be formulated as follows:

1. What are the translation shifts that occur in the Japanese-English and English-

Indonesian subtitling in Howl’s Moving Castle movie subtitle?

2. What strategies are applied in the Japanese-English and English-Indonesian

subtitling in Howl’s Moving Castle movie subtitle?

C. Objectives of the Study

The research intends, first, to analyze the translation shifts that occur

between the Japanese-English and English-Bahasa Indonesia, which hereafter will

be stated as Indonesian, subtitling in Howl’s Moving Castle movie subtitle, and,


5

second, to identify the strategies applied between the Japanese-English and

English-Indonesian subtitling in Howl’s Moving Castle movie subtitle.

D. Definition of Terms

There are some terms often to be mentioned by the researcher that may

sound unfamiliar for the readers. In order to avoid the misunderstanding between

the readers and the researcher, a definition of some terms are provided as follows:

The translation shifts that the researcher analyzes are the linguistic

changes occurring in translation of ST to TT (Munday, 2016). In another words,

translation shifts are changes that happen in the process of translation from ST to

TT.

The researcher takes the Indonesian data from the Indonesian subtitle of

the movie. According to an article on BBC (My Web My Way), subtitles or

captions are textual versions of the dialogue in films and television programmes,

usually displayed at the bottom of the screen.

Japanese language does not uses Latin alphabet as in English and

Indonesian. They use Japanese alphabets such as kana and kanji. In this research,

the Japanese data that are collected are written in the form of romaji in order to

ease both the researcher and the readers to read the Japanese terms. Romaji is a

way to write Japanese words using the Latin alphabet (2016).


6

CHAPTER II

REVIEW OF LITERATURE

This chapter is divided into three parts. The first part discusses some

studies done previously by other researchers who have similar topics with this

undergraduate research. This part shows the similarities and differences between

the studies. At the end of the first part, the researcher also shows where this

research stands. The second part discusses the theories applied by the researcher

in conducting this research. The third part explains how the theories help the

researcher analyze the data.

A. Review of Related Studies

1. Torre’s Research Paper “A Trilingual Translation of Selected Children’s

Tales Towards the Production of Culturally Relevant Materials”

“A Trilingual Translation of Selected Children’s Tales Towards the

Production of Culturally Relevant Materials” is a paper written by Torre (2018)

who discusses the translation of selected children’s tales from English to Filipino

then from Filipino to Bisakol. He applies Newmark’s 11 procedures of translation,

and reveals that transposition and one-to-one translation are the most frequently

utilized translation procedures. However, the translators in Filipino and other

Philippine languages cannot fully rely on this methods and translation procedures


7

due to the various needs and demands of translating English into Filipino.

Therefore, segmentation method is also applied to fill the missing link.

This undergraduate thesis also discusses a translation between three

languages. However, in his research, Torre tends to evaluate the translation

towards the production of error-free and culturally relevant instructional materials

for Mother Tongue-Based Multilingual Education (MTBMLE).

2. Fonte’s Thesis “A Trilingual Study of the Translation of Idioms in Miguel

Torga’s A Criação do Mundo”

“A Trilingual Study of the Translation of Idioms in Miguel Torga’s A

Criação do Mundo” (2012) is aimed to explore how the English and Spanish

translators of a Portuguese fictional autobiography carried out the translation of

idiomatic expressions in Torga’s work. The research shows that idioms pose

specific semantic, cultural, and morphological problems for translators because

idioms have very complex features which vary from one language to another.

This undergraduate thesis also discusses a translation process involving

three languages. However, Fonte, in her thesis, analyzes idioms instead of movie

subtitles. Also, the data sample are back-translated into English in order to see the

procedures that the translators applied in translating different idiom categories.

3. Sunarto, Mukarto, Bismoko, and Dewi’s Article “Trilingual


Students”

“Trilingual Textualization to Deliver Indonesian Local Cultures to High

School Students” (2018) is an article written by E. Sunarto, F. X. Mukarto, J.


8

Bismoko, and Novita Dewi which discusses issues regarding the translation of

local texts from regional languages and cultures throughout the Indonesian

archipelago into Indonesian and English. The result shows that textualization of

local texts help supporting the politics of the national language such as the use of

Indonesian as the national language, the preservation of local languages as the

fundamental support of the national culture, and the exposure of various local

wisdoms to the global community.

This undergraduate thesis also discusses a three language translation

process, but this article discusses deeper into the formulation of the basic

philosophy, themes, and values that are carried and preserved in the translation

from local languages into Indonesian and English.

4. Susanti’s Undergraduate Thesis “Official and Pirated Versions of

Indonesian Translation Subtitle of Figurative Language in Maleficent: A

Study of Equivalence and Subtitling Strategies Applied”

“Official and Pirated Versions of Indonesian Translation Subtitle of

Figurative Language in Maleficent: A Study of Equivalence and Subtitling

Strategies Applied” (2017) aims to analyze the equivalence of the figurative

language translation and to determine the subtitling strategies applied in the

authorized and unauthorized versions of Maleficent movie. Susanti takes the data

from the official version and unauthorized versions by Archangel Gabriel, and by

Lebah Ganteng of the movie. The result shows that the unauthorized versions are

better than the authorized version due to their dynamic equivalence and

application of paraphrase strategy.


9

This undergraduate thesis also analyzes movie subtitle and employ the

theory of subtitling strategy. However, Susanti, in her study tries to focus more on

the translation equivalence of figurative languages in the movie.

5. Febriarieski’s Undergraduate Thesis “The Subtitle of the Figurative

Languages in Authorized and Unauthorized Versions of Maleficent

Movie: A Study of Equivalence and Readability”

“The Subtitle of the Figurative Languages in Authorized and Unauthorized

Versions of Maleficent Movie: A Study of Equivalence and Readability” (2019)

aims to find out the readability and the translation equivalence in authorized and

unauthorized versions of Maleficent movie subtitle. The result shows that the

unauthorized version of the movie is considered as readable due to the translation

is not ambiguous, sounds familiar, no double meanings, and supported the visual

context in the movie.

This undergraduate thesis also analyzes movie subtitle translation, but this

study focuses more on the readability of the subtitle based on the applied

equivalence.

It can be concluded from the five related studies above that this

undergraduate research discusses the similar topic in terms of a translation

involving three different languages, subtitling, and translation shift matters.

However, the researcher aims to discover new ideas by focusing on the translation

shifts that occur in the Japanese and English version of Howl’s Moving Castle

movie, and the subtitling strategies applies in its Indonesian subtitle made by Pein

Akatsuki.


10

B. Review of Related Theories

1. Theory of Subtitle

Gottlieb mentions that subtitles are “less than a true representation” of the

original massage of a moving picture, such in a television program (1991).

Subtitles are in form of texts that represent the dialogues uttered by the characters

in movies or TV programs. They pop out and display at the bottom of the screen

in order to attract “as little attention as possible” for the spectators (Cintas, 2012).

Commonly, subtitles are displayed horizontally with no more than two lines of

dialogue. Subtitles must be positioned in the exact same timing when the character

utters the dialogue. If the subtitles are too early or too late, it can be confusing and

may ruin the enjoyment of the program.

According to Gottlieb, there are two main distinctions of subtitles (1991).

All film and normal modern television subtitling belong to the open subtitles

category as they are “received with the original film or television version.” The

second category is closed subtitles. Domestic language television programs which

are broadcast with subtitles transmitted via separate signal, and satellite-

transmitted television across language boundaries are included in this category, as

the subtitles are optionally added to the original version.

2. Translation Shifts Theory

According Catford (1965), translation shifts are divided into two major

types, they are: level shifts and category shifts. The researcher also applies

semantic shifts theory by Holmann (2009) because the researcher found semantic


11

change in the analyzed data, which is not included in Catford’s translation shift

types.

a. Level Shifts

Level shift explains that “a [sic] SL item at one linguistic level has a TL

translation equivalent at a different level” (p. 73). The only possible level shifts in

translation is shifts from grammar in one language to lexis in another language.

The example can be taken from the word “Amelia is baking cookies” which is

translated into “Amelia sedang memanggang kue” in Indonesian. The word –ing

is translated into sedang in Indonesian. It can be seen that the word level changes

from grammar in English into lexis in Indonesian.

b. Category Shifts

Category shifts are “departures from formal correspondence in one

translation” (Catford, 1965, p. 76). Category shifts cover structure shifts, class

shifts, unit shifts, and intra system shifts (p. 76). Category shifts can only be

discussed if it is assumed that there are some degrees of formal correspondence

between SL and TL. It means that there has to be an assumption that both

languages have the same number of categories or hierarchy in their language

systems.

i. Structure Shifts

According to Catford in Munday (2016, p. 96), structure shifts are “the

most common and to involve mostly a shift in grammatical structure.” Structural

shifts can occur in all ranks such in clause rank and group rank. The example can

be taken from Luffy-san wa umi ni imasu which is translated into “Luffy berada di


12

laut” in Indonesian. It can be seen from the example that the structure changes

from S-Preposition-V in Japanese into S-V-Preposition in Indonesian.

ii. Class Shifts

Class shifts “occur when the translation equivalent of a [sic] SL item is a

member of a different class from the original item” (Catford, 1965, p. 78). It

changes from one part of speech to another. The example can be taken from

“Have a seat, please” which is translated into “Silakan duduk” in Indonesian. The

word ‘a seat’ here acts as a noun, while the word ‘duduk’ in Indonesian acts as an

action that is addressed to the listener.

iii. Unit Shifts

Unit or rank shifts are shifts that occur in sentence unit such in sentence,

clause, group, word, and morpheme (Munday, 2016, p. 97). The shifts happen due

to the rank differences between the SL and TL. The example can be taken from

Don’t Call Me Angel’s (2019) song lyric “You better stop the sweet talk” which is

translated into “Hentikan mulut manismu” in Indonesian. It can be seen that the

lyric form changes from sentence in English into phrase in Indonesian.

iv. Intra-system Shifts

Intra-system shifts happen due to the different language systems between

ST and TT. The example can be taken from the nouns in Japanese and English.

Japanese nouns cannot inflect the same way as in English. They can refer to plural

and singular noun at the same time. Meanwhile, English plural nouns are

indicated by the addition of –s or –es in the final position of the noun. The word

neko, for example, can be translated into a cat, the cat, or even cats in English.


13

c. Semantic Shifts

Semantic shifts are meaning shifts or changes that occur between

languages. Expressions are “said to be meaningful because they are connected to

aspects of the real world in some objective ways” (Hollmann, 2009). The shifts

can turn the meaning of a word, phrase, sentence, or even text, and gave a more

positive or negative meaning, make it broader or narrower, or change it into

metaphor or metonymy. The internal and external language factors also play

important roles in semantic change due to its strong relation with arbitrary cultural

and social changes, as elaborated by Oklah in his article (2014). The example can

be seen as follows:

Source Text 1 (Japanese) Source Text 2 (English) Target Text (Indonesian)

Onee-chan Sophie Kakak

(Howl's Moving Castle, 2004)

Onee-chan in Japanese means elder sister. Lettie, the character who said

the dialogue, was addressing her elder sister, but it is translated into ‘Sophie,’ the

elder sister’s name, in the ST2. Meanwhile, the meaning changes back again to

‘Kakak’ as in the TT. It can be seen that the TT translate it according to the ST1.

3. Subtitling Strategies Theory

Schjoldager, in her book, mentions that “on a concrete level, in the course

of the actual message transfer from one text to another, you need to make a

number of specific choices based on the source text in front of you” (2008, p. 89).

In 1992, Gottlieb introduces ten strategies applied by subtitlers such as himself.

Schjoldager develops these strategies and divides them into twelve.


14

Table 1. Schjoldager’s Subtitling Strategies

Subtitling

Strategy Explanation

Example Example

Source ST TT D

irec

t T

ran

sfer

Similar to Gottlieb’s

imitation theory

which transfers terms

such as names,

places, and brands

exactly as they are

stated in the SL.

… but there

was no course

in “Queen” or

“How to Run

A Country

101”

… tapi tidak

ada kursus di

“Ratu” atau

“How to Run

A Country

101”

The Princess

Diaries 2:

Royal

Engagement

movie (2004)

Ca

lqu

e

Calque is applied by

maintaining the

structure of the ST or

by making a very

close translation to

the ST.

Of course, I

wonder… will

I ever be ready

Tentu saja, aku

bertanya-

tanya… akan

saya pernah

siap?

The Princess

Diaries 2:

Royal

Engagement

movie (2004)

Dir

ect

Tra

nsl

ati

on

This strategy is

applied by translating

the source text with

word-for-word

procedure

(Schjoldager, 2008, p.

92).

Now we pray. Sekarang kita

berdoa.

Kubo and the

Two Strings

movie (2016)

Ob

liq

ue

Tra

nsl

ati

on

In contrary from

direct translation,

oblique translation is

applied by translating

the source text with

sense-for-sense

procedure.

What do we do

next, daddy?

Terus

bagaimana,

Ayah?

Kubo and the

Two Strings

movie (2016)

Exp

lica

tion

Explication makes the

implicit information

in the ST becomes

explicit in the TT.

Mother says,

I’ll grow into

it.

Kata Ibu, aku

harus

memakainya

sampai

dewasa.

Kubo and the

Two Strings

movie (2016)

Pa

rap

hra

se

This strategy allows

the translators to

translate the text

rather freely (p. 92).

With every day

that goes by,

she drifts

further away.

Hari demi hari,

Ibu makin tak

karuan.

Kubo and the

Two Strings

movie (2016)


15

Subtitling

Strategy Explanation

Example Example

Source ST TT C

on

den

sati

on

Condensation is

applied to translate

the text in a shorter

way. Condensation

works contrary with

explication because it

makes explicit

information becomes

implicit.

We’re going to

find the

armor.

Kita harus

temukan

senjata itu.

Kubo and the

Two Strings

movie (2016)

Ad

ap

tati

on

This strategy is

similar to Gottlieb’s

dislocation strategy.

However, Schjoldager

(p. 92) adds that

adaptation tends to

recreate the effect of

the ST in the TT

entirely or partially.

Kita no shima

wa

Samui~

Hyakkoi-koikoi

Atama

buruburu

Aho baka

Dinginnya pula

utara

Yang

menyenangkan

~

Hyakkoi-

koikoi~

Membuat

kepalamu beku

Dan tambah

tolol

One Piece

anime series

episode 169

in the Skypea

Arc (2003)

Ad

dit

ion

Addition strategy

allows translators to

“adds a unit of

meaning” in the

translated text.

Sessha Okiku

to

moushimasu.

Namaku

(sessha)

Okiku.

One Piece

anime series

episode 900

in the Wano

Arc (2019)

Su

bst

itu

tion

Substitution is applied

when the translator

change a meaning(s)

in the ST with another

term(s) in the TT.

I am delighted

to welcome

you here this

evening.

Saya gembira

untuk

menyambut

Anda di sisni

malam ini.

The Princess

Diaries 2:

Royal

Engagement

movie (2004)

Del

etio

n This strategy is

applied when a unit of

meaning(s) in the ST

is omitted in the TT.

But you were a

wooden

charm.

Tapi kau cuma

jimat.

Kubo and the

Two Strings

movie (2016)

Per

mu

tati

on

According to

Schjoldager in her

book (2001),

“permutation occurs

when a TT item is

placed in a textual

position which is

different from that of

its ST item.”

(00:01:49)

Otoko tachi wo

… sekushi

garu

(00:01:49)

Seorang gadis

cantik yang

mampu …

One Piece:

Episode of

Luffy – Hand

Island no

Bouken

movie (2012)

(00:01:53) …

no koukaishi,

Nami

(00:01:53)

Navigator

cerdas dan

seksi kami,

Nami.


16

Every language has its own background and system. There are languages

involving gender in almost everything in their vocabulary, such in French and

Spanish, or languages that indicate gender only in some part of their vocabulary.

Also, there are languages that use uncommon writing or reading order such in

Japanese and Arabic. Iida, Sumita, and Furuse in their paper entitled “Spoken-

Language Translation Method Using Examples” (1996) discuss the difficulties of

spoken language translation between Japanese and English. Difficulties such in

the Japanese left to right order writing system and Japanese topic marker. Ulatus

website (Inherent Problems in Japanese to English Translation Accuracy, 2016)

also mentions the difficulties in translating from Japanese to English such as the

grammar differences, the kanji writing, and the content based translation.

Sandra in her article journal discusses that the problems found in

translating from English to Indonesian are mostly around lexical, grammatical,

and semantical elements (2018). In such translation, aspects such as cultural

content, the availability of equivalencies, and the ability to use monolingual

dictionary need to be considered properly to produce an acceptable translation.

The definition of words in Japanese and Indonesian can also have different

interpretation, such in the words kenry and ‘hak.’ Azhar and Yoshiyuki in their

journal article mention that there are some contradictions in connection of the

relation between the people and society (2010). They also explain the different

understanding of the Japanese and Indonesian people’s concept of kenri and ‘hak.’


17

C. Theoretical Framework

In this research, there are two theories applied to answer the problem

formulation stated in the previous chapter. They are translation shifts theory and

subtitling strategies.

The translation shifts theory helps the researcher analyze the kind of shifts

that are found in both translations of Howl’s Moving Castle movie, while the

subtitling theory helps the researcher identify the strategies applied in the

Indonesian subtitle of the movie.

The first research question is answered by applying the translation shifts

theory. The theory is applied to classify the shifts that are found in Howl’s Moving

Castle movie into three major categories: level shifts, category shifts, and

semantic shifts.

The second research question is answered by applying the subtitling

strategies theory. This theory is employed to identify the subtitling strategies

applied by the subtitlers.


18

CHAPTER III

METHODOLOGY

This chapter discusses the methodology that the researcher applied in

order to help answering the research questions. There are four parts in this

chapter. The first part describes the areas of translation research conducted by the

researcher. The second part provides the description of the object being studied.

The third part describes the methods applied by the researcher in analyzing the

data. The fourth part consists of four subparts which explain the types of data

collected by the researcher, the data collecting process, the population and

sampling applied in order to acquire the final data, and data analysis to describe

the condition of research variables.

A. Areas of Research

The research applied multimedia translation areas of research which deals

with analysis of sur- or subtitled material as it analyzed the translation shifts

found between the Japanese and English version of Howl’s Moving Castle movie,

and its Indonesian subtitle. According to Williams and Chesterman in their book

(2002), films are included in audiovisual texts which are translated by revoicing or

sur- or subtitling. “Sur- or subtitling leaves the original spoken or sung text intact

and adds a written translation” (p. 13) as usually displayed at the bottom of the

screen.


19

B. Object of the Study

This study analyzed the movie subtitle, or the dialogues uttered by the

characters in Disney Ghibli’s Howl’s Moving Castle movie, both in Japanese and

English version of the movie, and the Indonesian subtitle made by Pein Akatsuki.

The dialogues were in form of sentences which were spoken by the characters in

the movie. The Japanese version of the movie was taken as the source text or the

original text for this research. The English version of the movie was taken as the

Japanese target text, and the source text for the Indonesian subtitle, while the

Indonesian subtitle was taken as the final target text.

C. Method of the Study

The researcher applied qualitative method in conducting the study.

Qualitative method was utilized to capture the results of this research in words,

images, or non-numeric symbols (George, 2008, p. 7). It was employed “to learn

about distributed or private knowledge,” and to answer questions about

experience, meaning, and perspective from the standpoint of the researcher

(Hammarberg, Kirkman, & Lacey, 2006, p. 499).

This study also applied explicative and library research methods.

Explicative method involved a careful examination of a major text in order to

understand the aspects of the text (George, 2008, p. 6). The method was employed

to help the researcher identified the subtitling strategies and the shifts found in the

movie subtitle. Meanwhile, library method was applied to help the researcher

identified and located sources which “provide factual information or personal or


20

expert opinion on a research question” (p. 6). This method was utilized to find out

Catford’s translation shifts theory and Gottlieb’s subtitling strategies. The data

were primary data collected by the researcher.

D. Research Procedure

1. Types of Data

The type of data applied in this research is objective data. The data were

taken from the unauthorized Japanese and English version of Howl’s Moving

Castle movie and the Indonesian subtitle of the movie made by Pein Akatsuki.

The researcher chooses the unauthorized version due to the limitations access to

the authorized version of the movie. Some previous studies also show that

unauthorized movie version is better than the authorized ones. It can be seen in

Febriarieski’s and Susanti’s undergraduate thesis as mentioned in the previous

chapter.

The movie was produced from a novel entitled Hauru no Ugoku Shiro by

Jones. It was directed by Miazaki, and was released on 21 November 2004 in

Japan. Then, it was released in USA on 17 June 2005. The genres of the movie are

animation, adventure, family, and fantasy. The movie took about one hour and 59

minutes. It was rated as Parental Guide for frightening images and brief mild

language (IMDb, n.d.).

There are 20 scenes in the movie with more or less 775 dialogues in total.

The number of the scenes are divided accordingly by the researcher.


21

2. Data Collection

The researcher collected three language data, Japanese-English-

Indonesian. The English and Japanese data were acquired by transcribing both

versions of Howl's Moving Castle movie. The Indonesian data were downloaded

from Film Bioskop 21’s website (n.d.). First, the researcher transcribed the

English version of the movie by watching the movie with a headset and took notes

of the whole dialogues that the characters spoken in the movie. Then, the

researcher numbered the dialogues and put the Indonesian subtitle along with the

English transcription. Next, the researcher put on a headset and watched the

Japanese version of the movie while reading the English-Indonesian transcription

in another laptop. The researcher also took notes and transcribed the possible

Japanese data. Unlike the English data, the Japanese data were not acquired by

transcribing the whole dialogues in the movie. The researcher only transcribed the

possible final data, and wrote the dialogue in the form of romaji. Finally, the

Japanese, English, and Indonesian data were compared and sampled in order to

acquire the final data sample.

After collecting the data from the movie, the researcher encoded the data

in a table such as below.

No of Data Source Text 1

(Japanese)

Target Text 1/

Source Text 2

(English)

Target Text

(Indonesian)

1/ST1/S1/00:02:14/CH10

1/ESIT/S1/00:02:12/CH10

1/TT/S1/00:02:13/CH10

Kakureta

dakedeshou, guntai

ga ippai kiteru kara

No, he’s just hiding

in the fog from

those planes

Tidak, dia hanya

bersembunyi dalam

kabut di lembah

in which

1 : The number of the data

ST1 : Source Text (Japanese)

ESIT : English Target Text – Indonesian Source Text (English)


22

TT : Target Text (Indonesian)

S1 : The number of the scene where the dialogue is said (Scene 1: At the

Hatter’s)

Time 1 : The exact time when the dialogue is said in the Japanese version of the

movie

Time 2 : The exact time when the dialogue is said in the English version of the

movie

Time 3 : The exact time when the Indonesian subtitle appears in the English

version of the movie

CH : The character who said the dialogue

CH1 : Sophie

CH2 : Howl

CH3 : Calcifer

CH4 : Markl

CH5 : Witch of the Waste

CH6 : Sophie’s mother

CH7 : Madame Saliman

CH8 : King

CH9 : Hatter girl 2 (the one with green dress)

CH10 : Hater girl 3 (the one with blue dress)

CH11 : Soldier 1 (who does not have mustache)

CH12 : Bakery worker

CH13 : Man on the mountain foot

CH14 : The woman in front of Jenkin’s

3. Population and Sample

Howl’s Moving Castle movie has 20 scenes in total. The scenes were

divided accordingly by the researcher. The research applied stratified sampling

where the population that was being sampled is categorized. The population

covered all of the dialogues found in Howl’s Moving Castle movie. Two set of

dialogues were taken from each scenes as data sample.

4. Data Analysis

This research employed several steps in analyzing the data in order to

answer the problem formulation as stated in the first chapter.


23

The first step was done by analyzing the translation shifts found in the

Japanese-English and English-Indonesian movie subtitle. The data was coded,

analyzed, labeled, and categorized as can be seen as follows:


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

13/ST/S7/00:14:43/CH13

13/ESIT/S7/00:14:42/CH13

13/TT/S7/00:14:42/CH13

Kono saki ni

wa

mahoutsukai shika

urotsuitenai ze

There’s

nothing but

witches and

wizards out

there.

Disana tak ada

apapun

kecuali para

penyihir.

Intra-

system

21/ST/S11/00:42:31/CH2

21/ESIT/S11/00:42:30/CH2

21/TT/S11/00:42:31/CH2

Maa nee… I’m tired Aku capek. Intra-

system

The second step was done by identifying the subtitling strategies applies in

the English transcription and Indonesian subtitle. This step was done in order to

explain the cause of the occurring shifts found in the movie subtitle, and to

support the researcher’s analysis. The analyzed data is displayed as follows:

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

17/ST/S9/00:23:44/CH3

17/ESIT/S9/00:23:43/CH3

17/TT/S9/00:23:44/CH3

Minatomachi Port Haven door.

Pintu

Porthaven!

Direct

Transfer

33/ST/S17/01:25:30/CH4

33/ESIT/S17/01:25:29/CH4

33/TT/S17/01:25:30/CH4

Sophie,

Hauru-san nara shinpai

iranai yo.

Mae mo

nannichimo

inakata koto

ga

aru/kotowaru

kara.

Oh, don’t

worry about

Master Howl,

Sophie.

Sometimes he

likes to go

away for days

on end.

Sophie,

Jangan

mengkhawati

rkan Howl-

san.

Terkadang,

dia suka pergi

berhari – hari.

Direct

Transfer


24

CHAPTER IV

ANALYSIS RESULTS AND DISCUSSIONS

This chapter explains the analysis of the translation shifts and the

subtitling strategies applied in Howl’s Moving Castle movie subtitle. There are

two main points that the researcher analyzed. The first point is examining and

categorizing the translation shifts occurrence in the Japanese-English and English-

Indonesian movie subtitle. The second point is identifying the subtitling strategies

applied in the Japanese-English and English-Indonesian movie subtitle.

A. Translation Shifts Found in Howl’s Moving Castle Movie Subtitle

In order to solve the first problem of this study, the translation shifts which

occur in the Japanese-English and English-Indonesian subtitling in Howl’s

Moving Castle movie subtitle are categorized and explained in this part based on

Catford’s translation shift theory. All of the shifts are categorized into three

majors, they are level shifts, category shifts and semantic shifts. The category

shifts cover structure shift, class shifts, unit shifts, and intra-system shifts. In this

subchapter, two charts are provided to show the number of the major shifts

occurrence, and the number of each category shift that are found in the data. There

are 80 shift occurrences found in the data. However, this discussion does not

cover every single shift analysis of the data. Instead, samples are chosen to give

more detail explanation. A table contains of the data samples is provided in each


25

subchapters which is followed by repeating data table due to the long analysis

elaboration. Similar data samples are also often to be displayed because various

shifts are found in one data.

Table 2. Catford's Translation Shift Category

There are 79 shift occurrences found in Howl’s Moving Castle movie

subtitle. It can be seen from table 2 that category shift holds the most frequent

shift category with 57% occurrences. Meanwhile, semantic shift also occurs with

the percentage of 43%, and there is no level shift found in the data.

Table 3. Catford's Category Shift

Table 3 shows the details of the category shifts occurrences that are

mentioned previously in table 2. Structure shift is the most frequent category shift

with a percentage of 64%, followed by unit shift with 20%, class shift with 7%

and intra-system shift with 9%.

34

45

0

0 10 20 30 40 50

Semantic Shift

Category Shift

Level Shift

Caftofd's Translation Shift Category

4

9

3

29

0 10 20 30 40

Intra-system

Unit

Class

Structure

Catford's Category Shift


26

1. Category Shift Analysis

Catford divides category shift into four subcategories. Besides the changes

of ranks, category shifts also cover the changes of structure, changes of class, and

changes of terms in language systems.

a. Structure Shift

A shift is categorized as structure shift when the data shows different

grammatical structure from one text to another. It can be in the rank of a sentence,

phrase, or clause. However, a general structure shift analysis cannot be applied

properly in the data due to the differences between the structure of dialogues and

the structure commonly found in general sentences. Sentences commonly contain

subjects, verbs, and complete thoughts (Butte College, n.d.), while such structures

are not obligatory in both written and spoken dialogues. This research takes

dialogue as the analyzed data, and dialogue is a two way type of conversation “to

exchange information and build relationships” between the participants (Angel,

2017). Sentences in conversation cannot be treated as in general sentences

because incomplete sentences are usually found in conversation, as explained by

O’Brien on her website (Sentence Fragments, n.d.). Such sentences are called as

sentence fragments. On the contrary of common sentences, sentence fragments

“lack one or more” of the three important elements in common sentences such in

subjects, verbs, and complete thoughts (Butte College, n.d.). Due to the fact that

fragments are often found in conversation (Butte College, n.d.), and they are also

found in the data, the researcher decides to take part(s) of the dialogues when

there are indications of incomplete structure in order to ease the data analysis. The


27

highlighted parts in the following table shows the dialogue parts taken in the

analysis, while the brackets show the word function of the underlined dialogues.

Table 4. Structure Shift Analysis No of Data

Source Text 1

(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

2/ST/S1/00:02:23/CH10

2/ESIT/S1/00:02:22/CH10

2/TT/S1/00:02:23/CH10

Daijobu, anta

(S) wa

nerawarenai (V) kara

Don’t worry,

he (S) only

preys (V) on

pretty girl (O).

Jangan

khawatir,

mangsa Howl (S) hanya

gadis cantik (P).

Structure

5/ST/S3/00:08:02/CH1

5/ESIT/S3/00:08:02/CH1

5/TT/S3/00:08:01/CH1

Howl (S) wa

bijin (O) shika

nerawanai

mono (V)

Howl (S) only

does (V) that

(Od) to

beautiful girls

(Oi).

Howl (S)

hanya

melakukannya

(V) ke gadis

cantik (O).

Structure

15/ST/S8/00:22:03/CH3

15/ESIT/S8/00:22:01/CH3

15/TT/S8/00:22:02/CH3

Akuma (S) wa

yakusoku (O)

wa shinai (V)

sa

Ah, I don’t

know, lady.

Demons (S)

don’t make (V) promises

(O).

Aku tak tahu

nenek, iblis

(S) tak

membuat (V)

janji (O).

Structure

30/ST/S15/01:14:45/CH1

30/ESIT/S15/01:14:44/CH1

30/TT/S15/01:14:44/CH1

Calcifar,

Salliman ga

itte ta wa,

Howl (S) wa

taisetsu na

mono (Od) wa

anata (Oi) ni

watashitatte (V). Nani

sore? Doko ni

aru no?

Do you know

what Madame

Sulliman said?

She said that

Howl’s heart (S) was stolen

(V) by a

demon (O).

Tell me now,

what do you

know.

Calcifer, kau

tahu apa yang

dikatakan

Madam

Suliman ? Dia

bilang bahwa

jantung Howl (S) dicuri (V)

oleh iblis (O).

Katakan

padaku, apa

yang kau

ketahui ?

Structure

33/ST/S17/01:25:30/CH4

33/ESIT/S17/01:25:29/CH4

33/TT/S17/01:25:30/CH4

Sophie (S),

Hauru-san (O) nara

shinpai iranai

yo (V). Mae

mo

nannichimo

inakata koto

ga aru kara.

Oh, don’t

worry (V)

about Master

Howl (O),

Sophie (S).

Sometimes he

likes to go

away for days

on end.

Sophie (S),

Jangan

mengkhawati

rkan (V)

Howl-san (O).

Terkadang,

dia suka pergi

berhari – hari.

Structure

35/ST/S18/01:31:15/CH1

35/ESIT/S18/01:31:14/CH1

35/TT/S18/01:31:14/CH1

Marukuru (S), obaa-

chan (O)

onegai (V).

O-mise

mitekuru.

Marko (S) get

back (V)

inside (Prep).

I’m gonna

check on the

shop.

Markl (S),

masuklah (V)

ke dalam (Prep), Aku

akan

memeriksa di

dalam toko.

Structure

37/ST/S19/01:35:41/CH1 Asoko (Prep) Looks like Sepertinya Structure


28


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

37/ESIT/S19/01:35:40/CH1

37/TT/S19/01:35:40/CH1

ni Hauru (S)

ga iru (V).

Howl (S) ’s

(V) in (Prep)

trouble (O).

Howl look

out!

Howl (S)

berada (V)

dalam (Prep)

masalah (O).

Howl !

39/ST/S20/01:52:20/CH1

39/ESIT/S20/01:52:19/CH1

39/TT/S20/01:52:19/CH1

Kabu,

daijoubu?

Tsugu

atarashi bou

(O) mitsukete

ageru (V) ne.

Kabu,

arigatou.

His pole

snapped. Are

you alright?

We (S) ’ll get

(V) you (Oi) a

new pole (Od)

ok? You saved

us, Turnip.

Lobak ? Apa

kau baik saja ?

Kita (S) akan

mencarikanm

u (V) tiang

baru (O), oke

? Lobak,

terima kasih

Structure

i. ST1-ST2 Structure Shift Analysis

As mentioned in the previous chapter, Japanese language has different

grammatical structure compare to English and Indonesian. Japanese language

tends to put the object after the subject, and put the verb behind. It can be seen in

ST1 datum 5, 15, 30, 33, and 35.

Japanese language also often to omit the subject of a sentence especially in

conversations. The omission is done because the subject does not really matter or

it only acts as an optional element. It can be seen from table 4 that all the chosen

parts of the dialogues in ST2 and TT have at least one subject, unlike in the ST1.

This kind of shift can be found in ST1 datum 39 as the sentence Tsugu atarashi

bou mitsukete ageru ne does not have a subject.

ST1 Tsugu atarashi bou mitsukete ageru ne

O V

ST2 We will get you a new pole ok?

S V Oi Od

In case of datum 39, the structure shifts are found between both ST1-ST2

and ST2-TT. It can be seen above that the structure in ST1 is not maintained in the

ST2 as ST1 does not have a subject, and such structure is not possible to be


29

transferred in both target texts. A subject is an important matter in sentences in

English and Indonesian, therefore the translator decides to put the word ‘we’ as

the subject to make a proper structure in ST2, even though the dialogue in ST1

does not specifically mentioned them.

ST1 Anta wa nerawarenai kara

S V

ST2 He only preys on pretty girl

S V O

In datum 2, ST1 and ST2 show slightly different word order as ST2 adds

an object in the sentence. The word Anta, which means ‘you,’ in ST1 acts as the

subject of the sentence, while in ST2, the subject of the sentence points to the

word ‘he.’ It can be seen that both sentences already have different subjects as

they also have opposing verbs. Nerawarenai in ST1 means ‘not to aim at’ which

is rather similar to the word ‘preys’ in ST2, in spite of that, the word nerawarenai

stands as the negative form of the word ‘preys,’ which make them have slightly

different meaning. It can be considered that the different word order occurs due to

the different way of uttering the dialogues. A semantic difference also plays an

important role in this issue because the dialogues literally have different

meanings. A further explanation regarding the sentence meaning can be found in

the subtitling strategy subchapter.

ST1 Asoko ni Hauru ga iru

Prep S V

ST2 Howl is in trouble

S V Prep O

Datum 37 highlights the structure shift occurrence due to a switched word

order. It can be seen that ST1 has Prep-S-V word order, while ST2 has S-V-Prep-

O word order. In ST2, the translator decides to switch the preposition from the


30

initial position of the sentence (before S-V) to the third order position (after S-V).

Such matter is often to be found between all three texts, such in the general word

order rules between ST1 and ST2. Similar to datum 2, an additional order is also

found in the dialogue. In datum 37, ST1 does not have an object because in the

context of Japanese language, the dialogue already has a complete thought, and

the verb iru does not need any additional information or can be referred as an

intransitive verb. As in datum 2, a meaning difference also plays an important role

in the shift, therefore a further explanation regarding the issue is provided within

the subtitling strategy subchapter.

ii. ST2-TT Structure Shift Analysis

The grammatical word order in English is not so different from the word

order in Indonesian, as both languages utilize the S-V-O word order. Aside from

the tenses, both languages have similar concept in writing a sentence compared to

the Japanese language. Even though English and Indonesian have so much in

common, the researcher finds that there are minor structure shifts between the two

languages.


S V O

TT Mangsa Howl hanya gadis cantik

S P

It can be seen in datum 2 that TT has a different word function as the verb

and the object positions in ST2 are replaced by P or Predicate in TT. The sentence

in TT shows word orders which only contain of a subject and a predicate, and

does not have any verbs or objects as in ST2. A structure shift is definitely occur

between ST2 and TT, however, the issue cannot be explained in this part due to


31

the different concepts that lead to a different language system between both

languages. Therefore, a further elaboration regarding this issue is provided in the

intra-system shift part.

ST2 Howl only does that to beautiful girls

S V Od Oi

TT Howl hanya melakukannya ke gadis cantik

S V O

In datum 5, the structure shift occurs due to the different number of objects

between the dialogues. The dialogue in TT is translated with word by word

procedure, so the structure in TT should be more or less the same as in ST2 as the

procedure allows the translator to be able to transfer the structure from the source

text to the target text. However, it can be seen that TT only has one object, while

ST2 has two objects. The difference occurs due to the adaptation of Indonesian

language system towards the translation. The word ‘that’ in ST2 is translated into

the addition word ‘-nya’ in TT. In TT, the word ‘-nya’ cannot be treated as an

object because it is attached to the verb ‘melakukan,’ which make it also acts as a

verb instead of an object as in the ST2.

ST2 We will get you a new pole ok?

S V Oi Od

TT Kita akan mencarikanmu tiang baru oke?

S V O

Datum 39 also shows a similar structure shift as in datum 5. It can be seen

that ST2 has indirect and direct objects, while TT only has one kind of object. The

word ‘you’ in ST2 is translated as the additional word ‘-mu’ in TT. As in the case

of datum 5, the additional word ‘-mu’ is not treated as an object such in ST2 due

to the word’s attachment to the verb ‘mencarikan.’ Even so, the meaning and the

word function of ‘a new pole’ are maintained in TT by the word ‘tiang baru.’


32

ST2 Don’t worry about Master Howl, Sophie

V O S

TT Sophie, jangan mengkhawatirkan Howl-san

S V O

Datum 33 highlights a structure shift which occurs due to the

rearrangement of the dialogue in one of the text. It can be seen that the subject in

ST2 is placed at the final position of the sentence. Meanwhile, the translator

decides to rearrange the word position and placed the subject into the initial

position of the sentence. ST2 and TT actually have the same word order as they

both have the same word function elements. It is possible for the sentence in ST2

to be rearranged into S-V-O word order such in TT. However, because the

dialogue is a result of a transcribing procedure, the researcher must write it as how

the character utters the dialogue in the movie.

iii. Structure: Pre-post Modifier Shift Analysis

Table 5. Structure: Pre-post Modifier Shifts Analysis No of Data

Source Text 1

(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

11/ST/S6/00:13:10/CH6

11/ESIT/S6/00:13:07/CH6

11/TT/S6/00:13:07/CH6

Kyuu juusai

no obaa-chan mitai

You sound

ghastly, like

some ninety

year old

woman.

Suaramu

terdengar

mengerikan,

seperti wanita

tua berusia

90 tahun.

Structure

39/ST/S20/01:52:20/CH1

39/ESIT/S20/01:52:19/CH1

39/TT/S20/01:52:19/CH1

Kabu,

daijoubu?

Tsugu

atarashi bou mitsukete

ageru ne.

Kabu,

arigatou.

His pole

snapped. Are

you alright?

We’ll get you

a new pole ok? You saved

us, Turnip.

Lobak ? Apa

kau baik saja ?

Kita akan

mencarikanmu

tiang baru,

oke ? Lobak,

terima kasih

Structure

Between three different languages with their unique language systems, a

shifting of structure is sure to be found even in a small unit such in phrases within

dialogues. The examples can be seen in table 5 as the highlighted words mark the

structure shifts that are found in a level of phrases.


33

In datum 11, the structure shifts are found between the phrases of the old

woman in all three texts. The three phrases have the similar meaning to one

another as they all indicate that there is a character who sounds like a ninety years

old woman. However, the modifier in TT does not have the same position as in

ST1 and ST2.

ST1 Kyuu juusai no obaa-chan

Pre-modifier Head

ST2 Ninety year old woman

Pre-modifier Head

TT Wanita tua berusia 90 tahun

Head Post-modifier

It can be seen that the words kyuu juusai and ‘ninety year old’ act as the

pre modifier in ST1 and ST2, while the words ‘berusia 90 tahun’ acts as the post

modifier in TT. This kind of shifts are often to be found in the translation from

English to Indonesian as the language tends to put the modifier of a phrase after

the head.

Similar structure shift is also found in datum 39. In both source texts, the

head of the noun phrases atarashi bou and ‘a new pole’ are modified by pre

modifiers. Meanwhile, the translator changes the modifier’s function into post

modifier in the phrase ‘tiang baru’ in TT. The shift and the word function can be

seen clearly as follows:

ST1 Atarashi bou

Pre-modifier Head

ST2 A new pole

Pre-modifier Head

TT Tiang baru

Head Post-modifier

It can be seen from the two samples that in such short noun phrases,

Japanese and English tend to put the modifiers before the head. Meanwhile,


34

Indonesian has its own distinct system to put the pre modifiers after the noun head

and changes them into post modifiers in the translation result. It can be concluded

that this kind of structure shifts can also be caused by the different systems

between languages. Different language systems can lead to different structures,

but if the systems in both source text and target text are similar –in such matter, a

shifting of structure is most likely not to occur in the translation.

b. Class Shift

A shift is categorized as class shift when a part or an item of the source

text changes its part of speech during the translation process, and changes into a

different part of speech in the target text.

Table 6. Class Shifts Analysis No of Data

Source Text 1

(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

2/ST/S1/00:02:23/CH10

2/ESIT/S1/00:02:22/CH10

2/TT/S1/00:02:23/CH10

Daijobu, anta

wa

nerawarenai kara

Don’t worry,

he only preys

on pretty girl.

Jangan

khawatir,

mangsa Howl

hanya gadis

cantik.

Class

10/ST/S5/00:12:45/CH9

10/ESIT/S5/00:12:44/CH9

10/TT/S5/00:12:44/CH9

Okku-sama,

Sophie-san wa

kyou wa

oritekite

imasen

I’m afraid

your daughter

hasn’t come

downstairs yet today,

ma’am.

Kurasa

putrimu belum

turun kesini

hari ini,

nyonya.

Class

25/ST/S13/00:49:15/CH14

25/ESIT/S13/00:49:14/CH14

25/TT/S13/00:49:14/CH14 Mite North. Utara. Class

In datum 2, the class shift is found between the word ‘preys’ in ST2 and

the word ‘mangsa’ in TT. Nerawarenai in ST1 comes from the word nerau which

means ‘to aim at’ in English. The word nerawarenai and the word ‘preys’ indicate

verbs or actions done by Howl that he is only onto pretty girls, while the word

‘mangsa’ in TT indicates a noun as it is the head of the noun phrase ‘mangsa


35

Howl.’ It can be concluded that in datum 2, the word changes its part of speech

from verbs in both source texts into a noun in TT.

Similar class shift also found in datum 25. The word mite in ST1 is

translated into ‘North’ and ‘Utara’ in both target texts. Mite in Japanese means

‘look’ in English, and it acts as a verb. Meanwhile both ‘North’ and ‘Utara’ acts

as nouns in ST2 and TT, which indicate directions, and not actions as in ST1.

Datum 10 shows a class shift between ST1 and ST2. Oritekite means ‘to

come down’ in English. Oritekite and the word ‘turun’ in TT both act as actions or

verbs that Sophie has not yet come to the hat shop. Meanwhile, the word

‘downstairs’ in ST2 indicates a place in which Sophie has not come to because her

room is located upstairs. The word ‘downstairs’ is not a verb as in ST1 and TT. It

is an adverb which complements the verb ‘hasn’t come’ in ST2. It can be

concluded that in datum 10, the class changes from verb in ST1 into adverb in

ST2, and change back into verb in TT.

c. Unit Shift

A shift is categorized as unit shift when unit or rank changes are found

between the source text and the target text. The unit change points to changes of

ranks such in sentence, clause, phrase, word, and morpheme.

Table 7. Unit Shifts Analysis No of Data

Source Text 1

(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

7/ST/S4/00:10:19/CH5

7/ESIT/S4/00:10:17/CH5

7/TT/S4/00:10:16/CH5

Yasupai

boushi.

I’ve never

seen such

tacky little

hats.

aku tak pernah

melihat topi -

topi kecil

sejelek ini.

Unit

20/ST/S10/00:36:37/CH3

20/ESIT/S10/00:36:36/CH3

20/TT/S10/00:36:36/CH3

Sou ka na?

sou ka na?!

She likes my

spark! Hahaha

Benarkah itu ?

Benarkah itu

?!

Unit

22/ST/S11/00:43:09/CH1

22/ESIT/S11/00:43:08/CH1 Hauru? Is Howl back?

Apa Howl

sudah kembali Unit


36


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

22/TT/S11/00:43:09/CH1 ?

32/ST/S16/01:21:07/CH1

32/ESIT/S16/01:21:06/CH1

32/TT/S16/01:21:06/CH1

Hauru,

arigatou! Yume mitai

This place is

gorgeous,

Howl! It’s like

a dream.

Howl, terima

kasih ! Ini

seperti mimpi

Unit

39/ST/S20/01:52:20/CH1

39/ESIT/S20/01:52:19/CH1

39/TT/S20/01:52:19/CH1

Kabu,

daijoubu?

Tsugu

atarashi bou

mitsukete

ageru ne.

Kabu,

arigatou.

His pole

snapped. Are

you alright?

We’ll get you

a new pole

ok? You saved

us, Turnip.

Lobak ? Apa

kau baik saja ?

Kita akan

mencarikanmu

tiang baru,

oke ? Lobak,

terima kasih

Unit

In datum 7, the character in ST1 says yasupai boshi which mean ‘Tacky

hats’ in English. It means that yasupai boshi is a noun phrase with the word ‘hat’

as the head. Meanwhile, the translator changes the form during the translation

process and turns it as sentences in ST2 and TT. Similar shift is also found in

datum 20 and 32. In datum 20, the shift occur between all three texts. The

dialogue in ST1 is in form of a phrase which has similar meaning and form as in

TT, while the dialogue in ST2 is in form of a sentence. The changes occur two

times between ST1 to ST2, and ST2 to TT. It is also found in datum 32 as ST1

and TT are in form of phrases, while ST2 is in form of a sentence.

Datum 22 and 39 shows a different unit shift from a single word in one

text into sentence in another text. In datum 22, ST1 is in form of a single word,

Hauru, which mean ‘Howl.’ Meanwhile, the translator prolongs the dialogue and

changes it into sentences in both ST2 and TT. In datum 39, the changes occur two

times. As can be seen in the table, the word Kabu in ST1, which refers to the

Turnip Head character, changes into ‘His pole snapped’ which stands as a

sentence in ST2. The sentence in ST2 changes back into a single word ‘Lobak’ in

TT.


37

d. Intra-system Shift

A shift is categorized as intra-system shift when the shift occurs due to the

different language systems utilized in the data. As mentioned in the previous

chapters, the language systems between Japanese, English, and Indonesian has

their own characteristics. The three languages have similarities and differences

between them, such in gender words, inflections-repetitions, singular-plural

words, grammatical structure, and particles. Two data are chosen as samples as

provided in the following table.

Table 8. Intra-system Shifts Analysis No of Data

Source Text 1

(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

2/ST/S1/00:02:23/CH10

2/ESIT/S1/00:02:22/CH10

2/TT/S1/00:02:23/CH10

Daijobu, anta

wa

nerawarenai

kara

Don’t worry,

he only preys

on pretty girl.

Jangan

khawatir,

mangsa Howl

hanya gadis

cantik.

Intra-

system

13/ST/S7/00:14:43/CH13

13/ESIT/S7/00:14:42/CH13

13/TT/S7/00:14:42/CH13

Kono saki ni

wa

mahoutsukai shika

urotsuitenai ze

There’s

nothing but

witches and

wizards out

there.

Disana tak ada

apapun

kecuali para

penyihir.

Intra-

system

21/ST/S11/00:42:31/CH2

21/ESIT/S11/00:42:30/CH2

21/TT/S11/00:42:31/CH2


system

It is mentioned in the structure shift part that besides a shifting of

structure, the researcher also finds an intra-system shift entangled to the issue in

datum 2. The structure shift between ST2 and TT in datum 2 cannot be explained

properly in the structure shift part due to the different concept of predicate

between English and Indonesian. The structure difference occurs due to the

absence of verb in TT.


S V O

TT Mangsa Howl hanya gadis cantik

S P


38

It can be seen that the verb and the object in ST2 are replaced by a

predicate in TT. In English, a simple predicate may contains of a verb, modifying

words, phrases, or clauses. It expresses the action of the subject in a sentence

(Butte College). In another word, the verb of the sentence is included within the

predicate. The illustration of a predicate form can be seen as displayed in the

following figure.

Figure 1. Predicate Concept in English

It can be seen that in English, the predicate covers structures such in verb

phrases as displayed in the example in figure 1 above. On the contrary, Indonesian

does not employ such system. The ‘predikat’ in Indonesian does not necessarily

need a verb. In a sentence, a ‘predikat’ can be in form of a verb or a noun

(Prayogi, 2015). As displayed in datum 2, the sentence structure in TT only

contains of a subject and a ‘predikat.’ The verb is missing because the translator

decides to omit it and make the sentence more efficient to be displayed as a

subtitle. Such omission is referred as ‘pelesapan predikat’ (Prayogi, 2015) or

ellipsis. As mentioned in the introduction part, subtitles have limited space and

displayed time. Subtitles must be displayed at the exact moments when the

characters utter the exact same dialogues in the movie. Therefore, an efficient

translation is needed to fulfill such condition. The ellipsis method is applied


39

because the dialogue is already able to be understood well by the spectators, even

without the verb.


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

13/ST/S7/00:14:43/CH13

13/ESIT/S7/00:14:42/CH13

13/TT/S7/00:14:42/CH13

Kono saki ni

wa

mahoutsukai shika

urotsuitenai ze

There’s

nothing but

witches and

wizards out

there.

Disana tak ada

apapun

kecuali para

penyihir.

Intra-

system

It can be seen in datum 13 that the word mahoutsukai in ST1 is translated

into ‘witches and wizards’ in ST2 and ‘para penyihir’ in TT. The word

mahoutsukai means ‘magic users’ and does not indicates gender as in ST2. The

word ‘para penyihir’ also indicates plural noun and does not contain gender

meaning. Meanwhile, the word ‘witches and wizards’ in ST2 indicates both plural

noun and gender.

Nouns in English are able to inflect to indicate plurality by adding –s or –

es in the final position of the word. In the contrary, nouns in Indonesian cannot

inflect as in English, but the nouns has their own inflections to indicate plurality

by adding post modifier words such in ‘para’ or by adding repetition of the nouns

such in ‘penyihir-penyihir.’ As for the Japanese, the researcher considers applying

plural noun in ST1 based on the context because in Japanese a noun can be plural

and singular at the same time.

Even though the gender indication in the word ‘witches and wizards’ can

be transferred in Indonesian, the translation can be considered as unnatural. The

word ‘witch’ can be translated as ‘penyihir perempuan,’ or it is commonly called

as ‘nenek sihir.’ If the word is translated as such, then the word ‘wizard’ can be

translated as ‘penyihir laki-laki’ or ‘kakek sihir’ as the matching gender.


40

However, these words are not accepted and considered unnatural because

Indonesian people do not commonly use them, and have other terms for that.


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

21/ST/S11/00:42:31/CH2

21/ESIT/S11/00:42:30/CH2

21/TT/S11/00:42:31/CH2


system

Datum 21 highlights the omission of the word ‘am’ in TT from the ST2.

Another example of the language system difference between English and

Indonesian is the ‘to be’ in English. Indonesian does not have ‘to be,’ and

commonly translate them as ‘adalah.’ The word ‘adalah’ is not a ‘to be’, but it is

considered as a verb in Indonesian. In datum 21, the word ‘am’ is omitted in TT

because it can make the dialogue sounds odd, as in ‘aku adalah capek.’ On the

other hand, Japanese language has different system as it applies particles such in

wa, ga, ni, and so on, to indicate or highlight the subject as such.

2. Semantic Shift Analysis

A shift is categorized as semantic shift when a meaning from one text

changes in another text. The changes occur in meaning, context or even concept.

As mentioned in the previous chapter, semantic shift can change the meaning of a

word, phrase, sentence, or text, and gives a more positive or negative meaning,

makes it broader or narrower, or change it into metaphor or metonymy.

Table 9. Semantic Shifts Analysis No of Data

Source Text 1

(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

1/ST/S1/00:02:14/CH9

1/ESIT/S1/00:02:12/CH9

1/TT/S1/00:02:13/CH9

Kakureta

dakedeshou,

guntai ga

ippai kiteru

kara

No, he’s just

hiding in the

fog from those

planes.

Tidak, dia

hanya

bersembunyi

dalam kabut di

lembah.

Semantic


41


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

3/ST/S2/00:04:41/CH11

3/ESIT/S2/00:04:39/CH11

3/TT/S2/00:04:40/CH11

De wa, ocha

nan o ikaga

deshou? O

tsukiai e

negaimasu ka

This little

mouse looks

thirsty, we

should take

her for a cup

of tea.

Tikus kecil ini

terlihat haus,

kita

seharusnya

membawaka

nnya

secangkir teh.

Semantic

6/ST/S3/00:08:22/CH12

6/ESIT/S3/00:08:20/CH12

6/TT/TT/S3/00:08:21/CH12

Lettie,

Madoreenu ga agatte yo

Lettie, the

chocolate

éclairs are

done.

Lettie, coklat

éclairs sudah

habis.

Semantic

14/ST/S7/00:19:29/CH1

14/ESIT/S7/00:19:27/CH1

14/TT/S7/00:19:28/CH1

Kore chotto For Heaven’s

sake! Demi surga! Semantic

17/ST/S9/00:23:44/CH3

17/ESIT/S9/00:23:43/CH3

17/TT/S9/00:23:44/CH3

Minatomachi Port Haven

door.

Pintu

Porthaven ! Semantic

22/ST/S11/00:43:09/CH1

22/ESIT/S11/00:43:08/CH1

22/TT/S11/00:43:09/CH1

Hauru? Is Howl back?

Apa Howl

sudah kembali

?

Semantic

25/ST/S13/00:49:15/CH14

25/ESIT/S13/00:49:14/CH14

25/TT/S13/00:49:14/CH14

Mite North. Utara. Semantic

27/ST/S14/01:01:54/CH7

27/ESIT/S14/01:01:53/CH7

27/TT/S14/01:01:53/CH7

Okka-sama Mrs.

Pendragon. Ibu Semantic

28/ST/S14/01:04:49/CH8

28/ESIT/S14/01:04:47/CH8

28/TT/S14/01:04:48/CH8

Shoguntachi

wa atsumatta

ka

Get my

generals

assemble.

Panggil

Jenderal

Umum !

Semantic

31/ST/S16/01:17:06/CH2

31/ESIT/S16/01:17:05/CH2

31/TT/S16/01:17:06/CH2

Hya, kimi ga

Kabu da ne?

Looks like we

have yet

another

addition to the

family.

Sepertinya

kita memiliki

tambahan

anggota

keluarga.

Semantic

34/ST/S17/01:25:38/CH1

34/ESIT/S17/01:25:37/CH1

34/TT/S17/01:25:37/CH1

Toire wa Need anything

else?

Perlu lainnya

lagi ? Semantic

36/ST/S18/01:33:21/CH5

36/ESIT/S18/01:33:20/CH5

36/TT/S18/01:33:21/CH5

Ara, Hauru ja

nai.

Why, if it isn’t

Howl.

Mengapa, jika

bukan dari dia

Howl ?

Semantic

The semantic shifts in datum 1 is found between the word guntai in ST1,

‘planes’ in ST2, and ‘lembah’ in TT. ST1 employs the word guntai which means

‘soldier’ in English. ST2 choses the word ‘planes’ instead. Meanwhile, the TT

employs neither and choses the word ‘lembah’ or valley. The meaning changes in

both target texts. The word ‘plane’ in ST2 is related to the word guntai in ST1


42

because ‘soldiers’ are familiar or must be able to operate military vehicles such in

tanks, planes, battleships, or helicopters. It is also supported by the fact that in the

scene, the soldiers were riding separately on airplanes which is designed to look

like dragonfly.

The word ‘planes’ in ST2 can also be considered as ambiguous by looking

from two perspectives at the translation result in TT. First, is by looking from the

word meaning point of view. The word ‘plane,’ as noun, has two related meanings

with the dialogues above, which are (1) a surface in which if any two points are

chosen a straight line joining them lies wholly in that surface, and (2) airplane. It

can be seen that the word ‘lembah’ is another translation of ‘plane’ besides the

word ‘pesawat.’ However (second), the meaning is different based on the

contextual perspective of the whole sentence. In the ST2, the word ‘planes’ acts as

the ‘what’ or something that Howl runs from. Meanwhile, the word ‘lembah’ in

TT indicates the place where Howl hides.

The meaning changes from guntai or soldier in ST1 to ‘plane’ in ST2 and

to ‘lembah’ in TT. The reason for the translators choosing these words can also be

seen from the scene itself as displayed through the screenshots taken from the

movie as follows:

Figure 2. Scene 1 Screenshot 1 Figure 3. Scene 1 Screenshot 2


43

It can be seen from the pictures that the scene takes place on a valley or

‘lembah’ as stated in the TT. Figure 2 shows that Howl’s caste is hiding in the fog

because there were soldiers riding on dragonfly airplanes moving towards the

castle as displayed in Figure 3. Both translations actually make sense and related

to the scene as well, even though each translation changes, add, or omits some

meanings from the original text.


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

3/ST/S2/00:04:41/CH11

3/ESIT/S2/00:04:39/CH11

3/TT/S2/00:04:40/CH11

De wa, ocha

nan o ikaga

deshou? O

tsukiai e

negaimasu ka

This little

mouse looks

thirsty, we

should take

her for a cup

of tea.

Tikus kecil ini

terlihat haus,

kita

seharusnya

membawaka

nnya

secangkir teh.

Semantic

Figure 4. Scene 2 Screenshot

In datum 3, the dialogues occur when Sophie meet two soldiers in blue

uniforms in a small alley on her way to the Caesari’s. In the terms of sense, ST1

indicates that Soldier 1 is talking to Sophie, and he offers her a drink. Meanwhile,

ST2 and TT indicates that Soldier 1 is talking to Soldier 2, but the TT has

different interpretation from what the ST2 tries to express. In ST2, it can be seen

that Soldier 1 gives a suggestion to Soldier 2 to take Sophie somewhere, so that

they can have a drink together, as indicates by the word O tsukiai in ST1 which


44

means ‘together’. On the other hand, in TT, Soldier 1 suggests to bring a tea to her

instead of taking her for the tea, as in ‘membawakannya secangkir teh.’

The meaning of the word ‘take her’ in ST2 has different meaning with the

word ‘membawakannya’ in TT. The word ‘take’ can be translated into ‘bawa’ or

‘membawa.’ The objective pronoun ‘her’ is translated into ‘-nya’ in TT. However,

the translator put an addition ‘-kan’ in front of ‘-nya’ which make the meaning

slightly different with ST2. Both words indicates an action of movement from one

point to another, yet the starting point of the movement is different. The word

‘membawakannya’ suggests that the soldiers will ‘bring her the tea,’ in another

word, the tea is the one who experiences the movement. Meanwhile, the word

‘take her’ indicates that the soldiers cause Sophie to come along with them for

some tea, which makes Sophie is the one who experiences the movement.


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

6/ST/S3/00:08:22/CH12

6/ESIT/S3/00:08:20/CH12

6/TT/TT/S3/00:08:21/CH12

Lettie,

Madoreenu ga agatte yo

Lettie, the

chocolate

éclairs are

done.

Lettie, coklat

éclairs sudah

habis.

Semantic

In datum 6, there are two parts of the dialogues that experience semantic

shift. The first part is the word Madoreenu in ST1. Madoreenu or Madeleines are

“small cakelike cookies” which are baked in scallop or shell-like molds (Grate,

2016). It can be seen that the translators put the word ‘chocolate éclairs’ instead in

both ST2 and TT as the result of the translations. Madeleines and éclairs are

different from one another because éclairs are “long French pastries made from

choux pastry, filled with pastry cream or custard and dipped in fondant icing”

(Alfaro, 2019). Even though Madeleines and éclairs are French pastries, they have


45

different sizes, shapes, and roles. Madeleines are commonly served with tea, while

éclairs are served for desserts.

The second part is the semantic shift between the words agate in ST1, ‘are

done’ in ST2, and ‘sudah habis’ in TT. Agatte is the past form of the Japanese

word agaru which can be comprehend like ‘take out’ such in “the Madeleines

were freshly taken out from the oven,” or simply ‘diangkat’ in Indonesian. It

means that the Madeleines making process is over or finished. The translator

manages to transfer the word meaning in ST1 to ST2 perfectly as they both

mention that ‘they’ or probably ‘the bakers’ are done making the Madeleines.

Meanwhile the idea is not transferred properly in TT.

The Word agatte

in ST1

The Word ‘done’

in ST2

The Word ‘habis’

in TT

The end of an action (an

action of making the

Madeleines)

The end of an action (an

action of making the

Madeleines)

The ending state of something

(the empty stock of the

Madeleines)

+ Madeleines + Madeleines - Madeleines

In TT, the character mentions that the Madeleines are ‘sudah habis’ or ‘out

of stock.’ Both ‘done’ and ‘habis’ indicate the end of an action or a thing. It can

be seen that the word ‘done’ in ST2 indicates that an action of making the

Madeleines is finished, and the Madeleines can be restocked. Meanwhile, the

word ‘habis’ in TT indicates that some things –or in this case, the Madeleines, are

sold out or the bakery no longer has any stock of Madeleines. The difference is

that in ST1 and ST2, the words agatte and ‘are done’ show results of having

Madeleines, while TT shows that there are no more Madeleines in the storage. In

another words, the word ‘habis’ in TT tends to point to an action of consuming the

Madeleines which make the Madeleines stocks empty.


46


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

14/ST/S7/00:19:29/CH1

14/ESIT/S7/00:19:27/CH1

14/TT/S7/00:19:28/CH1

Kore chotto For Heaven’s

sake! Demi surga! Semantic

In datum 14, the semantic shifts are found in all of the target texts. Kore

chotto can be translated as ‘hey (you), wait!’ in English. It can be seen that in

ST2, the dialogues literal meaning is not transferred, but the translator decides to

adapt it instead. The word ‘For Heaven’s sake!’ does not have the same literal

meaning with ST1, but it can be considered as the equal translation of the dialogue

based on the character’s situation at the current scene. In the scene, Sophie is

trying to reach out the front door of Howl’s moving castle while running. She is

struggling because the castle is moving so fast and, due to her curse, she does not

have enough strength to catch up. Even though the meaning is different, it fits to

the scene and the expression of the character as in the ST1.

The other semantic shift is found between the dialogues in ST2 and TT.

The shift found in TT is an interesting case because the translator applies literal

translation of the dialogue from the ST2 as ‘Demi surga’. Due to the related

concept to a specific literal translation process, a further explanation of the matter

is provided in the direct translation analysis in the following subchapter in the

direct translation section.


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

17/ST/S9/00:23:44/CH3

17/ESIT/S9/00:23:43/CH3

17/TT/S9/00:23:44/CH3


door.

Pintu

Porthaven ! Semantic

In datum 17, the semantic shift is found between ST1 and ST2.

Minatomachi is the name of the city port in the movie that can be visit through the


47

blue disc door at Howl’s castle, and it is translated in ST2 as Port Haven. It can be

seen clearly that the dialogue in ST2 refers to the door that leads to Port Haven

city. Semantically, both dialogues refer to the same final destination, but ST2

specifically points to the word ‘door,’ as it is also the head of the phrase ‘Port

Haven door.’ Meanwhile, ST1 tends to point to the city where the knock comes

from.


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

22/ST/S11/00:43:09/CH1

22/ESIT/S11/00:43:08/CH1

22/TT/S11/00:43:09/CH1

Hauru? Is Howl back?

Apa Howl

sudah kembali

?

Semantic

Datum 22 highlights the semantic shift found in both ST2 and TT. It can

be seen that the number of words of the dialogues in the two texts are developing

from ST1 to ST2 and from ST2 to TT. The dialogues occur when Sophie wakes

up from her sleep because she hears the sound of running water from the

bathroom upstairs. In ST1, the character only said Hauru or ‘Howl’ with the

rising intonation at the final position, which indicates that Sophie is asking a

question about Howl’s presence in the house. It may or may not be heard well, so

the translator decides to make the question clearer for the spectators, and

translates it as ‘Is Howl back?’ in ST2, and as ‘Apa Howl sudah kembali?’ in TT.

The meanings in ST2 and TT are slightly different because originally Sophie only

said ‘Hauru?’ and nothing else, but the way the dialogues are said in ST2 and TT

is actually implied in ST1.


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

25/ST/S13/00:49:15/CH14

25/ESIT/S13/00:49:14/CH14

25/TT/S13/00:49:14/CH14

Mite North. Utara. Semantic


48

In datum 25, the semantic meanings in ST2 and TT are completely

different from the original text. The word Mite in ST1 means ‘look’ as in ‘to see’

or ‘to direct one’s attention.’ Meanwhile, it is translated as ‘North’ or ‘Utara’ in

ST2 and TT. The shift occurs due to the different translation found in the previous

dialogues.


In the scene, there are two women, one with the green dress and the other

with a blue dress, in front of the Jenkins’ shop. They are discussing the leaflet

which are spread by the king’s henchmen. In the original version of the movie, the

woman in green dress is the one who read the leaflet for the other, while the

woman in blue dress only responds with her gestures, and does not reply verbally.

Meanwhile, the English version of the movie shows that the two women are

having conversation as the woman in blue dress responds verbally to the other

woman.

The leaflet gives report about the update of the war condition, as the

soldiers landed on coastline. As the woman in green dress reads the report, the

other responds with ‘where?’ and she replies, ‘North.’ In the contrary, the original

version of the movie shows that the woman in green dress only reads the report

and asks the other to read it by uttering Mite while pointing the leaflet, while the

woman in blue dress does not say a word.


49


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

27/ST/S14/01:01:54/CH7

27/ESIT/S14/01:01:53/CH7

27/TT/S14/01:01:53/CH7

Okka-sama Mrs.

Pendragon. Ibu Semantic

Datum 27 shows semantic shift in a matter of addressing a character in the

movie. The word Okka-sama means ‘mother’ in English. It can be seen that ST1

and TT has similar meaning as Madame Salliman tries to address Sophie as a

‘mother,’ Howl’s mother. In ST2, the translator tries to make the dialogue more

formal or specific by addressing Sophie as ‘Mrs. Pendragon.’ All three dialogues

point to the same person and have similar meaning, but the dialogue in ST2 tends

to be more specific and formal, while ST1 and TT tend to be polite yet personal.


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

28/ST/S14/01:04:49/CH8

28/ESIT/S14/01:04:47/CH8

28/TT/S14/01:04:48/CH8

Shoguntachi

wa atsumatta

ka

Get my

generals

assemble.

Panggil

Jenderal

Umum !

Semantic

In datum 28, the semantic shifts are found in both target texts. The first

semantic shift relates to the context of the dialogues between ST1 and ST2. The

dialogue in ST1 can be translated as ‘Have my generals assembled?’ in English.

The dialogue in ST1 indicates a question statement as the question tag is marked

by the particle ka at the final position of the dialogue. In the contrary, ST2 shows

no question tag but acts as an order or an imperative statement, which is also

transferred in TT. The imperative tag in TT can be seen clearly through the

exclamation mark (!) at the final position of the dialogue.

Second, the semantic shifts also occur between the words ‘general’ in each

dialogue. As mentioned in the previous chapters, nouns in Japanese may indicate

both singular and plural at the same time, and depend on the context. In datum 28,


50

the word shoguntachi in ST1 indicates plurality due to the post modifier word –

tachi at the final position. The meaning is indeed transferred in ST2 as the noun

inflects into ‘generals.’ However, the meaning is omitted in TT, but another

meaning is added instead. It can be seen that the word ‘Jenderal’ is not inflected,

and only indicates singular meaning. The translator also add the word ‘Umum’

which make the term is rather specific to one person which is the ‘Jenderal

Umum.’


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

31/ST/S16/01:17:06/CH2

31/ESIT/S16/01:17:05/CH2

31/TT/S16/01:17:06/CH2

Hya, kimi ga

Kabu da ne?

Looks like we

have yet

another

addition to the

family.

Sepertinya

kita memiliki

tambahan

anggota

keluarga.

Semantic

The semantic shift in datum 31 is found between the dialogues in ST1 and

ST2. The dialogue in ST1 can be translated into ‘So, you’re Turnip’ or ‘Hey,

you’re Turnip, right?’ in English. ST1 and ST2 have different meaning, and both

dialogues are not just refer to the same character, Turnip, but each dialogue also

has different point of view. It can be seen that the dialogue in ST1 has the sense

that Howl is talking to Turnip directly, as highlighted by kimi ga Kabu or ‘You’re

Turnip.’ Meanwhile, the dialogue in ST2 indicates that Howl is talking to ‘his

family,’ about Turnip as the new addition to the family. It can be concluded that

datum 31 shows semantic difference between ST1 and ST2 in a matter of meaning

and the way the character express them.


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

34/ST/S17/01:25:38/CH1

34/ESIT/S17/01:25:37/CH1

34/TT/S17/01:25:37/CH1


else?

Perlu lainnya

lagi ? Semantic


51

The semantic meaning of the dialogues in datum 34 does not shift to a

more specific meaning such in datum 27. Instead, the meaning tends to be more

generalized in both target texts. It can be seen that in ST1, Sophie offers whether

the witch of the Waste wants to go to the toilet. Meanwhile, the translators change

the meaning in ST2 and TT as they expand the word toire in ST1 into ‘anything

else’ and ‘lainnya lagi.’ The meanings in ST2 and TT are different due to the

word ‘anything else’ refers to any other things and does not specifically points to

one thing such in ‘toilet’ as mentioned in the ST1.


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian) Shift

36/ST/S18/01:33:21/CH5

36/ESIT/S18/01:33:20/CH5

36/TT/S18/01:33:21/CH5

Ara, Hauru ja

nai.

Why, if it isn’t

Howl.

Mengapa, jika

bukan dari dia

Howl ?

Semantic

Datum 36 highlights an interesting case of semantic issue. If the dialogues

are seen as such, the semantic shift can only be found between ST2 and TT. The

dialogue in ST2 can be considered as the proper translation of ST1 because they

literally have the same meaning and intention as the witch of the waste tries to flirt

with Howl. Meanwhile, the dialogue in TT has slightly different meaning as

highlight by the addition word ‘dia.’ The shifts can actually be seen more clearly

by considering the context in the movie with the previous dialogue.



52

The dialogues occur in scene 18 where Howl’s castle at Sophie’s town get

hit by air raid. In the scene, the witch is smoking a cigarette which has a very

strong scent in the living room. Then, Howl asks whether the cigarette is a present

from Madame Salliman.

The semantic shift in datum 36 is an interesting matter because an

ambiguity is found in the ST2. The ambiguity can be seen from two different

perspectives. First is by looking from ST1-ST2 point of view. As mentioned

before, ST1 and ST2 have the same literal meaning and idea where the flirting

intention is transferred in the ST2. However, if the dialogue in TT is displayed

and compared with both source texts, the semantic difference can be seen clearly

in TT as it has the addition word ‘dia.’ Second is by looking from ST2-TT literal

and contextual point of view.

Why → Mengapa

If → Jika

Isn’t → Bukan

Howl → Howl

If the comparison is done only between ST2 and TT, it can be seen that

ST2 and TT actually have similar literal meaning, as displayed above. The

difference is only in the word ‘it’ in the ST2 which is translated into ‘dari dia’ in

TT. Even so, if other elements of the dialogue, such in the word stress, pause, and

contextual perspective, are added, the meaning in ST2 is different from the first

point of view. In the English version of Howl’s Moving Castle, the pause in the

dialogue ‘Why, if it isn’t Howl’ is found after the word ‘why,’ which indicates

that the dialogue meaning in the first point is correct. However, the stress and the

rising intonation in the word ‘isn’t’ make the meaning rather ambiguous. Due to


53

the stress and spiking intonation, the researcher finds another meaning of the

dialogue in ST2 which leads to the same meaning and intention as express in the

TT. In this contextual point of view, ST2 and TT actually have the same intention

as they both answer Howl’s question whether the cigarette is a present from

Madame Salliman. Both target texts fit perfectly to answer Howl’s question,

despite the different meaning as explained in the first point. The following figure

shows the concluding similarities and differences from the elaboration above:

Source Text 1

(Japanese)

Source Text 2

(English)

Target Text

(Indonesian)

+ Flirting intention

+ Flirting intention

+ Same literal meaning to

ST1

- Flirting intention

- Same literal meaning to ST1

- Answers Howl’s question + Answers Howl’s question + Answers Howl’s question

From the elaboration, it can be concluded that the dialogue in TT is

actually related to the scene even though it has slightly different literal meaning

from ST1 and ST2. Also, the dialogues in ST2 and TT are able to respond to

Howl’s question regarding the cigarette, even though ST1 has no such intention.

Moreover, unlike ST1 and ST2, the TT is actually in form of subtitle. If the

translator wants to transfer the flirting intention to the target text, an equal

translation of the idea must be created such in the dialogue ‘eh ada Howl’ in TT.

B. Subtitling Strategies Applied in Howl’s Moving Castle Movie Subtitle

In order to solve the second problem of this study, the strategies which are

applied in the Japanese-English and English-Indonesian subtitling in Howl’s

Moving Castle movie subtitle are categorized and elaborated in this part based on

Schjoldager’s subtitling strategies (2008, p. 89). Schjoldager develops her theory


54

based on Henrik Gottlieb’s subtitling strategies. Schjoldager omits, adds,

preserves, and divides some of Gottlieb’s strategies, and develops them from 10

into 12 strategies. The subtitling strategies include direct transfer, calque, direct

translation, oblique translation, explication, paraphrase, condensation, adaptation,

addition, substitution, deletion, and permutation. In this subchapter, a chart is

provided to show the number of the subtitling strategies that are found in the data.

The data that are analyzed in this section are the same data as utilized in the

previous subchapter, therefore some similar samples may also be found in the

analysis. There are 86 strategy employments found in the data. However, this

discussion does not cover every single subtitling analysis of the data. Instead,

samples are chosen to give more detail explanation.

Table 10. Schjoldager's Subtitling Strategies

2

2

6

7

12

10

3

6

19

7

10

2

0 5 10 15 20

Permutation

Deletion

Substitution

Addition

Adaptation

Condensation

Paraphrase

Explication

Oblique

Direct Translation

Calque

Direct Transfer

Schjoldager's Subtitling Strategies


55

There are 86 subtitling strategies applied in Howl’s Moving Castle movie

subtitle in total. It can be seen from table 10 that oblique translation is the most

frequent strategy with 22% occurrences. Next, adaptation strategy comes with

14% occurrences. Calque and condensation strategies take the third place of the

occurrence number with the percentage of 12% for each strategy. Direct

translation and addition strategies with 8% occurrences each. Then, explication

and substitution strategy with the percentage of 7% occurrences. Paraphrase

strategy comes up with 3% occurrences. Finally, direct transfer, deletion, and

permutation strategies which occupy the lowest employment with the percentage

of 2% occurrences.

1. Direct Transfer

Direct transfer is applied when terms such in names, places, and brands are

transferred in the target text exactly as they are stated in the source text. Henrik

Gottlieb defines this strategy as imitation strategy as the target text ‘imitates’ the

terms or names from the source text. This strategy can also be considered as

‘copy-paste’ strategy. There are 2 data which apply this subtitling strategy, and

both data are explained in the following discussion.

Table 11. Direct Transfer Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

17/ST/S9/00:23:44/CH3

17/ESIT/S9/00:23:43/CH3

17/TT/S9/00:23:44/CH3

Minatomachi Port Haven door.

Pintu

Porthaven!

Direct

Transfer

33/ST/S17/01:25:30/CH4

33/ESIT/S17/01:25:29/CH4

33/TT/S17/01:25:30/CH4

Sophie,


iranai yo.

Mae mo

Oh, don’t

worry about

Master Howl,

Sophie.

Sometimes he

Sophie,

Jangan

mengkhawati

rkan Howl-

san.

Direct

Transfer


56

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

nannichimo

inakata koto

ga aru kara.

likes to go

away for days

on end.

Terkadang,

dia suka pergi

berhari – hari.

It can be seen in table 11 that the direct transfer only occur between either

ST1 to TT or ST2 to TT. In datum 17, the word ‘Port Haven’ in ST2 is directly

transferred as ‘Porthaven’ in TT. The difference between the two words only lies

on the space which divides the word ‘Port’ and ‘Haven’ as stated in ST2. Beside,

datum 17 also highlights a unique direct transfer issue. It can be seen that the

word ‘Porthaven’ only appears in ST2 and TT, while ST1 mentions the word

Minatomachi instead. Both Minatomachi and ‘Porthaven’ refer to the same place

in the movie. The place is a town which has a famous busy port, and the people

name the town as Minatomachi or can be translated as the city port. The thing that

makes the strategy unique is the appearance of the word ‘Porthaven’ in ST2 and

TT. The words ‘Port’ and ‘Haven’ both have similar meaning which refer to a port

or a harbor, but they do not indicate a city. Nevertheless, the word ‘Porthaven’

becomes the name of the port city as it is already mentioned in ST2 and TT. This

case is not included in the paraphrase subtitling strategy because the word is not a

‘make up’ word or something that the translator decides to name it out of the

context in the movie.

The movie is based on Diana Wynn Jones’ novel titled Howl’s Moving

Castle. The novel is originally an English-based novel and the word Porthaven is

the name given by the author to the port city that datum 17 refers to in the movie.


57

It can be seen that the translator in ST2 does not make up the word, but take it

from the original novel.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

33/ST/S17/01:25:30/CH4

33/ESIT/S17/01:25:29/CH4

33/TT/S17/01:25:30/CH4

Sophie,


iranai yo.

Mae mo

nannichimo

inakata koto

ga aru kara.

Oh, don’t

worry about

Master Howl,

Sophie.

Sometimes he

likes to go

away for days

on end.

Sophie,

Jangan

mengkhawati

rkan Howl-

san.

Terkadang,

dia suka pergi

berhari – hari.

Direct

Transfer

Datum 33 shows the direct transfer of the word Hauru-san from ST1 to

TT. The writings in both texts are indeed different, but the word Hauru is written

as such by the researcher only to show the way the characters in the original

version of the movie mention it. Both Hauru and ‘Howl’ refer to the same

character, however, it is unusual for TT to utilize the addition –san after the

character’s name because Indonesian does not have such additional word. The

addition –san comes from the Japanese language system which allows one person

to address others, either men or women, politely by putting the addition –san after

their names. It can be concluded that instead of following the translation in ST2,

the translator decide to preserve the polite addressing –san, that only exist in ST1,

in TT.

2. Calque

Calque strategy allows the translator to maintain the structure of the source

text into the target text. Calque strategy is connected to direct translation strategy

as the sentence structure in the source text is most likely to be transferred in the

target text when word by word translation is applied.


58

Table 12. Calque Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

7/ST/S4/00:10:19/CH5

7/ESIT/S4/00:10:17/CH5

7/TT/S4/00:10:16/CH5

Yasupai

boushi.

I (S) ’ve

never seen

(V) such

tacky little

hats (O).

Aku (S) tak

pernah

melihat (V)

topi - topi

kecil sejelek

ini (O).

Calque

9/ST/S5/00:12:40/CH6

9/ESIT/S5/00:12:39/CH6

9/TT/S5/00:12:39/CH6

Kore zettai

ikeru to

omowanai

I (S) know

(V), our

customers

will love it

(O).

Aku (S) tahu

(V),

pelanggan

kita akan

menyukainya

(O).

Calque

15/ST/S8/00:22:03/CH3

15/ESIT/S8/00:22:01/CH3

15/TT/S8/00:22:02/CH3

Akuma wa

yakusoku wa

shinai sa

Ah, I don’t

know, lady.

Demons (S)

don’t make (V) promises

(O).

Aku tak tahu

nenek, iblis

(S) tak

membuat (V) janji (O).

Calque

21/ST/S11/00:42:31/CH2

21/ESIT/S11/00:42:30/CH2

21/TT/S11/00:42:31/CH2

Maa nee… I (S) ’m tired

(V)

Aku (S)

capek (V). Calque

35/ST/S18/01:31:15/CH1

35/ESIT/S18/01:31:14/CH1

35/TT/S18/01:31:14/CH1

Marukuru,

obaa-chan

onegai. O-

mise

mitekuru.

Markl (S)

get back (V)

inside (Prep).

I’m gonna

check on the

shop.

Markl (S),

masuklah (V) ke dalam

(Prep), Aku

akan

memeriksa di

dalam toko.

Calque

Almost similar to the structure shift analysis, this strategy also discuss the

structures between the dialogues in the movie. However, instead of the

differences, this strategy observe the structure similarities between the dialogues.

As mentioned in the structure shift analysis part, English and Indonesian

have rather similar structure compared to Japanese. It can be considered that the

sentence structures in ST2 has bigger chances to be transferred in TT rather than

from ST1 to ST2. Such transfer can be found in datum 21 and datum 35.

Datum 21

ST2 I am tired

S V

TT Aku capek

S V


59

Datum 35

ST2 Markl get back inside

S V Prep

TT Markl masuklah ke dalam

S V Prep

Data 21 and 35 show the same structures with their exact meanings

between ST2 and TT. ‘Exact’ here means that beside the structure, the meaning in

each word in the translations are the same, as the word ‘I’ is translated as ‘Aku,’

and the word ‘inside’ is translated as ‘ke dalam,’ and so on.

There are also cases where the dialogues have minor differences such in

the matter of determiner, plural word sense, and phrase level difference, but the

structure is still maintained. Such cases can be found in datum 7, 9 and 15.

Datum 7

ST2 I have never seen such tacky little hats.

S V O

TT Aku tak pernah melihat topi-topi kecil sejelek ini.

S V O

Datum 9

ST2 I know our customers will love it.

S V O

TT Aku tahu pelanggan kita akan menyukainya

S V O

Datum 15

ST2 Demons don’t make promises.

S V O

TT Iblis tak membuat janji.

S V O

In data 7 and 9, changes in a level of phrase are found between the objects

in ST2 and TT. The differences lie in the placement of modifiers and compliments

between the two texts. In datum 7, the word order of the noun phrase ‘topi-topi

kecil sejelek ini’ in TT is actually the exact opposite from the noun phrase ‘such

tacky little hats’ in ST2. Meanwhile, in datum 9, the position of the word ‘our’

from the phrase ‘our customers’ which acts as the post modifier in ST2, changes

into a pre modifier as transferred in the word ‘kita’ in TT.


60

Datum 15 shows the omissions of plural sense from the word ‘Demons’

and ‘Promises’ in TT. As explained in the previous analysis, Indonesian adapts

the plural sense of a word in English with repetitions or post additional words

such the word ‘para’. In some texts such matter is often to be omitted to make the

translation more simple and effective for the spectators, as can be seen in datum

15.

Despite the differences, the translator manages to maintain the sentence

structure from the ST2 to the TT. The changes do not really give big impacts to

alter the structure because they are set in the smaller unit of the sentence such in

phrases or words.

3. Direct Translation

Direct translation is applied when the translator employs word for word

translation process. By employing this strategy, the translator transfers the idea

from every word of the source text into the target text.

Table 13. Direct Translation Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

14/ST/S7/00:19:29/CH1

14/ESIT/S7/00:19:27/CH1

14/TT/S7/00:19:28/CH1

Kore chotto For

Heaven’s

sake!

Demi surga! Direct

Translation

32/ST/S16/01:21:07/CH1

32/ESIT/S16/01:21:06/CH1

32/TT/S16/01:21:06/CH1

Hauru,

arigatou!

Yume mitai

This place is

gorgeous,

Howl! It’s

like a dream.

Howl, terima

kasih ! Ini

seperti mimpi

Direct

Translation

39/ST/S20/01:52:20/CH1

39/ESIT/S20/01:52:19/CH1

39/TT/S20/01:52:19/CH1

Kabu,

daijoubu?

Tsugu

atarashi bou

mitsukete

ageru ne.

Kabu,

arigatou.

His pole

snapped. Are

you alright?

We’ll get you

a new pole

ok? You

saved us,

Turnip.

Lobak ? Apa

kau baik

saja ? Kita

akan

mencarikanm

u tiang baru,

oke ? Lobak,

terima kasih

Direct

Translation


61

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

40/ST/S20/01:54:21/CH1

40/ESIT/S20/01:54:20/CH1

40/TT/S20/01:54:20/CH1

Arigatou,

Calcifar

I miss you

too Calcifer.

Terima

kasih,

Calcifer

Direct

Translation

Among the other direct translation samples, datum 14 is the only data

which applies the direct translation strategy from ST2 to TT. Beside, datum 14

also shows an interesting case of literal translation. The issue is highlighted by the

way the translator applies the word for word translation method between ST2 and

TT. It can be seen that the translator tries to transfer the literal meaning of ST2,

but the translation is not qualified for word by word translation method because it

does not cover all of the words and their literal meanings in the dialogue in the

source text. When a literal translation method is applied on a text, the translator is

supposed to translate the dialogue word by word, but the word ‘sake’ in ST2 is not

translated in TT. Even so, this is not the only issue in the translation. The

translation ‘Demi surga’ is considered as unnatural translation in the concept of

TT. It is not commonly said in daily expressions nor considered as swear words

for Indonesian people. It can be concluded that the translation in ST2 has similar

idea to the dialogue in ST1 even though they have different literal meanings. On

the contrary, the translation in TT transfers the exact literal meaning of the

dialogue in ST2, but fails to transfer the idea from ST2 and connect the dialogue

with the context in the scene.

The researcher finds that the direct translation strategy is mostly applied

between ST1 and TT in Howl’s Moving Castle movie subtitle. The employment of

the strategy can be seen clearly in datum 32, 39, and 40.


62

Number

of Data

ST1

Japanese

TT

Indonesian

32 Hauru, arigatou! Howl, terima kasih !

39 Kabu, daijoubu? Lobak ? Apa kau baik saja ?

Kabu, arigatou. Lobak, terima kasih

40 Arigatou, Calcifar Terima kasih, Calcifer

It can be seen that some dialogues from ST1 are omitted or replaced in the

dialogues in ST2 but preserved by the translator in TT. The flow of the translation

is supposed to transfer the ideas of the dialogues from ST1 to ST2 and then from

ST2 to TT. Therefore, when some ideas are omitted or changed in ST2, the

dialogues in TT are supposed to follow how they are mentioned in ST2. However,

instead of following the ideas displayed in ST2, the TT translator seems to also

consider the ideas from the Japanese original text or from the dialogues in ST1.

Such strategy leads to a direct translation from ST1 to TT, besides observing the

translation in ST2.

4. Oblique

Oblique strategy is included as one of the most common method applied

by translator, as it allows them to translate a text with sense for sense translation

procedure (Schjoldager, 2008). The purpose of this strategy is similar with the

direct translation strategy. The translators are able to maintain the same idea from

the source text, and combine them with sensible words in order to make a good

translation. Oblique strategy also provides more possibilities for translators who

cannot transferred the meaning of a text with word by word translation. This

strategy can be considered as an effective method in this research especially in the

translation between ST1 and ST2.


63

Table 14. Oblique Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

5/ST/S3/00:08:02/CH1

5/ESIT/S3/00:08:02/CH1

5/TT/S3/00:08:01/CH1

Howl wa bijin

shika

nerawanai

mono

Howl only

does that to

beautiful

girls.

Howl hanya

melakukanny

a ke gadis

cantik.

Oblique

11/ST/S6/00:13:10/CH6

11/ESIT/S6/00:13:07/CH6

11/TT/S6/00:13:07/CH6

Kyu juusai no

obaa-chan

mitai

You sound

ghastly, like

some ninety

year old

woman.

Suaramu

terdengar

mengerikan,

seperti wanita

tua berusia 90

tahun.

Oblique

13/ST/S7/00:14:43/CH13

13/ESIT/S7/00:14:42/CH13

13/TT/S7/00:14:42/CH13

Kono saki ni

wa

mahoutsukai

shika

urotsuitenai

ze

There’s

nothing but

witches and

wizards out

there.

Disana tak

ada apapun

kecuali para

penyihir.

Oblique

20/ST/S10/00:36:37/CH3

20/ESIT/S10/00:36:36/CH3

20/TT/S10/00:36:36/CH3

Sou ka na?

sou ka na?!

She likes my

spark!

Hahaha

Benarkah itu

? Benarkah

itu ?!

Oblique

26/ST/S13/00:51:53/CH1

26/ESIT/S13/00:51:52/CH1

26/TT/S13/00:51:53/CH1

Ittekuru ne Take care of

him, Marko.

Jagalah dia,

Markl ! Oblique

29/ST/S15/01:07:05/CH5

29/ESIT/S15/01:07:04/CH5

29/TT/S15/01:07:05/CH5

Wanchan Nice doggy. Anjing pintar Oblique

31/ST/S16/01:17:06/CH2

31/ESIT/S16/01:17:05/CH2

31/TT/S16/01:17:06/CH2

Hya, kimi ga

Kabu da ne?

Looks like we

have yet

another

addition to

the family.

Sepertinya

kita memiliki

tambahan

anggota

keluarga.

Oblique

33/ST/S17/01:25:30/CH4

33/ESIT/S17/01:25:29/CH4

33/TT/S17/01:25:30/CH4

Sophie,

Hauru-san

nara shinpai

iranai yo.

Mae mo

nannichimo

inakata koto

ga aru kara.

Oh, don’t

worry about

Master Howl,

Sophie.

Sometimes he

likes to go

away for days

on end.

Sophie,

Jangan

mengkhawati

rkan Howl-

san.

Terkadang,

dia suka pergi

berhari – hari.

Oblique

In this study, the researcher finds that a word for word translation method

is not effective against texts with different grammatical structures. As mentioned

in the previous chapters, Japanese language has different grammatical structures

compared to English and Indonesian. One of the simplest method that can be

applied to overcome such matters is by sense for sense translation method. This


64

method is able to maintain the idea of the source text, despite the different

grammatical structure between both texts. The simplest examples can be seen in

datum 5, 11, 13, and 33.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

5/ST/S3/00:08:02/CH1

5/ESIT/S3/00:08:02/CH1

5/TT/S3/00:08:01/CH1

Hauru wa

bijin shika

nerawanai

mono

Howl only

does that to

beautiful

girls.

Howl hanya

melakukanny

a ke gadis

cantik.

Oblique

In datum 5, the translation in ST2 has slightly different meaning with the

dialogue in ST1. Below is the display of literal translation of the dialogue in ST1.

ST1 Hauru wa bijin shika nerawanai mono

Translation Howl beautiful girls only does not aim

If the translation is reconstructed, the dialogue can be read as “Howl does

not aim only to beautiful girls.” However, that is not the intended meaning in the

text. The problem is that the word nai which indicates a negative sentence is

combined with the word shika or ‘only’ in ST1. The character intends to console

her friend that she is safe as long as she is not beautiful because Howl only aims at

beautiful girls –and that hatter girl is not beautiful. The word nerawanai mono

itself means an object that Howl does not after, as mono means ‘object.’ The

meaning changes because of the combination with the word shika which make it

as an object that Howl is after. In another words, the sentence can be

comprehended as “Howl does not after girls that are not beautiful.” The dialogue

in ST1 is correct because it is supposed to be displayed as such. It can be seen that

the translator transfers the dialogue as “Howl only does that to beautiful girls” in

ST2 in order to make a statement that can be comprehend well and to avoid

misunderstandings between the spectators.


65

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

11/ST/S6/00:13:10/CH6

11/ESIT/S6/00:13:07/CH6

11/TT/S6/00:13:07/CH6

Kyu juusai no

obaa-chan

mitai

You sound

ghastly, like

some ninety

year old

woman.

Suaramu

terdengar

mengerikan,

seperti wanita

tua berusia 90

tahun.

Oblique

Datum 11 shows the employment of oblique strategy between ST1 and

ST2. The word mitai in ST1 can be referred as resembles, like, or similar to

something. The dialogue in ST1 indicates that the character, Sophie’s mother,

thinks that Sophie’s voice is horrible and just like a ninety year old woman as

stated in ST2. However, the idea of the ‘ghastly voice’ is not exactly stated in

ST1, and only mentions in ST2 and ST1 as ‘mengerikan.’ The translator adds the

dialogue “You sound ghastly” in ST2 in order to give a better explanation of

Sophie’s resemblance to something in the next sentence. In the scene, Sophie’s

mother does not actually see Sophie’s condition or appearance, but she can hear

her old woman voice from outside of her bedroom door. Such translation is made

to create a complete meaning and to create a sensible translation in ST2.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

13/ST/S7/00:14:43/CH13

13/ESIT/S7/00:14:42/CH13

13/TT/S7/00:14:42/CH13

Kono saki ni

wa

mahoutsukai

shika

urotsuitenai

ze

There’s

nothing but

witches and

wizards out

there.

Disana tak

ada apapun

kecuali para

penyihir.

Oblique

In datum 13, the oblique strategy is applied especially between the words

Kono saki ni wa in ST1, ‘There’s’ and ‘Out there’ in ST2, and ‘Disana’ in TT.

The word Kono includes in one of the pre-nominal words which “connect directly

to a noun without any particles between the two” in Japanese (All About Teaching


66

English In Japan, n.d.). The others are sono, ano, and dono. Kono means ‘here’ or

‘this thing that is very near to you.’ In Indonesian, the term is supposed to be

translated as ‘disini,’ but it can be seen that the translator transfers it differently.


In the scene, the old Sophie is walking up to the mountains of the

Wasteland all by herself. She pass through the furthest house from the city which

is also the last house before the mountains in the Wasteland. The man warns her

that beyond that very place, there are only Mahoutsukai or magic users prowling

throughout the mountains. They are considered to be harmful and supposed to be

avoided. The translator transfers the dialogue as such because the idea in ST1 can

be comprehend easier through the dialogue “There’s nothing but witches and

wizards out there” since the words ‘out there’ and ‘disana’ represent similar idea

such in the dialogue in ST1.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

33/ST/S17/01:25:30/CH4

33/ESIT/S17/01:25:29/CH4

33/TT/S17/01:25:30/CH4

Sophie,

Hauru-san

nara shinpai

iranai yo.

Mae mo

nannichimo

inakata koto

ga aru kara.

Oh, don’t

worry about

Master Howl,

Sophie.

Sometimes he

likes to go

away for days

on end.

Sophie,

Jangan

mengkhawati

rkan Howl-

san.

Terkadang,

dia suka pergi

berhari – hari.

Oblique


67

The employment of oblique strategy in datum 33 can be seen especially

between the phrase Mae mo nannichimo in ST1, the terms ‘for days on end’ in

ST2, and the words ‘berhari-hari’ in TT. The three parts of the dialogues basically

indicate the same intention which is a period of time stated in days. The idea is

that Howl often to go out without words for many days. Mae mo nannichi mo can

be translated as ‘tomorrow or even for many days’ in English. Such idea is also

transferred by the idiom ‘for days on end’ in ST2, and the repetition words

‘berhari-hari’ in TT. Similar reason as in datum 13, the translator transfers it as

such because it is the proper terms to describe the idea of the original text with

similar concept in the target texts which make the dialogue easier to be

comprehended by the spectators.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

20/ST/S10/00:36:37/CH3

20/ESIT/S10/00:36:36/CH3

20/TT/S10/00:36:36/CH3

Sou ka na?

sou ka na?!

She likes my

spark!

Hahaha

Benarkah itu

? Benarkah

itu ?!

Oblique

29/ST/S15/01:07:05/CH5

29/ESIT/S15/01:07:04/CH5

29/TT/S15/01:07:05/CH5

Wanchan Nice doggy. Anjing pintar Oblique

The idea of oblique strategy is basically to transfer an idea in a source text

with terms which has similar meanings to the source text, but with the concept

that can be comprehend properly in the target text. Other examples of the strategy

can be found in datum 20, 26, 29, and 31. In datum 20 for example. The

translation in ST2 has different meaning with the dialogues in ST1 and TT.

Similar case can also be found in datum 29 but in the dialogues in ST2 and TT.

The translator actually tries to transfer the idea of the dialogue in ST1 properly as

it may sounds odd if translated as it is. The translator wants to create similar


68

situation in the translated text, and thus, a further elaboration is provided in the

adaptation strategy section.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

31/ST/S16/01:17:06/CH2

31/ESIT/S16/01:17:05/CH2

31/TT/S16/01:17:06/CH2

Hya, kimi ga

Kabu da ne?

Looks like we

have yet

another

addition to

the family.

Sepertinya

kita memiliki

tambahan

anggota

keluarga.

Oblique

Previously, it is mentioned that the dialogues in ST2 and TT have different

meanings from the dialogue in ST1. Such matter occurs because perhaps the

translator feels if the dialogue is translated literally, the dialogue may have an

incomplete meaning. The dialogue can be too short and unnatural for the target

text if it is only translated as “You are Turnip Head, right?” in ST2. In order to

avoid such things, the translator picks up a term which can linked the dialogue in

datum 31 with the next dialogue. In the next dialogue, Howl mentions that Turnip

Head has a nasty spell on him, and Howl thinks that everyone in the family has

problems, as they all are cursed or magic has done numbers on them. The

dialogue intends to express that Turnip Head is considered as a part of the family

because he is closed with Sophie and Markl. It can be considered that the terms

‘another addition to the family’ help the translator to make more sense to the

translation in ST2 as the dialogue clearly stated that Turnip Head is a part of the

family.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

26/ST/S13/00:51:53/CH1

26/ESIT/S13/00:51:52/CH1

26/TT/S13/00:51:53/CH1

Ittekuru ne Take care of

him, Marko.

Jagalah dia,

Markl ! Oblique


69

The employment of oblique strategy in datum 26 is based on the absence

of culture in the target texts which is brought by the dialogue in ST1. The phrase

ittekuru ne is another form of the Japanese term ittekimasu. This phrase is uttered

when someone “is about to leave somewhere,” such as a home or an office, and it

is supposed to be replied with itterashai by the listeners (Coto Academy, n.d.).

Ittekimasu is not just a simple farewell. The term embodies that the person who

utters it “will return to the place” that he or she is leaving, and the reply itterashai

indicates that “the other party is waiting” for their return (Coto Academy, n.d.).

The translator transfers the term as such because it is the closest translation for the

dialogue. Aside from ‘Take care’ the term can also be translated as ‘see you later’

or ‘have a good day’ in English. Such concept cannot be found in both target

texts, and even though a transfer of meaning is possible, “the Japanese spirit and

nuance” which is brought by the term “are lost during the translation process”

(Coto Academy, n.d.).

5. Explication

Explication strategy is applied to make the idea of a sentence clearer. This

strategy allows the translator to elaborate the implied meaning of a sentence in

more explicit way.

Table 15. Explication Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

4/ST/S2/00:05:04/CH2

4/ESIT/S2/00:05:03/CH2

4/TT/S2/00:05:04/CH2

Konoko no

tsure sa. Kimi

tachi chotto

sanposhite

kite kurenai

ka

Are you

really? It

looked to me

like the two

of you were

just leaving.

Benarkah

kalian sibuk ?

Dia

mencariku,

sebaiknya

kalian

berdua pergi

saja.

Explication


70

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

18/ST/S9/00:30:17/CH1

18/ESIT/S9/00:30:15/CH1

18/TT/S9/00:30:16/CH1

Sore o

watashi sa Calcifer did.

Calcifer

yang

mengijinkan.

Explication

22/ST/S11/00:43:09/CH1

22/ESIT/S11/00:43:08/CH1

22/TT/S11/00:43:09/CH1

Hauru? Is Howl

back?

Apa Howl

sudah

kembali ?

Explication

27/ST/S14/01:01:54/CH7

27/ESIT/S14/01:01:53/CH7

27/TT/S14/01:01:53/CH7

Okka-sama Mrs.

Pendragon. Ibu Explication

37/ST/S19/01:35:41/CH1

37/ESIT/S19/01:35:40/CH1

37/TT/S19/01:35:40/CH1

Asoko ni

Hauru ga iru.

Looks like

Howl’s in

trouble. Howl look

out!

Sepertinya

Howl berada

dalam

masalah.

Howl !

Explication

38/ST/S19/01:36:03/CH4

38/ESIT/S19/01:36:02/CH4

38/TT/S19/01:36:02/CH4

Sophie…

kabu!

What’s going

on? Turnip!

Sophie, Ada

apa dengan

Howl ?!

Explication

As can be seen in table 15, the translator often to employ explication

strategy in TT. Some of the dialogues such in data 4, 18, and 38, are displayed in

more specific ways in TT. In datum 4, all three texts display Howl’s intention to

send away the soldiers. However, the texts show rather different ways on how the

dialogues were uttered. The dialogue in ST1 is enclosed with the word ka, which

indicates a question sentence. It can be translated as “why don’t you just take a

walk” in a polite manner in Japanese. It can be seen that the dialogue implies

Howl’s intention to send away the soldiers with such polite question. This idea is

transferred in ST2 by applying allusion towards the soldiers. Meanwhile, the

dialogue in TT does not seem to employ either. Instead, the translator makes Howl

shows his intention and directly tell them to go away without any implications.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

18/ST/S9/00:30:17/CH1

18/ESIT/S9/00:30:15/CH1

18/TT/S9/00:30:16/CH1

Sore o


Calcifer

yang

mengijinkan.

Explication


71

In the contrary of datum 8, datum 18 shows the employment of explication

strategy in an effective sentence from ST2 to TT. If the dialogues are seen as such,

the dialogue in ST2 cannot really explain the question with “Calcifer did.”

Without displaying the question, the sentence seems incomplete as it does not

mention the action that Calcifer does to Sophie. Meanwhile, TT delivers rather a

complete answer as in “Calcifer yang mengijinkan.” It means that Howl asks

about the one who gives permission for Sophie to do something, and such idea

can be concluded without even displaying the question in TT. It can be seen that

explication strategy is applied between the two texts to elaborate the word ‘did’ in

ST2 into ‘yang mengijinkan’ in TT. Despite of that, the dialogue in ST2 is

actually considered as an effective sentence. Effectiveness plays an important role

to make a conversation goes well. People do not need to deliver a complete

sentence to express their intentions. It is always applied for conversations in all

language systems. However, it cannot be applied for a ‘who’ or ‘yes-or-no’

question in Indonesian. The idea of permission needs to be transferred in order to

make a good translation in TT.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

38/ST/S19/01:36:03/CH4

38/ESIT/S19/01:36:02/CH4

38/TT/S19/01:36:02/CH4

Sophie…

kabu!

What’s going

on? Turnip!

Sophie, Ada

apa dengan

Howl ?!

Explication

Another example of explication strategy in TT can be seen in datum 38. In

ST2, the dialogue “What’s going on?” is translated into “Sophie, ada apa dengan

Howl?” in TT. The meaning is narrowed from a general to a specific question

regarding Howl. The dialogue “What’s going on?” shows that Markl asks Sophie


72

about the things that happen outside the castle. Meanwhile, the dialogue in TT

shows that Markl specifically asks Sophie about Howl.

The employment of explication strategy in ST2 can be seen in datum 22,

27, and 37. Datum 22 and 37 highlights the results of explication strategy as the

same meanings of the dialogues in ST2 are also transferred to TT.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

22/ST/S11/00:43:09/CH1

22/ESIT/S11/00:43:08/CH1

22/TT/S11/00:43:09/CH1

Hauru? Is Howl

back?

Apa Howl

sudah

kembali ?

Explication

In datum 22, the explication strategy is only applied between the dialogues

in ST1 and ST2. In the scene, Howl is already back from the war and he decides

to take a bath. Sophie seems surprised and wake up from her sleep, and confronts

Calcifer. It can be seen that Sophie only says Hauru? in ST1, and it is translated

as “Is Howl back?” in ST2. Both dialogues indicate that Sophie asks about Howl’s

arrival to the house to Calcifer. However, ST2 delivers rather a specific question

than the dialogue in ST1. In ST2, Sophie asks whether Howl is back because

someone turns on the faucet and make the water runs in the bathroom upstairs. If

the answer is ‘yes,’ it means that Howl is the one who turns on the water because

everyone else in the house is already fallen asleep and no one in that castle would

take a bath in such hour. On the other hand, ST1 shows that Sophie directly ask

whether Howl is the one who use the bathroom upstairs. If Calcifer says ‘yes,’ it

means that Howl is already back and he is the one who turns on the water upstairs.

Even though ST1 does not display a specific question, the spectators can still

comprehend Howl’s presence through Calcifer’s answer and the way Sophie looks


73

up before she utters the dialogue. It can be seen that the dialogue becomes explicit

in ST2 as the translator does not only want rely on the implications of the actions

that the character does, but also to create a good and clear translation.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

37/ST/S19/01:35:41/CH1

37/ESIT/S19/01:35:40/CH1

37/TT/S19/01:35:40/CH1

Asoko ni

Hauru ga iru.

Looks like

Howl’s in

trouble. Howl look

out!

Sepertinya

Howl berada

dalam

masalah.

Howl !

Explication

Similar to datum 22, the explication strategy in datum 37 is only applied

between ST1 and ST2. The translation result in ST2 is also transferred by the

translator in the dialogues in TT. The researcher notices that the dialogue meaning

in ST1 is different with the dialogue in ST2. However, if the dialogues are

displayed or connected with the scene in the movie, ST2 actually shows further

details of the dialogue in ST1.


In the scene, Sophie and the others are trying to reach Howl so that Howl

stops protecting the hat shop in town. The dialogue is uttered at the same time

with Figure 9, while Figure 10 shows that Howl is fighting with a lot of enemies,

and the airship where he is on is about to fall. It can be seen that the dialogue in

ST2 is actually give an intro to the next frame of the movie that the spectators are

expected to see, especially after Sophie’s anxious expression. The dialogue in ST1


74

tends to only give information regarding Howl’s whereabouts while ST2 gives

more detail information regarding Howl’s situation that Howl is over there and he

is in trouble.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

27/ST/S14/01:01:54/CH7

27/ESIT/S14/01:01:53/CH7

27/TT/S14/01:01:53/CH7

Okka-sama Mrs.

Pendragon. Ibu Explication

Datum 27 shows the employment of explication strategy between ST1 and

ST2, and unlike datum 22 and 37, the translation result in ST2 is not transferred in

TT. It can be seen that the word Okka-sama in ST1 is translated into ‘Mrs.

Pendragon’ in ST2. The meaning is not transferred in TT because it seems that the

translator decides to consider the dialogue meaning in ST1 as both dialogues refer

to the same word, ‘mother.’ The suffix –sama indicates a very formal addressing

to show the addressed person’s superiority (Coto Academy, 2016). In ST2, the

translator decides to employ the name ‘Mrs. Pendragon’ to address Sophie in

order to create the similar formal entitlement. It can be seen that the meaning okka

or ‘mother’ is already represented by the title ‘Mrs,’ as it indicates that someone is

a wife or a mother of a Pendragon. The dialogue in ST2 tends to be more specific

as it mentions Sophie’s last name instead of just ‘mother’ or ‘ibu.’

6. Paraphrase

Occasionally, some texts are found difficult to be translated due to the

different cultures or the absence of the ideas that the writer wants to express.

Paraphrase strategy allows the translators to translate the texts rather freely

(Schjoldager, 2008, p. 92) in order to fill in these difficulties.


75

Table 16. Paraphrase Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

24/ST/S12/00:44:50/CH1

24/ESIT/S12/00:44:48/CH1

24/TT/S12/00:44:49/CH1

Arechi no

majou no

teshitai yo.

They’re only

a few feet

away.

Mereka

hanya

beberapa

kaki saja

jauhnya.

Paraphrase

25/ST/S13/00:49:15/CH14

25/ESIT/S13/00:49:14/CH14

25/TT/S13/00:49:14/CH14

Mite North. Utara. Paraphrase

39/ST/S20/01:52:20/CH1

39/ESIT/S20/01:52:19/CH1

39/TT/S20/01:52:19/CH1

Kabu,

daijoubu?

Tsugu

atarashi bou

mitsukete

ageru ne.

Kabu,

arigatou.

His pole

snapped. Are

you alright?

We’ll get you

a new pole

ok? You

saved us,

Turnip.

Lobak ? Apa

kau baik saja

? Kita akan

mencarikanm

u tiang baru,

oke ? Lobak,

terima kasih

Paraphrase

The results of explication strategy are varied and depend on the way the

translators applied them. The meaning in the target text may not be related at all

with the meaning from the source text. However, the researcher finds that there

are texts which actually related to what happens in the scene and fit whenever

displayed or watched along with the movie. There are also texts which completely

have different meanings from the source texts and do not seem to make any sense

or not related to the scene of the movie such in datum 25.

Datum 25 includes as one of the interesting cases which are found in the

analysis. As mentioned in the semantic shift analysis, datum 25 displays

completely different dialogue meaning between ST1 and ST2. The word mite is

translated rather differently as the translator create a new dialogue in ST2. The

word ‘North’ is mentioned to answer the question ‘Where?’ from the blue dressed

woman, which does not exist in the original version of the movie. It can be seen

that the translator applies this strategy to complete the conversation that the


76

translator created, even though it is not mentioned in the original version of the

movie.

In datum 23 and 39, the translator does not transfer the dialogue meaning

from ST1 to ST2 as supposed to. Previously, the researcher mentions that some

data display some free translations between ST1 and ST2. Some of the results are

transferred in TT, and the rest of the samples preserve the dialogue meaning from

the original text. Even though the dialogues in ST2 do not transferred the meaning

as stated in ST1, the dialogues are actually acceptable as the subtitles for the

movie.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

24/ST/S12/00:44:50/CH1

24/ESIT/S12/00:44:48/CH1

24/TT/S12/00:44:49/CH1

Arechi no

majou no

teshitai yo.

They’re only

a few feet

away.

Mereka

hanya

beberapa

kaki saja

jauhnya.

Paraphrase

Datum 23 highlights the employment of paraphrase strategy in order to fill

a missing part in the dialogue. The missing part in the dialogue is apparently

entangled with the permutation strategy that the translator applied in the same

dialogue. Due to the entanglement, a further elaboration regarding the issue is

provided in the permutation strategy analysis.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

39/ST/S20/01:52:20/CH1

39/ESIT/S20/01:52:19/CH1

39/TT/S20/01:52:19/CH1

Kabu,

daijoubu?

Tsugu

atarashi bou

mitsukete

ageru ne.

Kabu,

arigatou.

His pole

snapped. Are

you alright?

We’ll get you

a new pole

ok? You

saved us,

Turnip.

Lobak ? Apa

kau baik saja

? Kita akan

mencarikanm

u tiang baru,

oke ? Lobak,

terima kasih

Paraphrase


77

In datum 39, the word Kabu is translated into ‘His pole snapped’ in ST2.

The translation in ST2 does not have the same meaning as in ST1. However, the

researcher finds that the translation is actually acceptable. The sentence rather

describe Kabu’s or Turnip Head’s condition in the current scene.


In the scene, after letting Calcifer go, Sophie and the others who still stay

at the remnants of Howl’s moving castle fall from the cliff because no one is

powering the castle remnants anymore. Then, Turnip Head tries to stop their fall

and ended up snapping his pole. Figure 11 marks the exact timing when Sophie

utters the dialogues Kabu and ‘His pole snapped.’ It can be seen that the dialogue

in ST2 matches with Sophie’s action as she picks up Turnip Head in such

condition.

The strategy is identified as paraphrase strategy because the translation

result in ST2 does not create the same effect as in ST1. In ST1, the word Kabu

indicates a second person point of view as Sophie is talking directly to the

character Turnip Head. Meanwhile, the dialogue ‘His pole snapped’ indicates a

third person point of view as Sophie describes Kabu’s condition to the others.

Even so, the idea of ‘His pole snapped’ is not transferred in TT, as it follows the

original text. It can be concluded that paraphrase strategy is applied because the


78

translator, perhaps, sees a more befitting dialogue as it describe the condition of

Turnip Head in the scene.

Paraphrase strategy is different with adaptation strategy. Even though they

both hold a similar concept that a free translation or a translation that is not

completely consider the actual meaning in the original text is acceptable.

Paraphrase strategy does not mainly consider the original effect that the text

created in the movie. This strategy is more likely to fill the missing part that the

translator created due to translation errors which cannot be replaced simply by

literal or sense for sense translation.

7. Condensation

In the contrary of explication strategy, condensation strategy allows the

translator to make an explicit information becomes implicit. This strategy also

allows the translator to translate the text in a shorter way (Schjoldager, 2008, p.

92). Such method can be considered as one of the effective methods in translating

subtitles due to the limited time and space provided for the subtitles in movies.

Table 17. Condensation Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

2/ST/S1/00:02:23/CH10

2/ESIT/S1/00:02:22/CH10

2/TT/S1/00:02:23/CH10

Daijobu, anta

wa

nerawarenai

kara

Don’t worry,

he only preys

on pretty

girl.

Jangan

khawatir,

mangsa Howl

hanya gadis

cantik.

Condensation

10/ST/S5/00:12:45/CH9

10/ESIT/S5/00:12:44/CH9

10/TT/S5/00:12:44/CH9

Okku-sama,

Sophie-san wa kyou wa

oritekiteimase

n

I’m afraid

your

daughter hasn’t come

downstairs

yet today,

ma’am.

Kurasa

putrimu

belum turun

kesini hari

ini, nyonya.

Condensation

17/ST/S9/00:23:44/CH3

17/ESIT/S9/00:23:43/CH3

17/TT/S9/00:23:44/CH3


door.

Pintu

Porthaven ! Condensation


79

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

23/ST/S12/00:44:45/CH1

23/ESIT/S12/00:44:44/CH1

23/TT/S12/00:44:45/CH1

Markl, gomu

ningen ga iru

The witch’s

henchmen are here.

Markl, kaki

tangan

penyihir ada

disini.

Condensation

34/ST/S17/01:25:38/CH1

34/ESIT/S17/01:25:37/CH1

34/TT/S17/01:25:37/CH1

Toire wa

Need

anything

else?

Perlu lainnya

lagi ? Condensation

The employment of condensation strategy is highlighted by the broader

meaning the translator transferred in the target texts. The simplest examples can

be taken from datum 10, 17, and 34. In the data, the translator utilizes more

general terms for the names or the places that the character refers to in the movie.

In datum 10, the addressing name Sophie-san in ST1 is transferred as ‘your

daughter’ in ST2. The city port Minatomachi in datum 17 is transferred as ‘Port

Haven door,’ while the word Toire, which means ‘toilet,’ is transferred as

‘anything else’ in datum 34.

In data 10 and 12, the translator employs rather a less detailed subject in

ST2. The name Sophie-san in ST1 is transferred as ‘your daughter’ in ST2. Such

changes are actually acceptable because the meanings are not too different as in

the ST1 and the terms are still comprehendible by the spectators.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

23/ST/S12/00:44:45/CH1

23/ESIT/S12/00:44:44/CH1

23/TT/S12/00:44:45/CH1

Markl, gomu

ningen ga iru

The witch’s

henchmen are here.

Markl, kaki

tangan

penyihir ada

disini.

Condensation

Similar to data 10, 17, and 34, the translator also applies broader terms in

datum 23 as can be seen in the data display above. The word gomu ningen, which

means blob men based on the movie, is transferred as ‘The witch’s henchmen’ in


80

ST2. These terms represent the same semantic meanings as they both refer to the

same characters who looks like the black and blobby men that wear masks and tip

hats. The translator employs the term ‘The witch’s henchmen’ because the witch

of the Wasteland is on her own and only has the blob men as her subordinates.

These terms are acceptable because the spectators can comprehend them well

even though ST2 does not mentioned which one is the henchmen that Sophie talks

about.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

2/ST/S1/00:02:23/CH10

2/ESIT/S1/00:02:22/CH10

2/TT/S1/00:02:23/CH10

Daijobu, anta

wa

nerawarenai

kara

Don’t worry,

he only preys

on pretty

girl.

Jangan

khawatir,

mangsa Howl

hanya gadis

cantik.

Condensation

In datum 2, the condensation strategy is applied between the dialogues in

ST1 and ST2. In ST1, the hatter girl with the blue dress, specifically points to the

other hatter girl that she is talking with. Previously on the scene, the hatter girls

are gossiping that Howl approaches someone named Martha from South Haven,

and tears out her heart, and that makes the other girls are afraid to go out. The blue

dressed hatter girl implies that it will not happen to her as anta wa nerawarenai

kara in the dialogue in ST1 which means that ‘He (Howl) does not want her.’ The

meaning gets broaden in ST2 as the dialogue states that Howl only preys on pretty

girl. If the dialogue in ST2 is back-translated to ST1, it can be considered that

both translations have implied connections. CH10 makes it clear to her friend in

both ST1 and ST2 that Howl will not prey on her because she is not pretty. It is

not mentioned in ST1, but the meaning is implied by the translator in ST2.


81

8. Adaptation

Adaptation strategy can help the translator to create the same effect from

the source text into the target text. This strategy highlights that subtitle also brings

senses and effects that the characters create in the movie.

Table 18. Adaptation Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

3/ST/S2/00:04:41/CH11

3/ESIT/S2/00:04:39/CH11

3/TT/S2/00:04:40/CH11

De wa, ocha

nan o ikaga

deshou? O

tsukiai e

negaimasu ka

This little

mouse looks

thirsty, we

should take

her for a cup

of tea.

Tikus kecil

ini terlihat

haus, kita

seharusnya

membawakan

nya secangkir

teh.

Adaptation

12/ST/S6/00:13:15/CH6

12/ESIT/S6/00:13:14/CH6

12/TT/S6/00:13:14/CH6

Sou? Jaa ne Well, if you

insist.

Baiklah,

Selamat

tinggal.

Adaptation

16/ST/S8/00:22:39/CH3

16/ESIT/S8/00:22:34/CH3

16/TT/S8/00:22:34/CH3

Baa-chan.

Baa-chan.

Daijoubu ka

na

Hey, lady.

Lady? Hello?

Lady? Hello?

Hey, hey,

hey! Lady?

Lady? Hey,

lemme get

over there,

no… some

big help

you’re gonna

be.

Hei… Nenek

? Nenek !

Hei, biarkan

aku disini…

Dengan

bantuan

besar kau

bisa bebas…

Adaptation

20/ST/S10/00:36:37/CH3

20/ESIT/S10/00:36:36/CH3

20/TT/S10/00:36:36/CH3

Sou ka na?

sou ka na?!

She likes my

spark!

Hahaha

Benarkah itu

? Benarkah

itu ?!

Adaptation

38/ST/S19/01:36:03/CH4

38/ESIT/S19/01:36:02/CH4

38/TT/S19/01:36:02/CH4

Sophie…

kabu!

What’s going

on? Turnip!

Sophie, Ada

apa dengan

Howl ?!

Adaptation

Adaptation strategy wants to highlights that subtitles mean a lot more than

just a group of words which are displayed at the bottom of the screen. Subtitles

provide lexical information, and support perceptual learning about foreign speech

for the spectators of the movie. Subtitles can also provide “the extra information

about the words” spoken by the characters (UK Essays, 2017). Subtitles also


82

portray the expressions, emotions, and actions of the characters in the movie.

Subtitles represent so much more than just texts or a group of words, and their

role can be seen clearly if displayed alongside with the movie.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

3/ST/S2/00:04:41/CH11

3/ESIT/S2/00:04:39/CH11

3/TT/S2/00:04:40/CH11

De wa, ocha

nan o ikaga

deshou? O

tsukiai e

negaimasu ka

This little

mouse looks

thirsty, we

should take

her for a cup

of tea.

Tikus kecil

ini terlihat

haus, kita

seharusnya

membawakan

nya secangkir

teh.

Adaptation

In datum 3, one of the soldiers, who interrupts Sophie, calls her as ‘Little

mouse’ in ST2. The nickname ‘Little mouse’ highlights the soldiers’ intentions to

flirt with Sophie. The term is also transferred from ST2 to TT, even though it is

not mentioned in ST1. The name is actually brought up for the first time in the

previous dialogues as the soldiers called Sophie as the Konezumi-chan, as the

word nezumi means mouse in Japanese, as well as its translations in ST2 and TT.

The translator transfers the name Konezumi-chan in datum 3 in order to make the

same effect as the soldier in ST1 is flirting with Sophie.

In Japanese, it is very important for someone to address another politely.

The honorific title –chan is a childish version of the addressing –san in Japanese

which refers to children and girls (Coto Academy, 2016). The title can also be

employed to address lovers or an endearing adult as can be seen in datum 3. The

adaptation strategy is also applied to make a clear impression where the word

‘mouse’ represent a timid person. In the scene, Sophie is lost and looks afraid

when she meets the soldiers. The soldiers consider that she is shy and does not fall

in to their seduction.


83

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

16/ST/S8/00:22:39/CH3

16/ESIT/S8/00:22:34/CH3

16/TT/S8/00:22:34/CH3

Baa-chan.

Baa-chan.

Daijoubu ka

na

Hey, lady.

Lady? Hello?

Lady? Hello?

Hey, hey,

hey! Lady?

Lady? Hey,

lemme get

over there,

no… some

big help

you’re gonna

be.

Hei… Nenek

? Nenek !

Hei, biarkan

aku disini…

Dengan

bantuan besar

kau bisa

bebas…

Adaptation

Datum 16 wants to highlight that the translation result in ST2 gives similar

yet sharper effect than the dialogue in ST1. The dialogue Daijobou ka na? can

actually be translated as ‘Is this ok?’ in English. It can be seen that both dialogues

does not have the same or related meaning to each other, but they deliver similar

effects in the scene. The dialogue in ST1 indicates Calcifer’s worries of letting

Sophie in to the castle. It could be a mistake and might bring troubles along the

way. Meanwhile, the dialogue in ST2 shows a disappointed feeling from Calcifer

because he doubts that Sophie will keep her promise of helping him breaks his

curse. It can be seen that the employment of adaptation strategy between ST1 and

ST2 manages to give similar feelings of doubts and worries.

The employment of adaptation strategy is best seen through the

combination of watching the movie, listen carefully to the dialogues uttered by the

characters, and reading the translation subtitles of the movie. Due to the limited

facilities that a written research can give, a table contains of not only the dialogues

uttered by the characters in ST1 and ST2, but also the screenshots and the

explanation of the scenes where dialogues appeared, is provided as follows.


84

No Scene Dialogue

ST1 ST2

12


In the scene Sophie’s mother is standing in front of

Sophie’s bedroom to check on her daughter. At first, she is

concerned about her daughter because the hatter girls said

that she has not come down to the shop yet. She checks on

Sophie and finds out that she is having a bad cold as her

voice sound horrible. Sophie says that she is fine and just

want to stay in bed for the day, and insists her mother to just

let her be.

Sou? Jaa

ne

Well, if

you insist.

20


At that time, Sophie is cleaning the castle and she is

excited when she finds out that Calcifer is able to move such

huge house. Sophie is really amazed and praises Calcifer so

that he bursts out of excitement.

Sou ka na?

sou ka na?!

She likes

my spark!

Hahaha

38


In the scene, Markl gets out of the castle because he heard

a lot of noise from outside.

Sophie… What’s

going on?


85

Some translation results in target texts have different meaning from the

source texts. The examples can be seen in datum 12, 20, and 38 as displayed in the

data display above. Yet even though the meaning in the target texts do not have

any related meaning with the source texts, the translation is acceptable and

matches the scene perfectly. Such matter occurs due to the effect of employing the

adaptation strategy.

In Datum 12 the dialogue Sou? Jaa ne in ST1 is translated into ‘Well, if

you insist’ in ST2. The word Sou in ST1 can actually be translated as ‘Is that so’

in English, and the word Jaa ne indicates a farewell greeting. It can be seen that

the translation in ST2 does not have the same meaning as in ST1. Instead, the

translator adapts the dialogue in ST2 and make a good result as the dialogue in

ST2 gives similar effect to the condition in ST1.

In datum 20, the words sou ka na?! can be translated as ‘really?’ in

English. The dialogue shows a sense of disbelieve of Sophie’s admiration to

Calcifer. The dialogue is translated well in TT as the dialogue ‘Benarkah itu?

Benarkah itu’ transfers the exact same meaning as in ST1. However, the translator

comes up with another term for the dialogue in ST2 as it mentions the word

‘spark’ which is not displayed in both ST1 and TT. Such adaptation is made to

complete the idea from the previous dialogue in ST2 as Sophie mentions that she

like his (Calcifer’s) sparks. In ST1, the word ‘spark’ is not mentioned both in the

previous or the current dialogues. The translator employs the word ‘spark’ to

match the word ‘number one’ or ‘first class’ in the previous dialogue as Sophie

praises Calcifer’s magic. Through the dialogue ‘She likes my spark,’ the translator


86

wants to highlight the similar excitement that Calcifer feels after hearing Sophie’s

praise and admiration. The adaptation strategy manages to deliver such excitement

as the dialogue is also followed by exclamation tone at the final position of the

word ‘spark.’

As mentioned previously, the result of the translations may or may not

have related meanings to the target texts. Adaptation strategy prioritize the effect

that the dialogues give, instead of just their meanings. Such issue is also found in

datum 38 as the translator transferred the dialogue differently even though literal

and sense for sense translation is possible. It can be seen in the display that the

word Sophie in ST1 is transferred as ‘What’s going on?’ in ST2. It is clear that

both dialogue have different meaning. However, ST2 manages to deliver similar

intention as in ST1. The role of the dialogue can be seen clearly as displayed

above. The dialogue is uttered when Markl was running out of the house to get

Sophie. The translator choses the terms ‘What’s going on?’ because it describes

the situation perfectly as a loud noise is heard from outside. It drives Markl to go

out and asks such question because Sophie is the one who knows what happened.

It can be concluded that, in this case, the adaptation strategy does not only

recreate the same effect as in ST1, but also brings detailed ideas from the scene.

9. Addition

Addition strategy works in contrast with deletion strategy. It allows the

translator to “add a unit of meaning” in the translated text (Schjoldager, 2008).

The additional unit can be in a form of words, or a description regarding a foreign

or ambiguous word in a text.


87

Table 19. Addition Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

1/ST/S1/00:02:14/CH9

1/ESIT/S1/00:02:12/CH9

1/TT/S1/00:02:13/CH9

Kakureta

dakedeshou,

guntai ga

ippai kiteru

kara

No, he’s just

hiding in the

fog from

those planes.

Tidak, dia

hanya

bersembunyi

dalam kabut

di lembah.

Addition

16/ST/S8/00:22:39/CH3

16/ESIT/S8/00:22:34/CH3

16/TT/S8/00:22:34/CH3

Baa-chan.

Baa-chan.

Daijoubu ka

na

Hey, lady.

Lady?

Hello?

Lady?

Hello? Hey,

hey, hey!

Lady?

Lady? Hey,

lemme get

over there,

no… some

big help

you’re gonna

be.

Hei… Nenek

? Nenek !

Hei, biarkan

aku disini…

Dengan

bantuan besar

kau bisa

bebas…

Addition

28/ST/S14/01:04:49/CH8

28/ESIT/S14/01:04:47/CH8

28/TT/S14/01:04:48/CH8

Shoguntachi

wa atsumatta

ka

Get my

generals

assemble.

Panggil

Jenderal

Umum !

Addition

36/ST/S18/01:33:21/CH5

36/ESIT/S18/01:33:20/CH5

36/TT/S18/01:33:21/CH5

Ara, Hauru ja

nai.

Why, if it

isn’t Howl.

Mengapa,

jika bukan

dari dia Howl ?

Addition

The researcher finds that there are three kinds of effects that the addition

strategy gives to the translated texts. The first effect is that the additional words do

not show big impacts in the translated texts nor alter the main idea transferred

from the source texts, as can be seen in datum 16. Second, the additional words

only extend some meanings in the translated texts, such in datum 28. Finally, the

most important effect is that additional strategy can alter the meaning and the

condition of an idea from the source text into the translated text, such examples

can be found in datum 1 and datum 36.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

16/ST/S8/00:22:39/CH3

16/ESIT/S8/00:22:34/CH3

Baa-chan.

Baa-chan. Hey, lady.

Lady?

Hei… Nenek

? Nenek ! Addition


88

16/TT/S8/00:22:34/CH3 Daijoubu ka

na Hello?

Lady?

Hello? Hey,

hey, hey!

Lady?

Lady? Hey,

lemme get

over there,

no… some

big help

you’re gonna

be.

Hei, biarkan

aku disini…

Dengan

bantuan besar

kau bisa

bebas…

Datum 16 shows repetitive additional words in ST2. It can be seen from

the data display that the word Baa-chan, or ‘grandma,’ is only repeated once in

ST1, as well as the word ‘Nenek’ in TT. Meanwhile, the translated word ‘Lady’ is

mentioned five times in ST2, alongside with the words ‘Hey’ and ‘Hello.’ Such

additional words are actually unnecessary, even though they do not seem to alter

the idea of the original text. The reason such strategy is applied in ST2 because

the translator probably wants to fill the void or the silence in the scene between

the words Baa-chan in ST1. It can be seen that the dialogue in ST2 has five

seconds time advance from the dialogue in ST1. The translator leaves plenty of

spaces from the dialogue in ST1. Therefore repetitions are added so that the

dialogue can fill in these spaces without altering the main idea from the original

text.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

28/ST/S14/01:04:49/CH8

28/ESIT/S14/01:04:47/CH8

28/TT/S14/01:04:48/CH8

Shoguntachi

wa atsumatta

ka

Get my

generals

assemble.

Panggil

Jenderal

Umum !

Addition

The employment of addition strategy in datum 28 is found between ST2

and TT. In ST2, the king gives order to assemble his generals immediately. The

word ‘general’ can be translated as ‘jenderal’ in Indonesian. Instead of just


89

following the translation as it is, the translator adds the word ‘umum’ after the

word ‘jenderal’ in TT. This is the example of addition that expand a word

meaning as it provides more information about the kind of general that is

summoned. The additional word does not play a major role in the text, but it

manages to maintain the main idea from ST2.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

1/ST/S1/00:02:14/CH9

1/ESIT/S1/00:02:12/CH9

1/TT/S1/00:02:13/CH9

Kakureta

dakedeshou,

guntai ga

ippai kiteru

kara

No, he’s just

hiding in the

fog from

those planes.

Tidak, dia

hanya

bersembunyi

dalam kabut

di lembah.

Addition

Datum 1 highlights the third effect of employing the addition strategy

between both ST2 and TT. Previously, the researcher mentions that the dialogues

in datum 1 have different meanings in all three texts. ST1, ST2, and TT show

different ideas as the translators keeps adding more information in each

translation. ST1 only mentions that Howl is hiding because there are many

soldiers coming toward him. A new information is added in the text through the

phrase ‘in the fog’ as displayed above. Another information is also added through

the word ‘lembah’ in TT. Both additions are related to each other. They provide

detailed information about the scene continuously. However, the additions alter

the main idea as some information are not mentioned in order to make the

dialogues shorter as some words are added in the texts.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

36/ST/S18/01:33:21/CH5

36/ESIT/S18/01:33:20/CH5

36/TT/S18/01:33:21/CH5

Ara, Hauru ja

nai.

Why, if it

isn’t Howl.

Mengapa,

jika bukan

dari dia Howl ?

Addition


90

Similar to datum 1, the third effect of addition strategy is also found in

datum 36 between ST2 and TT. The dialogue ‘Why, if it isn’t Howl’ is translated

into ‘Mengapa jika bukan dari dia Howl?’ in TT. As mentioned in the previous

semantic shift analysis, both dialogues actually have similar meanings. The

different lies in the addition words ‘dari dia’ in TT. The context of the dialogues

in ST1 and ST2 is that the witch of the Waste is trying to flirt a little with Howl as

he was asking about the cigarette on her hands. Meanwhile, the dialogue in TT

does not transferred the same intention but to answer Howl’s previous question.

Such matter occurs due to the employment of the addition strategy as it alters the

original idea from both ST1 and ST2.

10. Substitution

Just like the name, substitution strategy allows the translator to replace one

(or more) term with another term, or replaces one meaning with another

(Schjoldager, 2008).

Table 20. Substitution Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

1/ST/S1/00:02:14/CH9

1/ESIT/S1/00:02:12/CH9

1/TT/S1/00:02:13/CH9

Kakureta

dakedeshou,

guntai ga

ippai kiteru

kara

No, he’s just

hiding in the

fog from

those planes.

Tidak, dia

hanya

bersembunyi

dalam kabut

di lembah.

Substitution

6/ST/S3/00:08:22/CH12

6/ESIT/S3/00:08:20/CH12

6/TT/TT/S3/00:08:21/CH12

Lettie,

Madoreenu ga agate yo

Lettie, the

chocolate

éclairs are

done.

Lettie, coklat

éclairs sudah

habis.

Substitution

18/ST/S9/00:30:17/CH1

18/ESIT/S9/00:30:15/CH1

18/TT/S9/00:30:16/CH1

Sore o


Calcifer yang

mengijinkan. Substitution

28/ST/S14/01:04:49/CH8

28/ESIT/S14/01:04:47/CH8

28/TT/S14/01:04:48/CH8

Shoguntachi

wa atsumatta

ka

Get my

generals

assemble.

Panggil

Jenderal

Umum !

Substitution

32/ST/S16/01:21:07/CH1 Hauru, This place is Howl, terima Substitution


91

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

32/ESIT/S16/01:21:06/CH1

32/TT/S16/01:21:06/CH1

arigatou!

Yume mitai gorgeous,

Howl! It’s

like a dream.

kasih ! Ini

seperti mimpi

40/ST/S20/01:54:21/CH1

40/ESIT/S20/01:54:20/CH1

40/TT/S20/01:54:20/CH1

Arigatou,

Calcifar I miss you

too Calcifer.

Terima kasih,

Calcifer Substitution

In this analysis, 6 samples are provided to show the employment of

substitution strategy in Howl’s Moving Castle movie subtitle. The results of the

strategy are varied as some of them are transferred from one target text to another,

as can be seen in datum 6, 18, and 28. The rest of the results remain only in that

current text, and are not transferred to another text such in datum 1, 32, and 40.

Datum ST1 ST2 TT

6 Madoreenu → Chocolate éclairs → Coklat éclairs

18 Watashi → Calcifer → Calcifer

28 Atsumata ka → Get → Panggil

The illustration above displays the list of the terms that are replaced by

another terms in ST2, and also transferred from ST2 to TT. In datum 6, the word

Madoreenu or ‘Madeleine’ in ST1 is replaced by the word ‘Chocolate éclairs’ in

ST2. As mentioned in the previous analysis, both ‘Madeleine’ and ‘Chocolate

éclairs’ are baked goods originated from French. The reason for the translator’s

decision to replace the term is still unknown by the researcher. As for the case in

TT, aside from the fact that the term ‘Chocolate éclairs’ is employed in ST2, the

term ‘Madeleine’ cake does not sound as popular in Indonesia as stated by Blue

Band in its website (Cara Membuat Kue Basah: Resep Kue Madeleine, n.d.).

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

18/ST/S9/00:30:17/CH1

18/ESIT/S9/00:30:15/CH1

18/TT/S9/00:30:16/CH1

Sore o


Calcifer yang

mengijinkan. Substitution


92

In datum 18, the translator change the subject of the dialogue as the

pronoun Watashi or ‘I’ is replaced by the name ‘Calcifer’ in ST2. In the scene,

Howl asks Sophie about who hired her to be the cleaning lady of the castle.

According to the dialogue in ST1, the answer is supposed to be Sophie herself as

she states Sore o watashi sa which can be refer as ‘I hired myself.’ However, the

translator changes the subject and makes Sophie put the blame on Calcifer. The

employment of the strategy does not actually ends in the dialogue in datum 18.

The substitution is also applied on the next dialogue in ST2 as the translator tries

to make both dialogues match to one another.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

28/ST/S14/01:04:49/CH8

28/ESIT/S14/01:04:47/CH8

28/TT/S14/01:04:48/CH8

Shoguntachi

wa atsumatta

ka

Get my

generals

assemble.

Panggil

Jenderal

Umum !

Substitution

Datum 28 highlights the change of tone between the dialogues caused by

the employment of substitution strategy. In ST1, the word Atsumata ka is replaced

by the word ‘Get’ in ST2. The term atsumata is an action verb which can be

translated as ‘to assemble,’ while the particle word ka indicates that the dialogue

is a question. In another words, the dialogue in ST1 can be translated into ‘Have

my generals assemble’ in English. The tone of the dialogues in ST1 indicates that

the character is asking a question. Meanwhile, the words Atsumata ka are replaced

by the word ‘Get’ in ST2. The replacement causes a change of tone as the

dialogue in ST2 becomes an order from the king instead of a polite question.

Moreover, the imperative tone is also transferred in TT through the word

‘Panggil.’


93

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

32/ST/S16/01:21:07/CH1

32/ESIT/S16/01:21:06/CH1

32/TT/S16/01:21:06/CH1

Hauru,

arigatou!

Yume mitai

This place is

gorgeous,

Howl! It’s

like a dream.

Howl, terima

kasih ! Ini

seperti mimpi

Substitution

In datum 32, the substitution strategy is only applied between ST1 and

ST2. It can be seen from the table that the dialogue Hauru, arigatou! is replaced

by the dialogue ‘This place is gorgeous, Howl!’ in ST2. In the scene, Howl gives

Sophie a really spacious opened green garden full with various kinds of flower.

Sophie looks around and give her thanks to Howl as displayed in the dialogues in

ST1. Both dialogues have different meaning, as the dialogue in ST2 only indicates

how Sophie admire that beautiful place. Even so, the dialogue in ST2 is actually

fit to the character’s action in the scene as the dialogue is uttered right after

Sophie looks around the place. Unlike the previous samples, the substitution in

datum 32 is not transferred from ST2 to TT. The substitution is being ‘re-

replaced’ again by the original idea as stated in ST1.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

40/ST/S20/01:54:21/CH1

40/ESIT/S20/01:54:20/CH1

40/TT/S20/01:54:20/CH1

Arigatou,

Calcifar I miss you

too Calcifer.

Terima kasih,

Calcifer Substitution

Similar to the previous case, the substitution strategy in datum 40 is

employed between the dialogues in ST1 and ST2, and the result is not transferred

in TT. It can be seen that the dialogue Arigatou, Calcifar in ST1 is replaced by the

dialogue ‘I miss you too Calcifer’ in ST2. Even though the two dialogues have

different meanings, the dialogue in ST2 is actually replaced to connect the context

to the previous dialogue in the scene where Calcifer states that he missed Sophie


94

and the others when he was away. Such reason is also supported by the word ‘too’

as mentioned by Sophie in datum 40. Even though the dialogue is not stated as

such in the original text, the idea of the dialogue in ST2 is not transferred in TT as

it follows the way the dialogue is stated in ST1.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

1/ST/S1/00:02:14/CH9

1/ESIT/S1/00:02:12/CH9

1/TT/S1/00:02:13/CH9

Kakureta

dakedeshou,

guntai ga

ippai kiteru

kara

No, he’s just

hiding in the

fog from

those planes.

Tidak, dia

hanya

bersembunyi

dalam kabut

di lembah.

Substitution

Datum 1 shows the employment of substitution strategy between the word

Guntai in ST1 and the word ‘Planes’ in ST2. Both guntai and ‘Planes’ indicate

different meanings as the word Guntai means ‘Soldiers’ in English. However, the

word ‘Planes’ is actually related to the soldiers in the scene as they were riding on

airplanes which is designed in the similar shape of dragonflies above the

Wastelands. Unlike the other samples provided for this strategy, the dialogue in

TT does not either follow the result of the translation in ST2 or in ST1. Instead,

the translation provides another perspective of the scene as explained in the

previous analysis.

11. Deletion

In deletion strategy, the translators are allowed to omit a unit of

meaning(s) from the source texts to the target texts (Schjoldager, 2008). The

translators do not always omit the unimportant terms to the texts. Sometimes, they

also omit the terms that actually play an important role in the texts so that the

spectators can comprehend them well.


95

Table 21. Deletion Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

38/ST/S19/01:36:03/CH4

38/ESIT/S19/01:36:02/CH4

38/TT/S19/01:36:02/CH4

Sophie…

kabu!

What’s going

on? Turnip!

Sophie, Ada

apa dengan

Howl ?!

Deletion

Omissions are often to leave spaces in the texts, like some things are

‘missing.’ The translators need to fill these spaces in order to complete the

meaning in the texts. In some cases, the readers –or spectators, cannot really see

the difference between the original text and the translated text which omits an

important unit of meaning from the source text. Such issue happens because the

omitted meaning does not play a significant role in the text, or the meaning is

already complete even without the omitted unit.


In datum 38, the name ‘Turnip’ in ST2 is omitted in TT. The name is

actually transferred from Kabu in ST1. It can be seen in both source texts that the

character mentions Kabu because Turnip Head suddenly appears in the scene. It is

also supported by the facts that Markl is looking toward Turnip Head when he

utters the dialogue. However, the translator does not have the same idea as in both

source texts and decides to delete the name in TT. The translator seems to feel that

the dialogue meaning is already complete even without the name Turnip. Besides,

the name is deleted because of the limited time for the dialogue.


96

There are time gaps and different time stamps between the Japanese and

the English versions of the movie. The time difference does not give a big impact

between the two versions of the movie, but it does matter for the Indonesian

subtitle. As mentioned in the previous chapters, the English text is a result from a

transcription process from the English version of the movie. It is in form of a dub

where the dialogues are supposed to match the characters’ lip movements or

mimics with the exact timing in the movie. Meanwhile, the Indonesian subtitle is

supposed to match the exact timing when the first sound of a dialogue is spoken in

the English version of the movie. It can be seen in the time stamp coding in table

21 that the dialogues in ST2 and TT have the same timing. However, the dialogue

in ST2 is actually came out earlier than the subtitles. After watching and

comparing the Japanese and English versions of Howl’s Moving Castle movie, the

researcher understands that the characters speak faster in the English version of

the movie. The subtitle already lose some milliseconds for the duration within the

dialogues in datum 38, and therefore, the translator decides to ‘cut-loose’ Markl’s

greet to Turnip Head so that the spectators can read the before it disappear.

12. Permutation

Permutation strategy is a unique strategy where the translators are allowed

to place an item in a different textual position from the source text in the target

text. In another word, one dialogue is able to be placed in the next or previous

dialogue in the target text, even though it is different from the dialogue’s original

position in the source text. The employment of this strategy can be seen clearly in

a movie or a subtitle translation as the replacement have different time stamps.


97

Table 22. Permutation Strategy Analysis

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

19A/ST/S10/00:33:16

19A/ESIT/S10/00:33:15

19A/TT/S10/00:33:16

Mushi-domo,

sasato

nigeraita

hagirashita

yo

I’ve had

enough of

this.

Aku sudah

muak dengan

ini

Permutation

19/ST/S10/00:33:22/CH1

19/ESIT/S10/00:33:18/CH1

19/TT/S10/00:33:16/CH1

Doitsumo

koitsumo tou

baka ni shite

You bugs

better run

before I cut

your heads

off.

Kalian para

serangga

sebaiknya lari

sebelum

kugigit

kepala kalian

23/ST/S12/00:44:45/CH1

23/ESIT/S12/00:44:44/CH1

23/TT/S12/00:44:45/CH1

Markl, gomu

ningen ga iru

The witch’s

henchmen are

here.

Markl, kaki

tangan

penyihir ada

disini. Permutation

24/ST/S12/00:44:50/CH1

24/ESIT/S12/00:44:48/CH1

24/TT/S12/00:44:49/CH1

Arechi no

majou no

teshitai yo.

They’re only

a few feet

away.

Mereka

hanya

beberapa kaki

saja jauhnya.

Datum 19 shows the employment of permutation strategy between the

dialogue in datum 19 and the previous dialogue as displayed in table 22. In order

to avoid misunderstandings between the data numbers in this analysis, the first

dialogue is referred as datum 19A, as it does not include as the data sample for

this study. In datum 19, the dialogue Mushi-domo, sasato nigeraita hagirashita yo

in ST1 is translated from datum 19A to ST2 and TT in datum 19. The dialogue in

ST1 indicates that Sophie told the bugs to just run away or she would cut their

heads off.

Similar case also happens to the dialogue Doitsumo koitsumo tou baka ni

shite in ST1 datum 19. The dialogue is actually translated to ST2 and TT in datum

19A. The dialogue in ST1 datum 19 indicates that Sophie was pissed because it

feels like the bugs are mocking her. This idea is transferred in datum 19A as ‘I’ve

had enough with this’ in ST2. It can be seen that in both cases, the dialogues in


98

ST1 datum 19A and 19 are ‘swapped-transferred’ to one another. Even though the

dialogues are placed in different textual positions, the employment of the strategy

does not alter the elements in the dialogues because the original ideas and the

character’s emotions are transferred completely in the target texts.

No of Data

Source

Text 1

(Japanese)

Source Text

2 (English)

Target Text

(Indonesian)

Subtitling

Strategy

23/ST/S12/00:44:45/CH1

23/ESIT/S12/00:44:44/CH1

23/TT/S12/00:44:45/CH1

Markl, gomu

ningen ga iru

The witch’s

henchmen are

here.

Markl, kaki

tangan

penyihir ada

disini. Permutation

24/ST/S12/00:44:50/CH1

24/ESIT/S12/00:44:48/CH1

24/TT/S12/00:44:49/CH1

Arechi no

majou no

teshitai yo.

They’re only

a few feet

away.

Mereka

hanya

beberapa kaki

saja jauhnya.

In the second sample of permutation strategy analysis, the translator

applies the strategy between datum 23 and 24. Unlike the permutation in datum 19

and 19A, the dialogue transfer only occur between ST1 datum 24 and ST2, and

TT in datum 23. The translation result in ST2 datum 23 actually has similarities

with the dialogues in ST1 datum 23 and 24.

Source Text 1

(Japanese) Translation

Source Text 2

(English)

Markl, gomu ningen ga iru → Markl, the blob men are here. The witch’s henchmen are

here. Arechi no majou no teshitai

yo. →

They’re the witch’s

henchmen.

It can be seen in the data above that the two dialogues in ST1 has some

similarities with the translation result in ST2 which are the words ‘are here’ from

the word iru, and the words ‘The witch’s henchmen’ from the words Arechi no

majou no teshitai in ST1. Unlike the case in datum 19 and 19A, the dialogue in

ST1 datum 23 is not translated at all. Instead, the translator employs permutation

strategy to transfer the dialogue, which is supposed to be in datum 24, in datum


99

23. Such employment leaves a blank space behind as the textual position in ST2

datum 24 is empty. Then, the translator decides to make up a dialogue to fill the

space. Even though the dialogue “They’re only a few feet away” is not transferred

from the original text, the translator makes sure that the dialogue fits to the

situation in the scene.


100

CHAPTER V

CONCLUSION

The analysis and discussion chapter has shown the type of shifts that occur

between the three texts, and also the strategies that help the translators create the

subtitles for the movie. The 40 samples only show the shifts in categorical and

semantic matters, as level shifts occurrences are not found in the data. The

analysis also show the importance of the 12 subtitling strategies as they are fully

applied as elaborated within the discussion.

English and Indonesian has rather similar grammatical structure. Due to

the structure differences, it is expected that structure shifts are found mostly

between ST1 and ST2 with 100 percent occurrences. The result shows that

structure shift does occupy the highest number of shift occurrences. However, the

number only show 29 out of 40 chances in the samples. It turns out that structure

shifts are only occur until some extend of level between ST1 and ST2, such in

phrases or incomplete sentences. Meanwhile, the other samples show that there

are 3 occurrences of class shift, 9 occurrences of unit shift, 4 occurrences of intra-

system shift, and 34 occurrences for the semantic shift category.

Among the 12 subtitling strategies, oblique strategy stands as the most

frequent strategy applied by the translators with 19 occurrences in total. It means

that the translators are sure to struggle with the translations especially between the

Japanese and English texts. This theory is also supported by the fact that the


101

adaptation strategy holds the second highest strategy employed by the translators,

and it is followed by calque and condensation strategy. Due to the different

grammatical structure, the translators need to transfer the idea of the source text

utilizing a sense for sense or other kinds of translation methods such in adaptation

strategy.

Some subtitling strategies also show an important fact from this research.

Even though direct transfer and direct translation strategies have low number of

employment in the texts, they support the fact that the TT translator is not only

transfer the dialogue from the ST2, but also consider the idea from ST1. The

researcher also finds that some dialogues indicate similarities only between ST1

and TT, while ST2 displays different idea.

Through the two analysis elaborated in the previous chapter, the researcher

wants to highlight the contrasts and relations between the shifts and the strategies

applied in Disney Ghibli Howl’s Moving Castle movie subtitle. The translation

shift analysis manages to show the different ideas transferred between the source

and target texts. Meanwhile, the subtitling strategies outlines the perspective of

the translators in translating the texts. The two analysis support each other by

showing the ‘actions’ and ‘risks’ that the translators take during the translation

process. The strategies are their ‘actions’ needed in order to make a good

translation, and the shifts are the ‘risks’ caused by the ‘actions.’ It can be

concluded that in translating a text, shifts or errors are avoidable, let alone in a

three language translation such in the topic of this research. Different language

systems can lead to different translation methods and create voids or differences


102

between the source texts and the target texts. These differences are in form of

mistranslations, as displayed in semantic shift and intra-system shift, and structure

reconstruction, as displayed in structure shift, class shift, and unit shift. The

subtitling methods are also proven to be very effective within this translations as

all of the strategies are found between the Japanese-English and English-

Indonesian subtitle of Howl’s Moving Castle movie.

For further research, it is suggested to explore the different translation

between the English dubbing version and the English subtitle of the Japanese

version of the movie. A comparison between the novel and the movie version of

Howl’s Moving Castle can also be conducted for the research of literary studies.


103

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107

APPENDIX

Table 23. All Data Research No of Data

Source Text 1

(Japanese)

Source Text 2

(English)

Target Text

(Indonesian)

1/ST/S1/00:02:14/CH9

1/ESIT/S1/00:02:12/CH9

1/TT/S1/00:02:13/CH9

Kakureta

dakedeshou, guntai

ga ippai kiteru

kara

No, he’s just

hiding in the fog

from those planes.

Tidak, dia hanya

bersembunyi dalam

kabut di lembah.

2/ST/S1/00:02:23/CH10

2/ESIT/S1/00:02:22/CH10

2/TT/S1/00:02:23/CH10

Daijobu, anta wa

nerawarenai kara

Don’t worry, he

only preys on

pretty girl.

Jangan khawatir,

mangsa Howl

hanya gadis cantik.

3/ST/S2/00:04:41/CH11

3/ESIT/S2/00:04:39/CH11

3/TT/S2/00:04:40/CH11

De wa, ocha nan o

ikaga deshou? O

tsukiai e

negaimasu ka

This little mouse

looks thirsty, we

should take her for

a cup of tea.

Tikus kecil ini

terlihat haus, kita

seharusnya

membawakannya

secangkir teh.

4/ST/S2/00:05:04/CH2

4/ESIT/S2/00:05:03/CH2

4/TT/S2/00:05:04/CH2

Konoko no tsure

sa. Kimi tachi

chotto sanposhite

kite kurenai ka

Are you really? It

looked to me like

the two of you

were just leaving.

Benarkah kalian

sibuk ? Dia

mencariku,

sebaiknya kalian

berdua pergi saja.

5/ST/S3/00:08:02/CH1

5/ESIT/S3/00:08:02/CH1

5/TT/S3/00:08:01/CH1

Howl wa bijin

shika

nerawanaimono

Howl only does

that to beautiful

girls.

Howl hanya

melakukannya ke

gadis cantik.

6/ST/S3/00:08:22/CH12

6/ESIT/S3/00:08:20/CH12

6/TT/TT/S3/00:08:21/CH12

Lettie, Madoreenu

ga agate yo

Lettie, the

chocolate éclairs

are done.

Lettie, coklat

éclairs sudah habis.

7/ST/S4/00:10:19/CH5

7/ESIT/S4/00:10:17/CH5

7/TT/S4/00:10:16/CH5

Yasupai boushi.

I’ve never seen

such tacky little

hats.

aku tak pernah

melihat topi - topi

kecil sejelek ini.

8/ST/S4/00:10:52/CH5

8/ESIT/S4/00:10:50/CH5

8/TT/S4/00:10:51/CH5

Sono noroi wa hito

ni wa hanasanai

kara ne. Hauru ni

yoroshiku ne.

The best part of

that spell is you

can’t tell anyone

about it. My

regards to Howl.

Bagian terbaik dari

mantranya adalah,

kau tak bisa

memberitahu

siapapun soal ini.

Sampaikan

salamku ke Howl.

9/ST/S5/00:12:40/CH6

9/ESIT/S5/00:12:39/CH6

9/TT/S5/00:12:39/CH6

Kore zettai ikeru to

omowanai

I know, our

customers will love

it.

Aku tahu,

pelanggan kita

akan menyukainya.

10/ST/S5/00:12:45/CH9

10/ESIT/S5/00:12:44/CH9

10/TT/S5/00:12:44/CH9

Okku-sama,

Sophie-san wa

kyou wa

oritekiteimasen

I’m afraid your

daughter hasn’t

come downstairs

yet today, ma’am.

Kurasa putrimu

belum turun kesini

hari ini, nyonya.

11/ST/S6/00:13:10/CH6

11/ESIT/S6/00:13:07/CH6

11/TT/S6/00:13:07/CH6

Kyu juusai no

obaa-chan mitai

You sound ghastly,

like some ninety

year old woman.

Suaramu terdengar

mengerikan,

seperti wanita tua

berusia 90 tahun.

12/ST/S6/00:13:15/CH6

12/ESIT/S6/00:13:14/CH6

12/TT/S6/00:13:14/CH6

Sou? Jaa ne Well, if you insist. Baiklah, Selamat

tinggal.


108


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian)

13/ST/S7/00:14:43/CH13

13/ESIT/S7/00:14:42/CH13

13/TT/S7/00:14:42/CH13

Kono saki ni wa

mahoutsukai shika

urotsuitenai ze

There’s nothing

but witches and

wizards out there.

Disana tak ada

apapun kecuali

para penyihir.

14/ST/S7/00:19:29/CH1

14/ESIT/S7/00:19:27/CH1

14/TT/S7/00:19:28/CH1

Kore chotto For Heaven’s sake! Demi surga!

15/ST/S8/00:22:03/CH3

15/ESIT/S8/00:22:01/CH3

15/TT/S8/00:22:02/CH3

Akuma wa

yakusoku wa shinai

sa

Ah, I don’t know,

lady. Demons

don’t make

promises.

Aku tak tahu

nenek, iblis tak

membuat janji.

16/ST/S8/00:22:39/CH3

16/ESIT/S8/00:22:34/CH3

16/TT/S8/00:22:34/CH3

Baa-chan. Baa-

chan. Daijoubu ka

na

Hey, lady. Lady?

Hello? Lady?

Hello? Hey, hey,

hey! Lady? Lady?

Hey, lemme get

over there, no…

some big help

you’re gonna be.

Hei… Nenek ?

Nenek ! Hei,

biarkan aku

disini… Dengan

bantuan besar kau

bisa bebas…

17/ST/S9/00:23:44/CH3

17/ESIT/S9/00:23:43/CH3

17/TT/S9/00:23:44/CH3

Minatomachi Port Haven door. Pintu Porthaven !

18/ST/S9/00:30:17/CH1

18/ESIT/S9/00:30:15/CH1

18/TT/S9/00:30:16/CH1

Sore o watashi sa Calcifer did. Calcifer yang

mengijinkan.

19/ST/S10/00:33:22/CH1

19/ESIT/S10/00:33:18/CH1

19/TT/S10/00:33:16/CH1

Doitsumo koitsumo

tou baka ni shite

You bugs better

run before I cut

your heads off.

Kalian para

serangga sebaiknya

lari sebelum

kugigit kepala

kalian

20/ST/S10/00:36:37/CH3

20/ESIT/S10/00:36:36/CH3

20/TT/S10/00:36:36/CH3

Sou ka na? sou ka

na?!

She likes my

spark! Hahaha

Benarkah itu ?

Benarkah itu ?!

21/ST/S11/00:42:31/CH2

21/ESIT/S11/00:42:30/CH2

21/TT/S11/00:42:31/CH2

Maa nee… I’m tired Aku capek.

22/ST/S11/00:43:09/CH1

22/ESIT/S11/00:43:08/CH1

22/TT/S11/00:43:09/CH1

Hauru? Is Howl back? Apa Howl sudah

kembali ?

23/ST/S12/00:44:45/CH1

23/ESIT/S12/00:44:44/CH1

23/TT/S12/00:44:45/CH1

Markl, gomu

ningen ga iru

The witch’s

henchmen are here.

Markl, kaki tangan

penyihir ada disini.

24/ST/S12/00:44:50/CH1

24/ESIT/S12/00:44:48/CH1

24/TT/S12/00:44:49/CH1

Arechi no majou

no teshitai yo.

They’re only a few

feet away.

Mereka hanya

beberapa kaki saja

jauhnya.

25/ST/S13/00:49:15/CH14

25/ESIT/S13/00:49:14/CH14

25/TT/S13/00:49:14/CH14

Mite North. Utara.

26/ST/S13/00:51:53/CH1

26/ESIT/S13/00:51:52/CH1

26/TT/S13/00:51:53/CH1

Ittekuru ne Take care of him,

Marko.

Jagalah dia, Markl

!

27/ST/S14/01:01:54/CH7

27/ESIT/S14/01:01:53/CH7

27/TT/S14/01:01:53/CH7

Okka-sama Mrs. Pendragon. Ibu


109


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian)

28/ST/S14/01:04:49/CH8

28/ESIT/S14/01:04:47/CH8

28/TT/S14/01:04:48/CH8

Shoguntachi wa

atsumatta ka

Get my generals

assemble.

Panggil Jenderal

Umum !

29/ST/S15/01:07:05/CH5

29/ESIT/S15/01:07:04/CH5

29/TT/S15/01:07:05/CH5

Wanchan Nice doggy. Anjing pintar

30/ST/S15/01:14:45/CH1

30/ESIT/S15/01:14:44/CH1

30/TT/S15/01:14:44/CH1

Calcifar, Salliman

ga itte ta wa, Howl

wa taisetsu na

mono wa anata ni

watashitatte. Nani

sore? Doko ni aru

no?

Do you know what

Madame Sulliman

said? She said that

Howl’s heart was

stolen by a demon.

Tell me now, what

do you know.

Calcifer, kau tahu

apa yang dikatakan

Madam Suliman ?

Dia bilang bahwa

jantung Howl

dicuri oleh iblis.

Katakan padaku,

apa yang kau

ketahui ?

31/ST/S16/01:17:06/CH2

31/ESIT/S16/01:17:05/CH2

31/TT/S16/01:17:06/CH2

Hya, kimi ga Kabu

da ne?

Looks like we have

yet another

addition to the

family.

Sepertinya kita

memiliki tambahan

anggota keluarga.

32/ST/S16/01:21:07/CH1

32/ESIT/S16/01:21:06/CH1

32/TT/S16/01:21:06/CH1

Hauru, arigatou!

Yume mitai

This place is

gorgeous, Howl!

It’s like a dream.

Howl, terima kasih

! Ini seperti mimpi

33/ST/S17/01:25:30/CH4

33/ESIT/S17/01:25:29/CH4

33/TT/S17/01:25:30/CH4

Sophie, Hauru-san

nara shinpai iranai

yo. Mae mo

nannichimo

inakata koto ga aru

kara.

Oh, don’t worry

about Master

Howl, Sophie.

Sometimes he likes

to go away for

days on end.

Sophie, Jangan

mengkhawatirkan

Howl-san.

Terkadang, dia

suka pergi berhari

– hari.

34/ST/S17/01:25:38/CH1

34/ESIT/S17/01:25:37/CH1

34/TT/S17/01:25:37/CH1


else? Perlu lainnya lagi ?

35/ST/S18/01:31:15/CH1

35/ESIT/S18/01:31:14/CH1

35/TT/S18/01:31:14/CH1

Marukuru, obaa-

chan onegai. O-

mise mitekuru.

Marko get back

inside. I’m gonna

check on the shop.

Markl, masuklah

ke dalam, Aku

akan memeriksa di

dalam toko.

36/ST/S18/01:33:21/CH5

36/ESIT/S18/01:33:20/CH5

36/TT/S18/01:33:21/CH5

Ara, Hauru ja nai. Why, if it isn’t

Howl.

Mengapa, jika

bukan dari dia

Howl ?

37/ST/S19/01:35:41/CH1

37/ESIT/S19/01:35:40/CH1

37/TT/S19/01:35:40/CH1

Asoko ni Hauru ga

iru.

Looks like Howl’s

in trouble. Howl

look out!

Sepertinya Howl

berada dalam

masalah. Howl !

38/ST/S19/01:36:03/CH4

38/ESIT/S19/01:36:02/CH4

38/TT/S19/01:36:02/CH4

Sophie… kabu! What’s going on?

Turnip!

Sophie, Ada apa

dengan Howl ?!

39/ST/S20/01:52:20/CH1

39/ESIT/S20/01:52:19/CH1

39/TT/S20/01:52:19/CH1

Kabu, daijoubu?

Tsugu atarashi bou

mitsukete ageru ne.

Kabu, arigatou.

His pole snapped.

Are you alright?

We’ll get you a

new pole ok? You

saved us, Turnip.

Lobak ? Apa kau

baik saja ? Kita

akan

mencarikanmu

tiang baru, oke ?

Lobak, terima

kasih

40/ST/S20/01:54:21/CH1

40/ESIT/S20/01:54:20/CH1 Arigatou, Calcifar

I miss you too

Calcifer.

Terima kasih,

Calcifer


110


(Japanese)

Source Text 2

(English)

Target Text

(Indonesian)

40/TT/S20/01:54:20/CH1


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