翻譯研究蓬勃發展迄今，許多研究不遺餘力探求翻譯的多種形式。有別於過去翻譯被侷限於討論原「文」和譯「文」之間忠實與否、對等與否之困境，諸多學者表示當今翻譯須以跨領域的面向切入，而非僅把文字與語言當作研究翻譯轉換的唯一準則。透過揉合不同理論、領域和研究，方能豐富我們對翻譯的想像和理解，擴大翻譯的定義。本論文以電影作為探討媒介，聚焦於兩部當代電影：蘇菲亞卡波拉 (Sofia Coppola) 執導的《愛情，不用翻譯》(Lost in Translation) 與約翰卡蘭 (John Curran) 執導的《愛在遙遠的附近》(The Painted Veil)，意圖剖析電影文本中東方和西方世界的文化翻譯與互動。
本文歸納愛德華薩伊德的東方主義，梳理其理論之於好萊塢影視的衍生影響，並企圖結合東方主義與拉普朗虛的謎樣訊息檢視兩部電影中各類東方符碼，例如：亞洲城市的面貌、人物角色、語言使用、物件以及場面調度等如何造成西方主體翻譯解讀後的不適與負面觀感。根據分析結果，發現兩部電影皆存分化東方世界面貌、特意停留原始單一之虞，不過一定程度也渲染多元混雜的文化色彩，勾勒出較以往複雜的世界脈絡。且有些角色能突破重圍，向陌生、不熟悉靠攏；有的依然深陷傷痛迴路，與異世界文化繼續為敵；有的則在突破困境後慘遭滑鐵盧，使原本鬆動的東西文化界線再次壁壘分明。本文利用凝視理論分析東西文化、族裔和性別之間的權力架構，得出兩作同有矮化東方之嫌，鞏固西方之勢，可看出當代西方導演鏡頭下的東方仍位處弱勢；女性導演賦予女性角色權力，削弱男性力量；男性導演則以男性角色為主要掌權者，女性多淪為男性附屬品，點出性別的拉鋸持續角力，且與導演自身密切相關。

With the active development in domain of translation, recent studies have made plenty of efforts to fumble over translation in diverse forms. To this day, the study of translation should no longer exclusively be concerned with the issue of fidelity and equivalence between the source “texts” and the target “texts”. To dismantle the benchmark of only utilizing texts and linguistic paradigm to discuss translation, several scholars have proposed to locate translation in an interdisciplinary light, coupled with different theories, fields and studies, to enrich the perception and imagination to translation and expand its definitions. In view of cinema as the media, the thesis centers on the exploration of two contemporary films: Sofia Coppola’s Lost in Translation and John Curran’s The Painted Veil, aiming to investigate cultural translation and interactions between the East and the West represented in cinematic narratives.
The thesis is greatly inspired by Edward Said’s Orientalism, combing through its ramifications in Hollywood cinema and attempting to combine the idea of Orientalism with Laplanche’s enigmatic signifiers. The purpose is to take a glimpse at how the Oriental signifiers, including the Asian cities’ landscapes, people, languages and mise-en-scenes cause discomfort and negative feel to the Western subjects after their observation and translation of the Orient. It is found both films tend to widen the gap between Eastern and Western cultures, but still develop a more complicated and eclectic milieu of them. Employing gaze to unfold the power structure between two cultures, ethnicities and genders, the thesis discovers the East is relegated in a relatively inferior position by the Western directors. In terms of gender, two directors either tend to empower the female characters or vice versa. Through their respective representations of the Orient and the gender roles, an ongoing drama of dialectic between culture and gender is staged.

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