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AN ANALYSIS OF THE TRANSLATION OF THE IDIOMATIC

EXPRESSIONS USED IN THE SUBTITLES OF TANGLED

A THESIS

BY :

MUCHAMAD SULIMAN

NPM : 29181030

ENGLISH DEPARTMENT

FACULTY OF LANGUAGE AND LITERATURE

WIJAYA PUTRA UNIVERSITY

SURABAYA

2013

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AN ANALYSIS OF THE TRANSLATION OF THE IDIOMATIC

EXPRESSIONS USED IN THE SUBTITLES OF TANGLED

A THESIS

Submitted in Partial Fulfillment of the Requirements for

the Sarjana Sastra Degree in English

BY :

MUCHAMAD SULIMAN

NPM : 29181030

ENGLISH DEPARTMENT

FACULTY OF LANGUAGE AND LITERATURE

WIJAYA PUTRA UNIVERSITY

SURABAYA

2013

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APPROVAL SHEET I

Thesis by : MUCHAMAD SULIMAN

NPM : 29181030

Title : AN ANALYSIS OF THE TRANSLATION OF THE IDIOMATIC

EXPRESSIONS USED IN THE SUBTITLES OF TANGLED

This thesis is qualified and approved to be examined by the examination

committee.

Surabaya, July 4, 2013

Advisor

Drs. Mas Moeljono

NIP.13012820200

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APPROVAL SHEET II

Thesis by : MUCHAMAD SULIMAN

NPM : 29181030

Title : AN ANALYSIS OF THE TRANSLATION OF THE

IDIOMATIC EXPRESSIONS USED IN THE SUBTITLES OF

TANGLED

This thesis has been defended before the Examination Committe of

the Faculty of Language and Literature on August 1, 2013. It has been already

accepted as a partial fulfillment of the requirements for the Sarjana Sastra Degree

in English.

Surabaya, August 1, 2013

Examination Committe

Dra. Arjunani, M.M

Examiner I

Yulis Setyowati, S.pd

Examiner II

Acknowledged by

The Dean of the Faculty of Language and Literature,

(Dra. Arjunani, M.M)

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DECLARATION

I hereby declare that this submission is my own work and that, to the best of my

knowledge and belief, it contains no material previously published or written by

another person nor material which to a substantial extent has been accepted for the

award of any other degree or diploma of the university or other institute of higher

education, except where due reference has been made in the text of the thesis

Surabaya, July 4, 2013

Writer

Muchamad Suliman

NPM : 29181030

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LESSON OF THE DAY

A MAN WHO NEVER MADE A MISTAKE, NEVER MADE ANYTHING.

THE TRICK IS TO BE RESPONSIBLE AND TO LEARN FROM YOUR

MISTAKES, AND YOU CAN DO THAT.

DESTINY IS NOT THE PATH GIVEN TO US. IT IS THE PATH WE CHOOSE

FOR OURSELVES.

This thesis is dedicated to :

My dear beloved late Mom and Dad

My wife to be

My friends at English Department

My friends at Movie, Poetry and Book Club

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ACKNOWLEDGEMENT

First of all, the writer would like to thank Allah SWT, for giving him

strength along all his way. Peace and blessing are upon his beloved prophet,

Muhammad SAW and all of his family, his disciples and his followers.

The completion of this thesis would not have been possible without the

invaluable help, assistance, precious advice, suggestions, understanding and

encouragement that have been received from the writer‘s advisor, Drs. H. Mas

Moeljono. The writer would like to express his sincere gratitude to him for

guiding the writer conducting this research and has been so generous in devoting

his time and knowledge to the writer.

In the term of completing his study, the writer would like to express his

deepest gratitude to the Dean of Faculty of Language and Literature, Dra.

Arjunani, M.M; The Head of English Literature Department, Mrs. Yeni

Probowati, S.Pd; The Head of English Study Centre, Mrs. Yulis Setyowati, S.Pd;

and to all lecturers who have taught him a lot of thing during his study. The writer

also wish to convey his heartfelt gratitude to all his past and present teachers for

their help and advice.

The writer‘s big family deserves his deepest esteem more than anyone else

does, for financial, spiritual and moral support through both hard and good times;

his dear beloved late parents, Rani and Suwardi; his brothers and sisters, Sholeh,

Maimunah, Ashari, So‘in and Suwarti.

In addition, the writer would like to thank to the following fellows, friends

and acquaintances; classmates at 2009 English Literature Class, Prima, Jose,

Sarwita, Idrus, Atik and the others – for the joy and friendship; friends at Movie,

Poetry and Book Club in the United States Consulate General Surabaya; Public

Affairs Officer, Andrew Veveiros; IRC Director and staff, Mr. Christian and Mrs.

Esti; Book Club Conductor, Julie Veveiros; Movie and Poetry Club Conductor,

Kate Burril; Administration Officer at American Corner Airlangga University,

Mr. Agung; English Dialogue Conductor at American Corner Airlangga

University, Mr. Puguh; and my fellow members, Ms. Vivi, Mr. Petrus, Mrs.

Rindra, Mrs. Yuni and many others – for the joy, friendship, good times,

invaluable sharing and priceless bonds.

The last but not the least, the writer is deeply thankful to the individuals

that are too numerous to mention who have been encouraging him along the way.

Surabaya, July 4, 2013

The writer

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ABSTRACT

AN ANALYSIS OF THE TRANSLATION OF THE IDIOMATIC

EXPRESSIONS USED IN THE SUBTITLES OF TANGLED

Name : MUCHAMAD SULIMAN

NPM : 29181030

Program : S-1

Department : English Department

Faculty : Faculty of Language and Literature

Institution : Wijaya Putra University

Idioms are the gems of a language, they can be considered as a part of

everyday language. They are the essence of any language and the most

problematic part to handle with. Translating English idioms is not an easy task

because not all English idioms have equivalents in Indonesian idioms due to

linguistic, especially cultural differences. Not all idioms have direct equivalents in

other languages, because they are linguistic expressions which are typical for a

language and specific to a single culture. It is impossible to define any unique

approach in the translating process since so many idioms are culturally specific

and thus the pragmatic meaning must be much more prized than the literal

meaning. If they are to be translated literally or word-for-word, they probably lead

to extreme confusion.

This thesis is qualitatively approached and aims to propose the integrated

translation method, one indispensable and important tactic to Indonesian

translation of English idioms based on Newmark‘s eight translation methods

which then becomes a reasonable choice and the quality of translation are decided

by the translator‘s cultural awareness and creativity. The writer finds that most

English idiomatic expressions in Tangled movie script are literally translated. This

thesis presents the definition of idioms and to see what they are. Then, it classifies

the idioms into different categories. In the end, gives some techniques and

procedures to translate them.

Finally, the writer hopes that this thesis will be useful for both theoritical

and practical source in learning how to translate English idioms and also for those

who conduct further study about translation of English idioms.

Keywords: Idiomatic Expression, Translation, Subtitle.

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TABLE OF CONTENT

APPROVAL SHEET I .......................................................................................... i

APPROVAL SHEET II ....................................................................................... ii

DECLARATION ................................................................................................ iii

LESSON OF THE DAY ..................................................................................... iv

ACKNOWLEDGEMENT ................................................................................... v

ABSTRACT ....................................................................................................... vi

CHAPTER I ........................................................................................................ 1

INTRODUCTION ............................................................................................... 1

1.1 Background of the Study ............................................................................ 1

1.2 Statement of The Problem ......................................................................... 4

1.3 Objective of The Study ............................................................................... 4

1.4 Significance of The Study ......................................................................... 4

1.5 Limitation of The Study ............................................................................ 5

1.6 Definition of Key Terms............................................................................ 5

CHAPTER II ....................................................................................................... 6

REVIEW OF RELATED THEORIES ................................................................. 6

2.1 Definition of Translation ............................................................................ 6

2.2 Translation Procedure................................................................................. 7

2.2.1 Newmark‘s Translation Procedure ....................................................... 7

2.2.2 Vinay and Darbelnet‘s Translation Procedure .................................... 15

2.3 Idiomatic Expression ................................................................................ 19

2.3.1 Classification of Idioms .................................................................... 21

2.3.2 Difficulties in Translating Idiomatic Expression ................................ 24

2.4 Subtitling ................................................................................................ 27

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2.5 Theoritical Framework ............................................................................. 29

2.6 Review of Related Studies ........................................................................ 29

CHAPTER III .................................................................................................... 32

RESEARCH METHODOLOGY ....................................................................... 32

3.1 Research Approach .................................................................................. 32

3.2 Corpus...................................................................................................... 32

3.3 Technique of Data Collection ................................................................... 33

3.4 Technique of Data Analysis ...................................................................... 34

CHAPTER IV .................................................................................................... 36

DATA PRESENTATION AND ANALYSIS ..................................................... 36

4.1 Data Presentation ..................................................................................... 36

4.2 Identification Table .................................................................................. 39

4.3 Analysis of the Misinterpreted Idioms ..................................................... 41

CHAPTER V ..................................................................................................... 50

CONCLUSION AND SUGGESTION ............................................................... 50

5.1 Conclusion ............................................................................................... 50

5.2 Suggestion................................................................................................ 52

BIBLIOGRAPHY .............................................................................................. 53

APPENDIX ....................................................................................................... 55

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CHAPTER I

INTRODUCTION

1.1 Background of the Study

Susan Bassnet (2002, p.12) proposed a definition of translation as follows:

What is generally understood as translation involves the rendering of a

source language (SL) text into the target language (TL) so as to ensure

that (1) the surface meaning of the two will be approximately similar

and (2) the structures of the SL will be preserved as closely as possible but not so closely that the TL structures will be seriously

distorted.

Jeremy Munday (2008: p.5) noted that

the process of translation between two different written languages

involves the translator changing an original written text (the source

text or ST) in the original verbal language (the source language or SL) into a written text (the target text or TT) in a different verbal language

(the target language or TL).

However, the main objective of translation is to deliver the message from the

source language (SL) to the target language (TL). Problems usually arise when

people deal with idiomatic expressions, especially idiomatic expressions in

movies. It is simply because they are spoken, not written and the conversation

among the casts happens so fast that the viewer barely capture the whole line of

the conversation. The differences of culture in which the movie is produced also

influence the meaning of each idiomatic expression.

In his article ‗On Linguistic Aspects of Translation‘, Roman Jakobson

distinguishes three types of translation (Lawrence Venuti, 2000, p.114):

1. Intralingual translation, or rewording (an interpretation of verbal signs by means of other signs in the same language).

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2.-Interlingual translation or translation proper (an interpretation of verbal signs by means of some other language).

3. Intersemiotic translation or transmutation (an interpretation

ofverbal signs by means of signs of nonverbal sign systems).

Christine Ammer (1997, p.iii) noted that

―An idiom is a set phrase of two or more words that means something

different from the literal meaning of the individual words. For instance, the phrase to change one’s tune has nothing to do with music

but means ‗to alter one‘s attitude.‘ Similarly to hit the nail on the head

often has nothing to do with carpentry but means simply ‗to be absolutely right‘ ―

Idioms are the Idiosyncrasies of a language. Often defying rules of logic, they

pose a great difficulties for non-native speakers. Idioms can also be

unrecognizable for non-native speakers, consequently they translate them literally.

The meaning would be awkward and does not make any sense, thus making it far

away from the intended meaning. Moreover the culture of both languages are

different.

Translating idioms has been a puzzling problem for many people.

Someone must comprehend translation and idiomatic expression because they are

interconnected. Take an example, my hands are full, people tend to translate this

idiomatic expression literally in Indonesian as “tanganku penuh”, but of course

that is not the correct meaning. Thus demanding us to have a good skill in

translation.

In this case, the movie script that would be analized is based on a movie

entitled Tangled produced by Walt Disney Animation Studios which was

released in 2010. It is loosely based on the German fairy tale “Rapunzel”. The

genre of the movie is computer-animated musical fantasy-comedy film. The film

tells the story of a lost princess who possesses long magical hair, the princess is

stolen by a woman named Gothel since she just born. The movie simply portrays

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a lost princess named Rapunzel who possesses magic hair that glows when she

sings a special song for it and a young man who is a thief named Eugene

Fitzherbert or more known as Flynn Rider. The two are in an accidental and

awkward romance after one awkward meeting. Both Rapunzel and Flynn face the

same fun adventure in search of Rapunzel‘s true identity. In time, they fall in love

with each other. In Indonesia, the story is much like the story of Bawang Merah

and Bawang Putih, only without Bawang Merah representation. In Tangled

Rapunzel is represented by Bawang Putih who is abused by a wicked mother.

There are so many idiomatic expressions found in the dialogue of the

movie. The amount of idiomatic expressions is sufficient to be researched to find

out whether there is misinterpreted expressions or not. Since every idiom has its

own meaning and can not be translated literally, there should be a particular

treatment for the process of subtitling. The writer found and downloaded both

English and Indonesian subtitle from subscene.com. Subscene.com is a database

of subtitles for international movie viewers. According to Simon Slangen, a staff

writer and ebook editor at MakeUseOf.com in his article ―The 3 Best Subtitle Sites

For Your Movies & TV Series” in February 16, 2010, subscene.com is one of the

best subtitle database. He said that

From all the best subtitle sites over the web, Subscene stands out. Use

it once, and you‘ll be hooked. Aside from looking great, it has an

incredibly user-friendly and reliable interface, and offers pretty much

all the subtitles you need.

The subtitles match perfectly with the conversation and the image flow, it makes

subscene.com as a valid and reliable source of the primary data.

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1.2 Statement of The Problem

Based on the background of the study explained above, the writer found

the problem as follows :

1. What idiomatic expressions are found in Tangled ?

2. Is there any misinterpretation resulting in incorrect translations of idiomatic

expressions in the script of Tangled ?

3. How does the writer probably analyze the idiom to produce suitable

translation for Tangled ?

1.3 Objective of The Study

Through the analysis of the primary data, that is a movie script, the writer

would like to find the idiomatic expressions and identify whether there are any

idiomatic expressions in the movie script of Tangled which are misinterpreted by

the translator. The next objective is trying to analyze and give more suitable

translation for the misinterpreted idioms based on the context.

1.4 Significance of The Study

1. For the writer, this study is expected to broaden knowledge about the

translation of idiomatic expressions in the movie script.

2. For the institution, this study is aimed to be one of the references for further

study about translation of idiomatic expressions.

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3. For general people, this study is expected to be the starting point for those

who would like to do movie translation so that they can provide correct

translation of idiomatic expressions.

1.5 Limitation of The Study

The study that is conducted in this research is limited only in the area of

translation of idiomatic expression in the movie script of Tangled.

1.6 Definition of Key Terms

The definiton of key terms in this study is intended to give a clear

perspective of some terms to avoid misinterpretation, the terms are :

1. Idiomatic expression : An idiom is a set phrase of two or more words that

means something different from the literal meaning of the individual words.

2. Source language : The originating language that will be translated into

another language.

3. Target language : The destination language in which the source language will

be translated into.

4. Movie script : List of dialogues that are spoken by the casts of the movie.

5. The writer : The conductor of this research.

6. The script writer/Translator : The person who makes the Indonesian subtitle

of the movie Tangled.

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CHAPTER II

REVIEW OF RELATED THEORIES

2.1 Definition of Translation

Translation is a process of communication, the objective of translating is

to impart the knowledge of the original to the foreign reader. Many scholars

define translation in many ways. However, the core of each is just the same. The

elements of translation are Source Language (SL), Target Language (TL), and

Equivalency. Jeremy Munday noted in his book Introducing Translation Studies :

Theories and application (2008, p.5)

The process of translation between two different written languages

involves the translator changing an original written text (the source

text or ST) in the original verbal language (the source language or SL) into a written text (the target text or TT) in a different verbal language

(the target language or TL).

Another theory of translation constructed by Susan Bassnet in her book

Translation Studies (2002, p.12) said

What is generally understood as translation involves the rendering of a

source language (SL) text into the target language (TL) so as to ensure

that (1) the surface meaning of the two will be approximately similar and (2) the structures of the SL will be preserved as closely as

possible but not so closely that the TL structures will be seriously

distorted.

However, Peter Newmark (1988, p.5) has another definition of translation, ―It is

rendering the meaning of a text into another language in the way that the author

intended the text.‖

The belief of equivalency is the core issue in translation. Susan Bassnett

(2002, p.34) noted that :

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The problem of equivalence, a much-used and abused term in Translation Studies, is of central importance. Translation involves far

more than replacement of lexical and grammatical items between

languages and, as can be seen in the translation of idioms, the process may involve discarding the basic linguistic elements of the SL text

and then problems of determining the exact nature of the level of

equivalence aimed for begins to emerge.

The question of defining equivalence is being pursued by two lines of

development in translation studies. The first, rather predictably, lays an emphasis

on the special problems of semantics and on the transfer of semantic content from

SL to TL. With the second, which explores the question of equivalence of literary

texts, together with more recent developments in discourse analysis, have

broadened the problem of equivalence in its application to the translation of such

texts. The question of cultural difference between SL and TL also plays another

difficulties in reaching equivalency. Susan Bassnett (2002, p.36) noted that

James Holmes, for example, feels that the use of the term equivalence

is ‗perverse‘, since to ask for sameness is to ask too much. Equivalence in translation, then, should not be approached as a search

for sameness, since sameness cannot even exist between two TL

versions of the same text, let alone between the SL and the TL version.

In this case, translating idioms takes the writer a phase further in examining the

question of meaning and translation , due to culture bound.

2.2 Translation Procedure

2.2.1 Newmark‘s Translation Procedure

Newmark mentions ―While translation methods relate to whole

texts, translation procedures are used for sentences and the smaller units

of language‖ (1988, p.81). Newmark also emphasizes one problem

concerning translation by stating ―the central problem of translating has

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always been whether to translate literally or freely‖. The argument has

been going on for a long time, many writers favoured some prominency

of free translation: the spirit, not the letter; the sense not the words; the

message rather than the form; the matter not the manner. However, this

argument was turned upside down, it was at the turn of the nineteenth

century, when the study of cultural anthropology suggested that the

linguistic barriers were insuperable and that language was entirely the

product of culture, the view that translation impossibly gained some

equivalency, so it must be as literal as possible. The tendency of

Newmark‘s theory of translation and the emphasis of translation method

can be seen in the V diagram below :

SL emphasis TL emphasis

Word-for-word translation Adaptation

Literal translation Free translation

Faithful translation Idiomatic translation

Semantic translation Communicative translation

SL emphasis means that the translation follows what is common, normal

or simply most used in the source language, such as the structure, the lexis

and the culture. Whereas TL emphasis means that the translator does not

only consider the discourse, but also any other aspects, such as the

structure, the lexis and the culture on the target language. The writer tries

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to explain Newmark‘s eight methods of translation (1988, p.45-47) as

follows :

1. Word-for-word translation

This is often showed as interlinear translation, with The TL

immediately below the SL words. The SL word-order is preserved and the

words translated singly by their most common meanings, out of context.

Cultural words are translated literally. The main use of word-for-word

translation is either to understand the mechanics of the source language or

construe a difficult text as a pre-translation process. In Bahasa Indonesia,

we can find some examples of this kind of translation, such as:

1. SL : Look, little guy, you-all shouldn‘t be doing that.

TL : Lihat, kecil anak, kamu semua harus tidak melakukan itu.

According to that translation, the translation is awkward and makes no

sense because of the phrase ‗kecil anak‘ is not instantly accepted or

understood in the structure of Bahasa Indonesia. The meaning of the

phrase ‗harus tidak‘ is also incorrect. Both phrases should be translated as

‗anak kecil‘ and ‗seharusnya tidak‘ and the whole translation should be

‗Lihat anak kecil, kalian semua seharusnya tidak melakukan itu.‘

2. SL : I like that clever student.

TL : Saya menyukai itu pintar anak.

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The translation is not accepted in Bahasa Indonesia, because the

translation should be ‗anak pintar itu‘ instead of ‗itu pintar anak‘ and the

whole translation is supposed to be ‗Saya menyukai anak pintar itu.

3. SL : I will go to New York tomorrow.

TL : Saya akan pergi ke New York besok.

4. SL : Joanne gave me two tickets yesterday.

TL : Joanne memberiku dua tiket kemarin.

The translation of sentence 3 and 4 are not so bad as the translation of

sentence 1 and 2 because the structure of both sentences are not so

complex.

2. Literal translation

The SL grammatical constructions are transformed to their nearest

TL equivalents but the lexical words are again translated singly, out of

context. As a pre-translation process, this indicates the problems to be

solved. Here are some examples of literal translation :

1. SL : It‘s raining cats and dogs.

TL : Hujan kucing dan anjing.

2. SL : His heart is in the right place.

SL : hatinya berada di tempat yang benar.

3. SL : The sooner or the later the weather will change.

TL : Lebih cepat atau lebih lambat cuaca akan berubah.

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Seen from the translation, some literally translated sentences make no

sense. For instance, sentence 1 is supposed to be translated as ‗Hujan

lebat‘ or ‗Hujan deras‘.

As for sentence 2 is hould be translated as ‗Hatinya tentram‘, and sentence

3 is supposed to be translated as ‗ Cepat atau lambat cuacanya akan

berubah‘.

3. Faithful translation

A faithful translation tries to reproduce the precise contextual

meaning of the original within the constraints of the TL grammatical

structures. It 'transfers' cultural words and preserves the degree of

grammatical and lexical 'abnormality' (deviation from SL norms) in the

translation. It attempts to be completely faithful to the intentions and the

text-realisation of the SL writer. The translation sometimes feels hard to

understand and sounds unfamiliar. Examine the following example :

1. SL : Ben is too well aware that he is naughty.

TL : Ben menyadari terlalu baik bahwa ia nakal.

2. SL : I have quite few friends.

TL : Saya mempunyai samasekali tidak banyak teman.

4. Semantic translation

Semantic translation is distinct from 'faithful translation' only in as

far as it must take more account of the aesthetic value (that is, the beautiful

and natural sounds of the SL text, compromising on 'meaning' where

appropriate so that no assonance, word-play or repetition jars in the

finished version. Further, it may translate less important cultural words by

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culturally neutral third or functional terms but not by cultural equivalents.

The distinction between 'faithful' and 'semantic' translation is that the first

is uncompromising and dogmatic, while the second is more flexible,

admits the creative exception to 100% fidelity and allows for the

translator's intuitive empathy with the original. Semantic translation is

more flexible than faithful translation, in other words, it i more connected

to the TL. Have a look at the following example :

1. SL : He is a book-worm.

TL : Dia (laki-laki) adalah seorang yang suka sekali membaca.

The phrase book-worm is flexibly translated and somehow suitable

with cultural context and functional constraint in the TL. However the

sentence is less exactly translated, it is supposed to be ‗Dia seorang

kutu buku.‘

5. Adaptation

This is the 'freest' form of translation. It is used mainly for plays

(comedies and poetry; the themes, characters, plots are usually preserved,

the SL culture converted to theTL culture and the text rewritten. The

deplorable practice of having a play or poem literally translated and then

rewritten by an established dramatist or poet has produced many poor

adaptations, but other adaptations have 'rescued period plays. The

following is a song lyric adapted into Bahasa Indonesia.

SL : hey Jude, don’t make it bad

Take a sad song and make it better

Remember to let her into your heart

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Then you can start to make it better

TL : kasih, dimanakah

Mengapa kau tinggalkan aku

Ingatlah-ingatlah kau padaku

Janji setiamu takan ku lupa

6. Free translation

Free translation reproduces a little excessive translation. It focuses

on the matter without considering the manner, or the content without the

form of the original. Usually it is a paraphrase much longer than the

original, a so-called 'intralingual translation, often prolix and pretentious,

and not translation at all.

Here are the examples of this kind of translation :

1. SL : The flowers in the garden

TL : Bunga-bunga yang tumbuh di kebun.

2. SL : How they live on what he makes ?

TL : Bagaimana mereka dapat hidup dengan penghasilannya ?

In example 1, there is a shift of meaning in the prepositional phrase ‗in the

garden‘ which becomes a clause ‗yang tumbuh di kebun‘ in the TL.

Whereas in example 2, the clause ‗on what he makes‘ is paraphrased as

‗dengan penghasilannya‘ in the TL.

7. Idiomatic translation

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Idiomatic translation reproduces the 'message' of the original form

but tends to distort nuances of meaning by preferring colloquialisms and

idioms where these do not exist in the original form. The translation is not

recognized by the readers as something hard to be understood. Here are

some examples :

1. SL : I can relate to that.

TL : Aku mengerti maksudnya.

2. SL : Excuse me ?

TL : Maaf, apa maksud anda?

3. SL : A quick swim in the morning makes me feel like a million dollars.

TL : Berenang di pagi hari membuatku sehat wal‘afiat.

8. Communicative translation

Communicative translation attempts to render the exact contextual

meaning of the original in such a way that both content and language are

readily acceptable and comprehensible to the readership. This method

emphasizes on the principles of communication. An example of this kind

of translation can be understood in the translation of the word ‗spines‘ in

the phrase ‗thorns spines in old reef sediments.‘ If the word ‗spines‘ is

translated by a Biologist, then it would be ‗spina‘ (a Latin technical term).

Since the word is translated for more general readers or audience, therefore

the word is translated as ‗duri‘.

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2.2.2 Vinay and Darbelnet‘s Translation Procedure

On the other hand, Vinay and Darbelnet (2000, p.84) suggested

two major translation strategies. They are direct, or literal translation and

oblique translation. Together, the two strategies make up seven methods

of translation. In the listing which follows, the first three methods are

direct and the others are oblique.

1. Borrowing

Borrowing is the simplest translation method. It would not even

need discussion in this context if translators did not occasionally need to

use it in order to create a stylistic effect. For instance, in order to

introduce the flavour of the source langugae (SL) culture into a

translation, from American English, Mexican Spanish food names

―tequila‖ and ―tortillas‖, and so on. There are two kinds of Borrowing,

the pure borrowing and naturalised borrowing. The following are other

examples ;

1. Pure borrowing : harddisk, pizza, lasagna, hotdog, etc.

2. Naturalised borrowing :

SL : Computer

TL : Komputer

2. Calque

A calque is a special kind of borrowing in which a language

borrows an expression form of another, but then translates literally each

of its elements. The result is either:

1. A lexical calque, as in the following example :

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Science-fiction translated as Science-fiction

Secretary-General translated as Sekretaris Jenderal

The two are examples of calque which respect the syntactic structure

of the TL, whilst introducing a new mode of expression.

2. A structural calque, as in the second example, below, which

introduces a new construction into the language, e.g.:

Ministry of Public Works Kementrian Pekerjaan Umum

The structural interference from the source language to the target

language is the typical characteristic of calque.

3. Literal translation

Literal translation is the direct conversion of a SL text into a

grammatically and lexically appropriate TL text in which the translators‘

task is limited to observing the adherence to the linguistic formal state of

the TL. Below is an example of literal translation from English into

Bahasa Indonesia :

SL : Put your books on the table.

TL : Letakkan buku-bukumu di atas meja.

Each of those words can be easily translated from English into

Bahasa Indonesia by looking up the dictionary. If there were conceptual

dictionaries with bilingual signifiers, translators would only need to look

up the appropriate translation under the entry corresponding to the

situation identified by the SL message. But such dictionaries do not exist

and therefore translators start off with words or units of translation, to

which they apply particular procedures with the intention of conveying

17

the desired message. Since the positioning of a word within an utterance

has an effect on its meaning, it may well arise that the solution results in

a grouping of words that is so far from the original starting point that no

dictionary could give it. Given the infinite number of combinations of

signifiers alone, it is understandable that dictionaries cannot provide

translators with ready-made solutions to all their problems. Only

translators can be aware of the totality of the message, which determines

their decisions. In the final analysis, it is the message alone, a reflection

of the situation that allows us to judge whether two texts are adequate

alternatives.

4. Transposition

Transposition method attempts to replace one word class with

another without changing the meaning of the message. Here are the

examples of transposition from English into Bahasa Indonesia :

1. SL : Once he is done elaborating the accounting material, he will go

out.

TL : Begitu dia selesai menjabarkan materi akuntansinya, dia akan

keluar.

2. SL : Once his accounting elaboration is done, he will go out.

TL : Begitu penjabaran materi akuntansinya selesai, dia akan keluar.

5. Modulation

Modulation is varying the form of the message, obtained by a

change in the point of view. This conversion can be justified when,

although a literal, or even transposed, translation results in a

18

grammatically correct utterance, it is considered unsuitable, unidiomatic

or awkward in the TL. Below are some examples of modulation from

English into Bahasa Indonesia :

1. SL : You are going to have a child.

TL : Anda akan menjadi seorang Bapak.

2. SL : I cut my finger.

TL : Jariku tersayat. Instead of Aku momotong jariku.

3. SL : David stood there looking at her, and the room was swimming.

TL : David hanya berdiri memandangnya, ruangan serasa berputar.

The word ‗swimming‘ means ‗berenang‘ in Bahasa Indonesia, but it

translated as ‗berputar‘. There is a change in point of view. It is awkward

if translated literally‘ ruangan serasa berenang.‘

6. Equivalence

We have repeatedly stressed that one and the same situation can be

rendered by two texts using completely different stylistic and structural

methods. In such cases we are dealing with the method which produces

equivalent texts. The classical example of equivalence is given by the

reaction of an amateur who accidentally hits his finger with a hammer: if

he were Indonesian his cry of pain would be transcribed as ―Aduh!‖, but

if he were English this would be interpreted as ―Ouch!‖. Another striking

case of equivalences are the many onomatopoeia of animal sounds, e.g.:

Some examples in English into Bahasa Indonesia :

1. SL : cock-a-doodle-do

TL : kukuruyuuk

19

2. SL : meow

TL : meong

7. Adaptation

This seventh method reaches the extreme edge of translation: it is

used in those cases where the type of situation being referred to by the SL

message is unknown in the TL culture. In such cases translators have to

create a new situation that can be considered as being equivalent.

Adaptation can, therefore, be described as a special kind of equivalence, a

situational equivalence. Adaptations are particularly frequent in the

translation of book and film titles for example ‗Snow White‘ which is

adapted into Bahasa Indonesia as ‗Putri Salju‘ and ‗Sleeping Beauty‘ as

‗Putri Tidur‘. Another example of this translation is ‗Snake in the grass‘

whic is translated as ‗musang berbulu ayam‘.

2.3 Idiomatic Expression

An idiom is generally understood as a group of words in a fixed order that

have a particular meaning that is different from the meaning of each word

understood on its own. Oxford Advanced Learner‘s dictionary (1995, p.589)

defines idiom as a phrase or sentence whose meaning is not clear from the

meaning of its individual words and which must be learnt as a whole unit.

Christine Ammer (1997, p.iii) states that the true test of an idiom is whether it

changes meaning when rendered word for word in another language.

The definition and opinion above obviously show the particular

characteristics of idiom, and unlike other phrases idioms have several restrictions

20

due to its particular characteristics. Baker (1992, p.63) clarifies the restrictions of

idiom into several points:

1. Change the order of the words in it (e.g. ‗the short and the long of

it‘).

2. Delete a word from it (e.g. ‗spill beans‘).

3. Add a word to it (e.g. ‗the very long and short of it‘, ‗face the classical music‘)

4. Replace a word with another (e.g. ‗the tall and the short of it‘, bury

a hatchet‘) 5. Change its grammatical structure (e.g. ‗the music was faced‘).

Concerning the idiomatic expressions used in the movie, it is typically

American movies that use a lot of idiomatic expressions which are naturally

connected with the American idioms. In short, the movie is a modern Walt Disney

Animation which embraces traditional "princess" fare with Tangled, a cheeky

retelling of the Brothers Grimm‘s classic fairy tale, Rapunzel. In this more action-

oriented musical comedy, Rapunzel is a princess who was abducted as a baby and

raised as a virtual prisoner in a remote castle by the evil woman, Mother Gothel.

Rapunzel has 70 feet of magic, golden hair, hair that keeps Mother from aging.

Having spent her entire life within the tower (with just Mother and the tiny, silent

chameleon Pascal for company), Rapunzel is full of curiosity about the outside

world. One day while Mother Gothel is away, Rapunzel is frightened by a surprise

visitor coming through her window, the dashing, roguish bandit Flynn Rider.

Flynn is not only on the run from his brutish former cohorts, the Stabbington

Brothers, but also from the royal guards after escaping a jeweled tiara he had

stolen. Tangled might ultimately be a modern Disney classic, and moreover this

movie has a lot of fun, full of humor, adventure, and good music. Those

characteristics result in the use of many idiomatic expressions during conversation

and the songs.

21

2.3.1 Classification of Idioms

In order to help to understand idioms better, there is a classification

of them. Idioms can be grouped into five categories, they are

colloquialisms, proverbs, slangs, allusions and phrasal verbs. Below is a

brief definition of each with some examples.

1. Colloquialism

Colloquialism is an expression not used in formal speech or

writing. Colloquialism or colloquial language is considered to be

characteristic of or only appropriate for casual, ordinary, familiar, or

informal conversation rather than formal speech or writing. They are

used in daily conversations. Below are the examples of colloquialism :

1. SL : He died of laughter.

Tl : Dia tertawa terbahak-bahak.

2. SL : This cellphone has been on the blink for two weeks.

TL : Telepon seluler ini sudah rusak selama dua minggu.

2. Proverbs

Proverb is a simple way of speaking. It is used the time when we

want to make our speech more concrete and more understandable. It is

popularly used and repeated and expresses facts and truth based on

common sense. Wolfgang Mieder is an American scholar working on

proverb. He defines proverb as follows:

A proverb is a short, generally known sentence of the folk which

contains wisdom, truth, morals, and traditional views in a metaphorical,

fixed and memorizable form and which is handed down from generation

22

to generation.

The reason to use proverbs can be to choose a way of saying a fact

gently and smoothly and to make it more reliable and valid. Other times,

they are used to carry more weight in a discussion. Another reason can be

to give more taste and beauty to our speech. Good speakers try to make

use of proverbs to attract their audience.

Examples of english proverb and their meaning in Bahasa

Indonesia can be actions speak louder than words or the expression no

pain, no gain which refers to the situation of suffering in order to gain the

thing we have intended to achieve.

1. SL : Actions speak louder than words.

TL : Tindakan lebih berarti daripada kata-kata.

2. SL : A half of loaf is better than none.

TL : Sedikit itu lebih baik daripada tidak sama sekali.

3. SL : A picture is worth more than a thousand words.

TL : Sebuah gambar jauh lebih mudah dimengerti daripada

penjelasan panjang lebar.

3. Slang

Slang is the use of highly informal words and expressions that are

not considered as the standard use of language. It is often used as a way

to say words that are not appropriate or somehow taboo. Slang lowers

the dignity of formal or serious speech or writing and replace a well-

23

known conventional synonym. Slang is used to add humor and fun to

one‘s speech. Here are examples of slang :

1. SL : He has been such a horse’s ass.

TL : Dia itu memang menyebalkan.

2. SL : Your friend over that corner is a chicken.

TL : Temanmu yang di pojok itu penakut.

4. Allusion

Allusion is a figure of speech that makes a reference to a place,

event, literary work, myth, or work of art, either directly or by

implication. Allusion can also be defined as ―a brief reference, explicit

or indirect, to a person, place or event, or to another literary work or

passage‖.

1. SL : He was a real Romeo with the ladies.

TL : Dia benar-benar romantis terhadap gadis-gadis.

5. Phrasal verb

Phrasal verb is the combination of a verb and a preposition, a verb

and an adverb, or a verb with both an adverb and a preposition. A

phrasal verb often has a meaning which is different from the original

verb.

They are usually used informally in everyday speech as opposed to the

more formal verbs. For example the informal use these phrasal verbs :

1. SL : Grace told me that she wanted to start over.

TL : Grace bilang dia ingin mulai dari awal lagi.

2. SL : Let me speak to Jennifer before you hang up.

24

TL : Ijinkan aku bicara dengan Jennifer sebelum kau tutup

teleponnya.

2.3.2 Difficulties in Translating Idiomatic Expression

Translating idioms is a difficult task for anyone especially if he or

she is not aware of the cultural differences of the source and target

languages. The main problems are recognizing idioms and distinguishing

idiomatic from non-idiomatic expressions.

It is sometimes even hard to find the right equivalent for a single word

without finding equivalence for a sequence of words that convey one

specific meaning. Idiomatic expression translation is difficult due to the

lack of sense of equivalence in the TL. Idioms are culturally specific,

which means that they may express a sense that doesn‗t occur in the TL.

Baker (1992, p.68) stresses this point when she says:

Idioms and fixed expressions which contain culture-specific items are

not necessarily translatable. It is not the specific items of expression

contain but rather the meaning it conveys and its association with

culture-specific context which can make it untranslatable or difficult to translate.

Baker (1992, p.65) also implies the major problems of dealing with idiom

are the ability to recognize and interpret and idiom correctly. The

translation of idiomatic expressions needs a particular efforts and for that

reason idiom requires certain method of translation .

One problem with sentences that contain idioms is that they are

typically ambiguous. In the sense that either literal or idiomatic translation

is possible. To deal with such problem, Newmark has some method of

translation including a method called idiomatic translation. Once an idiom

25

is recognized and interpreted correctly, there will be other difficulty. That

is the process of finding the equivalent expression in the target language.

Here, the writer tries to emphasize the obstacles in translating idiom based

on Baker‘s summary (1992, p.68-71) as follows :

1. An idiom or fixed expression may have no equivalent form in the target

language. The way a language chooses to express, or not express, various

meanings cannot be predicted and only occasionally matches the way

another language chooses to express the same meanings. One language

may express a given meaning by means of a single word, another may

express it by means of a transparent fixed expression, a third may express

it by means of an idiom, and so on. It is therefore unrealistic to expect to

find equivalent idioms and expressions in the target languages as matter of

course.

Like single words, idioms and fixed expressions may be culture-specific.

Formulae such as Merry Christmas which relate to specific social or

religious occasions provide good examples.

Idioms and fixed expressions which contain culture-specific items are not

necessarily untranslatable. It is not the specific items an expression

contains but rather the meaning it conveys and its association with culture-

specific contexts which can make it untranslatable or difficult to translate.

It is not the specific items an expression contains but rather the meaning it

conveys and its association with culture-specific contexts which can make

it untranslatable or difficult to translate. For example, the English

expression he doesn't care a fig.

26

2. An idiom or fixed expression may have a similar counterpart in the

target language, but its context of use may be different; the two

expressions may have different connotations, for instance, or they may not

be pragmatically transferable. To sing a different tune is an English idiom

which means to say or do something that signals a change in opinion

because it contradicts what one has said or done before.

3. An idiom may be used in the source text in both its literal and idiomatic

senses at the same time. Unless the target-language idiom corresponds to

the source-language idiom both in form and in meaning, the play on idiom

cannot be successfully reproduced in the target text. E.g. He was deaf to

his father's advice or I ran short of money last week.

4. The very convention of using idioms in written discourse, the contexts

in which they can be used, and their frequency of use may be different in

the source and target languages. English uses idioms in many types of text,

though not in all. E.g. take no thought for tomorrow or stick to your guns.

The main cause of error in translation is human factor, the translator is not

able to identify idiomatic expression, and the ability could affect the

choice of the method and later influencing the final result in the target

language. It has been known that idiomatic expression is not always

obvious and is not fixed in their form. Moreover there are various types of

idiom, some are easily recognizable than others.

Baker (1992, p.65) emphasizes the main problems about idiomatic

expressions:

27

the ability to recognize and interpret idiom correctly, and the difficulties involved in rendering the various aspects of meaning that

an idiom or fixed expression conveys into the target language.

2.4 Subtitling

This thesis mainly discusses translation of idiomatic expression in Tangled

movie script. It needs some approaches which concern with idiomatic translation

and translation of movie script.

There are two ways to transfer message from the source language to the

target language (language transfer) in a movie, they are subtitling and dubbing.

Both are essentially the same, that is to transfer the message from the source

language dialogue to the target language diologue, yet technically different.

Oxford Advanced Learner‘s Dictionary (1995, p.1193) defines subtitling as words

that translate what is said in a film in a different language and appear on the

bottom of the screen.

In a broader definition, subtitles are textual versions of the dialog or

commentary in films, television programs, video games, and the like, usually

displayed at the bottom of the screen. They can either be a form of

written translation of a dialog in a foreign language, or a written rendering of the

dialog in the same language, with or without added information to help viewers

who are deaf and hard of hearing to follow the dialogue, or people who cannot

understand the spoken dialogue or who have accent recognition problems.

Oxford Advanced Learner‘s Dictionary (1995, p.359) defines that dubbing

means to replace the original soundtrack of a film with one in a different

language. In this case, dubbing becomes the replacement of the dialogue and

28

narration of the foreign language (known as the Source Language), into the

language of the viewing audience (known as the Target Language). It is basically

translating other-language television programs to the language that suits the

current viewers.

Translating movie or subtitling is interesting since it is not the same with

translating book, because the language that is used for subtitling needs to be more

compact, it is not only because of the space limit but also the time constrain. The

writer lists these processes separately below, noting that the order of these

activities are done while watching a movie with subtitle on the screen.

1. Reading the subtitles

2. Decoding the subtitles: This involves decoding the syntactic and semantic

content of the subtitles to arrive at a pragmatically acceptable interpretation.

Viewers "supplement the semiotic content of the subtitles with information from

other audiovisual channels—notably the image, and prosodic features in the

dialogue".

3. Watching the image flow

4. Deciphering the visual information: Cinema is a specific language, a language

of its own, and the composition of images in cinema convey much more than what

we see in real life in the street. Montage makes images speak, and the way the

film is constructed adds meaning to what happens in the film (narrative, action,

etc.)

5. Connecting each segment of the image flow to the underlying story

6. Listening to (or just hearing) the sound (dialogue, effects, music)

7. Guessing what is about to happen

29

8. Remembering what has already happened to make fresh deductions during

following sequences.

2.5 Theoritical Framework

From the theories described above, the writer uses Peter Newmark theory

as the framework to analyze the data. The expected result of translation in the

formulation of message from the source language into the target language to be

understandable and convey the same message. In translating idiomatic expression,

a translator should use correct method of translation because the method will

effect the result. Newmark (1988, p.45-47) constructed the methods of translation

as follows :

1. Word-for-word translation.

2. Literal translation

3. Faithful translation

4. Semantic translation

5. Adaptation

6. Free translation

7. Idiomatic translation

8. Communicative

This theory is taken because in this theory, there is a method which is

required to analyze the data in this study, that is idiomatic translation.

2.6 Review of Related Studies

There are three studies which are closely related to this thesis. The first is

30

―AN ANALYSIS OF THE IDIOMATIC TRANSLATION FOUND IN THE

SUBTITLES OF MOVIE ENTITLED SCREAM‖ conducted by Dhian

Ambarwati, a student at English Department, Airlangga University graduated in

2006. Dhian Ambarwati‘s study can be said as the closest study to this thesis. It is

simply because the object of research between the two studies is the same, which

is the translation of idiomatic expression found in movie script. However, there

are two obvious differences between the two studies. They are the data source and

how the writer presents the data.

The second study was also conducted by a student from English

Department, Airlangga University named Choirun Nisa‘ entitled ―AN

ANALYSIS OF THE TRANSLATION METHOD USED IN THE ENGLISH

SUBTITLE OF AN INDONESIAN FILM ENTITLED BERBAGI SUAMI‖, this

study was completed in 2008. The writer started conducting the study by

collecting the data. The data was obtained by comparing the original film script in

the script book with the utterances in the film. Then, the writer wrote the english

subtitle in the first part of the film and made a table to put and compare

Indonesian utterances and the English subtitles. Meanwhile analyzing the data, the

writer classified the data based on Peter Newmark‘s translation method applied in

the subtitles. Finally the writer interpreted the result of the analysis.The result

showed that the translation methods found in the subtitles were communicative

translation, faithful translation, free translation and adaptation. In addition the

most frequently applied translation method was communicative translation.

Later, the writer found another study completed in 2005 entitled ―A

STUDY OF SUBTITLING ENGLISH MOVIE ENTITLED LADDER 49” by

31

Mahesti Pramodya Wardhani, a student at the English Department, Airlangga

University. This study used qualitative descriptive analysis. The writer collected

the data by looking for movie which matches with the research. The writer

transcripted the subtitle of the movie by listening and writing every utterance

made by the movie players. By using utterance in the fourth and fifth scene of

Ladder 49 and using five procedures from seven translation methods, the writer

tried to find out whether the Indonesian subtitling conveys the same message as

the one in the source language, in this case is English. The five procedures are

literal translation, modulaion, equivalent, adaptation and transformation. Many

misleding mistakes were found in the subtitle. Moreover, the translation of the

subtitle does not convey the same message from the source language into the

target language. The writer concluded that good translation must reproduce the

information given in the source text. The language must be adapted to its readers

and it should be appropriate for people who read or listen to it.

32

CHAPTER III

RESEARCH METHODOLOGY

3.1 Research Approach

This is an interpretive qualitative study. It emphasizes the importance of

analysis performance of the writer. The writer sets out empirical observations,

consisting of descriptive and analytical passages. The intention is to provide the

reader with a sense of the ‗real world‘. Punch (2006, p.3) explains that qualitative

research does not use numerical data, he also states that the research questions and

method are more general in the beginning and become more focused as the study

progresses. Through close contact with the research field in question for a

prolonged period of time, the writer develops a profound understanding and

becomes able to formulate a conceptually rich theory explaining the analysis

based on curiousity. Contact with the field of research is based on observations, or

analysis of documents and other related source of the object of research.

3.2 Corpus

The writer chooses a movie entitled Tangled as the data source of this

study. The movie is chosen because it has sufficient number of idiomatic

expression.

In short, the movie is a modern Walt Disney Animation which embraces

traditional "princess" fare with Tangled, a cheeky retelling of the Brothers

33

Grimm‘s classic fairy tale, Rapunzel. In this more action-oriented musical

comedy, Rapunzel is a princess who was abducted as a baby and raised as a

virtual prisoner in a remote castle by the evil woman, Mother Gothel. Rapunzel

has 70 feet of magic, golden hair, hair that keeps Mother from aging. Having

spent her entire life within the tower (with just Mother and the tiny, silent

chameleon Pascal for company), Rapunzel is full of curiosity about the outside

world. One day while Mother Gothel is away, Rapunzel is frightened by a surprise

visitor coming through her window, the dashing, roguish bandit Flynn Rider.

Flynn is not only on the run from his brutish former cohorts, the Stabbington

Brothers, but also from the royal guards after escaping a jeweled tiara he had

stolen. Tangled might ultimately be a modern Disney classic, and moreover this

movie has a lot of fun, full of humor, adventure, and good music. Those

characteristics result in the use of many idiomatic expressions during conversation

and the songs. The movie script of Tangled which is chosen for this study consists

of 19 scenes, 1041 lines of English conversation and 1024 lines of Indonesian

conversation in a whole 100 minutes.

3.3 Technique of Data Collection

First, he writer takes Tangled movie script as the data source of this study.

Both English and Bahasa Indonesia script are found on a website named

subscene.com. Second, the writer matches the movie dialogues and the subtitles in

order to write the whole translation of the movie subtitle. The writer writes the

entire subtitle in the movie, both the Indonesian and the English subtitle. The

34

writer uses the primary data from subscene.com because both of them are well-

matched with the dialogues in the movie.

Third, the writer tries to find some sentences which contain idiomatic

expression and decide some sentences whic contain idiomatic expression.

Fourth, after writing down the subtitles of the movie, the writer lists the

English idioms which are found in the subtitles and matches the with their

translation in Indonesian. The procedures of collecting the data are :

1. Searching and downloading both English and Indonesian script from

subscene.com

2. Matching the original subtitle in English and also the subtitle in Bahasa

Indonesia with the dioalogues in the movie.

3. Finding some sentences which contain idiomatic expression.

3.4 Technique of Data Analysis

After collecting the data, the writer does some steps to analyze the data.

First, the writer classifies the data into the type of translation based on Newmark‘s

theory. Those are word-for-word translation, literal translation, faithful

translation, semantic translation, adaptation, free translation, idiomatic translation,

and communicative translation.

35

Second, from the sentence which contain idiomatic expression, the writer

points the idioms which are misinterpreted ; those are idiomatic expressions

which are incorrectly translated into Indonesian during the conversation.

Some translations of the idiomatic expressions are incorrect because they

are misleading, this is simply because the background of the conversation and the

speakers‘ intended message do not match.

Finally, the writer explores the data which have been classified into the

eight types of translation by Newmark. After that, the writer makes his own

interpretation about the data, which are idiomatic ranslation. The data analysis

procedure can be listed as follows:

1. Collecting the idiomatic expressions and their translation from both scripts,

English and Bahasa Indonesia.

2. Identifying the idioms which are misinterpreted using the procedures of

translation by Peter Newmark.

3. Interpreting the result.

4. Drawing conclusion.

36

CHAPTER IV

DATA PRESENTATION AND ANALYSIS

4.1 Data Presentation

The movie script that will be analyzed in this chapter was taken and

downloaded from the internet. To analyze the data, the writer will compare the

data in the source language and that in the target language. From the comparison,

some data will be found and the writer tries to analyze whether the idiomatic

translations of the subtitle are suitable with the context or there is any misleading

translation of the idiomatic expression of the movie script. The following are

some idiomatic expressions found in the script and presented in the form of a list.

However, the writer does not claim that it is an exhaustive list, because of the

writer‘s insufficient mastery of English and the ability to understand idioms which

are bound to culture. Some idioms are easily found and understood by the

Indonesian speaking audience and some others are not.

Table 1.1 List of Idiomatic Expressions in Tangled

No. English Idiomatic

Expressions

Indonesian

Translation

1. a hop skip and a boat

ride away

tanpa terasa

2. you get the jist kalian mengerti, kan

37

3. one way or another bagaimanapun juga

4. skip the drama lewati dramanya

5. my hands are full tangan ku penuh

6. flea-bag kutu-tas

7. dropped the issue masalahnya sudah

beres

8. Gesundheit gesundheit

9. in a situation di sebuah situasi

10. picking up bits and

pieces

mengambil

kesimpulan kecil

11. smells like the color

brown

baunya seperti warna

coklat

12. call it a day cukup untuk hari ini

13. work this out menyelesaikan ini

14. play it safe hati-hati

15. big lug lug besar

16. I don't do back story aku tidak mau cerita

itu

38

17. we made it kita berhasil

18. cut him off at bawa kepala nya ke

19. like wild dogs chasing

their tails

seperti anjing liar

mengejar ekor nya

20. be on your way pergilah saja

21. for the record sebagai catatan

22. he's such a dream boat ia memang seperti

yang kau impikan

23. lost in thought sedang melamun

24. all good things to those

who wait

semua hal-hal yang

baik

kepada mereka yang

menunggu

25. It's crystal clear sangat jelas

26. holding out on us

again?

menyembunyikan

sesuatu lagi pada

kami?

39

4.2 Identification Table

The following is the identification table which shows the existence of

misinterpretation.

Table 1.2 Identification Table of the Misinterpretation of Idioms

No. English Idiomatic

Expressions

Indonesian Translation Misinterpreted

Yes No

1. a hop skip and a boat

ride away

tanpa terasa √

2. you get the jist kalian mengerti, kan √

3. one way or another bagaimanapun juga √

4. skip the drama lewati dramanya √

5. my hands are full tangan ku penuh √

6. flea-bag kutu-tas √

7. dropped the issue masalahnya sudah beres √

8. Gesundheit Gesundheit √

9. in a situation di sebuah situasi √

10. picking up bits and

pieces

mengambil kesimpulan

kecil

√

11. smells like the color

brown

baunya seperti warna

coklat

√

40

12. call it a day cukup untuk hari ini √

13. work this out menyelesaikan ini √

14. play it safe hati-hati √

15. big lug lug besar √

16. i don't do back story aku tidak mau cerita itu √

17. we made it kita berhasil √

18. cut him off at bawa kepala nya ke √

19. like wild dogs chasing

their tails

seperti anjing liar

mengejar ekor nya

√

20. be on your way pergilah saja √

21. For the record Sebagai catatan √

22. he's such a dream boat ia memang seperti yang

kau impikan

√

23. lost in thought sedang melamun √

24. all good things to those

who wait

semua hal-hal yang baik

kepada mereka yang

menunggu

√

25. it's crystal clear sangat jelas √

26. holding out on us

again?

menyembunyikan

sesuatu lagi pada kami?

√

41

4.3 Analysis of the Misinterpreted Idioms

The following is the analysis of the misinterpreted idioms.

Some idioms are misinterpreted because the translator used wrong method

of translation and some others are misinterpreted simply because the

translator‘s lack of knowledge in vocabulary and grammar in both English

and Bahasa Indonesia.

1. a. Expression : skip the drama

b. Subtitle : lewati dramanya

This colloquial idiom is interjectingly used by Mother Gothel when

asking Rapunzel to quit looking forward the outside world. Mother Gothel

indirectly asks Rapunzel to forget her wish, that is seeing the outside world.

The translation of this colloquial idiom is slightly misleading since there is

no drama in the movie. Christine Ammer (1997, p.589) mentions that the

expression ―skip it‖ means ―drop the subject or ignore the matter‖. It is

obvious that the expression ―skip the drama‖ is derived from the expression

―skip it‖, only with more definite object. Yet, the meaning is almost likely

the same.

Spears (1996, p.305) notes that the expression ―skip it‖ means

―lupakan saja‖. This is an informal expression when someone talks about

thing number one and he doesn not want to talk about the thing number two

and go straight to thing number three. The writer prefer translating it

idiomatically as ―lupakan saja‖.

2. a. Expression : my hands are full

42

b. Subtitle : tanganku penuh

Flynn uses this expression when he is asked by his partners, The

Stabbington Brothers, to help them climb up the cliff, but Flynn

colloquially tries to refuse it by saying ―my hands are full‖. The fact is that

Flynn does not want to help them to climb up the cliff. Once again the

translator translated a colloquial idiom literally. It sounds a little ridiculous

because Flynn‘s hands are not a jar or a pail to fill that the translator uses

the word ―penuh‖. Just like when we do not want to help someone, we

indirectly refuse by saying ‗saya sedang sibuk‖ instead of ―tanganku

penuh‖, don‘t we?

Based on the above consideration, the writer thinks that it is

supposed to be semantically translated as ―saya/aku sedang sibuk‖.

3. a. Expression : flea-bag

b. Subtitle : kutu-tas

Swearing is common in American informal conversation, including

this one. Flynn accidentally rides on Maximus, an anthropomorphic royal

horse. Once Maximus realizes that he is being ridden by the thief that he has

been chasing, he stops right away. Flynn forces Maximus to run again by

saying ―flea-bag‖, it makes Maximus even angrier and makes him try to

retrieve the satchel that is carried by Flynn and soon both are in the middle

of the fight for the tiara. According to thefreedictionary.com, flea-bag is a

slang which means ―a flea ridden or worthless animal‖. It is awkward to

translate ―flea-bag‖ as ―kutu tas‖, the writer thinks it is going to be suitable

43

if the slang is translated as ―kuda tak berguna‖. Because a horse is supposed

to be a ride, and Maximus simply does not want to be ridden by any person

in this scene.

4. a. Expression : Gesundheit

b. Subtitle : Gesundheit

Gesundheit is a tricky slang in the script. According to

english.stackexchange.com the interjection ―Gesundheit‖ was historically

brought by German immigrants and borrowed into English, it is said after

someone sneezes and commonly translated as ―Bless you‖.

However in this context, it makes least sense when Flynn uses this

slang to Rapunzel, since Rapunzel did not sneeze at all. The subtitle is

obviously incorrect and confusing to Indonesian speaking audience. The

writer interprets this slang just as joke which is uttered to Rapunzel when

she tries to correct her name to Flynn. Therefore the writer semantically

translates this slang as ―Tuhan memberkatimu‖ since it is used in a joking

way.

5. a. Expression : in a situation

b. Subtitle : di sebuah situasi

Flynn tries to explain his condition to Rapunzel when he was

chased by the royal guards. He calls his being chased by the royal guards as

―in a situation‖ which semantically makes no sense at all. Flynn‘s intention

using this expression is to describe his situation before he is taken hostage

by Rapunzel. The subtitle ―di sebuah situasi‖ is completely unacceptable in

44

Bahasa Indonesia because of its width of interpretation area. The writer

interprets this colloquial idiom as ―dalam masalah‖. This colloquial idiom is

mostly used in military conversation. When something goes wrong, the

soldiers use ―in a situation‖ or ―have a situation‖ as the usual expression.

6. a. Expression : smells like the color brown

b. Subtitle : baunya seperti warna coklat

Flynn uses this allusion when he tries to scare rapunzel in the

Snuggly Duckling bar. Rapunzel is scared and she tries to stay away from

everybody in the bar. Since the translator uses word-for-word translation,

the result is ridiculous. According to wiki.answers.com, color brown

philosophically means something natural. It is the symbol of earth and the

ground. The writer thinks that it is supposed to be translated as ―memang

begitulah kira-kira‖.

7. a. Expression : work this out

b. Subtitle : menyelesaikan ini

Accroding to Oxford Dictionary (1995, p.1376), to work

something out means to find the answer to something or to solve something.

Flynn uses this expression while talking to the bandits in the Snuggly

Duckling bar who want to capture him and turn him in to the kingdom. His

intention is to make a bargain that could be beneficial to him and the

bandits. This phrasal verb is semantically translated, yet it is still less correct

than it should be. The writer thinks that the more correct translation is

45

―menemukan solusinya‖ rather than ―menyelesaikan ini‖ which sounds

unclear and too wide.

8. a. Expression : big lug

b. Subtitle : lug besar

Another ridiculous translation found in the script. This slang is

used by Mother Gothel to tease the short old man in the back of the Snuggly

Duckling bar. This slang is figuratively used during the conversation

between the old man and Mother Gothel. Mother Gothel tries to get the old

man‘s attention by saying ―big lug.‖

This slang is borrowed by the translator from the source language,

which resulted in ridiculous translation. According to Cambridge Advanced

Learner‘s Dictionary Third Edition, ―big lug‖ means ―a man you like‖.

urbandictionary.com defines ―big lug‖ as a man that acts the opposite of

what his overall image reflects or acts against the stereotypical image of the

tough guy. Based on all those definition, the writer concludes that the most

suitable translation is ―pria besar or jagoan‖

9. a. Expression : I don‘t do back story

b. Subtitle : aku tidak mau cerita itu

This colloquial idiom is freely translated by the translator. The

translation is communicatively and semantically understood, yet it is not the

correct translation. This expression is used when Flynn is being asked by

Rapunzel about his past life. Flynn refuses to tell Rapunzel about that by

saying ―I don‘t do back story‖, but then he tells her anyway. The word

46

―back‖ indicates that the ―story‖ is obviously about Flynn‘s past life, how he

used to be. Therefore the writer thinks that the expression should be

semantically translated as ―aku tidak mau cerita tentang masa lalu‖.

10. a. Expression : cut him off at

b. Subtitle : bawa kepalanya ke

The Stabbington Brothers escape from the royal guards, then they

set out to revenge to Flynn. This phrasal verb is incorrectly translated

regarding the context. The phrasal verb ‗cut him off‘ is not intended to

express cutting Flynn‘s head off. Oxford Dictionary (1995, p.289) in

number four phrasal verb section explains that ―to cut somebody or

something off‖ means ―to stop the supply of something to somebody‖.

Another use is ―to block or obstruct something‖. ―cut him off at‖ in this

context is more likely means ―to intercept‖ Flynn from travelling to the

kingdom with Rapunzel. So, the phrasal verb ―cut him off at‖ should be

translated as ―mencegatnya di‖ instead of ―bawa kepalanya ke‖.

11. a. Expression : be on your way

b. Subtitle : pergilah saja

The Stabbington Brothers were about to be content with the tiara

only, but then Mother Gothel gives another bait by saying ―be on your

way‖. Of course they are attracted by that expression. Unfortunately, this

colloquial idiom is freely translated as ―pergilah saja‖. It is semantically

understandable but contextually incorrect. Mother Gothel‘s intention is to

47

let the Stabbington Brothers to decide what they want to do after they get

the tiara, but she offers something more than that to them. The writer thinks

that the expression is close to ―have it your way‖ which colloquially means

―whatever‖. Therefore the translation should be ―terserah kalian‖ rather than

―pergilah saja‖.

12. a. Expression : for the record

b. Subtitle : sebagai catatan

Rapunzel uses this expression to emphasize something to Flynn,

she prefers the name Eugene Fitzherbert, Flynn‘s real name, to Flynn Rider.

Spears (1996, p.106) notes that the meaning of this colloquialism is ―agar

diketahui‖. In the past, this expression was mostly used during the press

conference in order to get something clear or straight. The translator

translated this colloquialism literally, just because the word ―record‖ means

―catatan‖ in Bahasa Indonesia. However, it is such a poor translation. The

writer thinks that the most equivalent expression is ―asal tahu saja‖. It is

widely used in Bahasa Indonesia as a colluquial way of speaking.

13. a. Expression : he‘s such a dreamboat

b. Subtitle : ia memang seperti yang kau impikan

A bluff from Mother Gothel to Rapunzel about Flynn. Mother

Gothel tries to provoke Rapunzel, so that she would leave Flynn. She tells

Rapunzel that Flynn is just a fraud and then she gives the satchel with the

tiara in it. She orders Rapunzel to give that satchel to Flynn and see what

48

happens next. Mother Gothel also scares Rapunzel that she would be left by

Flynn. The translator tries to translate this colloquial idiom semantically,

but the result is less correct although it is acceptable in Bahasa Indonesia.

Cambridge Advanced Learner‘s Dictionary Third Edition defines that

―dreamboat‖ means ―a very physically attractive person‖. In Bahasa

Indonesia, it can be translated as ―pujaan‖. The writer tries to translate the

expression semantically, and the result of the whole translation should be

―dia memang pujaan‖.

14. a. Expression : all good things to those who wait

b. Subtitle : semua hal-hal yang baik kepada mereka yang menunggu

The Stabbington Brothers agree to join Mother Gothel to revenge

to Flynn. Now they are ready to ambush Flynn and Rapunzel, but then they

are stopped by Mother Gothel. She tries to remind the Stabbington Brothers

that if they are patient enough to wait till the right moment, they will get

more than they want. The proverb is poorly translated since the translator

used literal translation. It is understandable but semantically unacceptable.

The writer propose one equivalent proverb in Bahasa Indonesia, that is

―kesabaran itu buahnya manis‖.

15. a. Expression : holding out on us again ?

b. Subtitle : menyembunyikan sesuatu lagi kepada kami ?

When Flynn reencouters the Stabbington Brothers, he is going to

give the the satchel with the tiara in it, but it is too late. The Stabbington

49

Brothers are already provoked by Mother Gothel that Rapunzel, the girl who

is with Flynn, is worth than a thousand tiaras. The Stabbington Brothers

want her instead. Oxford Dictionary (1995, p.567) defines ―hold out on

somebody‖ means ―to refuse to give something, especially information‖.

One of the Stabbington Brothers uses this phrasal verb because formerly,

they were tricked by Flynn. The translation is semantically correct, yet the

word ―kepada‖ is not the suitable word for the structure. It is supposed to be

―menyembunyikan sesuatu lagi dari kami ?‖

50

CHAPTER V

CONCLUSION AND SUGGESTION

5.1 Conclusion

Translating subtitle of a movie needs special skill and insight, since there

are several aspects that can affect the result of the translated text, such as the

background of the conversation, the limited space and time of the appearing

subtitle and the most important is the different language between the source

language and the target language.

To translate idioms, the translator should identify them from those

expressions which are not idioms, then, investigates the classification to which

that particular idiom belongs and selects the suitable strategy for his translation.

During this process, the translator should be careful of the naturalness and

readability of his text. He would better try his best to find equivalences to transfer

both the form and the meaning and be thoughtful of not deleting the whole or

eliminating the uncorresponding part of the idiom. The translator also needs to

develop sensitivity to the use of idioms in the receptor language and uses them

naturally to make the translation lively and keep the style of the source language.

There will often be words in the source language which are not idioms but are

best translated with an idiom.

The analysis and interpretation of the result lead to some general

conclusion about the translation procedures applied in the translation of subtitle in

movie Tangled. From the interpretation of the misinterpreted idioms, the writer

51

found out that instead of applying the proper method of translating idiomatic

expressions, the translator of the subtitle in the movie Tangled employs other

unsuitable procedures. Those idioms are mostly misinterpreted because the

translator used literal translation for most idioms, which later becomes incorrect

method.

In translating the idiomatic expressions in this movie, the translator should

take into account about the background of the conversation and the true meaning

of the idiomatic expression. Consequently the subtitle will correspond with the

visual image and the speaker‘s utterance. Since no languages are the same with

others, idioms in every language are different. Therefore, to translate idiom, a

translator should have a good understanding about the source language. In

addition, the definiton of some idiomatic expression can not be found in the

dictionary. Thus, besides looking up the meaning of idiomatic expression in

dictionary, it is necessary to look for it in other more updated sources for example

by checking it in thefreedictionary.com or urbandictionary.com

It is empirical that the meaning of an idiom is complicated and multi-

leveled, a ‗network of relations‘ as devious as the channels of mind in the brain.

The more communication happens, the more generalization. Moreover for

translating idioms, it is arguably the most complex and problematic task of

translation.

In the end, the writer expects that this study would be a valuable asset of

reference for generations to come who conduct more advanced study in

translation.

52

5.2 Suggestion

Translating English subtitle into Indonesian needs a lot of works and

understanding about both culture in the source language and the target language.

The translation should also have aesthetic value besides being understandable.

Based on this research, the writer would give three suggestions as follow:

1. For the writer, it is suggested to broaden knowledge about idioms and culture,

both English and Indonesian.

2. For the institution, it is suggested to encourage the students to conduct

research in the field of subtitle translation because it is a wide and interesting

area to observe and analyze.

3. For other researchers who want to conduct the same research, it is suggested

that the analysis be conducted in a more profound way and broaden the scope

of the research area in order to find other yet unidentified linguistic cases. For

general readers who do not have sufficient knowledge about the translation of

a movie subtitle, they need to be more careful in absorbing the linguistic

aspect from subtitle since not all the translations in subtitle are correct.

53

BIBLIOGRAPHY

Ambarwati, Dhian. 2006. ―An Analysis of the Idiomatic Translation Found In the

Subtitles of Movie Entitled Scream”. A Thesis. (Unpublished). Surabaya:

Airlangga University.

Ammer, Christine. 1997. The American Heritage: dictionary of idioms. Boston:

Houghton Mifflin Company.

Baker, Mona. 1992. In Other Words: A Coursebook On Translation. London and

New York: Routledge.

Bassnett, Susan. 2002. Translation Studies: Third Edition. London and New

York: Routledge.

English.Stackexchange.gesundheit.http://english.stackexchange.com/question/393

33/how-did-gesudnheit-work-its-way-into-common-american-usage.

Accessed on april 20, 2013.

Hornby, A. S. 1995. Oxford Advanced Learner’s Dictionary of Current

English:Fifth Edition. Oxford: Oxford University Press.

LenteraKecil. Penulisan Daftar Pustaka Dari Internet.

http://LenteraKecil/PenulisanDaftarPustakaDariInternet. Accessed on

March 17, 2013.

MakeUseOf. The 3 Best Subtitle Sites For Your Movies & TV Series.

http://The3BestSubtitleSitesForYourMovies&TVSeries. Accessed on August

16, 2013.

Munday, Jeremy. 2008. Introducing Translation Studies: Theories and

Application: Second Edition. London and New York: Routledge.

Newmark, Peter. 1988. A Textbook of Translation. Hertfordshire: Prentice Hall

International.

Nisa‘ Choirun. 2008. ―An Analysis of the Translation Method Used In the English

Subtitle of An Indonesian Film Entitled Berbagi Suami”. A Thesis.

(Unpublished). Surabaya: Airlangga University

Pramodyawardhani, Mahesti. 2005. “A Study of Subtitling English Movie Entitled

Ladder 49”. A Thesis. (Unpublished). Surabaya: Airlangga University.

Punch, Keith F. 2006. Developing Effective research Proposals: Second Edition.

London: Sage.

Slangen, Simon. 2013. The 3 Best Subtitle Sites For Your Movies & TV Series.

http://www.slideshare.net/simonslangen Accessed on August 16, 2013.

54

Spears, Richard A.1996. Dictionary of English Idioms. Jakarta: Penerbit Erlangga.

Subscene. English subtitle for Tangled. http://www.subscene.com/English-subtitle

for-Tangled2010. Accessed on April 1, 2013.

Subscene. Indonesian subtitle for Tangled. http://www.subscene.com/Indonesian-

subtitle for-Tangled2010. Accessed on April 1, 2013.

Thefreedictionary. Fleabag. http://www.thefreedictionary.com/fleabag. Accessed

on April 20, 2013.

TranslationDirectory. Subtitling. http://TranslationDirectory/Subtitling. Accessed

on March 17, 2013.

Urbandictionary. big lug.

http://www.urbandictionary.com/define.php?term=big%20lug. Accessed on

April 20, 2013.

Vinay, J. P. and Darbelnet, J. 2000. A Methodology for Translation. In: Venuti,

Lawrence,. The Translation Studies Reader. New York: Routledge.

Walter, Elizabeth. 2008. Cambridge Advanced Learner’s Dictionary: Third

Edition. Cambridge: Cambridge University Press.

Wiki.answers.the colorbrown.http://wiki.answers.com/Q/what does the color

brown mean. Accessed on April 20, 2013.

Wikipedia. Tangled. http://Wikipedia/Tangled. Accessed on March 15, 2013.

55

APPENDIX

1. English Subtitle

2. Indonesian Subtitle

Appendix 1 : English Subtitle

11

00:01:34,222 --> 00:01:39,028

<i>Well, centuries pass and 1. a hop

skip and a boat ride away there grew a

kingdom.</i>

12

00:01:39,291 --> 00:01:42,389

<i>The kingdom was ruled by a beloved

King and Queen.</i>

13

00:01:43,606 --> 00:01:46,525

<i>And the Queen, well she was about

to have a baby,</i>

14

00:01:46,735 --> 00:01:49,007

<i>but she got sick,</i>

15

00:01:49,068 --> 00:01:50,805

<i>really, sick.</i>

16

00:01:50,806 --> 00:01:52,246

<i>She was running out of time.</i>

17

00:01:52,247 --> 00:01:54,745

<i>And that's when people usually start

to look for a miracle.</i>

18

00:01:54,746 --> 00:01:58,298

<i>Or in this case, a magic golden flower.</i>

19

00:01:58,869 --> 00:02:01,867

<i>Ahhh, I told you she'd

be important.</i>

20

00:02:01,869 --> 00:02:04,179

<i>You see instead of sharing the

suns gift,</i>

21

00:02:04,180 --> 00:02:07,257

<i>this woman, Mother Gothel,

hoarded its healing power</i>

22

00:02:07,258 --> 00:02:10,165

<i>and used it to keep herself

young for hundreds of years.</i>

23

00:02:10,166 --> 00:02:14,246

<i>And all she had to do,

was sing a special song.</i>

24

00:02:14,247 --> 00:02:22,214

<i>*Flower gleam and glow,

let your power shine*</i>

25

00:02:22,215 --> 00:02:30,519

<i>*Make the clock reverse,

bring back what once was mine*</i>

26

00:02:30,520 --> 00:02:35,221

<i>*What once was mine*</i>

27

00:02:35,222 --> 00:02:38,236

<i>All right, 2. you get the jist. She sings

to it, she turns young, creepy, right?</i>

28

00:02:49,464 --> 00:02:51,499

We've found it!

29

00:02:56,189 --> 00:03:00,609

<i>The magic of the golden flower,

healed the queen.</i>

30

00:03:02,355 --> 00:03:05,507

<i>A healthy baby girl,

a princess was born.</i>

31

00:03:05,508 --> 00:03:07,608

<i>With beautiful golden hair.</i>

32

00:03:16,025 --> 00:03:17,246

<i>I'll give you a hint.</i>

33

00:03:17,248 --> 00:03:19,024

<i>That's Rapunzel.</i>

34

00:03:20,624 --> 00:03:26,583

157

00:13:09,877 --> 00:13:12,698

<i>*Guess I always knew this day was coming.*</i>

158

00:13:12,699 --> 00:13:16,640

<i>*Know that soon you'd want

to leave the nest.*</i>

159

00:13:16,641 --> 00:13:19,030

<i>- *Soon, but not yet. Shhh..*

- But</i>

160

00:13:19,031 --> 00:13:25,100

<i>*Trust me pet,

Mother, knows best.*</i>

161

00:13:26,896 --> 00:13:28,366

<i>*Mother knows best,*</i>

162

00:13:28,368 --> 00:13:30,139

<i>*listen to your mother.*</i>

163

00:13:30,140 --> 00:13:32,681

<i>*It's a scary world

out there.*</i>

164

00:13:32,682 --> 00:13:34,598

<i>*Mother knows best.*</i>

165

00:13:34,599 --> 00:13:39,465

<i>*3. One way or another, something

will go wrong, I swear.*</i>

166

00:13:39,467 --> 00:13:42,487

<i>*Ruffians, thugs, poison Ivy,

quicksand.*</i>

167

00:13:42,488 --> 00:13:45,204

<i>*Cannibals, and snakes,

the plague... yes.*</i>

168

00:13:45,206 --> 00:13:48,731

<i>*Also large bugs, men with pointy teeth.*</i>

169

00:13:48,732 --> 00:13:52,619

<i>*And stop, no more,

you'll just upset me.*</i>

170

00:13:52,620 --> 00:13:55,285

<i>*Mother's right here,

mother will protect you.*</i>

171

00:13:55,286 --> 00:13:58,927

<i>*Darling here's what I suggest.*</i>

172

00:13:58,928 --> 00:14:02,276

<i>*4.Skip the drama,

stay with Mama.*</i>

173

00:14:02,277 --> 00:14:07,992

<i>*Mother, knows best.*</i>

174

00:14:09,558 --> 00:14:12,982

<i>*Mother knows best.

Take it from your mumsey.*</i>

175

00:14:12,983 --> 00:14:15,259

<i>*On your own, you won't survive.*</i>

176

00:14:15,260 --> 00:14:18,938

<i>*Sloppy underdressed, immature, clumsy,*</i>

177

00:14:18,939 --> 00:14:21,306

<i>*Please, they'll eat you up,

alive.*</i>

178

00:14:21,308 --> 00:14:25,181

<i>*Gullible, naïve,

positively grubby.*</i>

179

00:14:25,182 --> 00:14:28,120

<i>*Ditzy and a bit,

well, hmm vague.*</i>

180

00:14:28,121 --> 00:14:31,158

<i>*Plus I believe, getting

kinda chubby.*</i>

207

00:16:47,236 --> 00:16:49,145

Now help us up, pretty boy.

208

00:16:49,146 --> 00:16:52,058

Sorry, 5. my hands are full.

209

00:16:52,869 --> 00:16:54,184

What?

210

00:16:54,884 --> 00:16:57,057

RYDER!

211

00:17:02,918 --> 00:17:05,508

- Retrieve that satchel with any force.

- Yes, sir!

212

00:17:22,618 --> 00:17:24,395

We got him now, Maximus.

213

00:17:32,366 --> 00:17:33,495

Heeyah!

214

00:17:37,952 --> 00:17:40,436

Heeyah! Come 6. flea-bag, forward.

215

00:17:42,817 --> 00:17:43,844

No.

216

00:17:43,846 --> 00:17:45,354

No, stop it.

217

00:17:45,355 --> 00:17:46,525

Stop it.

218

00:17:46,903 --> 00:17:48,101

Give it to me.

219

00:18:16,443 --> 00:18:17,498

HAH!

I'm leading up to that.

246

00:22:50,746 --> 00:22:53,049

Because I really thought

we 7. dropped the issue, sweetheart.

247

00:22:53,050 --> 00:22:55,027

No Mother, I'm just saying,

248

00:22:55,028 --> 00:22:57,906

you think I'm not strong enough

to handle myself out there.

249

00:22:57,907 --> 00:23:01,379

Oh darling, I know you're not strong

enough to handle yourself out there.

250

00:23:01,381 --> 00:23:04,639

- But if you just...

- Rapunzel, we're done talking about this.

251

00:23:04,640 --> 00:23:05,899

- Trust me,...

- Rapunzel.

252

00:23:05,900 --> 00:23:07,288

- ...I know what I'm

- Rapunzel.

253

00:23:07,289 --> 00:23:09,484

- Oh, come on.

- Enough with the lights, Rapunzel.

254

00:23:09,495 --> 00:23:14,026

You are not leaving this tower,

EVER!

255

00:23:19,643 --> 00:23:23,504

Oh, great. Now I'm the bad guy.

256

00:23:36,292 --> 00:23:39,454

All I was gonna say, mother

is that...

283

00:26:20,929 --> 00:26:22,869

But may I just say.

284

00:26:24,236 --> 00:26:26,107

Hi!

285

00:26:28,010 --> 00:26:29,753

How you doing?

286

00:26:29,754 --> 00:26:31,259

The name's Flynn Ryder.

287

00:26:32,850 --> 00:26:35,138

How's your day going, huh?

288

00:26:35,334 --> 00:26:40,029

Who else knows my location,

Flynn Ryder?

289

00:26:40,030 --> 00:26:41,577

- All right, Blondie.

- Rapunzel.

290

00:26:42,065 --> 00:26:43,725

8. Gesundheit, here's the deal.

291

00:26:43,726 --> 00:26:46,519

I was 9. in a situation,

Gallivanting through the forest.

292

00:26:46,601 --> 00:26:48,671

I came across your tower and...

293

00:26:48,671 --> 00:26:52,034

Ho, oh no, where is my satchel?

294

00:26:52,035 --> 00:26:55,576

I've hidden it, somewhere you'll

never find it.

295

00:26:58,377 --> 00:27:00,160

00:32:17,949 --> 00:32:20,754

Oh my gosh, this would kill her.

371

00:32:20,755 --> 00:32:24,093

THIS IS SO FUN!

372

00:32:24,094 --> 00:32:27,737

I am a horrible daughter,

I'm going back.

373

00:32:27,738 --> 00:32:30,388

I am never going

baaaccckkk!

374

00:32:30,389 --> 00:32:34,380

I am a despicable human being.

375

00:32:34,381 --> 00:32:36,440

WAHHOOOOO!

376

00:32:36,441 --> 00:32:39,047

Best day, ever!

377

00:32:47,610 --> 00:32:50,674

You know, I can't help but notice,

378

00:32:50,675 --> 00:32:53,963

you seem a little at war

with yourself, here.

379

00:32:54,452 --> 00:32:57,415

- What?

- Now, I'm only 10. picking up

bits and pieces,

380

00:32:57,416 --> 00:32:59,827

of course, over protective mother,

forbidden road trip.

381

00:32:59,828 --> 00:33:01,412

I mean, this is serious stuff.

382

433

00:37:25,990 --> 00:37:28,953

What are you getting?

Because to me, it's part man smell.

434

00:37:28,954 --> 00:37:30,836

And the other part is

really bad man smell.

435

00:37:30,837 --> 00:37:33,272

I don't know why, but overall,

it just 11. smells like the color

brown.

436

00:37:33,273 --> 00:37:34,290

Your thoughts?

437

00:37:34,800 --> 00:37:36,964

That's a lot of hair.

438

00:37:36,965 --> 00:37:39,921

She's growing it out, is that blood

on your moustache?

439

00:37:39,922 --> 00:37:42,517

Goldie, look at this, look at

all the blood on his moustache.

440

00:37:42,518 --> 00:37:44,978

Look sir, that's a lot of blood.

441

00:37:45,961 --> 00:37:47,838

Hey, you don't look so good, Blondie.

442

00:37:47,839 --> 00:37:50,214

Maybe we should get you home.

12. Call it a day.

443

00:37:50,214 --> 00:37:53,423

Probably be better off. This is a five

star joint after all.

444

00:37:53,424 --> 00:37:56,891

And if you can't handle this place, well

maybe you should be back in your tower.

445

00:37:56,893 --> 00:37:59,582

Is this you?

446

00:38:01,785 --> 00:38:04,575

No, no this is being mean.

447

00:38:04,576 --> 00:38:05,827

Oh, it's him all right.

448

00:38:05,828 --> 00:38:08,036

Gretel, go find some guards.

449

00:38:08,037 --> 00:38:12,210

That reward's going to

buy me a new hook.

450

00:38:12,211 --> 00:38:13,654

I can use the money.

451

00:38:13,655 --> 00:38:15,684

What about me?

I'm broke.

452

00:38:16,572 --> 00:38:19,608

- Boys, stop!

- We can 13. work this out.

453

00:38:19,609 --> 00:38:21,708

Hey, leave him alone.

454

00:38:21,712 --> 00:38:26,109

- Gentlemen, please.

- Give me back my guide, ruffians.

455

00:38:26,169 --> 00:38:28,511

HOO, HAH, HOO, HOO!

456

00:38:33,983 --> 00:38:35,808

00:43:06,906 --> 00:43:08,391

Thanks for everything.

530

00:43:12,168 --> 00:43:15,119

I believe this is the man

you're looking for.

531

00:43:15,120 --> 00:43:16,937

You got me.

532

00:43:17,779 --> 00:43:19,407

Sir, there's no sign of Ryder.

533

00:43:23,678 --> 00:43:24,933

Maximus.

534

00:43:32,275 --> 00:43:33,799

What's he doing?

535

00:43:43,565 --> 00:43:46,581

A passage, come on men,

let's go.

536

00:43:46,924 --> 00:43:49,634

Corman, make sure those

boys don't get away.

537

00:43:54,519 --> 00:43:55,573

14. Play it safe.

538

00:43:57,871 --> 00:43:59,296

We'll go get the crown.

539

00:44:07,087 --> 00:44:10,882

I gotta dream,

I got some dream.

540

00:44:11,249 --> 00:44:15,851

I..., ohhh, somebody get me a glass.

541

00:44:15,852 --> 00:44:20,082

Because I just found me a

tall drink of water.

542

00:44:20,083 --> 00:44:24,170

Oh stop it, you 15. big lug.

543

00:44:24,171 --> 00:44:26,649

Where does that tunnel lead out?

544

00:44:26,650 --> 00:44:27,726

Knife!

545

00:44:30,145 --> 00:44:31,624

Well, that got us safe.

546

00:44:31,625 --> 00:44:34,964

Didn't know you had that in you

back there. That was pretty, impressive.

547

00:44:34,965 --> 00:44:37,307

I KNOW!

548

00:44:37,308 --> 00:44:40,083

I know...

549

00:44:42,565 --> 00:44:45,327

Sooo, Flynn.

550

00:44:45,328 --> 00:44:46,528

Where are you from?

551

00:44:46,529 --> 00:44:48,714

Whoa, whoa, sorry Blondie,

16. I don't do back story.

552

00:44:48,715 --> 00:44:51,611

However I am becoming very

interested in yours.

553

00:44:51,612 --> 00:44:54,087

Now I... I know I'm not suppose

to mention the hair.

554

I have magic hair that glows

when I sing.

593

00:49:32,533 --> 00:49:33,593

What?

594

00:49:35,779 --> 00:49:39,896

I have magic hair,

that glows when I sing.

595

00:49:40,973 --> 00:49:44,249

<i>*Flower gleam and glow.

Let your power shine.*</i>

596

00:50:33,851 --> 00:50:35,413

17. We made it.

597

00:50:36,007 --> 00:50:37,277

Her hair glows.

598

00:50:37,278 --> 00:50:40,002

We're alive.

I'm alive!

599

00:50:40,003 --> 00:50:42,834

I didn't see that coming.

You're hair actually glows.

600

00:50:42,835 --> 00:50:44,724

- Eugene...

- Why does her hair glow?

601

00:50:44,725 --> 00:50:46,043

- Eugene!

- What?

602

00:50:47,183 --> 00:50:49,874

It doesn't just glow.

603

00:50:52,302 --> 00:50:53,934

Why is he smiling at me?

604

00:51:18,407 --> 00:51:19,629

I'll kill him.

605

00:51:19,630 --> 00:51:21,358

I'll kill that, Ryder.

606

00:51:22,732 --> 00:51:24,851

We'll 18. cut him off at the kingdom.

607

00:51:24,852 --> 00:51:27,079

And get back the crown, come on.

608

00:51:28,538 --> 00:51:29,668

Boys.

609

00:51:30,963 --> 00:51:35,750

Perhaps you want to stop acting

19. like wild dogs chasing their

tails,

610

00:51:35,751 --> 00:51:37,857

and think for a moment.

611

00:51:39,928 --> 00:51:42,258

Oh, please there's no

need for that.

612

00:51:47,711 --> 00:51:51,540

Well if that's all you desire,

then 20. be on your way.

613

00:51:51,541 --> 00:51:54,472

I was going to offer you something

worth one thousand crowns,

614

00:51:54,473 --> 00:51:56,485

would have made you rich beyond belief.

615

00:51:56,486 --> 00:51:58,483

And that wasn't even the best part.

616

668

00:55:48,113 --> 00:55:51,126

Um, well I should uh...

669

00:55:51,806 --> 00:55:54,572

I, I should get some

more firewood.

670

00:55:55,186 --> 00:55:56,203

Hey.

671

00:55:57,304 --> 00:56:02,605

21. For the record, I like Eugene Fitzherbert

much better than, Flynn Ryder.

672

00:56:04,506 --> 00:56:07,394

Well, then you'd be the first.

673

00:56:08,057 --> 00:56:09,379

But, thank you.

674

00:56:18,232 --> 00:56:21,523

Well, I thought he'd never leave.

675

00:56:21,524 --> 00:56:22,822

Mother?

676

00:56:22,823 --> 00:56:24,827

Hello, dear.

677

00:56:24,828 --> 00:56:26,943

But I... I..., don't we...

678

00:56:27,157 --> 00:56:28,965

How did you find me?

679

00:56:28,966 --> 00:56:30,901

Oh, it was easy really.

680

00:56:30,902 --> 00:56:35,381

I just listened for the sound of

complete and utter betrayal,

and followed that.

00:57:48,350 --> 00:57:50,688

<i>*Go ahead then give him, THIS!*</i>

707

00:57:50,689 --> 00:57:51,879

How did you?

708

00:57:51,880 --> 00:57:53,776

<i>*This is why he's here.*</i>

709

00:57:53,778 --> 00:57:55,159

<i>*Don't let him deceive you.*</i>

710

00:57:55,160 --> 00:57:58,593

<i>*Give it to him, watch, you'll see.*

- I will.</i>

711

00:57:58,594 --> 00:58:02,229

<i>*Trust me my dear, that's

how fast he'll leave you.*</i>

712

00:58:02,230 --> 00:58:06,083

<i>*I won't say I told you so... no.*</i>

713

00:58:06,084 --> 00:58:08,341

<i>*Rapunzel knows best.*</i>

714

00:58:08,342 --> 00:58:10,029

<i>*So if 22. he's such a dream

boat.*</i>

715

00:58:10,030 --> 00:58:13,898

<i>*Go and put him, to the test.*

- Mother, wait.</i>

716

00:58:13,899 --> 00:58:19,746

<i>*If he's lying, don't come

crying.*</i>

717

00:58:19,747 --> 00:58:26,351

<i>*Mother, knows best.*</i>

718

00:58:30,819 --> 00:58:34,541

So, hey uh, can I ask you something?

719

00:58:35,294 --> 00:58:38,785

Is there any chance that I'm going

to get super strength in my hand?

720

00:58:38,786 --> 00:58:41,733

Because I'm not going to lie.

That would be stupendous.

721

00:58:43,240 --> 00:58:44,911

Hey, you all right?

722

00:58:45,306 --> 00:58:47,594

Oh, sorry, yes.

723

00:58:47,595 --> 00:58:50,827

Just um, 23. lost in thought,

I guess.

724

00:58:53,074 --> 00:58:55,139

I mean because here's the thing.

725

00:58:55,140 --> 00:58:57,178

Superhuman good looks,

I've always had 'em.

726

00:58:57,179 --> 00:58:59,970

Born with it, but superhuman strength?

727

00:58:59,971 --> 00:59:02,716

Can you imagine the possibilities, I'm just...

728

00:59:07,343 --> 00:59:14,042

Patience boys. 24. All good things

to those who wait.

729

00:59:28,691 --> 00:59:29,791

Hmm, what?

730

00:59:32,984 --> 00:59:35,430

01:09:07,990 --> 01:09:14,778

<i>*Things, the way they were

Now she's here*</i>

807

01:09:14,779 --> 01:09:19,586

<i>*Shining in the starlight

Now she's here*</i>

808

01:09:19,587 --> 01:09:24,150

<i>*Suddenly I know

If she's here*</i>

809

01:09:24,152 --> 01:09:31,148

<i>*25. It's crystal clear

I'm where I'm meant to go*</i>

810

01:09:31,149 --> 01:09:35,596

<i>*And at last, I see the light*</i>

811

01:09:35,597 --> 01:09:39,590

<i>*And it's like the fog has lifted*</i>

812

01:09:39,591 --> 01:09:44,162

<i>*And at last, I see the light*</i>

813

01:09:44,163 --> 01:09:48,406

<i>*And it's like the sky is new*</i>

814

01:09:48,407 --> 01:09:59,386

<i>*And it's warm and real and bright

And the world has somehow shifted*</i>

815

01:10:01,824 --> 01:10:06,859

<i>*All at once

Everything is different*</i>

816

01:10:06,860 --> 01:10:11,449

<i>*Now that I, see you.*</i>

817

01:10:16,014 --> 01:10:25,905

<i>*Now that I... see you.*</i>

818

01:10:42,179 --> 01:10:44,878

832

01:11:39,709 --> 01:11:42,569

I shouldn't have split.

The crown is all yours.

833

01:11:42,570 --> 01:11:46,781

I'll miss you, but I think

its for the... best.

834

01:11:47,993 --> 01:11:51,439

26. Holding out on us again? Hey, Ryder?

835

01:11:51,694 --> 01:11:54,697

- What?

- We heard you found something.

836

01:11:54,698 --> 01:11:57,843

Something much more valuable

than a crown.

837

01:11:58,323 --> 01:12:01,642

We want her, instead.

838

01:12:10,612 --> 01:12:15,304

I was starting to think you

ran off with the crown and left me.

839

01:12:21,665 --> 01:12:23,427

He did.

840

01:12:24,152 --> 01:12:26,413

What?

No.

841

01:12:26,414 --> 01:12:27,437

He wouldn't.

842

01:12:28,204 --> 01:12:30,079

See for yourself.

843

01:12:34,476 --> 01:12:35,915

Eugene?

Appendix 2 : Indonesian Subtitle

11

00:01:29,658 --> 00:01:31,563

<i>Kau mungkin ingin mengingatnya.</i>

12

00:01:31,564 --> 00:01:33,356

<i>Dia sepertinya penting.</i>

13

00:01:34,222 --> 00:01:39,028

<i>Nah, berabad-abad berlalu dan

1. tanpa terasa, ada sebuah kerajaan.</i>

14

00:01:39,291 --> 00:01:42,389

<i>Kerajaan ini diperintah oleh

Raja dan Ratu yang tercinta.</i>

15

00:01:43,606 --> 00:01:46,525

<i>Dan Ratu, yah dia akan

segera melahirkan,</i>

16

00:01:46,735 --> 00:01:49,007

<i>dan dia jatuh sakit,</i>

17

00:01:49,068 --> 00:01:50,805

<i>benar-benar, sakit.</i>

18

00:01:50,806 --> 00:01:52,246

<i>Dia mulai kehabisan waktu.</i>

19

00:01:52,247 --> 00:01:54,745

<i>Dan saat itulah orang biasanya mulai

mencari keajaiban.</i>

20

00:01:54,746 --> 00:01:58,298

<i>Atau dalam hal ini, bunga emas ajaib.</i>

21

00:01:58,869 --> 00:02:01,867

<i>Ahhh, aku sudah bilang wanita ini

sepertinya penting.</i>

22

00:02:01,869 --> 00:02:04,179

<i>Begini, bukannya berbagi

akan khasiat dari matahari tersebut,</i>

23

00:02:04,180 --> 00:02:07,257

<i>wanita itu, Ibu Gothel, malah

mengumpulkan kekuatan penyembuhannya</i>

24

00:02:07,258 --> 00:02:10,165

<i>dan digunakan untuk membuat dirinya

tetap muda selama ratusan tahun.</i>

25

00:02:10,166 --> 00:02:14,246

<i>Dan yang harus ia lakukan,

hanyalah menyanyikan lagu khusus.</i>

26

00:02:14,247 --> 00:02:22,214

<i>* Bunga berkilau dan bercahaya,

biarkan kau bersinar *</i>

27

00:02:22,215 --> 00:02:30,519

<i>* Buat waktunya mundur, dan

kembalikan apa yang pernah jadi milikku *</i>

28

00:02:30,520 --> 00:02:35,221

<i>* apa yang pernah jadi milikku *</i>

29

00:02:35,222 --> 00:02:38,236

<i>Baiklah, 2. Kalian mengerti, kan. Dia

bernyanyi

pada bunganya, dan berubah muda, aneh kan?</i>

30

00:02:49,464 --> 00:02:51,499

Aku sudah menemukannya.

31

00:02:56,189 --> 00:03:00,609

<i> Keajaiban bunga emas,

menyembuhkan sang Ratu.</i>

32

00:03:02,355 --> 00:03:05,507

<i>Seorang bayi perempuan yang sehat,

seorang Putri telah lahir.</i>

33

00:03:05,508 --> 00:03:07,608

<i>Dengan rambut emas yang indah.</i>

34

00:03:16,025 --> 00:03:17,246

<i>Aku beri petunjuk.</i>

158

00:13:09,877 --> 00:13:12,698

<i>* Kurasa aku selalu tahu hari ini akan datang .*</i>

159

00:13:12,699 --> 00:13:16,640

<i>* Tahu bahwa segera Kau ingin

meninggalkan sarang .*</i>

160

00:13:16,641 --> 00:13:19,030

<i>* Segera, tetapi belum.</i>

161

00:13:19,031 --> 00:13:25,100

<i> Percayalah, Ibu Tahu yang terbaik *</i>

162

00:13:26,896 --> 00:13:28,366

<i>* Ibu tahu yang terbaik, *</i>

163

00:13:28,368 --> 00:13:30,139

<i>* dengarkan ibumu .*</i>

164

00:13:30,140 --> 00:13:32,681

<i>* dunia sungguh menakutkan

di luar sana .*</i>

165

00:13:32,682 --> 00:13:34,598

<i>* Ibu tahu yang terbaik .*</i>

166

00:13:34,599 --> 00:13:39,465

<i>* 3. Bagaimanapun juga pasti

akan ada yang salah, aku bersumpah .*</i>

167

00:13:39,467 --> 00:13:42,487

<i>* Bajingan, preman, tanaman beracun,

pasir hisap .*</i>

168

00:13:42,488 --> 00:13:45,204

<i>* Cannibals, dan ular, wabah, ya .*</i>

169

00:13:45,206 --> 00:13:48,731

<i>* Juga serangga besar, pria dengan gigi runcing .*</i>

170

00:13:48,732 --> 00:13:52,619

<i>* Dan berhenti, sudah cukup,

Kau hanya akan membuatku kesal .*</i>

171

00:13:52,620 --> 00:13:55,285

<i>* Ibu di sini,

ibu akan melindungi mu.*</i>

172

00:13:55,286 --> 00:13:58,927

<i>* sayang inilah yang aku sarankan .*</i>

173

00:13:58,928 --> 00:14:02,276

<i>* 4. Lewati dramanya ,

tinggal dengan Mama .*</i>

174

00:14:02,277 --> 00:14:07,992

<i>* Ibu, tahu yang terbaik .*</i>

175

00:14:09,558 --> 00:14:12,982

<i>* Ibu tahu yang terbaik.

Percayalah pada ibumu.*</i>

176

00:14:12,983 --> 00:14:15,259

<i>* Bila Kau sendiri, Kau tidak akan bertahan .*</i>

177

00:14:15,260 --> 00:14:18,938

<i>* Ceroboh belum dewasa, kikuk, *</i>

178

00:14:18,939 --> 00:14:21,306

<i>* Tolong, mereka akan memakan mu,

hidup-hidup .*</i>

179

00:14:21,308 --> 00:14:25,181

<i>* Mudah tertipu, polos, sangat polos .*</i>

180

00:14:25,182 --> 00:14:28,120

<i>* bingung dan sedikit, baik, hmm kabur .*</i>

181

00:14:28,121 --> 00:14:31,158

<i>* Dan kurasa, agak gemuk .*</i>

182

00:14:31,159 --> 00:14:34,978

<i>* Aku hanya mengatakan,

Karena aku menyayangimu .*</i>

Maaf, 5. tangan ku penuh.

210

00:16:52,869 --> 00:16:54,184

Apa?

211

00:16:54,884 --> 00:16:57,057

Ryder!

212

00:17:02,918 --> 00:17:05,508

Ambil tas itu bagaimanapun juga./

Baik, Pak!

213

00:17:22,618 --> 00:17:24,395

Kita mendapatkannya sekarang, Maximus.

214

00:17:32,366 --> 00:17:33,495

Heeyah!

215

00:17:37,952 --> 00:17:40,436

Ah, ayo 6. kutu-tas, maju.

216

00:17:42,817 --> 00:17:43,844

Tidak

217

00:17:43,846 --> 00:17:45,354

Tidak, hentikan.

218

00:17:45,355 --> 00:17:46,525

HENTI....KAN!!!

219

00:17:46,903 --> 00:17:48,101

Berikan padaku.

220

00:19:31,805 --> 00:19:33,890

Akhirnya sendirian juga

221

00:21:09,522 --> 00:21:12,670

Oke, oke, oke, ada orang

di lemari ku.

222

00:21:12,671 --> 00:21:15,846

236

00:22:33,895 --> 00:22:36,583

Yah ibu, ada sesuatu

yang ingin kuberitahukan.

237

00:22:36,583 --> 00:22:39,268

Oh Rapunzel, kau tahu aku benci

meninggalkan mu setelah bertengkar.

238

00:22:39,269 --> 00:22:41,934

Terutama ketika aku tidak melakukan

kesalahan apapun.

239

00:22:41,935 --> 00:22:44,729

Oke, Aku telah banyak berpikir

tentang apa yang Kau katakan, sebelumnya.

240

00:22:45,757 --> 00:22:48,116

Aku harap Kau bukan memberbicarakan

tentang bintang tadi.

241

00:22:48,117 --> 00:22:50,745

lampu mengambang , dan ya

Aku mengarah ke situ.

242

00:22:50,746 --> 00:22:53,049

Karena aku benar-benar berpikir

7. masalahnya sudah beres, Sayang.

243

00:22:53,050 --> 00:22:55,027

Tidak Ibu, Aku hanya mengatakan,

244

00:22:55,028 --> 00:22:57,906

Kau pikir Aku tidak cukup kuat

untuk menjaga diriku sendiri di luar sana.

245

00:22:57,907 --> 00:23:01,379

Oh Sayang, aku tahu Kau tidak cukup kuat

untuk menjaga diri di luar sana.

246

00:23:01,381 --> 00:23:04,639

Tetapi jika Kau hanya.../

Rapunzel, kita sudah selesai bicara tentang hal ini.

247

Rapunzel.

286

00:26:42,065 --> 00:26:43,725

8. Gesundheit, sebenarnya begini.

287

00:26:43,726 --> 00:26:46,519

Aku berada 9. di sebuah situasi,

Berkeliaran melalui hutan.

288

00:26:46,601 --> 00:26:48,671

Aku melewati menara mu dan...

289

00:26:48,671 --> 00:26:52,034

Ho, Oh tidak, mana tas ku?

290

00:26:52,035 --> 00:26:55,576

Aku menyembunyikan nya, di suatu tempat dimana Kau

tidak akan pernah menemukannya

291

00:26:58,377 --> 00:27:00,160

di dalam pot itu, bukan.

292

00:27:06,033 --> 00:27:09,087

Ahh, hentikan itu

293

00:27:09,088 --> 00:27:11,818

Sekarang tersembunyi di mana Kau tidak akan pernah

menemukannya.

294

00:27:13,032 --> 00:27:16,143

Jadi, apa yang Kau inginkan,

dengan rambut ku?

295

00:27:16,143 --> 00:27:17,381

Memotongnya?/

Apa?

296

00:27:17,382 --> 00:27:19,041

Menjualnya?/ Tidak!

297

00:27:19,042 --> 00:27:21,960

Dengar, satu-satunya yang ingin

360

00:32:11,961 --> 00:32:13,950

Ibu akan sangat marah.

361

00:32:14,494 --> 00:32:17,944

Itu tidak apa-apa, apa yang dia tidak

tahu tidak akan membunuhnya, kan?

362

00:32:17,949 --> 00:32:20,754

Oh ya ampun, ini akan membunuhnya.

363

00:32:20,755 --> 00:32:24,093

INI SANGAT MENYENANGKAN!

364

00:32:24,094 --> 00:32:27,737

Aku sungguh anak yang tidak baik,

Aku akan kembali.

365

00:32:27,738 --> 00:32:30,388

Aku tidak akan pernah

kembaliiiii!

366

00:32:30,389 --> 00:32:34,380

Aku adalah manusia hina.

367

00:32:34,381 --> 00:32:36,440

WAHHOOOOO!

368

00:32:36,441 --> 00:32:39,047

Sungguh hari terbaikku!

369

00:32:47,610 --> 00:32:50,674

Kau tahu, aku perhatikan,

370

00:32:50,675 --> 00:32:53,963

Kau tampaknya sedikit perang

dengan diri sendiri, ya.

371

00:32:54,452 --> 00:32:57,415

Apa?/

Aku hanya 10. mengambil kesimpulan

kecil.

423

00:37:25,990 --> 00:37:28,953

Apa yang Kau dapatkan?

Karena buatku, itu sebagian bau manusia.

424

00:37:28,954 --> 00:37:30,836

dan bagian lainnya

benar-benar bau buruk manusia.

425

00:37:30,837 --> 00:37:33,272

Aku tidak tahu mengapa, tapi secara keseluruhan,

11. baunya seperti warna coklat.

426

00:37:33,273 --> 00:37:34,290

Pikiranmu?

427

00:37:34,800 --> 00:37:36,964

Itu adalah rambut yang banyak.

428

00:37:36,965 --> 00:37:39,921

Dia menumbuhkannya, apa itu darah di kumismu?

429

00:37:39,922 --> 00:37:42,517

Pirang, lihat ini, lihat

semua darah di kumisnya.

430

00:37:42,518 --> 00:37:44,978

Lihatlah, aku yakin itu darah yang banyak.

431

00:37:45,961 --> 00:37:47,838

Hei, Kau tidak terlihat begitu baik, Pirang.

432

00:37:47,839 --> 00:37:50,214

Mungkin kita harus pulang.

12. Cukup untuk hari ini.

433

00:37:50,214 --> 00:37:53,423

Mungkin akan lebih baik.

Ini memang tempat berbintang lima.

434

00:37:53,424 --> 00:37:56,891

Dan jika Kau tidak dapat menangani tempat ini,

mungkin lebih baik Kau kembali ke menara mu.

435

00:37:56,893 --> 00:37:59,582

Apakah ini Kau?

436

00:38:01,785 --> 00:38:04,575

Tidak, tidak ini kejam

437

00:38:04,576 --> 00:38:05,827

Oh, itu memang dia.

438

00:38:05,828 --> 00:38:08,036

Gretta, pergi panggil penjaga.

439

00:38:08,037 --> 00:38:12,210

aku akan mendapatkan kaitan baru.

440

00:38:12,211 --> 00:38:13,654

Aku memerlukan uang nya.

441

00:38:13,655 --> 00:38:15,684

Bagaimana denganku

Aku bangkrut

442

00:38:16,572 --> 00:38:19,608

Anak-anak, berhenti!/

Kita dapat 13. menyelesaikan ini.

443

00:38:19,609 --> 00:38:21,708

Hei, biarkan dia sendirian.

444

00:38:21,712 --> 00:38:26,109

Tuan-tuan, tolong./

Kembalikan pemanduku.

445

00:38:26,169 --> 00:38:28,511

Hoo, ha, ho, tidak, hoo!

446

00:38:33,983 --> 00:38:35,808

Jangan hidung, jangan hidung,

jangan hidung!

447

Kau menangkap aku.

522

00:43:17,779 --> 00:43:19,407

Sir, tidak ada tanda-tanda dari Ryder.

523

00:43:23,678 --> 00:43:24,933

Maximus.

524

00:43:32,275 --> 00:43:33,799

Apa yang dia lakukan?

525

00:43:43,565 --> 00:43:46,581

sebuah jalan, ayo anak buahku,

ayo kita pergi.

526

00:43:46,924 --> 00:43:49,634

Corman, pastikan mereka tidak lolos.

527

00:43:54,519 --> 00:43:55,573

14. Hati-hati.

528

00:43:57,871 --> 00:43:59,296

Akan ku ambil mahkotanya.

529

00:44:07,087 --> 00:44:10,882

Aku punya mimpi,

Aku punya mimpi,

530

00:44:11,249 --> 00:44:15,851

Aku... ohhh, seseorang ambilkan gelas.

531

00:44:15,852 --> 00:44:20,082

Karena aku baru saja menemukan

botol air yang tinggi.

532

00:44:20,083 --> 00:44:24,170

Oh hentikan, Kau 15. lug besar.

533

00:44:24,171 --> 00:44:26,649

Mengarah kemana terowongan itu?

534

00:44:26,650 --> 00:44:27,726

Pisau!

535

00:44:30,145 --> 00:44:31,624

Yah, aku harus katakan.

536

00:44:31,625 --> 00:44:34,964

Tidak tahu kau punya di dalam dirimu

Itu, cukup mengesankan.

537

00:44:34,965 --> 00:44:37,307

Aku TAHU!

538

00:44:37,308 --> 00:44:40,083

Aku tahu...

539

00:44:42,565 --> 00:44:45,327

Sooo, Flynn.

540

00:44:45,328 --> 00:44:46,528

Kau berasal dari mana?

541

00:44:46,529 --> 00:44:48,714

Whoa, whoa, maaf pirang,

16. Aku tidak mau cerita itu.

542

00:44:48,715 --> 00:44:51,611

Namun aku menjadi sangat

tertarik pada ceritamu.

543

00:44:51,612 --> 00:44:54,087

Sekarang aku. .. aku tahu aku tidak

boleh menyebut lagi rambutnya.

544

00:44:54,088 --> 00:44:55,901

Tidak boleh./

Atau, Ibu.

545

00:44:55,902 --> 00:44:58,745

Eh, eh./ Terus terang aku takut

bertanya tentang kataknya.

546

00:44:58,746 --> 00:45:00,102

17. Kita berhasil.

586

00:50:36,007 --> 00:50:37,277

Rambutnya bersinar.

587

00:50:37,278 --> 00:50:40,002

Aku masih hidup.

Aku masih hidup!

588

00:50:40,003 --> 00:50:42,834

Aku tidak menyangka itu.

rambut nya benar-benar bersinar.

589

00:50:42,835 --> 00:50:44,724

Eugene.../

Mengapa rambutnya bercahaya?

590

00:50:44,725 --> 00:50:46,043

Eugene!/

Apa?

591

00:50:47,183 --> 00:50:49,874

Ini tidak hanya bersinar.

592

00:50:52,302 --> 00:50:53,934

Kenapa dia tersenyum padaku?

593

00:51:18,407 --> 00:51:19,629

Aku akan membunuhnya.

594

00:51:19,630 --> 00:51:21,358

Aku akan membunuh, Ryder itu.

595

00:51:22,732 --> 00:51:24,851

kita akan 18. bawa kepala nya ke

kerajaan.

596

00:51:24,852 --> 00:51:27,079

Dapatkan kembali mahkota, ayolah.

597

00:51:28,538 --> 00:51:29,668

Anak-anak.

598

00:51:30,963 --> 00:51:35,750

Mungkin Kau ingin berhenti bertindak

19. seperti anjing liar mengejar

ekor nya.

599

00:51:35,751 --> 00:51:37,857

dan berpikir sejenak.

600

00:51:39,928 --> 00:51:42,258

Oh, tidak perlu begitu.

601

00:51:47,711 --> 00:51:51,540

Nah kalau hanya itu yang Kau inginkan,

20. pergilah saja.

602

00:51:51,541 --> 00:51:54,472

Aku tadinya akan menawarkan sesuatu

yang bernilai seribu mahkota.

603

00:51:54,473 --> 00:51:56,485

akan membuat kalian kaya luar biasa.

604

00:51:56,486 --> 00:51:58,483

Dan itu bahkan bukan bagian yang terbaik.

605

00:51:58,484 --> 00:52:00,070

Oh well, C'est la vie (Itulah Hidup).

606

00:52:00,071 --> 00:52:02,324

Nikmati mahkotanya

607

00:52:04,021 --> 00:52:05,565

Apa bagian terbaiknya?

608

00:52:06,029 --> 00:52:10,918

Pembalasan dendam pada Ryder Flynn.

609

00:52:17,537 --> 00:52:22,285

Jadi Kau bersikap aneh bersamaan dengan rambutmu

membungkus tanganku yang terluka..

650

00:55:21,394 --> 00:55:24,568

Dan... dan, untuk anak-anak,

tanpa balasan apa-apa.

651

00:55:24,569 --> 00:55:26,582

Aku tidak tahu, Aku...

652

00:55:27,593 --> 00:55:29,065

Itu tampak seperti pilihan yang lebih baik.

653

00:55:29,845 --> 00:55:32,561

Kau tidak boleh memberitahu siapa pun,

tentang hal ini, oke?

654

00:55:32,563 --> 00:55:35,127

Itu bisa merusak seluruh reputasi ku.

655

00:55:35,406 --> 00:55:38,034

Ahh, kita tidak menginginkan itu.

656

00:55:38,035 --> 00:55:40,806

Nah, hal tentang reputasi,

adalah hanya itu yang pria punya.

657

00:55:48,113 --> 00:55:51,126

Um,sebaiknya aku uh...

658

00:55:51,806 --> 00:55:54,572

Aku, sebaiknya aku mengambl kayu bakar lagi.

659

00:55:55,186 --> 00:55:56,203

Hey.

660

00:55:57,304 --> 00:56:02,605

21. Sebagai catatan, Aku lebih suka Eugene

Fitzherbert

daripada, Flynn Ryder.

661

00:56:04,506 --> 00:56:07,394

Nah, maka Kau akan menjadi yang pertama.

662

701

00:58:02,230 --> 00:58:06,083

<i>* Aku tidak akan mengatakan sudah

kukatakan.....tidak.*</i>

702

00:58:06,084 --> 00:58:08,341

<i>* Rapunzel tahu yang terbaik.*</i>

703

00:58:08,342 --> 00:58:10,029

<i>* Jika 22. ia memang seperti yang

kau impikan .*</i>

704

00:58:10,030 --> 00:58:13,898

<i>* Pergi dan ujilah dia .*/

Ibu, tunggu.</i>

705

00:58:13,899 --> 00:58:19,746

<i>* Jika dia berbohong, jangan datang

menangis .*</i>

706

00:58:19,747 --> 00:58:26,351

<i>* Ibu, tahu terbaik .*</i>

707

00:58:30,819 --> 00:58:34,541

Jadi, hei eh,

boleh aku menanyakan sesuatu?

708

00:58:35,294 --> 00:58:38,785

Apakah ada kemungkinan bahwa aku akan

mendapatkan kekuatan yang sangat besar?

709

00:58:38,786 --> 00:58:41,733

Karena aku tidak akan berbohong.

Itu akan luar biasa.

710

00:58:43,240 --> 00:58:44,911

Hei, kau baik-baik saja?

711

00:58:45,306 --> 00:58:47,594

Oh, maaf, ya.

712

00:58:47,595 --> 00:58:50,827

Hanya um, 23. sedang melamun,

Kurasa.

713

00:58:53,074 --> 00:58:55,139

Maksudku karena ada satu hal.

714

00:58:55,140 --> 00:58:57,178

Ketampanan manusia super,

aku selalu memiikinya.

715

00:58:57,179 --> 00:58:59,970

Sedari lahir, tapi kekuatan manusia super?

716

00:58:59,971 --> 00:59:02,716

Dapatkah Kau membayangkan kemungkinannya, aku hanya...

717

00:59:07,343 --> 00:59:14,042

sabar anak-anak. 24. Semua hal-hal yang

baik

kepada mereka yang menunggu.

718

00:59:28,691 --> 00:59:29,791

Hmm, apa?

719

00:59:32,984 --> 00:59:35,430

Yah aku harap Kau

di sini untuk meminta maaf.

720

00:59:36,280 --> 00:59:39,042

Ahhh!

721

00:59:39,051 --> 00:59:43,504

Tidak, tidak turunkan aku.

Hentikan! Lepaskan Aku!

722

00:59:44,526 --> 00:59:46,740

Beri aku... dia!/

Aduh!

723

00:59:54,905 --> 00:59:55,938

Whoa!

788

01:08:44,736 --> 01:08:46,203

Kau tahu apa maksudku?

789

01:08:46,204 --> 01:08:49,054

Aku mulai mengerti.

790

01:08:53,506 --> 01:08:58,456

<i>* Selama ini mengejar mimpi *</i>

791

01:08:58,457 --> 01:09:02,823

<i>* Selama bertahun-tahun Hidup di keraguan *</i>

792

01:09:02,824 --> 01:09:07,989

<i>* Selama itu tidak benar-benar melihat *</i>

793

01:09:07,990 --> 01:09:14,778

<i>* Hal-hal, seperti apa adanya

Sekarang dia ada di sini *</i>

794

01:09:14,779 --> 01:09:19,586

<i>* Bersinar dalam cahaya bintang

Sekarang dia ada di sini *</i>

795

01:09:19,587 --> 01:09:24,150

<i>* Tiba-tiba aku tahu

Jika dia ada di sini *</i>

796

01:09:24,152 --> 01:09:31,148

<i>* 25. Sangat jelas

Aku dimana aku seharusnya berada *</i>

797

01:09:31,149 --> 01:09:35,596

<i>* Dan akhirnya, aku melihat cahaya *</i>

798

01:09:35,597 --> 01:09:39,590

<i>* Dan kabut nya telah hilang *</i>

799

01:09:39,591 --> 01:09:44,162

<i>* Dan akhirnya, aku melihat cahaya *</i>

800

01:09:44,163 --> 01:09:48,406

<i>* Dan langit seperti baru</i>

814

01:11:25,578 --> 01:11:27,135

Ahh, ada Kau.

815

01:11:27,136 --> 01:11:30,306

Aku telah mencari kalian di mana-mana

Sejak kita terpisah.

816

01:11:30,307 --> 01:11:32,806

Hey cambang terlihat bagus, ya?

817

01:11:32,808 --> 01:11:34,374

Kau pasti merasa bersemangat

818

01:11:36,574 --> 01:11:39,708

Bagaimanapun, hanya ingin mengucapkan,

819

01:11:39,709 --> 01:11:42,569

Seharusnya kita tidak berpisah.

mahkotanya milikmu.

820

01:11:42,570 --> 01:11:46,781

Aku akan merindukanmu, tapi aku pikir

ini untuk... yang terbaik.

821

01:11:47,993 --> 01:11:51,439

26. Menyembunyikan sesuatu lagi

pada kami? 'Ey, Ryder?

822

01:11:51,694 --> 01:11:54,697

Apa?/

Kami dengar Kau menemukan sesuatu.

823

01:11:54,698 --> 01:11:57,843

Sesuatu yang jauh lebih berharga

dari mahkota

824

01:11:58,323 --> 01:12:01,642

Kami ingin dia, sebagai gantinya.

825

01:12:10,612 --> 01:12:15,304

Aku mulai berpikir Kau