求高手帮忙翻译下这段短文，不要软件翻译的，语句通顺就好，谢谢
Types of film translation
There are two major types of film translation: dubbing and subtitling; each of them interferes with the original text to a different extent.
On the one hand, dubbing is known to be the method that modifies the source text to a large extent and thus makes it familiar to the target audience through domestication. It is the method in which "the foreign dialogue is adjusted to the mouth and movements of the actor in the film" (Dries 1995: 9 qtd. in Shuttle worth and Cowries 1997: 45) and its aim is seen as making the audience feel as if they were listening to actors actually speaking the target language.
On the other hand, subtitling, i.e. supplying a translation of the spoken source language dialogue into the target language in the form of synchronized captions, usually at the bottom of the screen, is the form that alters the source text to the least possible extent and enables the target audience to experience the foreign and be aware of its 'foreignness' at all times.
Classification of countries by translation modes they employ
Before presenting the historical circumstances and their influence on particular cultures, let us have a closer look at the division of countries according to the type of screen translation they use (as presented in The Rutledge Encyclopedia of Translation Studies 1997: 244). The Encyclopedia, however, does not differentiate between cinema and television translation.
First, there are the source-language countries, which in the contemporary world mean English-speaking countries such as the United States or the United Kingdom, where hardly any films are imported. The foreign ones tend to be subtitled rather than dubbed. In Britain, film translation does not appear to be a significant issue as the great majority of imported films are American and require no translation.
Second, there are the dubbing countries, and this group comprises mainly French-, Italian- German-, and Spanish-speaking countries (sometimes referred to as the FIGS group), both in and outside Europe. In these countries the overwhelming majority of films undergo the process of dubbing. This is mostly due to historical reasons since "in the 1930s dubbing became the preferred mode of film translation in the world's big-market speech communities" (Gottlieb 1997: 310).
主要有两种类型的电影翻译：配音和字幕，其中每一个与原来的文本在不同程度干扰。
一方面，配音是已知的方法修改的源文本在很大程度上，从而使熟悉它的目标受众，通过驯化。这是在其中“外国对话是调整到嘴中的电影演员运动”（德里斯1995年：9 QTd的价值和子安贝在航天飞机1997年：45。）方法，其目的是让观众看到的感觉因为如果他们真的在听演员讲目标语言。
另一方面，字幕，即把供应中的同步字幕形式目标语言的源语言的口语对话翻译，通常在屏幕的底部，是形式的改变源文本到最小的程度，使目标观众领略到国外，并成为它的'外地人'在任何时候都知道的。
国家分类的转换模式，他们聘请
在提交的历史境遇及其对特定文化的影响，让我们来看看是根据他们所使用的屏幕翻译师型国家仔细研究（如在1997年的翻译研究百科全书拉特利奇介绍：244）。百科全书，然而，不区分电影和电视翻译。
首先，是源语言的国家，这意味着在当今世界，如美国或英国，在那里几乎没有任何电影都是进口的英语为母语的国家。外国的往往是字幕，而不是配音。在英国，电影翻译不似乎是一个重要的问题作为进口影片绝大多数是美国人，不需要翻译。
第二，有配音的国家，这一组主要包括法语，意大利语，德语和西班牙语为母语的国家（有时也被称为无花果组），在欧洲的内外。在这些国家绝大多数的电影进行了配音过程。这主要是由于历史的原因，因为“成为20世纪30年代的电影配音翻译的世界大市场的讲话社区的首选模式”（戈特利布1997：310）。
