Name : Rika Yuniarti
Student Number : 13020122120010
Issues in Translation A
Passive Voice Translation Strategies in Venom The Last Dance (2024)’s English–
Indonesian Subtitles
A. Introduction
This subtitle translation study aims to analyze and categorize the various strategies
employed in translating passive voice constructions from English to Indonesian
subtitles in the film Venom: The Last Dance (2024). The passive voice is an interesting
and significant linguistic element in translation studies due to its structural and
functional differences across languages. English often utilizes the passive voice to omit
the agent, emphasize the object, or maintain formality. In contrast, Indonesian has
different preferences and mechanisms for expressing similar concepts, often favoring
active sentences or distinct passive forms (e.g., using the prefixes di- or ter-). Data for
this analysis were collected from the dialogue corpus of the film Venom: The Last
Dance and its official Indonesian subtitles. The methodology involved identifying
passive constructions in the source text (English subtitles) and then analyzing their
equivalents in the target text (Indonesian subtitles).
B. Findings
Based on the analysis of the provided frequency data, a total of 65 passive constructions
in the English subtitles were identified and their translation strategies into Indonesian
were analyzed. The distribution of translation strategies is as follows:
1. Maintained as Passive (PT>PI, PI, PT): A total of 19 English passive constructions
were translated into passive constructions in Indonesian.
• Using the di- prefix (PT>PI, PI): 1 + 1 + 3 = 5 cases
• Using the ter- prefix (PT): 14 cases
• Example (hypothetical, based on category): “A codex has been created” →
“Sebuah kodeks telah tercipta.” (using ter-) or “The door was closed” →
“Pintu itu ditutup.” (using di-)
2. Converted to Active (PI>AI, PT>AT, AT): The most common strategy was to change
English passive sentences into active sentences in Indonesian, which occurred in 44
cases.
• PI>AI (Affixal Passive to Affixal Active): 3 cases
• PT>AT (Ter- Passive to Active or other active forms): 2 cases
• AT (General Passive to Active): 39 cases
• Example (hypothetical): While the provided data directly shows “Detective
Mulligan was found impaled” → “Detektif Mulligan ditemukan tertusuk”
(remaining passive), a conversion to active might look like: “This key will gain
my freedom” (if the English passive were “My freedom will be gained by this
key”). The high frequency of “AT” suggests many direct passive-to-active
shifts.
Nominalization, Omission, or Other (PX): A total of 2 cases were categorized as
“Other,” which could include nominalization (e.g., “was discovered” → “penemuan”
/ “the discovery of”) or complete omission if the information was deemed redundant or
inferable.
Frequency Distribution Table of Passive Voice Translation Strategies:
Translation Strategy Category Category Frequency
Maintained as Passive (Total) 19
Passive to di- Passive PT>PI, PI 5
Passive to ter- Passive PT 14
Converted to Active (Total) 44
Affixal Passive to Affixal Active PI>AI 3
Ter- Passive to Active PT>AT 2
General Passive to Active AT 39
Nominalization/Omission/Other PX 2
Total Passive Constructions Analyzed 65
Note: The categories “AT>PT” (13 cases) and “AT>AI” (1 case) from the original
frequency data are not included in this table as they represent translations from English
active sentences to Indonesian passive or active sentences, and are not strategies for
translating English passive sentences.
The most frequently used strategy was the conversion of English passive sentences into
Indonesian active sentences (44 cases). The least frequently used strategy was
nominalization, omission, or other strategies (2 cases).
C. Discussion
The preference for converting English passive voice to active voice in Indonesian
subtitles is driven by Indonesian’s natural tendency toward active sentence structures,
which are more direct, dynamic, and suitable for spoken dialogue, particularly in fast-
paced action films like Venom: The Last Dance where conciseness and immediate
impact enhance naturalness for Indonesian audiences. While no clear patterns emerged
from frequency data, the study suggests that English passives with unimportant or
unknown agents are more likely retained as Indonesian passives (using “ter-“ or “di-”
prefixes), whereas those with identifiable agents tend toward active conversion, and
although this shift can alter subtle nuances of emphasis, the trade-off is considered
acceptable in subtitling contexts where clarity and quick comprehension are prioritized
over preserving every source text nuance.
D. Interpretations
The translator’s strategy choices are primarily driven by typological differences
between English and Indonesian passive voice systems, where English uses “to be +
past participle” constructions while Indonesian employs prefixes like “di-“ (for
deliberate actions) and “ter-“ (for unintentional or agentless actions), with Indonesian
naturally favoring active sentences in contexts where English might use passive voice.
The translator prioritizes naturalness, conciseness, and readability to meet subtitle
constraints requiring quick synchronization with audio and visuals, making active
sentences ideal since they are typically shorter and more direct than passive equivalents,
while also avoiding “translationese” by choosing idiomatic Indonesian active
structures that enhance the viewing experience for Indonesian audiences.
E. Conclusion
This essay reveals that converting English passive voice to Indonesian active voice is
the dominant translation strategy in Venom: The Last Dance subtitles, with passive
voice maintenance (using “di-“ or “ter-“ prefixes) employed less frequently and other
strategies like nominalization or omission being minimal. These findings demonstrate
Indonesian’s preference for active sentences in film dialogue contexts and emphasize
the importance of naturalness and conciseness in subtitle translation, providing valuable
insights for translators dealing with passive voice considerations and illustrating
practical structural differences between English and Indonesian for language learners.
Future research would benefit from access to complete film scripts and subtitles for
deeper contextual analysis of how verb types, agent presence, and narrative context
influence translation strategy choices.
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