Search results for: dubbing

Authors: Saber Noie, F. Jafarpour

Abstract:

Translation of the movies was one of important issues of the translators. In this study, the notions of ‘foreignization’, ‘domestication’, and ‘critical discourse analysis’ (CDA) in translation studies were discussed. This study is a comparative study and attempts towards clarifying the lexical differences and similarities between dubbing and subtitling in audiovisual translation through CDA. The strategies proposed by Venuti (1995) and Newmark (1988) used first by researcher and then, the researcher went back to the Van Dijk’s CDA (1995), in the part dominance. This study shows that according to CDA, the dominant strategy in subtitling is foreignization and dominant strategy in dubbing is domestication.

Keywords: critical discourse analysis, CDA, dub, subtitle, foreignization, domestication

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Authors: Shaza Melies, Saadeya Salem, Seham Kareh

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Cartoon films are multisemiotic as various modes integrate in the production of meaning. This study aims to examine the cultural and linguistic specific references in the Egyptian dubbed cartoon film Mulan. The study examines the translation strategies implemented in the Egyptian dubbed version of Mulan to meet the cultural preferences of the audience. The study reached the following findings: Using the traditional translation strategies does not deliver the intended meaning of the source text and causes loss in the intended humor. As a result, the findings showed that in the dubbed version, translators tend to omit, change, or add information to the target text to be accepted by the audience. The contrastive analysis of the Mulan (English and dubbed versions) proves the connotations that the dubbing has taken to be accepted by the target audience. Cartoon films are multisemiotic as various modes integrate in the production of meaning. This study aims to examine the cultural and linguistic specific references in the Egyptian dubbed cartoon film Mulan. The study examines the translation strategies implemented in the Egyptian dubbed version of Mulan to meet the cultural preferences of the audience. The study reached the following findings: Using the traditional translation strategies does not deliver the intended meaning of the source text and causes loss in the intended humor. As a result, the findings showed that in the dubbed version, translators tend to omit, change, or add information to the target text to be accepted by the audience. The contrastive analysis of the Mulan (English and dubbed versions) proves the connotations that the dubbing has taken to be accepted by the target audience.

Keywords: domestication, dubbing, Mulan, translation theories

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Authors: John D. Sanderson

Abstract:

The popularity of American cinema worldwide has contributed to the development of sociolects related to specific film genres in other cultural contexts by means of screen translation, in many cases eluding norms of usage in the target language, a process whose result has come to be known as 'dubbese'. A consequence for the reception in countries where local audiovisual fiction consumption is far lower than American imported productions is that this linguistic construct is preferred, even though it differs from common everyday speech. The iconography of film genres such as science-fiction, western or sword-and-sandal films, for instance, generates linguistic expectations in international audiences who will accept more easily the sociolects assimilated by the continuous reception of American productions, even if the themes, locations, characters, etc., portrayed on screen may belong in origin to other cultures. And the non-normative language (e.g., calques, semantic loans) used in the preferred mode of linguistic transfer, whether it is translation for dubbing or subtitling, has diachronically evolved in many cases into a status of canonized sociolect, not only accepted but also required, by foreign audiences of American films. However, a remarkable step forward is taken when this typology of artificial linguistic constructs starts being used creatively by nationals of these target cultural contexts. In the case of Spain, the success of American sitcoms such as Friends in the 1990s led Spanish television scriptwriters to include in national productions lexical and syntactical indirect borrowings (Anglicisms not formally identifiable as such because they include elements from their own language) in order to target audiences of the former. However, this commercial strategy had already taken place decades earlier when Spain became a favored location for the shooting of foreign films in the early 1960s. The international popularity of the then newly developed sub-genre known as Spaghetti-Western encouraged Spanish investors to produce their own movies, and local scriptwriters made use of the dubbese developed nationally since the advent of sound in film instead of using normative language. As a result, direct Anglicisms, as well as lexical and syntactical borrowings made up the creative writing of these Spanish productions, which also became commercially successful. Interestingly enough, some of these films were even marketed in English-speaking countries as original westerns (some of the names of actors and directors were anglified to that purpose) dubbed into English. The analysis of these 'back translations' will also foreground some semantic distortions that arose in the process. In order to perform the research on these issues, a wide corpus of American films has been used, which chronologically range from Stagecoach (John Ford, 1939) to Django Unchained (Quentin Tarantino, 2012), together with a shorter corpus of Spanish films produced during the golden age of Spaghetti Westerns, from una tumba para el sheriff (Mario Caiano; in English lone and angry man, William Hawkins) to tu fosa será la exacta, amigo (Juan Bosch, 1972; in English my horse, my gun, your widow, John Wood). The methodology of analysis and the conclusions reached could be applied to other genres and other cultural contexts.

Keywords: dubbing, film genre, screen translation, sociolect

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Authors: Sonia Gonzalez Cruz

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Subtitling activities allow for acquiring and developing certain translation skills, and they also have a great impact on the students' motivation. Active subtitling is a relatively recent activity that has generated a lot of interest particularly in the field of second-language acquisition, but it is also present within both the didactics of general translation and language teaching for translators. It is interesting to analyze the level of inclusion of these new resources into the existent curricula and observe to what extent these different teaching methods are being used in the translation classroom. Although subtitling has already become an independent discipline of study and it is considered to be a type of translation on its own, it is necessary to do further research on the different didactic varieties that this type of audiovisual translation offers. Therefore, this project is framed within the field of the didactics of translation, and it focuses on the relationship between the didactics of general translation and active subtitling as a didactic tool. Its main objective is to analyze the inclusion of interlinguistic active subtitling in general translation curricula at different universities. As it has been observed so far, the analyzed curricula do not make any type of reference to the use of this didactic tool in general translation classrooms. However, they do register the inclusion of other audiovisual activities such as dubbing, script translation or video watching, among others. By means of online questionnaires and interviews, the main goal is to confirm the results obtained after the observation of the curricula and find out to what extent subtitling has actually been included into general translation classrooms.

Keywords: subtitling, general translation, didactics, translation competence

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Authors: Juan-Pedro Rica-Peromingo

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Teachers constantly need to innovate and redefine materials for their lectures, especially in areas such as Language for Specific Purposes (LSP) and Translation Studies (TS). It is therefore essential for the lecturers to be technically skilled to handle the never-ending evolution in software and technology, which are necessary elements especially in certain courses at university level. This need becomes even more evident in Audiovisual Translation (AVT) Modules and Courses. AVT has undergone considerable growth in the area of teaching and learning of languages for academic purposes. We have witnessed the development of a considerable number of masters and postgraduate courses where AVT becomes a tool for L2 learning. The teaching and learning of different AVT modes are components of undergraduate and postgraduate courses. Universities, in which AVT is offered as part of their teaching programme or training, make use of professional or free software programs. This paper presents an approach in AVT withina specific university context, in which technology is used by means of professional and nonprofessional software. Students take an AVT subject as part of their English Linguistics Master’s Degree at the Complutense University (UCM) in which they are using professional (Spot) and nonprofessional (Subtitle Workshop, Aegisub, Windows Movie Maker) software packages. The students are encouraged to develop their tasks and projects simulating authentic professional experiences and contexts in the different AVT modes: subtitling for hearing and deaf and hard of hearing population, audio description and dubbing. Selected scenes from TV series such as X-Files, Gossip girl, IT Crowd; extracts from movies: Finding Nemo, Good Will Hunting, School of Rock, Harry Potter, Up; and short movies (Vincent) were used. Hence, the complexity of the audiovisual materials used in class as well as the activities for their projects were graded. The assessment of the diverse tasks carried out by all the students are expected to provide some insights into the best way to improve their linguistic accuracy and oral and written productions with the use of different AVT modes in a very specific ESP university context.

Keywords: ESP, audiovisual translation, technology, university teaching, teaching

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Authors: Lienjang Zeite

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Over the past few years, Turkish and Indian series have been distributed worldwide to countless households and have found ardent followers across different age group. The series have captured numerous hearts. Turkish and Indian series have become not only one of the best means of entertainment and relaxation but also a platform to learn and appreciate shared emotions and social messages. The popularity of the series has created a kind of interest in representing human emotions and stories like never before. The demands for such series have totally shifted the entertainment industry at a new level. The interest and vibe created by the series have had impacts on various departments spanning from technology to the fashion industry and it has also become the bridge to connect viewers across the globe. The series have amassed avid admirers who find solace in the beautiful visual representations of human relationships whether it is of lovers, family or friendship. The influence of Turkish and Indian series in many parts of the world has created a cultural phenomenon that has taken viewers beyond cultural and language differences. From China to Latin America, Arab countries and the Caucasus region, the series have been accepted and loved by millions of viewers. It has captivated audiences ranging from grandmothers to teenagers. Issues like language barrier are easily solved by means of translation or dubbing making it easier to understand and enjoy the series. Turkey and India are two different countries with their own unique culture and traditions. Both the countries are exporters of series in large scale. The series function as a platform to reveal the plots and shed lights on characters of all kinds. Both the countries produce series that are more or less similar in nature. However, there are also certain issues that are shown in different ways and light. The paper will discuss how emotions are represented in Turkish and Indian series. It will also discuss the ways the series have impacted the art of representing emotions and characters in the digital era. The representation of culture through Turkish and Indian series will be explored as well. The paper will also locate the issue of gender roles and how relationships are forged or abandoned in the series. The issue of character formation and importance of moral factors will be discussed. It will also examine the formula and ingredients of turning human emotions and characters into a much loved series.

Keywords: characters, cultural phenomenon, emotions, Turkish and Indian series

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Authors: Juan-Pedro Rica-Peromingo

Abstract:

Nowadays, corpus linguistics has become a key research methodology for Translation Studies, which broadens the scope of cross-linguistic studies. In the case of the study presented here, the approach used focuses on learners with little or no experience to study, at an early stage, general mistakes and errors, the correct or incorrect use of translation strategies, and to improve the translational competence of the students. Led by Sylviane Granger and Marie-Aude Lefer of the Centre for English Corpus Linguistics of the University of Louvain, the MUST corpus (MUltilingual Student Translation Corpus) is an international project which brings together partners from Europe and worldwide universities and connects Learner Corpus Research (LCR) and Translation Studies (TS). It aims to build a corpus of translations carried out by students including both direct (L2 > L1) an indirect (L1 > L2) translations, from a great variety of text types, genres, and registers in a wide variety of languages: audiovisual translations (including dubbing, subtitling for hearing population and for deaf population), scientific, humanistic, literary, economic and legal translation texts. This paper focuses on the work carried out by the Spanish team from the Complutense University (UCMA), which is part of the MUST project, and it describes the specific features of the corpus built by its members. All the texts used by UCMA are either direct or indirect translations between English and Spanish. Students’ profiles comprise translation trainees, foreign language students with a major in English, engineers studying EFL and MA students, all of them with different English levels (from B1 to C1); for some of the students, this would be their first experience with translation. The MUST corpus is searchable via Hypal4MUST, a web-based interface developed by Adam Obrusnik from Masaryk University (Czech Republic), which includes a translation-oriented annotation system (TAS). A distinctive feature of the interface is that it allows source texts and target texts to be aligned, so we can be able to observe and compare in detail both language structures and study translation strategies used by students. The initial data obtained point out the kind of difficulties encountered by the students and reveal the most frequent strategies implemented by the learners according to their level of English, their translation experience and the text genres. We have also found common errors in the graduate and postgraduate university students’ translations: transfer errors, lexical errors, grammatical errors, text-specific translation errors, and cultural-related errors have been identified. Analyzing all these parameters will provide more material to bring better solutions to improve the quality of teaching and the translations produced by the students.

Keywords: corpus studies, students’ corpus, the MUST corpus, translation studies

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