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ALMA MATER STUDIORUM
UNIVERSITÀ DI BOLOGNA
Research in Screen
Translation:
Challenges and Prospects
Delia Chiaro
University of Bologna at Forlì
Objectives
• Map of Screen Translation [ST]
modalities in Europe;
• State of the art in research;
• Proposal for practical research that
is of use to industry and end users;
• ST research at Forlì.
DEFINITIONS
•
•
•
•
•
Multimedia translation
Audiovisual translation
Screen translation
Film translation
Dialogue translation
What’s the difference?
“UMBRELLA TERMS”
“…the interlingual transfer of verbal
language when it is transmitted and
accessed both visually and acoustically,
usually, but not necessarily, through some
kind of electronic device.”
Multimedia translation
• Multimedia products are both produced and
consumed by means of several media. In other
words, typical multimedia products such as a
films and hypertexts, will be created through
the implementation of diverse technological
equipment (i.e. cameras, computers, software
programs etc.) and subsequently consumed by
end-users via some sort of electronic device
such as a television; a computer screen or a
console.
Audiovisual translation
• “[a] semiotic construct comprising
several signifying codes that operate
simultaneously in the production of
meaning.” (Chaume 2004:16)
• Films, plays, opera, video-games and
hypertexts are examples of audiovisual
products that are intended to be both
seen and heard at the same time by end
users.
Screen Translation
• Strictu sensu - translations for any
electronic appliance with a screen (i.e.TV;
cinema; videogame console; GPS
navigator; mobile phone etc.)
• Film translation
• Dialogue translation
VISUAL
NON-VERBAL
VERBAL
ACOUSTIC
SCENERY, LIGHTING,
COSTUMES, PROPS,
etc.
ALSO:
GESTURE, FACIAL
EXPRESSIONS; BODY
MOVEMENT etc.
MUSIC, BACKGROUND
NOISE, SOUND
EFFECTS, etc.
ALSO:
LAUGHTER; CRYING;
HUMMING; BODY
SOUNDS (breathing;
coughing etc.)
STREET SIGNS, SHOP
SIGNS; WRITTEN
REALIA (newspapers;
letters; headlines; notes
etc.)
DIALOGUES; SONGLYRICS; POEMS etc.
The polysemiotic nature of audiovisual
products
Most ST common modalities
• Dubbing - uses the acoustic channel for
translational purposes,
• Subtitling - visual and involves a written
translation that is superimposed onto the
screen.
• Voice-over - a less common acoustic
form of screen translation.
PRODUCTS FOR THE SCREEN
•
•
•
•
•
Big screen (cinema);
TV;
Video;
DVD;
the entire spectrum of tv products, (i.e.
series, serials, sitcoms, documentaries,
news programmes, advertisements etc.)
many of which are also available in home
video and DVD formats
Dubbing versus subtitling
• The so-called European ST ‘blocks’
– myth or reality?
• Quality? Does anyone care?
• Total Quality Management [TMQ] –
an impossible dream?
A dirty word?
• Dubbing has a bad reputation;
• Condemned for spoiling soundtrack;
• Denies audiences the opportunity of
hearing the voices of the original actors;
• Less textual reduction
• Time consuming and expensive
Dubbing versus subtitling
• DUBBING
• SUBTITLING
•
•
•
•
•
•
•
• You can hear original
voices;
• Cheap;
• Quick;
Spoils the original voices;
Spoils the original film;
Un-artistic;
Expensive;
Complicated;
Long process;
Connected with rightwing regimes;
• Connected with
protectionist lingustic
policy.
• Helps children with
reading;
• Helps learn foreign
languages;
• Linguistic interference.
Matrix of Source Verbal Visibility
+
Dubbing
visibility
News reports
Degree of semio-translation
-
Subtitles
Voice over
Interpreting
+
visibility
Global advertising
TV formats
-
ST Research in Forlì
Investigating ST as a public service
Analyses of:
• The supplier of the service;
• The client/customer or user of
the service
• The service itself
Perspectives for empirical research
• Analyses of product i.e. case studies;
• Field work regarding dubbing
professionals’ perception of dubbed
produce;
• Field work regarding end users’
perception of dubbed produce
Supervision
DUBBING DIRECTOR
Figure
Process
Translator
Translation
DialogueAdaptor
ScriptTranslator
DialogueAdaptor
Dialogue
Adaption
Dubbing actor
DialogueAdaptor
ScriptTranslator
Dubbing actor
Dubbing
DialogueAdaptor
Dubbing actor
Polyvalent figures
‘THE DUBBING CYCLE’
Forlì Corpus of Screen Translation
• 350 hours of dubbed TV products
collected across all genres, viewing times,
target audience and Source Languages
across a 4 month period (Spring 2002).
Volume fiction and film of US origin broadcast in 5 major
EU countries
• Illustrare lo scopo dei controlli
• Indicare la frequenza e le date dei controlli
• Descrivere sommariamente la procedura di
controllo
• Distribuire e commentare i moduli utilizzati
European Audiovisual Observatory; Press Release 28 January 2003
WHO DUBS MOST IN ITALY
LA7
16%
RAIUNO
1%
RAIDUE
17%
RAITRE
6%
RETE4
18%
CANALE5
7%
ITALIA1
35%
RAIUNO
RAIDUE
RAITRE
CANALE5
ITALIA1
RETE4
LA7
Minutes of dubbed products broadcast weekly
2715
1455
1290
1395
520
60
570
RAIUNO
RAIDUE
RAITRE
CANALE5
ITALIA1
RETE4
LA7
1. Genres: TV series, sitcoms, soap operas, telenovelas, cartoons
Minutes of dubbed programmes per genre
broadcast each week on Italian TV
1200
Minutes
1000
1075
800
600
655
400
400
200
210
0
1030
660
620
420
360
0
LS
NS
A
O
O
RI
T
E
R
/S
S
CA
IE
R
SE
650
610
445
420
120
60
150
0
120
0
S
M
CO
T
SI
AP
SO
P
O
S
A
ER
L
E
T
E
AS
L
VE
O
N
0
RAIUNO
RAIDUE
RAITRE
CANALE5
ITALIA1
RETE4
LA7
Time spans and target audiences
• Morning:
soaps/telenovelas →housewives
• Afternoon:
soaps/cartoons/series/sitcoms→housewiv
es/teenagers/young adults
• Evening/prime time:
telenovelas/series/serials/sitcoms→genera
l audience
Source languages
• English → US, UK, CANADIAN,
AUSTRALIAN
• German
• Portuguese → BRAZILIAN
• Spanish → CHILEAN, ARGENTINIAN
Lingua-cultural drops in (translational) voltage
Translation as electricity
• Lingua-cultural energy conducted
adequately;
• Lingua-cultural drops in voltage;
• Lingua-cultural short circuits;
• Lingua-cultural power cuts
Operational strategies
1.
Culture-specific references (e.g. place names,
references to sports and festivities, famous people,
monetary systems, institutions etc.);
2. Lingua-specific turbulence (translating terms
of address, taboo language, written language etc.);
3. Areas of overlap between language and
culture (songs, rhymes, jokes etc.);
4. Visuals (culture specific examples void of
language).
Our Questionnaire
http://137.204.90.125/dubbingquality/
The sample - 254 respondents
Results (1)
• Mississippi Mud Pie
• Già /Yeah
• Jokes
• Pet funeral
The perception of humour based on Nonspecific VEH
Buffy: Like the boy who put his finger in the
duck.
Angel: Dyke. It’s like a dam.
Buffy: Oh well, that story makes a lot more
sense.
Buffy: Ricordi il ragazzo che mette il dito nel buco della
diga e…
Angel: Barriera
Buffy: Eh?
Angel: Barriera. E un sinonimo di diga.
Buffy: Non è esattamente un sinonimo
ma si può dire.
Zero
recognition
Results (2)
• Raw data elaborated via factor analyses
Might Italian end-users be
“linguistically bi-polar”?
“Every film is a foreign film, foreign to
some audience somewhere – and not
simply in terms of language”
(Egoyan and Balfour 2004:21
Thank you
[email protected]