Audiovisual Translation: Bridging the Gap for Inclusive Communication, Guide, Progetti e Ricerche di Traduzione

Scarica Audiovisual Translation: Bridging the Gap for Inclusive Communication e più Guide, Progetti e Ricerche in PDF di Traduzione solo su Docsity! Audiovisual translation Through the translation, a certain message is transferred from a source language to a target language. The translator’s task is to stick as closely as possible to the original structures but always referring to the cultural context to which we refer. Translating, therefore, does not only mean transposing a text from one language to another, but also from one culture to another, giving much attention to all extralinguistic factors. The most typical example is certainly that of audiovisual translation, that is, the translation of a multimodal text from one language to another and from one culture to another. Audiovisual products are all products that communicate not only through the visual channel but also through the acoustic channel. The most popular and known products are films, TV series and documentaries, but also tutorials, online courses, etc. Audiovisual translation refers to a particular type of language transfer, which translates the contents of an audiovisual product from the source language to the target language, intervening on the lines of a text and on the original linguistic expression, in order to allow the adaptation of the product to a different audience, from the linguistic and cultural point of view, from that of origin. It is about adaptation of the dialogues, much used in dubbing and subtitling. These, however, are not the only forms of audiovisual translation. For example, some types of audiovisual translations with inclusive purposes are gaining increasing attention because they aim to involve disabled users in communication. The main goal is to try to recreate the rhythm of the original version, transporting it into the rhythm of the target language. In addition, the system of signs, symbols, conventions and meanings must be translated. 1.0 Origins The origins of audiovisual translation date back to the 1930s, when the transition from silent to sound cinema occurred. The birth of sound cinema has created the need to translate foreign films and, consequently, to expand multimedia translation strategies. It dates back to this period, the birth of different types of film genres and new audiovisual channels. In silent cinema, the main information was given to the public simply through some texts that dominated the screen separating one scene from another. Obviously, translating this type of text, which interrupted the scene and was therefore devoid of audio, was much less complex than the techniques that must be applied today to create true and proper audiovisual translations accurate and quality. The audiovisual translation methods and the various fields in which they are applied are numerous and complex. 2.0 Adaptation and translation At the theoretical level there is a difference between translation and adaptation, whose hinge lies in the level of reworking of the text. In the adaptation the choices of the translator become more intrusive, ranging from the remodeling of some parts to the drastic cutting of others. In a translation, instead, we tend to follow the structure and content of the prototext. They are procedures that require in any case a properly trained professional, who acts as an intermediary between the prototext and the metatext. The adaptation requires the transposition, elaboration and adaptation in rhythmic and labial synchronism of the dialogues of foreign audiovisual products previously translated by the audiovisual translator in order to render the original spirit of the work in the target language. 2.1 Synchronisation Synchronisation is one of the fundamental elements of audiovisual translation, as it has a direct influence on the translation process and its audiovisual product. Synchronization requires a great creative ability on the part of the dialogist, who must be able to find translations that move away from the source text but that retain the original function and intention of the text. Although studies on audiovisual translation are relatively recent and for decades only translators in the field have been involved in research, synchronization has always attracted interest in academic circles. There are three types of synchrony that can be considered part of synchronization: lip sync, kinetic synchrony and isochrony. 3.0 Lip-sync, simil-sync and oversound In lip-sync you have a precise synchronization of each line on the lip movements of the talking subject on the screen. In the simil-sync, on the other hand, the length of the dialogues is important and the voice actor does not mind to make the movements of the lips coincide with the translated words. Oversound, on the other hand, involves audio starting a couple of seconds later and ending a couple of seconds earlier than in the original language. 4.0 Respeaking The respeaker works, essentially, as a simultaneous interpreter using a technique that allows you to produce real-time subtitles based on speech. Respeaking is used, in particular, to make certain audiovisual products accessible to the deaf public. 5.0 Subtitling field, when the actor is visible in the frame) and FC (off-screen). To the dialogist the task of untangling the images in order to make clear on the page their trend, then indicate if the bar iic (starts in the field) or ffc (ends up off-screen). It is also reported if the character is DSP (from behind). • There are technical indications that define the way the line is recited. The dialogist must distinguish between pauses ( / ) and caesuras ( . . . ) ; the pause is a real interruption of speech, while the caesura remains shorter and suspended. If the adapted line is to be recited SM, on mute, or ANT, anticipated compared to the audio in headphones or the overlapping of the lines between two or more characters (ACC). Finally, the dialogist must signal the F (winds/breath), if the character screams, laughs, or if, in telephone conversations, the voice speaks with EFF (phone effect, radio, etc.), and, in the case of fight scenes, report VERS and REAZ (verses and reactions, which obviously cannot be left with the original audio but must be dubbed). • Synopsis. The dialogist not only works on the interlingual aspect of the script, but also on the intersemiotic one, because in effect he translates paralyngustic and visual aspects using a written code, produced by convention. The best adaptation is the one that, thanks to a combination of beauty, rhythm and musicality, makes the viewer forget to be watching a film that originally was in another language. Audiovisual translation for hearing impaired and visually impaired 1.0 Audiovisual translation for hearing impaired Audiovisual translation for the deaf is a process that aims to make audiovisual content, such as videos, TV series and films, accessible to deaf people. Thanks to this form of translation, the information in the audio is transmitted through text or visual signs, allowing people with hearing disabilities to fully understand the content. This is achieved through the use of subtitles, sign language and audio descriptions. Accessibility is a fundamental principle that should guide the development of digital content. It is crucial to ensure that people with hearing disabilities have the same opportunity to access and benefit from audiovisual content as the rest of the population. Without proper access to such content, they risk being excluded from this world and losing valuable information, entertainment and learning opportunities. Audiovisual translation for the deaf is a key solution to overcome these communication barriers. In addition to the practical aspect, accessibility for people with hearing disabilities demonstrates a commitment to an inclusive society that respects and values diversity. Making audiovisual content accessible to all, regardless of hearing skills, is a significant step towards greater equality of opportunity. There are three main types of audiovisual translation that make multimedia content accessible to people with hearing disabilities. Below, we will outline its characteristics. 1.1 Subtitling for the deaf Subtitling for the deaf is one of the most common techniques used in audiovisual translation to ensure accessibility to video content. It consists in the insertion of synchronized text at the bottom of the screen, providing a transcription of the dialogues and sound effects present in the audio. There are several techniques used in subtitling for the deaf, including: - Standard subtitling: subtitles are present throughout the video and are synchronized with the shooting and pauses of the dialogues. - Fast Subtitling: Subtitles are displayed for a shorter time than the standard subtitle, to allow faster reading. - Simplified subtitling: subtitles are adapted to provide a shortened version of the dialogues, making it easier to read quickly. Subtitling for the deaf offers many advantages. Allows people to follow and understand the dialogues and sound elements in the video. However, it has some limitations. For example, subtitles can be limited to the available space, which requires an effective synthesis of information. They also do not convey visual information such as facial expressions, gestures, or visual details that are essential for a complete understanding of the scenes. 1.2 Audio description Audio-description is a technique used to provide additional visual information to people with hearing disabilities while enjoying audiovisual content. It consists in the detailed description of the scenes, visual elements, facial expressions and gestures present in the video. The purpose of audio- description is to offer a complete understanding of the images and visual atmosphere of the content. To create effective audio-descriptions, several strategies are used. These may include using pauses in dialogues to allow description, inserting descriptions between dialogues, or using separate voices for audio-description narration. The goal is to ensure that descriptions are synchronized with audiovisual content, without interfering with dialogues and maintaining a clear and engaging narrative. 1.2 Sign language Sign language plays a key role in audiovisual translation for the deaf. It allows to transmit dialogues and communicative elements through the use of gestures, facial expressions and body movements. Through sign language, the interpreter translates audio dialogues, giving people with hearing disabilities the opportunity to understand and participate in conversations visually. In the context of audiovisual content, it is important to consider some aspects of sign language interpretation. For example, user agents should pay attention to synchronizing sign language with audio and subtitles to ensure a consistent and understandable experience. In addition, the choice of the interpreter and his proficiency in the sign language used in the video are essential to ensure an accurate and high quality translation. 2.0 Audiovisual translation for visually impaired: audio description The audio description is the auditory equivalent of a subtitle for the deaf. Audio description is a form of intersemiotic translation (that is, from one channel to another, in this case from visual to auditory) that consists in adding to a visual content (film, series, etc.) an additional audio track complementary to the original sound track of the product. This additional track describes what is happening on the screen, inserting itself in the pauses between the dialogues of the characters and in the moments without speech. This is for the benefit of visually impaired people, or for those who in any case do not have the opportunity to see what is happening on the screen. It is not, however, a simple "narration" of what is happening on the screen (for example, telling where it is or what a character is doing), but a real description of characters (physical appearance, what they wear...), places (day or night…) and so on, to give way even to people who do not have the opportunity to see to imagine the scene as it actually looks on screen. It is an extremely interesting and technically complex technique. Just think of the difficulty of describing scenes full of detail in a short time, or science fiction scenes that show extremely alien images, difficult to conceive even for our imagination. It is also very difficult to find a balance between describing in a sterile and dry way or, when possible, providing more details so as to paint a scene more vivid and full of details. This last aspect has been a source of further debate in the field of audio description: if it is indeed an art, how can it be to write a script, and must therefore offer a unique and meaningful creative content, or whether it should instead limit itself to describing what is happening in the scene without taking a position. The narration on what happens on screen in a film is certainly not something new and limited to blind people: it is a perfectly valid narrative mode and that elicits a precise artistic effect if it is realized with this purpose. However, it is only since the 70s of the last century that the audio description as we know it today began to take shape and above all began to be seen as a technique for the help of people with visual disabilities. Nowadays, the supply of products with audio description is encouraged by a European Union directive (the 2007/65/EC), which states: