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Audiovisual Translation introduction, Schemi e mappe concettuali di Lingua Inglese

Introduzione alla Audiovisual translation

Tipologia: Schemi e mappe concettuali

2020/2021

Caricato il 07/06/2023

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AUDIOVISUAL TRANSLATION: INTRODUCTION
There are 3fundamental ISSUES in the AV field:
1. relationship between verbal output and pictures and soundtrack;
2. r. between foreign language/culture and the target language/culture;
3. r. between the spoken code and the written one.
FILM TRANSLATION: TERMS:
- It was the term used before TV and video became popular;
- The term LANGUAGE TRANSFER ignored the extralinguistic features of these texts
(image, music, sound effects…);
- Audiovisual translation (AVT) is now a widely used term;
- Screen translation is currently a widely used term through “too narrow” by some;
- The term VERSIONING is used within the industry;
-DUBBING replaces a SL dialogue track with a TL dialogue track. It can involve
adapting a text for on-camera characters, including lip-synchronization for when the
face or chest of a speaker is visible in a medium shot;
- We usually think of dubbing as INTERLINGUAL, but many examples of
INTRALINGUAL DUBBING also exist in feature films.
VOICE-OVER (HALF-DUBBING):
It occurs when a documentary, interview, feature film or TV programme etc. is
translated/adapted and broadcast approximately in synchrony by an actor or a journalist. In
voice-over the original voice-sound is either reduced entirely or turned down to a low level of
audibility after a few seconds.
FREE COMMENTARY:
It is an adaptation for a new audience, with additions, clarifications, omissions and
comments. The synchronisation is done with the on-screen images rather than with the
soundtrack. Free commentary is used for children’s programmes, documentaries and
corporate/promotional videos.
AVT ALSO INCLUDES:
- In-vision signing for the deaf and hard of hearing;
- Audio description for the blind and partially sighted. Audio description comprises the
reading of information describing what is going on on the screen (action, body
language, facial expressions, costumes etc.);
- Audiosubtitling (subtitling for the blind and partially sighted). This involves the
speaking of subtitles, either by a human actor or by a speech synthesiser;
- Videogame translation (either subtitling or dubbing) for the ‘pre-rendered cinematic
elements known as cut-scenes’. Now usually known as videogame localization or
games localization.
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AUDIOVISUAL TRANSLATION: INTRODUCTION

There are 3 fundamental ISSUES in the AV field:

  1. relationship between verbal output and pictures and soundtrack;
  2. r. between foreign language/culture and the target language/culture;
  3. r. between the spoken code and the written one. FILM TRANSLATION: TERMS:
  • It was the term used before TV and video became popular;
  • The term LANGUAGE TRANSFER ignored the extralinguistic features of these texts (image, music, sound effects…);
  • Audiovisual translation ( AVT ) is now a widely used term;
  • Screen translation is currently a widely used term through “too narrow” by some;
  • The term VERSIONING is used within the industry;
  • DUBBING replaces a SL dialogue track with a TL dialogue track. It can involve adapting a text for on-camera characters, including lip-synchronization for when the face or chest of a speaker is visible in a medium shot;
  • We usually think of dubbing as INTERLINGUAL , but many examples of INTRALINGUAL DUBBING also exist in feature films. VOICE-OVER (HALF-DUBBING): It occurs when a documentary, interview, feature film or TV programme etc. is translated/adapted and broadcast approximately in synchrony by an actor or a journalist. In voice-over the original voice-sound is either reduced entirely or turned down to a low level of audibility after a few seconds. FREE COMMENTARY : It is an adaptation for a new audience, with additions, clarifications, omissions and comments. The synchronisation is done with the on-screen images rather than with the soundtrack. Free commentary is used for children’s programmes, documentaries and corporate/promotional videos. AVT ALSO INCLUDES :
  • In-vision signing for the deaf and hard of hearing;
  • Audio description for the blind and partially sighted. Audio description comprises the reading of information describing what is going on on the screen (action, body language, facial expressions, costumes etc.);
  • Audiosubtitling (subtitling for the blind and partially sighted). This involves the speaking of subtitles, either by a human actor or by a speech synthesiser;
  • Videogame translation (either subtitling or dubbing) for the ‘pre-rendered cinematic elements known as cut-scenes’. Now usually known as videogame localization or games localization.

OTHER FORMS OF SCREEN TRANSLATION:

Screen translation can also, arguably, include:

  • remakes;
  • multiple-language versions, notably 1929-31;
  • audio commentaries, delivered live to audience wearing headphones. Does not cover script or screenplay translation (more like literary translation). TYPES OF SUBTITLING: 1.
  • Intralingual or closed caption subtitling is done for the benefit of the deaf and hard of hearing. There is a legal obligation on British broadcasting channels to subtitle a certain proportion of material. For live broadcast, now often automated through a combination of respeaking and voice recognition;
  • Intralingual subtitling is also used to address regional linguistic variations (politically problematic). 2.
  • Interlingual (open caption) subtitling (the focus of this workshop) involves moving from the oral dialogue to one or two written lines and from one language to another, sometimes to two other languages (bilingual subtitling). 3.
  • Surtitling, often used in opera, is one-line subtitling placed above a theatre stage or in the back of the seats, displayed during performance;
  • Live subtitles are pre-prepared but added at the time of broadcast;
  • Live (real-time) subtitling is used in interviews and in situations where no script is available beforehand. Involves respeaking and voice recognition. SUBTITLING AND MT/CAT:
  • MT and CAT tools are being used to some extent in subtitling and are being energetically researched;
  • We will discuss the issue of subtitling and MT briefly in the second AVT workshop. DUBBING AND SUBTITLING COUNTRIES: Gottlieb’s ‘four blocks’:
  • source-language countries
  • dubbing countries
  • voiceover countries
  • subtitling countries

TO DUB OR TO SUBTLE?

SOME ADVANTAGES OF DUBBING:

  • Less textual reduction;
  • Does not require high level of literacy from viewers;
  • Viewer doesn’t have to divide attention. SOME DISADVANTAGES OF DUBBING:
  • Cost – dubbing is circa 15 times more expensive than subtitling;
  • Time factor;
  • Perceived loss of authenticity;
  • Discordance between visual and verbal;
  • Constraint of lip-synchronization. FACTORS INFLUENCING CHOICE:
  • Cost;
  • Availability of relevant technology;
  • Standard of literacy;
  • Interest in foreign languages;
  • Degree of cultural openness;
  • Strength of local film industry;
  • Audience habits. DATES IN THE HISTORY OF AVT :
  • 1903: Intertitles are first used. Intertitles are texts, drawn or printed on paper, filmed and placed between sequences of the film. In translation, intertitles could be removed, translated, filmed and re-inserted;
  • 1927: Invention of sound film. The audience can hear the actors for the first time. ‘The first attested showing of a sound film with subtitles is The Jazz Singer (originally released in the US in October 1927) in Paris, on January 26, 1929 , with subtitles in French.’
  • No subtitles in English until late 1931 /early 1932 (US and UK). HERMAN WEINBERG ON THE INVENTION OF SUBTITLING: At the beginning, I was very cautious and superimposed hardly more than 25 or 30 titles to a ten-minute reel... .Then I'd […] watch the audiences' faces […]. I'd wondered if they were going to drop their heads slightly to read the titles at the bottom of the screen and then raise them again after they read the titles […] but I needn't have worried […]; they didn't drop their heads, they merely dropped their eyes […]. This emboldened me to insert more titles […] and bit by bit more and more of the original dialogue got translated until at the end of my work in this field I was putting in anywhere from 100 to150 titles a reel... tho', I must repeat, only when the dialogue was good enough to warrant it.

TECHNOLOGIES: DUBBING:

Early: experiments with actors in the cinema, or concealed on set; Later: looping. AGENTS: DUBBING : Dubbing requires script translators and dialogue writers, as well as a large technical infrastructure (casting, dubbing director, sound recording and mixing). AGENTS: SUBTITLING: Subtitling used to be divided between technicians who did the technical side (spotting etc.) and translators who translated the dialogue; now integrated. WORKFLOWS :

  • Dubbing: translation of text, then adaptation of translation to constraints of the medium;
  • Subtitling: Watching the programme against the script; spotting and writing subtitles. Spotting can be done prior to subtitle writing (e.g. via a template file) or simultaneously. Then editing/checking and sometimes ‘simulation’. FANSUBBING, CROWDSOURCED SUBTITLES:
  • Developed in response to audiovisual policies of anime distributors in the 1980s;
  • Continued through frustration with distributors’ schedules for live action television programmes;
  • Volunteer subtitlers now widely used e.g. by TED, Amara;
  • Netflix caught using fansubs in Finland in October 2012. NORMS : E.g. suspension dots; treatment of dialect; treatment of swearing; treatment of pragmatic elements Use of television channel guidelines e.g. Channel 4 Different for fansubbers! CENSORSHIP : Common area of research, particularly for dubbing. Danan hypothesis – seems to suggest that dubbing is associated with totalitarian regimes, but subtitles can also censor. Dubbing as part of the censorship process; may also include editing the film print.

SOME GUIDELINES:

  • Always cite films in the bibliography in the same way that you would cite books;
  • Always cite the edition consulted and date of production as well as the original date of release of the film and the region;
  • Always cite the subtitler's name, where given, or subtitling lab (commonly provided).
  • Always cite details of the cut used, if known, e.g. with a given ending, director's cut or similar (e.g. exact length of film);
  • If using a copy of unknown provenance, give all known details. Attempt to contact any poster, seller, Youtube account etc. linked to the copy to establish provenance. Check subtitles against other subtitle sets for that film. Hedge all statements made in article. Material may not be usable.