تويت
Audiovisual Translation
Audiovisual Translation: Dubbing is an introductory textbook that provides a solid overview of the world of dubbing and is fundamentally interactive in approach. A companion to Audiovisual Translation: Subtitling, it follows a similar structure and is accompanied by a DVD.
Based on first-hand experience in the field, the book combines translation practice with other related tasks – usually commissioned to dialogue writers and dubbing assistants – thus offering a complete introduction to the field of dubbing. It develops diversified skills, presents a broad picture of the industry, engages with the various controversies in the field, and challenges prevailing stereotypes. The individual chapters cover the map of dubbing in the world, the dubbing market and professional environment, text segmentation into takes or loops, lip-syncing, the challenge of emulating oral discourse, the semiotic nature of audiovisual texts, and specific audiovisual translation issues. The book further raises a number of research questions and looks at some of the unresolved challenges of this very specific form of translation. It includes graded exercises covering core skills that can be practised in class or at home, individually or collectively. The accompanying DVD contains sample film material in Dutch, English, French, Italian and Spanish, as well as a range of useful material related to professional practice.
Frederic Chaume is Professor of Audiovisual Translation at the Universitat Jaume I (Castelló, Spain), and Honorary Professor at Imperial College London. He is author of Doblatge i subtitulació per a la TV (Eumo, 2003), Cine y Traducción (Cátedra, 2004), and co-author of Teories Contemporànies de la Traducció (Bromera, 2010). For the past 24 years he has also been working as a professional translator for TV stations, dubbing and subtitling companies, and film distributors and producers.
A well-written, engaging and anxiously awaited book that will be regarded as a watershed in the field of dubbing. A truly multimedia project, this is a major contribution to both media studies and translation studies and will appeal to teachers and students, researchers and practitioners, specialist and general readers. A must-read, must-have book that unravels all the fascinating tricks behind dubbing. (Jorge Díaz Cintas, Imperial College London)
Contents
Contents
Acknowledgements
► How to use this book and DVD
The rationale of Audiovisual Translation: Dubbing
The structure of Audiovisual Translation: Dubbing
The Book
The DVD
1. ►Translation for dubbing
1.0 Preliminary discussion
1.1 Definition
1.2 Dubbing as a type of Audiovisual Translation
1.3 The global dubbing map
1.3.1 Europe
1.3.2 Asia
1.3.3 America
1.3.4 Africa
1.3.5 Oceania
1.4 History of dubbing
1.5 Quality standards
1.5.1 Acceptable lip-sync
1.5.2 Credible and realistic dialogue lines
1.5.3 Coherence between images and words
1.5.4 A loyal translation
1.5.5 Clear sound quality
1.5.6 Acting
1.6 Exercises
2. ►The professional environment
2.0 Preliminary discussion
2.1 The market
2.1.1 How to get a foot in the market
2.2 Rates and visibility
2.3 The dubbing process and professionals
2.3.1 The industrial process
2.3.2 The professionals
2.4 The translator’s task
2.5 Globalization and localization
2.6 Training
2.7 Exercises
3. ►Text segmenting and dubbing symbols
3.0 Preliminary discussion
3.1 Dubbing vs. subtitling in the global world
3.2. Text segmentation: Takes or loops
3.2.1 Text segmentation in Spain
3.2.2 Text segmentation in France
3.2.3 Text segmentation in Germany
3.2.4 Text segmentation in Italy
3.2.5 Text segmentation in Poland
3.2.6 Text segmentation in Argentina
3.2.7 Text segmentation in the United States of America
3.3 Dubbing symbols
3.3.1 Dubbing symbols in Spain
3.3.2 Dubbing symbols in France
3.3.3 Dubbing symbols in Italy
3.3.4 Dubbing symbols in Germany
3.3.5 Dubbing symbols in Poland
3.4 Final remarks
3.5 Exercises
4. ► Synchronization or lip-sync: Read my lips
4.0 Preliminary discussion
4.1 Synchronization: A key factor in dubbing
4.1.1 Denomination
4.1.2 Definition
4.1.3 Types of synchronization
4.1.4 What synchronization is not
4.2 Kinesic synchrony
4.3 Isochrony
4.4 Lip-sync
4.5 Further discussion
4.5.1 Considerations on genres and text types
4.5.2 Considerations on language contact
4.5.3 Considerations on the translation brief
4.5.4 Considerations on the viewer
4.5.5 Factors relevant to synchronization
4.6 Exercises
5. ► The language of dubbing: A matter of compromise
5.0 Preliminary discussion
5.1 In search of oral discourse
5.1.1 A balance between planned and spontaneous speech
5.1.2 The notion of prefabricated orality
5.2 The language of dubbing: Linguistic and translation issues
5.3 An analytical model for the study of prefabricated orality
5.4 A usual case study: Calques
5.5 Exercises
6. ► The specific nature of AVT: Acoustic and visual dimensions
6.0 Preliminary discussion
6.1 The acoustic dimension
6.1.1 Translating paralinguistic features
6.1.2 Translating songs
6.1.3 Special effects and the soundtrack: Implications for translation
6.1.4 Off- and On-screen sound
6.2 The visual dimension
6.2.1 The language of images: Icons, indices and symbols
6.2.2 The style of images: Photography and colour
6.2.3 Types of shots and their incidence on translation operations
6.2.4 Body language: Proxemics, kinesics and mouth articulation
6.2.5 The language we watch: Text on screen
6.2.6 Editing: Implications for translation
6.3 Exercises
7. ► Translation Issues
7.0 Preliminary discussion
7.1 An initial look at original scripts
7.1.1 Dialogue lists
7.1.2 Dubbing bibles
7.2 Translating film titles
7.2.1 Why are film titles translated?
7.2.2 Retranslations and premieres
7.2.3 Translation techniques
7.3 Translating multilingual movies
7.4 Translating language variation
7.4.1 Style
7.4.2 Dialects (user-related language varieties)
7.4.2.1 Geographical dialects
7.4.2.2 Temporal dialects
7.4.2.3 Standard/non-standard dialects
7.4.2.4 Social dialects or jargons
7.4.2.5 Idiolects
7.4.3 Registers (use-related language varieties)
7.5 Translating cultural and intertextual references
7.5.1 Cultural references
7.5.2 Intertextual references
7.6 Translating humour
7.7 Translating ideology
7.7.1 Censorship
7.7.2 Normalization
7.7.3 Gender issues
7.7.4 Patronage
7.8 Exercises
8. ► Research in dubbing
8.0 Preliminary discussion
8.1 State of the art
8.2 A descriptive and semiotic model of analysis of dubbed texts
8.2.1 Rationale
8.2.2 AVT models of analysis
8.2.3 An integrated model of analysis
8.2.3.1 The external level of the model
8.2.3.2 The internal level of the model (I): General translation problems
8.2.3.3 The internal level of the model (II): Specific problems of AVT
8.3 Exercises
9. ► A glossary of terms used in dubbing and AVT
10. ► References
10.1 Bibliography
10.2 Filmography
Index
*****************
Dubbing
Frederic Chaume
Translation Practices Explained Volume 17
208 pages, 2012. ISBN 978-1-905763-91-7 (pbk), £30 (including postage and packing + DVD)
https://www.stjerome.co.uk/books/b/159/
Frederic Chaume
Translation Practices Explained Volume 17
208 pages, 2012. ISBN 978-1-905763-91-7 (pbk), £30 (including postage and packing + DVD)
https://www.stjerome.co.uk/books/b/159/
Audiovisual Translation: Dubbing is an introductory textbook that provides a solid overview of the world of dubbing and is fundamentally interactive in approach. A companion to Audiovisual Translation: Subtitling, it follows a similar structure and is accompanied by a DVD.
Based on first-hand experience in the field, the book combines translation practice with other related tasks – usually commissioned to dialogue writers and dubbing assistants – thus offering a complete introduction to the field of dubbing. It develops diversified skills, presents a broad picture of the industry, engages with the various controversies in the field, and challenges prevailing stereotypes. The individual chapters cover the map of dubbing in the world, the dubbing market and professional environment, text segmentation into takes or loops, lip-syncing, the challenge of emulating oral discourse, the semiotic nature of audiovisual texts, and specific audiovisual translation issues. The book further raises a number of research questions and looks at some of the unresolved challenges of this very specific form of translation. It includes graded exercises covering core skills that can be practised in class or at home, individually or collectively. The accompanying DVD contains sample film material in Dutch, English, French, Italian and Spanish, as well as a range of useful material related to professional practice.
Frederic Chaume is Professor of Audiovisual Translation at the Universitat Jaume I (Castelló, Spain), and Honorary Professor at Imperial College London. He is author of Doblatge i subtitulació per a la TV (Eumo, 2003), Cine y Traducción (Cátedra, 2004), and co-author of Teories Contemporànies de la Traducció (Bromera, 2010). For the past 24 years he has also been working as a professional translator for TV stations, dubbing and subtitling companies, and film distributors and producers.
A well-written, engaging and anxiously awaited book that will be regarded as a watershed in the field of dubbing. A truly multimedia project, this is a major contribution to both media studies and translation studies and will appeal to teachers and students, researchers and practitioners, specialist and general readers. A must-read, must-have book that unravels all the fascinating tricks behind dubbing. (Jorge Díaz Cintas, Imperial College London)
Contents
Contents
Acknowledgements
► How to use this book and DVD
The rationale of Audiovisual Translation: Dubbing
The structure of Audiovisual Translation: Dubbing
The Book
The DVD
1. ►Translation for dubbing
1.0 Preliminary discussion
1.1 Definition
1.2 Dubbing as a type of Audiovisual Translation
1.3 The global dubbing map
1.3.1 Europe
1.3.2 Asia
1.3.3 America
1.3.4 Africa
1.3.5 Oceania
1.4 History of dubbing
1.5 Quality standards
1.5.1 Acceptable lip-sync
1.5.2 Credible and realistic dialogue lines
1.5.3 Coherence between images and words
1.5.4 A loyal translation
1.5.5 Clear sound quality
1.5.6 Acting
1.6 Exercises
2. ►The professional environment
2.0 Preliminary discussion
2.1 The market
2.1.1 How to get a foot in the market
2.2 Rates and visibility
2.3 The dubbing process and professionals
2.3.1 The industrial process
2.3.2 The professionals
2.4 The translator’s task
2.5 Globalization and localization
2.6 Training
2.7 Exercises
3. ►Text segmenting and dubbing symbols
3.0 Preliminary discussion
3.1 Dubbing vs. subtitling in the global world
3.2. Text segmentation: Takes or loops
3.2.1 Text segmentation in Spain
3.2.2 Text segmentation in France
3.2.3 Text segmentation in Germany
3.2.4 Text segmentation in Italy
3.2.5 Text segmentation in Poland
3.2.6 Text segmentation in Argentina
3.2.7 Text segmentation in the United States of America
3.3 Dubbing symbols
3.3.1 Dubbing symbols in Spain
3.3.2 Dubbing symbols in France
3.3.3 Dubbing symbols in Italy
3.3.4 Dubbing symbols in Germany
3.3.5 Dubbing symbols in Poland
3.4 Final remarks
3.5 Exercises
4. ► Synchronization or lip-sync: Read my lips
4.0 Preliminary discussion
4.1 Synchronization: A key factor in dubbing
4.1.1 Denomination
4.1.2 Definition
4.1.3 Types of synchronization
4.1.4 What synchronization is not
4.2 Kinesic synchrony
4.3 Isochrony
4.4 Lip-sync
4.5 Further discussion
4.5.1 Considerations on genres and text types
4.5.2 Considerations on language contact
4.5.3 Considerations on the translation brief
4.5.4 Considerations on the viewer
4.5.5 Factors relevant to synchronization
4.6 Exercises
5. ► The language of dubbing: A matter of compromise
5.0 Preliminary discussion
5.1 In search of oral discourse
5.1.1 A balance between planned and spontaneous speech
5.1.2 The notion of prefabricated orality
5.2 The language of dubbing: Linguistic and translation issues
5.3 An analytical model for the study of prefabricated orality
5.4 A usual case study: Calques
5.5 Exercises
6. ► The specific nature of AVT: Acoustic and visual dimensions
6.0 Preliminary discussion
6.1 The acoustic dimension
6.1.1 Translating paralinguistic features
6.1.2 Translating songs
6.1.3 Special effects and the soundtrack: Implications for translation
6.1.4 Off- and On-screen sound
6.2 The visual dimension
6.2.1 The language of images: Icons, indices and symbols
6.2.2 The style of images: Photography and colour
6.2.3 Types of shots and their incidence on translation operations
6.2.4 Body language: Proxemics, kinesics and mouth articulation
6.2.5 The language we watch: Text on screen
6.2.6 Editing: Implications for translation
6.3 Exercises
7. ► Translation Issues
7.0 Preliminary discussion
7.1 An initial look at original scripts
7.1.1 Dialogue lists
7.1.2 Dubbing bibles
7.2 Translating film titles
7.2.1 Why are film titles translated?
7.2.2 Retranslations and premieres
7.2.3 Translation techniques
7.3 Translating multilingual movies
7.4 Translating language variation
7.4.1 Style
7.4.2 Dialects (user-related language varieties)
7.4.2.1 Geographical dialects
7.4.2.2 Temporal dialects
7.4.2.3 Standard/non-standard dialects
7.4.2.4 Social dialects or jargons
7.4.2.5 Idiolects
7.4.3 Registers (use-related language varieties)
7.5 Translating cultural and intertextual references
7.5.1 Cultural references
7.5.2 Intertextual references
7.6 Translating humour
7.7 Translating ideology
7.7.1 Censorship
7.7.2 Normalization
7.7.3 Gender issues
7.7.4 Patronage
7.8 Exercises
8. ► Research in dubbing
8.0 Preliminary discussion
8.1 State of the art
8.2 A descriptive and semiotic model of analysis of dubbed texts
8.2.1 Rationale
8.2.2 AVT models of analysis
8.2.3 An integrated model of analysis
8.2.3.1 The external level of the model
8.2.3.2 The internal level of the model (I): General translation problems
8.2.3.3 The internal level of the model (II): Specific problems of AVT
8.3 Exercises
9. ► A glossary of terms used in dubbing and AVT
10. ► References
10.1 Bibliography
10.2 Filmography
Index
*****************