Mondadori, February 10, 2015
Italian translation of Girl Online by Zoe Sugg (YouTuber Zoella) Mi... more Mondadori, February 10, 2015
Italian translation of Girl Online by Zoe Sugg (YouTuber Zoella) Milano: Mondadori, 2015. Original text: Penguin, 25 November 2015
Television consumption has undergone a triple revolution in the Internet era, starting from the p... more Television consumption has undergone a triple revolution in the Internet era, starting from the possibility to access audiovisual material from anywhere at any given time (and mostly for free, through streaming and filesharing), which has freed viewers from network choices and superimposed schedules. As a result, TV creators tend to adopt a “Long Tail” approach by addressing niche audiences that will actively participate in the ever more complex viewing ritual, involving not only the actual watching, but also the acquisition of paratextual elements (soundtracks, comics, gadgets, etc.) and the incorporation of references and quotes into one’s own daily life. Such appropriation of the televised worlds has grown exponentially due to the Internet itself, which allows for instant interaction with other fans, easier retrieval of TV memorabilia and viral circulation of fanfiction, fan art and other user-generated content. This last aspect has also had a significant impact on audiovisual translation, especially in countries with a longstanding dubbing tradition: the instant availability of original material and the fast-growing phenomenon of fansubbing have prompted non-anglophone viewers to develop a deeper linguistic and cultural awareness and to question the whole dubbing process. This paper will therefore analyze the effects of such revolution on the Italian dubbing of the musical dramedy Glee, which focuses on a high school glee club and is characterized by an unusual format: each episode constitutes a miniature musical and the lyrics of each song relate to both storylines and characters’ identities. The translational challenge intrinsic to this peculiar structure is magnified by the show’s equally peculiar fanbase, the self-defined “gleeks” (“Glee” + “geeks”), whose appreciation of the program includes attending Glee tours, participating in fandom-measuring contests and recreating tribute musical numbers which they post on YouTube on a daily basis. As proved by the singing flash mob that welcomed the show’s Italian premiere on Christmas Day in 2009, gleeks thrived in Italy well before the airing of the dubbed episodes; the purpose of this paper is thus to explore the new challenges that audiovisual translation needs to face in the light of a tech-savvy, linguistically aware “viewership 2.0”.
The evolution of the new media has led to enormous changes in television production and consumption. As a consequence of the proliferation of TV networks and online file-sharing tools, television shows are now tailored to suit specific, dedicated niche audiences with a significantly higher proficiency in program reception. “Viewers 2.0” subvert the traditional construct of TV spectators as couch potatoes by actively exploring fictional worlds and appropriating and remediating contents through cultural practices of textual poaching such as fan fiction, fan videos, or fan translation. This paper analyzes the impact of this new level of engagement among Italian viewers, who are now questioning the previously unchallenged dubbing process and showing an increasing openness towards different solutions such as fansubbing (the distribution of amateur subtitles shortly after the original airing of each TV show episode). While this alternative may not appeal to the Italian audience in its entirety, in that it requires an active linguistic effort, the growing number of people who join fansubbing communities and proficiently appraise AVT strategies on forums and social networks signals a substantial development in the preferences of Italian viewers. Besides its significant sociological implications, this evolution also calls for a reassessment of AVT practices, since the immediate availability of costless subtitles generates tough competition for professional solutions, which are usually better from a technical perspective, but often also delayed and less accurate in terms of each show’s specific identity and intra- and intertextual references. This paper will thus explore the effects of the new forms of television reception on the AVT industry, analyzing the impact of the response of the Italian audience to the transatlantic acquisition of the recent hit shows How I Met Your Mother, New Girl, and The Big Bang Theory and positing a future synergy between AVT professionals and knowledgeable fansubbers.
Analisi della prima stagione della serie televisiva "Under the Dome", (parzialmente) tratta dall'... more Analisi della prima stagione della serie televisiva "Under the Dome", (parzialmente) tratta dall'omonimo romanzo di Stephen King (uscito in Italia come "The Dome")
Audiovisual Translation across Europe - An Ever-changing Landscape, Edited by Silvia Bruti and Elena Di Giovanni, Jan 18, 2013
Gossip Girl, a popular 2007 teen show narrated by the eponymous blogger, provides an exclusive op... more Gossip Girl, a popular 2007 teen show narrated by the eponymous blogger, provides an exclusive opportunity to explore the linguistic impact of the new media. Aside from storyline developments, computers and cell phones also affect the language of the new Upper East Side brat pack, replete with Internet slang, acronyms and abbreviations (e.g. “XOXO” for “Hugs and kisses”). While a loss of effectiveness and immediacy is inevitable upon translation, the overtly unfavorable reception of the Italian dubbing also shows a significant evolution of the audience, calling for a reassessment of audiovisual translation methodologies in light of instant communication.
As the quintessential coffeehouse-in-the-Village TV series, NBC’s Friends drew much of its comic ... more As the quintessential coffeehouse-in-the-Village TV series, NBC’s Friends drew much of its comic appeal from its cultural and geographic specificity. While the typical sit-com humor generally managed to survive dubbing, the countless intrinsically American references producing a barthesian “effet de réel” represented a tougher adaptation challenge. A comparison between the original Season 1 scripts and the corresponding episodes dubbed into Italian reveals deeply heterogeneous translational solutions ranging from clearer, albeit flattening, generalizations to more effective yet often denaturing adaptations. The most visible interventions fall within the five main categories of the show's trademark humor: body parts, sexuality, and relationships; food; ethnicity; popular culture; and the characters' idiosyncrasies and catchphrases. Sexual references underwent the most evident manipulations, yet the translators also modified the recipe for the show’s typical all-American, never-too-old-for-a-cookie atmosphere. While some of the original ingredients were universally recognizable as tokens of yankee-ness, many others were homogenized into a more Euro-friendly but less savory blend. The Italian version of Friends ultimately proved to be a distinct product, instead of a mere transposition, somewhat mirroring the divergence between a “bicchiere di latte” and a “cup of latte:” the same word, but an entirely different flavor.
Seminario tenuto nell'ambito delle tre giornate di studio "Incontri e laboratori di traduzione le... more Seminario tenuto nell'ambito delle tre giornate di studio "Incontri e laboratori di traduzione letteraria", 23-25 ottobre 2015, Centro Residenziale Universitario di Bertinoro (FC).
Over the past decades film and television have addressed “the problem that has no name” in manifo... more Over the past decades film and television have addressed “the problem that has no name” in manifold ways. Screens have been filled with powerful female leads such as Frances McDormand’s pregnant yet undaunted police chief Marge Gunderson (Fargo; Joel Coen, 1996) or Julianna Margulies’ resourceful litigator Alicia Florrick (The Good Wife; Robert and Michelle King, 2009 - present). Albeit unmarried and without children, popular television heroines such as Buffy Summers (Buffy the Vampire Slayer; Joss Whedon, 1997 – 2003) and Veronica Mars (Rob Thomas, 2004 - 2007) have also provided a fundamental contribution to the shaping of a female figure that is entirely autonomous and able to pursue her self-fulfillment outside the boundaries of the home, the family, and male dominance.
Nonetheless, the publication of the first volume of Stephenie Meyer’s Twilight saga in 2005 signaled a relapse into the ideology of the feminine mystique. This paper aims at analyzing the ways in which the saga rehashes and perpetuates a Weltanschauung in which women find their natural self-fulfillment through their marriage and motherhood. I will thus explore the strategies with which supernatural romance is used to reinforce beliefs that are clearly still widespread in spite of the diffusion and the relevance of the rhetoric of equality.
This study will compare Meyer’s female protagonist Bella Swan with her film and television predecessors, highlighting the mystification of Bella’s apparent agency, which is only exerted through her blatantly dominant vampire fiancé. The analysis of the filmic coding of Bella and Edward’s romance will provide further elements to frame the depiction of Bella as the quintessential symbol of submission, culminating with her first intercourse, an irredeemable portrayal of the paradigm of male dominance with an equally unmistakable soundtrack stating “I surrender who I’ve been for who you are” (Sleeping at Last, “Turning Page”). I will thus attempt to prove that Meyer’s misuse of supernatural features constitutes not only a wasted chance to promote female empowerment, but a downright backslide in the (ongoing) fight for female emancipation.
Mondadori, February 10, 2015
Italian translation of Girl Online by Zoe Sugg (YouTuber Zoella) Mi... more Mondadori, February 10, 2015
Italian translation of Girl Online by Zoe Sugg (YouTuber Zoella) Milano: Mondadori, 2015. Original text: Penguin, 25 November 2015
Television consumption has undergone a triple revolution in the Internet era, starting from the p... more Television consumption has undergone a triple revolution in the Internet era, starting from the possibility to access audiovisual material from anywhere at any given time (and mostly for free, through streaming and filesharing), which has freed viewers from network choices and superimposed schedules. As a result, TV creators tend to adopt a “Long Tail” approach by addressing niche audiences that will actively participate in the ever more complex viewing ritual, involving not only the actual watching, but also the acquisition of paratextual elements (soundtracks, comics, gadgets, etc.) and the incorporation of references and quotes into one’s own daily life. Such appropriation of the televised worlds has grown exponentially due to the Internet itself, which allows for instant interaction with other fans, easier retrieval of TV memorabilia and viral circulation of fanfiction, fan art and other user-generated content. This last aspect has also had a significant impact on audiovisual translation, especially in countries with a longstanding dubbing tradition: the instant availability of original material and the fast-growing phenomenon of fansubbing have prompted non-anglophone viewers to develop a deeper linguistic and cultural awareness and to question the whole dubbing process. This paper will therefore analyze the effects of such revolution on the Italian dubbing of the musical dramedy Glee, which focuses on a high school glee club and is characterized by an unusual format: each episode constitutes a miniature musical and the lyrics of each song relate to both storylines and characters’ identities. The translational challenge intrinsic to this peculiar structure is magnified by the show’s equally peculiar fanbase, the self-defined “gleeks” (“Glee” + “geeks”), whose appreciation of the program includes attending Glee tours, participating in fandom-measuring contests and recreating tribute musical numbers which they post on YouTube on a daily basis. As proved by the singing flash mob that welcomed the show’s Italian premiere on Christmas Day in 2009, gleeks thrived in Italy well before the airing of the dubbed episodes; the purpose of this paper is thus to explore the new challenges that audiovisual translation needs to face in the light of a tech-savvy, linguistically aware “viewership 2.0”.
The evolution of the new media has led to enormous changes in television production and consumption. As a consequence of the proliferation of TV networks and online file-sharing tools, television shows are now tailored to suit specific, dedicated niche audiences with a significantly higher proficiency in program reception. “Viewers 2.0” subvert the traditional construct of TV spectators as couch potatoes by actively exploring fictional worlds and appropriating and remediating contents through cultural practices of textual poaching such as fan fiction, fan videos, or fan translation. This paper analyzes the impact of this new level of engagement among Italian viewers, who are now questioning the previously unchallenged dubbing process and showing an increasing openness towards different solutions such as fansubbing (the distribution of amateur subtitles shortly after the original airing of each TV show episode). While this alternative may not appeal to the Italian audience in its entirety, in that it requires an active linguistic effort, the growing number of people who join fansubbing communities and proficiently appraise AVT strategies on forums and social networks signals a substantial development in the preferences of Italian viewers. Besides its significant sociological implications, this evolution also calls for a reassessment of AVT practices, since the immediate availability of costless subtitles generates tough competition for professional solutions, which are usually better from a technical perspective, but often also delayed and less accurate in terms of each show’s specific identity and intra- and intertextual references. This paper will thus explore the effects of the new forms of television reception on the AVT industry, analyzing the impact of the response of the Italian audience to the transatlantic acquisition of the recent hit shows How I Met Your Mother, New Girl, and The Big Bang Theory and positing a future synergy between AVT professionals and knowledgeable fansubbers.
Analisi della prima stagione della serie televisiva "Under the Dome", (parzialmente) tratta dall'... more Analisi della prima stagione della serie televisiva "Under the Dome", (parzialmente) tratta dall'omonimo romanzo di Stephen King (uscito in Italia come "The Dome")
Audiovisual Translation across Europe - An Ever-changing Landscape, Edited by Silvia Bruti and Elena Di Giovanni, Jan 18, 2013
Gossip Girl, a popular 2007 teen show narrated by the eponymous blogger, provides an exclusive op... more Gossip Girl, a popular 2007 teen show narrated by the eponymous blogger, provides an exclusive opportunity to explore the linguistic impact of the new media. Aside from storyline developments, computers and cell phones also affect the language of the new Upper East Side brat pack, replete with Internet slang, acronyms and abbreviations (e.g. “XOXO” for “Hugs and kisses”). While a loss of effectiveness and immediacy is inevitable upon translation, the overtly unfavorable reception of the Italian dubbing also shows a significant evolution of the audience, calling for a reassessment of audiovisual translation methodologies in light of instant communication.
As the quintessential coffeehouse-in-the-Village TV series, NBC’s Friends drew much of its comic ... more As the quintessential coffeehouse-in-the-Village TV series, NBC’s Friends drew much of its comic appeal from its cultural and geographic specificity. While the typical sit-com humor generally managed to survive dubbing, the countless intrinsically American references producing a barthesian “effet de réel” represented a tougher adaptation challenge. A comparison between the original Season 1 scripts and the corresponding episodes dubbed into Italian reveals deeply heterogeneous translational solutions ranging from clearer, albeit flattening, generalizations to more effective yet often denaturing adaptations. The most visible interventions fall within the five main categories of the show's trademark humor: body parts, sexuality, and relationships; food; ethnicity; popular culture; and the characters' idiosyncrasies and catchphrases. Sexual references underwent the most evident manipulations, yet the translators also modified the recipe for the show’s typical all-American, never-too-old-for-a-cookie atmosphere. While some of the original ingredients were universally recognizable as tokens of yankee-ness, many others were homogenized into a more Euro-friendly but less savory blend. The Italian version of Friends ultimately proved to be a distinct product, instead of a mere transposition, somewhat mirroring the divergence between a “bicchiere di latte” and a “cup of latte:” the same word, but an entirely different flavor.
Seminario tenuto nell'ambito delle tre giornate di studio "Incontri e laboratori di traduzione le... more Seminario tenuto nell'ambito delle tre giornate di studio "Incontri e laboratori di traduzione letteraria", 23-25 ottobre 2015, Centro Residenziale Universitario di Bertinoro (FC).
Over the past decades film and television have addressed “the problem that has no name” in manifo... more Over the past decades film and television have addressed “the problem that has no name” in manifold ways. Screens have been filled with powerful female leads such as Frances McDormand’s pregnant yet undaunted police chief Marge Gunderson (Fargo; Joel Coen, 1996) or Julianna Margulies’ resourceful litigator Alicia Florrick (The Good Wife; Robert and Michelle King, 2009 - present). Albeit unmarried and without children, popular television heroines such as Buffy Summers (Buffy the Vampire Slayer; Joss Whedon, 1997 – 2003) and Veronica Mars (Rob Thomas, 2004 - 2007) have also provided a fundamental contribution to the shaping of a female figure that is entirely autonomous and able to pursue her self-fulfillment outside the boundaries of the home, the family, and male dominance.
Nonetheless, the publication of the first volume of Stephenie Meyer’s Twilight saga in 2005 signaled a relapse into the ideology of the feminine mystique. This paper aims at analyzing the ways in which the saga rehashes and perpetuates a Weltanschauung in which women find their natural self-fulfillment through their marriage and motherhood. I will thus explore the strategies with which supernatural romance is used to reinforce beliefs that are clearly still widespread in spite of the diffusion and the relevance of the rhetoric of equality.
This study will compare Meyer’s female protagonist Bella Swan with her film and television predecessors, highlighting the mystification of Bella’s apparent agency, which is only exerted through her blatantly dominant vampire fiancé. The analysis of the filmic coding of Bella and Edward’s romance will provide further elements to frame the depiction of Bella as the quintessential symbol of submission, culminating with her first intercourse, an irredeemable portrayal of the paradigm of male dominance with an equally unmistakable soundtrack stating “I surrender who I’ve been for who you are” (Sleeping at Last, “Turning Page”). I will thus attempt to prove that Meyer’s misuse of supernatural features constitutes not only a wasted chance to promote female empowerment, but a downright backslide in the (ongoing) fight for female emancipation.
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Books by Alice Casarini
Italian translation of Girl Online by Zoe Sugg (YouTuber Zoella) Milano: Mondadori, 2015. Original text: Penguin, 25 November 2015
Papers by Alice Casarini
The evolution of the new media has led to enormous changes in television production and consumption. As a consequence of the proliferation of TV networks and online file-sharing tools, television shows are now tailored to suit specific, dedicated niche audiences with a significantly higher proficiency in program reception. “Viewers 2.0” subvert the traditional construct of TV spectators as couch potatoes by actively exploring fictional worlds and appropriating and remediating contents through cultural practices of textual poaching such as fan fiction, fan videos, or fan translation. This paper analyzes the impact of this new level of engagement among Italian viewers, who are now questioning the previously unchallenged dubbing process and showing an increasing openness towards different solutions such as fansubbing (the distribution of amateur subtitles shortly after the original airing of each TV show episode). While this alternative may not appeal to the Italian audience in its entirety, in that it requires an active linguistic effort, the growing number of people who join fansubbing communities and proficiently appraise AVT strategies on forums and social networks signals a substantial development in the preferences of Italian viewers. Besides its significant sociological implications, this evolution also calls for a reassessment of AVT practices, since the immediate availability of costless subtitles generates tough competition for professional solutions, which are usually better from a technical perspective, but often also delayed and less accurate in terms of each show’s specific identity and intra- and intertextual references. This paper will thus explore the effects of the new forms of television reception on the AVT industry, analyzing the impact of the response of the Italian audience to the transatlantic acquisition of the recent hit shows How I Met Your Mother, New Girl, and The Big Bang Theory and positing a future synergy between AVT professionals and knowledgeable fansubbers.
Talks by Alice Casarini
Nonetheless, the publication of the first volume of Stephenie Meyer’s Twilight saga in 2005 signaled a relapse into the ideology of the feminine mystique. This paper aims at analyzing the ways in which the saga rehashes and perpetuates a Weltanschauung in which women find their natural self-fulfillment through their marriage and motherhood. I will thus explore the strategies with which supernatural romance is used to reinforce beliefs that are clearly still widespread in spite of the diffusion and the relevance of the rhetoric of equality.
This study will compare Meyer’s female protagonist Bella Swan with her film and television predecessors, highlighting the mystification of Bella’s apparent agency, which is only exerted through her blatantly dominant vampire fiancé. The analysis of the filmic coding of Bella and Edward’s romance will provide further elements to frame the depiction of Bella as the quintessential symbol of submission, culminating with her first intercourse, an irredeemable portrayal of the paradigm of male dominance with an equally unmistakable soundtrack stating “I surrender who I’ve been for who you are” (Sleeping at Last, “Turning Page”). I will thus attempt to prove that Meyer’s misuse of supernatural features constitutes not only a wasted chance to promote female empowerment, but a downright backslide in the (ongoing) fight for female emancipation.
Italian translation of Girl Online by Zoe Sugg (YouTuber Zoella) Milano: Mondadori, 2015. Original text: Penguin, 25 November 2015
The evolution of the new media has led to enormous changes in television production and consumption. As a consequence of the proliferation of TV networks and online file-sharing tools, television shows are now tailored to suit specific, dedicated niche audiences with a significantly higher proficiency in program reception. “Viewers 2.0” subvert the traditional construct of TV spectators as couch potatoes by actively exploring fictional worlds and appropriating and remediating contents through cultural practices of textual poaching such as fan fiction, fan videos, or fan translation. This paper analyzes the impact of this new level of engagement among Italian viewers, who are now questioning the previously unchallenged dubbing process and showing an increasing openness towards different solutions such as fansubbing (the distribution of amateur subtitles shortly after the original airing of each TV show episode). While this alternative may not appeal to the Italian audience in its entirety, in that it requires an active linguistic effort, the growing number of people who join fansubbing communities and proficiently appraise AVT strategies on forums and social networks signals a substantial development in the preferences of Italian viewers. Besides its significant sociological implications, this evolution also calls for a reassessment of AVT practices, since the immediate availability of costless subtitles generates tough competition for professional solutions, which are usually better from a technical perspective, but often also delayed and less accurate in terms of each show’s specific identity and intra- and intertextual references. This paper will thus explore the effects of the new forms of television reception on the AVT industry, analyzing the impact of the response of the Italian audience to the transatlantic acquisition of the recent hit shows How I Met Your Mother, New Girl, and The Big Bang Theory and positing a future synergy between AVT professionals and knowledgeable fansubbers.
Nonetheless, the publication of the first volume of Stephenie Meyer’s Twilight saga in 2005 signaled a relapse into the ideology of the feminine mystique. This paper aims at analyzing the ways in which the saga rehashes and perpetuates a Weltanschauung in which women find their natural self-fulfillment through their marriage and motherhood. I will thus explore the strategies with which supernatural romance is used to reinforce beliefs that are clearly still widespread in spite of the diffusion and the relevance of the rhetoric of equality.
This study will compare Meyer’s female protagonist Bella Swan with her film and television predecessors, highlighting the mystification of Bella’s apparent agency, which is only exerted through her blatantly dominant vampire fiancé. The analysis of the filmic coding of Bella and Edward’s romance will provide further elements to frame the depiction of Bella as the quintessential symbol of submission, culminating with her first intercourse, an irredeemable portrayal of the paradigm of male dominance with an equally unmistakable soundtrack stating “I surrender who I’ve been for who you are” (Sleeping at Last, “Turning Page”). I will thus attempt to prove that Meyer’s misuse of supernatural features constitutes not only a wasted chance to promote female empowerment, but a downright backslide in the (ongoing) fight for female emancipation.