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The author points out the main advantages and disadvantages of the three types of movie translation: subtitles, dubbing and voice over. The problems with making all listed above are enumerated in the article. The author also lists and describes three strategies for translators to adapt cultural facts taken from one culture into different one. She brings number of examples taken from various countries: Polish into English, English into Georgian and other. The movies which are used as examples are: Snow White and Russian Red, Shrek, You are God and Home Alone.
2021 •
The aim of this research is to examine whether it is possible to limit the procedures of translating cultural aspects in dubbing only to five of them (direct transfer, omission, compensation, cultural substitute and periphrasis) and whether a few procedures can be applied at the same time. The analysis is based on Madagascar – an animated dubbed comedy film produced by DreamWorks Animation and released in cinemas on May 27, 2005. The original dubbed English version is compared with the Polish translation produced by Bartosz Wierzbięta.
"Of all the AVT techniques, voice-over has probably been the least studied and the least valued. This state of affairs can be found in not only western Europe (where voice-over is limited to mostly non-fiction programmes) but also in Poland (where voice-over remains the most widely applied technique of translation for feature films for the television and DVD markets. The aim of this contribution is to re-evaluate some of the existing academic prejudices against voice-over and to highlight its advantages in comparison with subtitling and dubbing, given that voice-over is free of some specific constraints that are present in the other two AVT techniques. The analysis ± illustrated by selected examples taken from the TV science-fiction series Star Trek ± focuses on the interaction between the key factors in successful voice-over: (1) the acoustic EDODQFH EHWZHHQ WKH RULJLQDO ILOP¶V VRXQGWUDFN DQG WKH WH[W GHOLYHUHG E\ WKH UHDGHU WKH quality and the quantity of translated text and (3) the timbre and LQWRQDWLRQRIWKHUHDGHU¶VYRLFH and (4) the way in which the reader synchronises the reading with the original soundtrack. In the conclusion, the author proposes that the voice-over of feature films could be improved dramatically by transforming it into DµYRLFH-in-EHWZHHQ¶WHFKQLTXH"
Publication: (Jankowska, Anna and Agnieszka Szarkowska (Eds). New Points of View on Audiovisual Translation and Media Accessibility. Special Issue of New Trends in Translation Studies, vol.15. Bern: Peter Lang, pp. 31-46. Abstract The identification of a personal, genuine style in the work of the director Pedro Almodóvar provides the tone of speech with a semantic function, and becomes recognizable in the target culture while determining the viewer’s expectations of the translation. Linguistic variation and specific registers, particularly strong and sexually-derived language, join to the content of the narrated story and help to transmit the style and intention of the Spanish filmmaker. The context it is received in also has an impact in the final configuration of the target text and marks the conditions for the translation. Audience expectations for a film are often generated by the marketing campaign behind it. In this sense, the background of insolence, provocation and transgression surrounding the figure of Almodóvar in Poland has some bearing on the idea that Polish audience have of his films. The viewer’s expectations will largely dictate how they react to strong language. In other words, audiences are more tolerant of strong language if they can understand the reason for its usage. According to this idea, this paper will try to validate or refute the hypothesis that the presence of an identifiable style in the work of Almodóvar influences the priorities of the translation and favours a target text closer to the original, showing more tolerance with expletives and obscenities, while helping to maintain the spirit of the original and retaining the sensation of authenticity. Key words: Almodóvar, Poland, transgression, strong language, faithfulness, expectations.
World Literature Studies
Audiovisual Translation — Dubbing and Subtitling in Slovakia2013 •
Focused on dubbing and subtitling, the aim of the proposed article is to cover relevant matters of audiovisual translation theory and practice in 21st century Slovakia and to discuss the reality of the professional milieu and its broader sociocultural consequences in Slovakia. This might support an increase in the quality of translated products and emphasise the importance of further academic research within the field. Proposing ideas for further approaches within the Slovak academic milieu, the paper outlines the widening borders of audiovisual translation. It also underlines the importance of the preparation phase of translation studies trainees at Slovak universities and maps and outlines the possibilities for their specialised education in future.
2021 •
LLCE2014 Conference Proceedings
How does education influence the reception of English film title translations in Poland?International Journal of Multidisciplinary Studies
'Translating the Untranslatable': An Analysis on Translating Culture Specific References in Translating a Script for Dubbing Purpose2015 •
The field of translation is becoming exceedingly popular with the advancement of technology. In the Sri Lankan context, the field of audio visual translations, specifically dubbing and subtitling was first practiced in early 1980s. However, compared to the practices in the field of audio visual translation in the other parts of the world, the advancement of the field in Sri Lanka was comparatively slow. Nevertheless, dubbed dramas, movies, etc. from various continents of the world are dubbed in Sinhala and Tamil and telecast in Sri Lanka. Translating a script for dubbing purpose is challenging since the translator has to focus on the linguistic factors as well as socio-cultural factors related to both the source language and the target language. The purpose of the study was to analyze strategies in translating culture specific expressions in translating a script for dubbing purpose. As the methodology, culture specific references of a Korean drama which was translated and telecast in Sinhala was analyzed. The analysis was done from the word level and above word level considering the linguistic factors as well as socio-cultural factors of both source language and the target language. Thus, the findings show that apart from strategies of translating the other conventional media, polysemiotic nature in audio visual translations, has led the translator to use several interventional strategies in translating culture specific expressions within the cultural, linguistic, technical and contextual considerations in translating a script for dubbing purpose, challenging the conventional theories of translation equivalence.
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