Dubbing

Numerosi prodotti di importazione arricchiscono sempre più spesso l’offerta dei media italiani, tv compresa: in questo modo, nel nostro Paese approdano contenuti che non sono pensati e realizzati appositamente per il pubblico nazionale, ma che, una volta trasferiti e adattati, mutano – almeno in parte – la loro forma. In ambito televisivo, un caso particolarmente interessante è quello della situation comedy americana: un genere centrale nella tv statunitense, ma che in Italia è insieme molto diffuso nei palinsesti e spesso frainteso, complesso da tradurre e talvolta ricostruito – o persino stravolto –, disprezzato ma visto (e rivisto) da intere generazioni di spettatori. Questo volume pone le basi teoriche per uno stu dio dei processi di ‘mediazione’, solo apparentemente banali, che intercorrono nel passaggio di un prodotto mediale da un Paese all’altro: l’appropriazione nazionale (o ‘italianizzazione’), la traduzione, l’adattamento, la distribuzione. E poi applica queste basi a un’approfondita analisi delle vicende italiane della sitcom americana, e di alcuni suoi titoli in particolare (Seinfeld, Friends, Will & Grace, How I Met Your Mother), da tre punti di vista: la ricostruzione della sto ria del genere nel nostro Paese; la rassegna delle variazioni e modifiche traduttive che il prodotto televisivo si trova necessariamente ad affrontare; infine, il racconto della sua filiera produttiva e distributiva, delle routine traduttive e dei professionisti coinvolti. Per capire cosa cambia nella sitcom quando passa dagli Stati Uniti all’Italia, e perché.

With the dissemination of mass media, audiovisual translation has taken on an added importance. However, although it occupies a great amount of time in our life, we can say that audiovisual translation has not attracted enough attention from
translation scholars.
Films are multichannel and multisemiotic. For this, one has to take these into account to perform a successful translation. Additionally, films bring about some constraints and challenges which will put a strain on the film translator. An example
for constraints is lip-synchrony; another example for challenges is intercultural differences.
The aim of this thesis is to identify and study these constraints and challenges systematically in the example of Shrek 2 animated movie and study the translator’s strategies in the framework of target-oriented approach and domestication approach.

Zhirafar, Ahmad (2014). A Comprehensive History of Dubbing into
Persian in Iran: 1941-1971 (Volume 1). Tehran: Kule Poshti Press,
714 pp.

Zhirafar, Ahmad (2014). A Comprehensive History of Dubbing into
Persian in Iran: 1971-2013 (Volume 2). Tehran: Kule Poshti Press,
742 pp.

This study focuses on an innovative teaching project entitled Doblaje creativo (Creative Dubbing), which was conducted at the Universidad Complutense de Madrid during the 2019-2020 academic year. Its main goal was to explore the use of creative dubbing as an innovative tool for improving oral production skills in the business English classroom, as well as for other language skills. To this end, twenty students from the Degree in Commerce practised their speaking skills (a measured and dependent variable) in business English through creative dubbing activities (a manipulated and independent variable)-a recent application of didactic audiovisual translation (AVT). Several lecturers from public universities took part in this project, which employed a mixed methods study involving an experimental group (N=20) and a control group (N=20). Both quantitative and qualitative data were gathered. The former involved student tasks designed to assess three videorecorded presentations carried out by both groups, serving as pre-and postlanguage tests. The latter involved questionnaires filled in by the students. The results obtained indicate that creative dubbing is indeed a tool that can enhance students' oral skills, motivating them regarding the use of a non-traditional educational methodology, which can be applied in any other English for specific purposes (ESP) context.

The aim of this study is to investigate the sociolinguistic functions of code-switching and its relation to the meaning-making process by using the animated series Kim Possible as a case study. Design/methodology/approach: This study employs Muysken's taxonomy to draw on code-switching patterns in lexicogrammar in relation to human behavior. The study also uses the functional approaches

Traduire les accents de l'anglais vers le français en doublage audiovisuel Résumé En version doublée française, il est particulièrement ardu de faire entendre les différents accents internes au monde anglophone (par exemple, l'accent anglais par rapport à l'ac-cent américain) ainsi que les connotations portées par ces accents en VO. Le manque de contexte culturel pose donc problème au téléspectateur francophone, mais diverses straté-gies sont employées de manière efficace par les adaptateurs. Il est possible, d'une part, de s'appuyer sur la connotation associée à la langue source et d'en trouver un équivalent en langue cible. D'autre part, le déplacement de l'accent peut aussi s'opérer sur une particu-larité idiosyncratique du personnage. L'article, qui étudie ces options à partir d'exemples majoritairement tirés de séries télévisées, se conclut par l'étude de stratégies protéiformes qui démontre que des solutions mitigées aboutissent à des échecs traductifs. AbstRAct When dubbing an English-speaking movie or TV show into French, it is very difficult to transpose the differences between accents such as American or British, but also to convey the cultural nuances associated with them in English. Therefore, the lack of cultural background proves problematic for the French viewer. However, several efficient strategies may be observed. First, it is possible to use the connotation that an English speaker perceives in an accent and to find an equivalent in French. Then, the accent can be displaced onto an idiosyncratic feature of the character. The article, which draws on examples taken mainly from TV series, ends with an analysis of two scenes which mix strategies in order to translate one accent, but these half-and-half solutions prove to be failures as far as reception is concerned.

Journal of Literary Education / 2018 n. 1 58
http://doi.org/10.7203/JLE.1.12252
Donkey Xote cabalga distinto en España y en Italia:
reflexiones sobre la intertextualidad audiovisual
Mercedes Ariza. Fondazione Universitaria San Pellegrino, Italia. mercedes.ariza@fusp.it
Resumen
El objetivo del presente trabajo es analizar el fenómeno de la intertextualidad en el ámbito de la traducción de la literatura infantil y juvenil en general y en el campo de la traducción audiovisual en particular. Nuestro punto de partida es el análisis de los referentes intertextuales presentes en la película Donkey Xote (José Pozo, 2007) y en su versión para doblaje en italiano. Tras identificar las dificultades y las estrategias de traducción de la “intertextualidad audiovisual” (Martínez Sierra, 2010; Chaume, 2012), presentaremos algunos referentes intertextuales añadidos en italiano para implicar de manera más directa al espectador (adulto) italiano. De hecho, la versión italiana introduce alusiones inherentes al mundo cinematográfico estadounidense e italiano inexistentes en el TO con un afán de tipo humorístico evidente.

Abstract
The aim of the present paper is to analyse the intertextuality in the field of Translation of Children’s Literature and specially in Audiovisual Translation. We analyse the presence of intertextual elements in the Spanish animated film Donkey Xote (José Pozo, 2007) and in the Italian dubbing. After the identification of the difficulties and the strategies inside the Translation of the so called “audiovisual intertextuality” (Martínez Sierra, 2010; Chaume, 2012), we propose some intertextual elements introduced in the Italian version in order to capture the interest of an adult audience. In others words, the Italian dubbing shows particular allusions regarding American and Italian films that were conceived to create humour.

This paper is going to concentrate on chracteristics of methods of translation, namely dubbing and subtitling. it is also going to show different preferences toward types of translation in European countries. The main part of the papre would be analysis of diferences in English- Polish translation of animated film 'The Jungle Book'.

Translating Culture Specific References on Television provides a model for investigating the problems posed by culture specific references in translation, drawing on case studies that explore the translational norms of contemporary Italian dubbing practices. This monograph makes a distinctive contribution to the study of audiovisual translation and culture specific references in its focus on dubbing as opposed to subtitling, and on contemporary television series, rather than cinema. Irene Ranzato’s research involves detailed analysis of three TV series dubbed into Italian, drawing on a corpus of 95 hours that includes nearly 3,000 CSR translations. Ranzato proposes a new taxonomy of strategies for the translation of CSRs and explores the sociocultural, pragmatic and ideological implications of audiovisual translation for the small screen.

Las películas de Tim Burton rebosan humor negro, juegos de palabras y alusiones destinadas a un doble receptor, especialmente cuando la audiencia principal es la infantil y juvenil, por lo que suponen un gran desafío a la hora de enfrentarse a su traducción. Una de estas películas es La novia cadáver (2005), rodada con marionetas mediante la técnica stop-motion 1 , para la que el equipo creó unos mecanismos con los que lograron que las expresiones faciales fuesen mucho más variadas y rea-listas, lo cual implica que la sincronía labial que se debe conseguir tiene que ser similar a la del doblaje de películas de acción real para alcanzar la máxima veracidad posible. Teniendo esto en cuenta, en el presente trabajo se ha analizado un fragmento muestral de siete minutos del doblaje español de la mencionada película para comprobar las estrategias empleadas en el mismo y debatir su idoneidad. Palabras clave: Tim Burton, La novia cadáver, doblaje, análisis traductológico, coincidencias perversas.

Black humour, word plays and double addressee's references are prevalent within Tim Burton's films, especially when children and young people are their main target. This is the reason why the translation of Burton's films means a great challenge to their translators. One of them is Tim Burton's Corpse Bride (2005), shot by using the "stop-motion" technique, for which the film crew created special puppets with a mechanism that achieved much more varied and realistic facial expressions. This fact implies that the lip synchronization must be as accurate as the synchronization accomplished when dubbing live-action films to reach the highest possible authenticity. Thus, this dissertation aims to analyse a sample extract of the abovementioned Spanish dubbing to verify the translational strategies used in it, as well as to study their suitability.

Research on dubbing in audiovisual productions has been prolific in the past few decades, which has helped to expand our understanding of the history and impact of dubbing worldwide. Much of this work, however, has been concerned with the linguistic aspects of audiovisual productions, whereas studies emphasizing the importance of visual and acoustic dimensions are few and far between.
Against this background, Dubbing, Film and Performance attempts to fill a gap in Audiovisual Translation (AVT) research by investigating dubbing from the point of view of film and sound studies. The author argues that dubbing ought to be viewed and analysed holistically in terms of its visual, acoustic and linguistic composition. The ultimate goal is to raise further awareness of the changes dubbing brings about by showing its impact on characterization. To this end, a tripartite model has been devised to investigate how visual, aural and linguistic elements combine to construct characters and their performance in the original productions and how these are deconstructed and reconstructed in translation through dubbing. To test the model, the author analyses extracts of the US television series Buffy the Vampire Slayer and its French dubbed version.

The article focuses on the co-creational labour made by professionals (and non-professionals) who, in a non-Anglo-Saxon country such as Italy, adapt and modify (heavily or slightly) the ‘original’ media products (i.e. TV series) in order to make them accessible to the domestic audience. After a concise introduction on the ‘Italianization’ process, the article proceeds to describe two ways of adapting nationally: the professional translation and dubbing system and the grassroots fansubbing phenomenon. The attention is both on the production routines and on their influence on the meaning of the text.

The purpose of this paper is to describe the so-called fansubs, a different type of subtitling carried out by amateur translators. The first part of this study covers both the people and phases involved in the fansubbing process from beginning to end. The second section focuses on the legality and ethics of fansubs. The third part pays attention to the actual translation of fansubs and their unique features, such as the use of translator’s notes or special karaoke effects. The paper concludes with a reflection on the work done by fansubbers and the possibilities opened by this mainly Internet phenomenon.

The purpose of the paper is to perform a quantitative analysis of how and to what extent the 167 instances of language-play found in the 91 episodes of the whole TV series "Chuck" was rendered in Italian. In order to do this, Thorsten Schröter’s translation strategies were taken as a frame of reference and applied to a part of the corpus of this study. Schröter’s categorization of language-play was also taken into account, not only to make for a clear-cut and orderly investigation, but also to help the search for a hypothetical category-related translation norm for language-play.
The paper is divided into five chapters: the first one casts light on the definition of language-play and its relationship to other similar or overlapping concepts such as puns, wordplay and humour, in addition to providing an overview of the “(un)translatability” of language-play in the relevant literature.
Three main factors that make the translation of language-play difficult will be thoroughly investigated in the second chapter, whereas a brief description of the TV series Chuck and of the methodological approach of the present study will be offered in the third chapter. The fourth chapter will be focused on the categorization and, most notably, the quantitative analysis of the translation strategies applied to all the instances of language-play from English into Italian. The fifth and last chapter of the dissertation will be devoted to presenting and discussing the gathered data, on the basis of which final conclusions will be drawn in an attempt to discredit the myth of the untranslatability of language-play.

This paper explores how vocative forms are represented and then dubbed into Italian in Lady and the Tramp (1955) and The Jungle Book (1967), two Disney animated classics, and in their recent remakes in live- action. In particular, the quantitative and qualitative descriptive analysis focuses on how the number and the type of vocatives vary between an- imated films and live-action remakes as well as between original and Ital- ian dubbed dialogues. The results indicate that animated films have a higher frequency as well as a richer array of vocative forms which serve diegetic, characterising, and interpersonal functions. As for the Italian dubbings, the analysis shows that vocatives tend to be reduced in terms of tokens and types both in animated films and live-actions, but in the latter in particular. In fact, from a qualitative point of view, in the Italian dubbed live-action remakes vocatives dramatic functions are often lev- elled out.

Despite a long tradition of scholarship and the vast amount of dubbed audiovisual products available on the global market, dubbing is still relatively underrepresented in audiovisual research. The aim of this volume is to give dubbing research its due by showing that, far from being a doomed or somewhat declining form of AVT, it is being exploited globally in the most diverse and fruitful ways. The contributions to this collection take up the diverse strands that make up the field, to offer a multi-faceted assessment of dubbing on the move, embracing its important historical past as well as present and future developments, thus proving that dubbing

Antologia di two reels scelti tra quelli del periodo più proficuo e fantasioso del duo Stan Laurel & Oliver Hardy e il cui titolo si rifaceva in chiave parodica al leggendario kolossal e successo cinematografico hollywoodiano «Via col vento» (Gone with the Wind, 1939), "Via convento" apparve nelle sale cinematografiche italiane nel secondo dopoguerra (1947). Il film era ricavato abbinando tre cortometraggi comici già usciti in Italia negli anni '30 ma adattati con nuovo doppiaggio – Scram, Me and My Pal e One Good Turn.  In quest'ultimo, di James W. Horne, Stanlio e Ollio, vittime della Depressione, si sentono paladini di tutte le cause perse, regalandoci fotogrammi indimenticabili, intrisi di humor e comicità.
L'intera colonna sonora del film è stata ricostruita a partire da più elementi sopravvissuti in pellicola 35mm (ad eccezione di soli 10 secondi di dialogo andati perduti, probabilmente già sullo stesso negativo, reintegrati in inglese con sottotitoli in italiano), e anche mediante lo studio e la digitalizzazione di pellicole 16mm conservate in archivi privati e pubblici. Il doppiaggio in questione riporta le voci di Alberto Sordi e Mauro Zambuto, tornato ora al suo massimo splendore per questo titolo grazie al progetto SOS STANLIO E OLLIO.

Focusing on the film industry’s transition to sound in the late 1920s, canonical musical Singin’ in the Rain is, foremost, a dubbing narrative. This chapter revisits this film classic in order to bring into focus lesser-known histories relating to screen translation, and to think specifically about the importance of talk and inter-lingual translation to the development of film culture broadly. Singin’s emphasis on dubbing as domestic operation invites reconsideration of the transition era’s ‘language crisis’ and the artificial voice/body combinations integral to foreign-language dubbing. Precisely because Singin’ does not deal directly with issues of inter-lingual translation, it demonstrates how sound technologies catapult issues of language difference and transfer to the very heart of film production, prefiguring the inter-lingual in the everyday.

This essay consists of a critical analysis of the Italian dubbing of Star Trek. The Original Series (1966-1969), which was partially translated and shown on Italian television between 1979 and 1981.
The study of the dubbing is approached considering translation as a complex cultural phenomenon (drawing on studies such as Even-Zohar and Venuti's), and using the case of Star Trek also as an example of broader phenomena and dynamics, namely the presence of American science fiction series on Italian television, and the difficult relationship in Italy between humanistic and scientific cultures (here, Pierpaolo Antonello's contributions are the milestones), to which the essay attributes the noticeable simplification and flattening the techno-scientific language undergoes during translation in the Star Trek episodes considered.
This general tendency to simplify (and even remove) technical and scientific terminology in the Italian version can be explained by two main factors: the idea that Italian viewers are less well educated scientifically than Americans, and limited investment (in terms of both financial and professional resources), on the part of the TV channel and dubbing company (TMC and ADC).
Both these aspects reveal a perception of a television series as merely a commodity product, typical of the years preceding the current new golden age of American series, but still not unknown in contemporary Italy (as has been shown in other cases, by studies such those by Buonomo, Izzo and Scarpino, and Ranzato).
The analysis of the Italian dubbing of Star Trek in the present essay is accompanied by a preliminary overview of the translation and airing of American science fiction series in Italy between the 1950s and the 1970s, and by a survey of the fortunes of these series across different media over the same period.
Star Trek, at the center of one the biggest and most profitable contemporary cultural franchises, and one of the most well organized fandoms (studied also by Henry Jenkins on more than one occasion), arrived in Italy too with its novelizations and derivative products. The Italian fandom proved to be both remarkably devoted and uncommonly well-informed from the cultural and scientific point of view: after protesting loudly about the poor quality of The Original Series dubbing, the Italian Star Trek Club obtained the right to oversee the translations of many of the subsequent series and publications.
---
Al centro del saggio vi è un'analisi critica del doppiaggio italiano di Star Trek. The Original Series, andata in onda negli USA tra 1966 e 1969 e giunta in Italia nel 1979.
L'analisi del doppiaggio affronta il problema della traduzione in senso ampiamente culturale  (sulla scorta di studi come quelli di Even-Zohar e Venuti), adoperando il caso di una delle serie fantascientifiche più famose nella storia del medium televisivo per esemplificare più ampie dinamiche traduttive della fantascienza statunitense in Italia, nonché il difficile rapporto - nel contesto culturale italiano - tra cultura umanistica e scientifica (si vedano su questo i contributi di Pierpaolo Antonello), a cui si può ricondurre il fenomeno di semplificazione e livellamento verso il basso del gergo tecno-scientifico che ha caratterizzato le prime traduzioni della serie.
Il generale depotenziamento della sfera linguisto-lessicale tecnico-scientifica, tanto più rimarchevole vista l'importanza del linguaggio nella costruzione dell'identità e della fortuna della serie originale, si può far risalire in parte a un'idea di pubblico culturalmente più impreparato dell'omologo statunitense, in parte a una più generale trascuratezza nei processi produttivi dell'emittente e della cooperativa di doppiaggio coinvolte (TMC e ADC), entrambi sintomi di una visione del prodotto culturale televisivo in termini di mero consumo, tipica di un'epoca che precedeva la new golden age della televisione americana, e forse non ancora estranea al contesto italiano corrente (come hanno dimostrato, per altri casi, studi di Buonomo, Izzo e Scarpino, Ranzato).
Il caso di studio è contestualizzato da alcuni cenni iniziali sul più ampio tema della traduzione delle serie televisive fantascientifiche americane in Italia tra anni Cinquanta e Settanta, e completato da una ricognizione delle prime fortune della serie a cavallo di diversi media nella penisola.
Star Trek, al centro di un franchise tra i più redditizi del pianeta e di uno dei fandom più organizzati e creativi (di cui si è occupato anche Henry Jenkins a più riprese), giunse in Italia negli anni Settanta anche con novellizzazioni e prodotti derivati. Il fandom nostrano si organizzò precocemente e, dimostrando una capacità di iniziativa e preparazione culturale non comuni, protestò per la scarsa qualità dei primi doppiaggi e ottenne la supervisione di molte traduzioni seguenti.

From the lucrative blockbusters distributed by Hollywood powerful studios to the brief videos assembled and circulated by ordinary people, contemporary screen culture is populated by a growing variety of audiovisual texts travelling across different languages and cultures. Audiovisual Translation: Theories, Methods, Issues provides a unique focus on the translation of these increasingly influential texts, including their producers and consumers, that now pervade all aspects of our lives. Through a range of examples drawn from different genres, this book moves beyond the linguistic concerns traditionally privileged within audiovisual translation, introducing students and researchers to the artistic, economic, social and political dimensions of this activity.

The book first traces the development and evolution of audiovisual translation, exploring how the homogenizing mediation practices imposed by the industry during the mass media era are being challenged by interventionist forms of translation in the era of the digital culture.

The evolving conceptual network that underpin this area of study, the key translation models driving the theorization of this activity and the most productive methodological approaches to the study of audiovisual translation are then surveyed, critiqued and illustrated in a systematic, easy-to-follow manner. Multimodal theory and self-mediation studies receive particular attention as the most influential theoretical frameworks that will drive audiovisual translation research in years to come. Students and early career scholars are provided with comprehensive guidance to design and undertake audiovisual translation research projects.

Each chapter features chapter summaries, introductory videos, authentic examples, break out boxes, reading suggestions and follow‐up questions for further study. A companion website provides readers with access to additional resources on each of the topics covered in this book.

Audiovisual Translation is the definitive guide to the research models and methodological approaches that are enabling and will continue to drive advances in this fast-developing area of study.

• The book can serve as a textbook for use at MA level but also constitutes a ‘first port‐of‐call’ reference on aspects of theoretical inquiry.
• The book explores new audiovisual translation genres and practices in contemporary networked societies, covering topics and issues not previously discussed in the audiovisual translation literature.
• The book includes a whole chapter offering methodological direction to readers conducting their own research at MA at doctoral level.
• The follow-up questions for discussion in all chapters provide abundant ideas for extended postgraduate essays, various types of dissertation, and (post)doctoral level research projects.

This paper reports the initial findings of a research project conducted on translation-related material in the Stanley Kubrick Archive, housed at the University of the Arts, London College of Communication. By examining a variety of documents from this extensive collection, this article attempts to show what archival materials can reveal about the genesis of the foreign-language versions of Kubrick's films, focusing on the film director's role and degree of intervention in the translation process. Building on previous research on filmmakers' role in translation (Díaz Cintas, 2001; Nornes, 2007) and linking with recent developments in the research on accessible filmmaking (Romero Fresco, 2013), I argue that Kubrick's case provides a significant example of 'unorthodox' practices within the film industry, offering an alternative model in which film translation is integrated within the creative process of filmmaking through the film director's active participation in the translation process.

The wide field of sociolinguistics and dialectology applied to translation and to AVT in particular is one of the most fertile, lively and creative objects of research today. Audiovisual texts offer a varied and exhaustive number of examples of linguistic variation at phonological, syntactical, and lexical levels. In the case of Italian, the attitude of translators towards linguistic varieties is multi-faceted but is still markedly influenced by the strong emphasis placed, in the foreign language and translation classroom, on the study of Standard English and Received Pronunciation. Examples taken from films of various genres and dubbed in different periods help illustrate some of the strategies which have been used in the past to translate the Cockney variant of English into Italian. The paper also tries to offer the most appropriate solutions that help achieve a pleasant exotic effect without falling into any of the two potential extremes of incoherent localisation or banalising neutralisation.

With over 6000 languages in the world today, media speak is far from universal, yet the complexities of translation are rarely acknowledged by the industry, or by audiences and scholars. Redressing this neglect, Speaking in Subtitles argues that the oddities and idiosyncrasies of translation are vital to screen media’s global storytelling. Examining a range of examples from crowdsourced subtitling to avant-garde dubbing to the growing field of ‘fansubbing’, Tessa Dwyer proposes that film, television and video are fundamentally ‘translational' media.

Topics include:
Censorship
Media piracy
Amateurism
Fansubbing (fan subtitling)
Crowdsourcing

Case Studies include: The Invisible Cinema, New York (1970-74) and Viki Global TV (www.viki.com)