Sottotitolaggio e pivot subtitling a confronto nello spezzone del film "This is England".

Lo scopo di questa tesi è mettere a confronto due tecniche di sottotitolaggio presenti sul mercato, sottotitolando uno spezzone del film “This is England”. Il primo approccio è il sottotitolaggio tradizionale, ovvero la creazione di sottotitoli in una data lingua a partire dall’audio e dallo script nella lingua dei dialoghi originali. Il secondo metodo è il pivot subtitling, che consiste nella creazione di sottotitoli in una determinata lingua a partire da sottotitoli esistenti in una lingua diversa da quella dei dialoghi originali. Questa tesi nasce dalla curiosità di sperimentare personalmente le due tecniche e formare una mia opinione critica al riguardo. Così è seguita la scelta di un film. Il film “This is England”, di difficile comprensione a causa di accenti particolarmente marcati di alcuni protagonisti, della densità di alcuni dialoghi e dei riferimenti culturali alla sottocultura inglese skinhead nata a fine anni ‘60. La parte principale del lavoro è stata la creazione dei sottotitoli. Nel primo capitolo introdurrò il film, spiegherò la prima fase del lavoro, ovvero come ho svolto il processo del sottotitolaggio tradizionale, successivamente seguiranno nozioni sui pivot subtitles e il secondo processo di creazione di quelli italiani. Il secondo capitolo spiegherà il concetto di qualità dei sottotitoli. Successivamente seguiranno i commenti ai sottotitoli: si tratterà di mettere a confronto i sottotitoli ottenuti con le due diverse tecniche per la medesima battuta o scena. Per finire analizzerò le differenze che emergono dalle due tecniche, l’impatto sul pubblico, i vantaggi e gli svantaggi di ognuna e i motivi per cui una viene utilizzata più dell’altra. Queste considerazioni serviranno per dare una risposta alla questione della tesi: in cosa consiste la differenza fra le due tecniche? Sono accettabili entrambi i risultati seppur diversi?

Supersize vs superskinny: Proposta di sottotitolaggio di una puntata

Le pagine che seguono sono divise in tre capitoli: il primo, teorico, tratta della traduzione audiovisiva nel complesso, accenna alle caratteristiche principali del sottotitolaggio e alla sua storia. Il capitolo spiega inoltre la divisione a livello europeo tra subtitling e dubbing countries, concentrandosi poi sullo sviluppo del doppiaggio in Italia. Il secondo capitolo comprende una descrizione del programma televisivo britannico parzialmente sottotitolato, Supersise vs Superskinny, Grassi contro Magri in italiano, così come le ragioni che mi hanno portata a scegliere il programma. L’ ultimo capitolo contiene la proposta di sottotitolaggio, esposta in una tabella. Ho parlato dell’ esperienza di sottotitolazione del programma, delle innumerevoli, così come inizialmente inaspettate, difficoltà incontrate, e ho elencato i passaggi da me ritenuti più importanti o particolari, con spiegazione e motivazione delle mie scelte traduttive.

Translating food on the Internet: from American TV series dubbed for the Italian audience to subtitles on YouTube.

The aim of this dissertation is to analyze the adaptation of food realia and food-related terms from English into Italian in the world of screen translation. Food has always been at the heart of every human being’s life and is an essential lens of analysis when trying to understand culture. With the awareness of what has been done in the past in American TV series dubbed into Italian and looking at how translations have been changing in the last decade, my thesis demonstrates how strategies are more inclined to an overt approach, which leaves the audiovisual text deeply tied to its source language and culture. The work will also include a practical subtitling exercise of three episodes of the currently most famous YouTube cooking show: Nerdy Nummies by Rosanna Pansino. The fact that the show is published weekly on a YouTube channel gives me the opportunity to comment on the evolution of media in the third millennium and how this implies an improvement as far as the knowledge, the skills and the possibilities for audiovisual translators are concerned.

"Pásli ovce valasi": Proposta di adattamento in italiano di una serie televisiva slovacca per l'infanzia fra doppiaggio e sottotitolaggio

The main purpose of this thesis is to promote the Slovak culture in Italy through the adaptation of Pásli ovce valasi (The shepherd grazed the sheep), a TV series for children by director Ladislav Čapek. The series, which was released in Czechoslovakia in 1973, is divided into thirteen episodes and tells the story of Matko and Kubko, two shepherds who live in the mountains in central Slovakia. Pásli ovce valasi represented an interesting choice from the adaptation point of view, due to its deep cultural value and the peculiarities of the language used by the characters. The constraints of audiovisual translation were combined to the difficulty of rendering Slovak cultural-specific elements into Italian, together with the limits imposed by having children as a primary recipient. The importance of their role as a target has constrained not only our translation choices, but also the adaptation mode. For this reason, it was decided to realise subtitles in order to make the audiovisual product immediately available, together with an adaptation for dubbing, more suitable for a young audience. The opportunity to present two different forms of adaptation is closely linked to the specific characteristics of the cartoon language. The present study consists of four chapters. The first one provides a brief introduction to the series, its language and setting. The second chapter outlines the main characteristics of audiovisual translation, focusing on dubbing and subtitling in particular. It also presents an analysis of the role of children as a target and the consequent decision to realise an adaptation for dubbing. The two adaptation modes, together with the transcription of the original dialogues, are provided in the third chapter. The fourth and last chapter consists of a description and analysis of the translation process, focusing on morphosyntactic, lexical, rethorical, historical and cultural aspects. The last part of the chapter analyses the differences between the subtitles and the adaptation for dubbing.

"Romanzo criminale - la serie". Analisi del sottotitolaggio spagnolo amatoriale.

This dissertation focuses on the phenomenon of amateur subtitling, known as fansubbing. Although this phenomenon began in the late ‘80s, in recent years amateur subtitling has spread worldwide, thanks to both Internet and fan communities, also known as fandoms. At first, amateur subtitling was mainly centred on the translation of Japanese cartoons, but nowadays fandoms also tend to subtitle other kinds of audiovisual products, such as American TV series. Thanks to fansubbing, which is created by fans for other fans, fandoms claim that they would prefer to have subtitled rather than dubbed versions of audiovisual products, which is the norm in Italy and Spain. The dissertation provides a linguistic analysis of the fansubbing in Spanish of the Italian TV series Romanzo Criminale. The purpose of this dissertation is to analyse fansubbing from the linguistic point of view, as well as from the point of view of the translation. Furthermore, it aims to evaluate to what extent this translation can be compared to professional subtitling. The first chapter offers an introduction to the TV series and provides an overview of the main events and characters. The second chapter deals with an analysis of the strategies that fansubbers use to translate cultural elements from Italian into Spanish. The third chapter focuses on linguistic mistakes due to calques and linguistic interference between Italian and Spanish. The fourth chapter provides an analysis of some translation errors which occurred during the decoding of the original text. The aim is to understand if this kind of mistake might jeopardize the comprehension of the original message.

Song of the sea: proposta di sottotitolaggio e fansubbing a confronto

The aim of this thesis is to subtitle and analyze the subtitles of the animation movie directed by the Tomm Moore, Song of the Sea. It deals with the adventures of Saoirse, the last of the selkies, the mythological women who turned into seals, and his brother Ben to save the fairies and send them home. Although Italy is a “dubbing country”, I decided to subtitle the film not to affect the original audio track, as the Irish accent and Celtic melodies are a fundamental element in Song of the Sea. I chose this movie because it is a quality product (nominated in 2015 for "The Best Animation Movie”) which deserves to be commercialized outside film festivals. In a second phase, I analyzed my subtitles and compared them to amateur subtitles, created by the SRT Project group, to understand the strategies adopted and the basic differences between the two types of subtitling. My dissertation consists of three chapters. The first provides a general overview of audiovisual translation and language transfer methods, focusing on subtitling. The second chapter introduces the movie in an Irish context, and then analyzes the subtitling process, from the software used, to the translation strategies adopted. Finally, the third chapter describes the phenomenon of amateur subtitling, and the most important Italian communities of the current years. Moreover, I analyzed SRT Project fan translation, and asked them a set of questions about amateur subtitling and the translation of Song of the Sea, in order to understand this world and the fansubbing process. The Appendix includes my subtitles, as well as the questionnaire.

Il sottotitolaggio per i film festival: due esperienze pratiche

This dissertation aims to examine the field of film festival subtitling by means of the analysis of two subtitling experiences. These experiences will be approached both on a methodological and on a practical level in order to analyse how subtitlers put theory into practice. This approach will also help underline the existing differences in work methodology as far as different work experiences are concerned. The subtitling experiences examined in this dissertation are part of my internships as a subtitler in two Italian film festivals, namely “Umbria Film Festival” and “900 Fest”. In this dissertation, I chose to focus on the subtitling of two of the audiovisual products I translated. These products are a German documentary titled Befreier und Befreite and a Danish fiction film titled Stille Hjerte. This dissertation is divided into five chapters. Chapter 1 describes audiovisual translation at its most theoretical level, focusing on subtitling criteria and strategies. Chapter 2 examines the concept of film translation, focusing on the distinctive features of documentary translation as a specific genre. This chapter also presents the concept of film festival and provides information concerning the translation policies of festivals. Chapter 3 presents the festivals I worked for and details my internship experiences. Chapter 4 focuses on the German documentary and proposes a number of solutions to its main translation problems. Chapter 5 focuses on the Danish film and offers solutions to its translation problems. At the end of the dissertation, I will provide some comments on my internship experiences as well as on the practice of film festival subtitling.

Proposta di sottotitolaggio del social movie italy in a day

The aim of this thesis is to analyse the main translating issues related to the subtitling of the Italian social movie Italy in a day into English: Italy in a day is a crowdsourced film, comprising a selection of video clips sent by ordinary people, showing occurrences of everyday life on a single day, October 26th, 2013. My dissertation consists of four chapters. The first provides a general overview of audiovisual translation, from the description of the characteristics of filmic products to a summary of the most important audiovisual translation modes; a theoretical framework of the discipline is also provided, through the analysis of the major contributions of Translations Studies and the multidisciplinary approach proposed by the scholar Frederic Chaume. The second chapter offers insight into the subtitling practice, examining its technical parameters, the spatial and temporal constraints, together with the advantages and pitfalls of this translation mode. The main criteria for quality assessment are also outlined, as well as the procedures carried out in the creation of subtitles within a professional environment, with a particular focus on the production of subtitles for the DVD industry. In the third chapter a definition of social movie is provided and the audiovisual material is accurately described, both in form and content. The creation of the subtitling project is here illustrated: after giving some information about the software employed, every step of the process is explained. In the final chapter the main translation challenges are highlighted. In the first part some text reduction techniques in the shift from oral to written are presented; then the culture-specific references and the linguistic variation in the film are analysed and the compensating strategies adopted to fill the linguistic and cultural gap are commented on and justified taking into account the needs and expectations of the target audience.

Tradurre il genere documentario : Due proposte di sottotitolaggio del documentario Little Land a confronto

The aim of this thesis is to discuss the main translation issues encountered while performing a double version of the subtitles of the documentary “Little Land” from English into Italian. The main motivation behind my choice is a personal interest in the subtitling field applied to the documentary filmic genre. This project is divided into two parts. The first part constitutes the theoretical basis of the thesis and is divided in three chapters. The first chapter introduces the documentary “Little Land” and analyses its main features and characteristics. The second chapter is devoted to documentary studies and theory of documentary, including the historical overview of the changes of this filmic genre and an overview of its market potential in order to meet both the audience and the director’s requirements. The third chapter deals with audiovisual translation as a discipline, and analyses the main translation techniques adopted for the documentary genre: dubbing, voice-over and subtitling. The subtitling section is particularly rich, and a discussion of the use of double and pivot subtitles and the possibilities of subtitling for accessibility issues is included. The second part constitutes the practical development of the theories introduced and dealt with in the first part. Chapter four provides an overview of the history of the Cineteca di Bologna, for whom I worked as a subtitler, and explains the guide lines and equipment required in order to perform the manual launch of the subtitles during their festival Human Rights Nights. The fifth and final chapter provides an analysis of the second version of the subtitles, meant for TV broadcasting, and highlights the main issues encountered during the translation process, both from a structural and a lexical point of view. A discussion of the different translation strategies adopted is provided, in a constant comparison with the first version of the subtitles. The function of self-reflection and self-observation in translation is also examined. Appendix A and B contain the interviews with “Little Land”’s director and protagonist respectively, Appendix C contains the subtitles table.