Analisi del doppiaggio del film francese "Qu'est-ce qu'on a fait au bon Dieu"

Questa tesi ha come obiettivo l’analisi contrastiva della versione originale francese e di quella doppiata in italiano del film “Qu’est-ce qu’on a fait au bon Dieu”, del regista Philippe de Chauveron. Partendo da alcuni aspetti teorici spiegati nel primo capitolo, parlerò della traduzione audiovisiva e delle sue due tecniche maggiormente utilizzate, ossia doppiaggio e sottotitolaggio, oltre che ad accennare il contesto storico-sociale in cui è nata e si è sviluppata. In seguito mi concentrerò sull’analisi vera e propria del doppiaggio del film, prendendo in considerazione gli aspetti culturali di più difficile adattamento per i dialoghisti, quali il cibo, gli odonimi, il mondo dello spettacolo, l’ironia e gli aspetti extra-testuali di immagini e suoni. Infine, l’elaborato si concluderà con l’analisi degli aspetti linguistici più complessi per gli adattatori, come il dialetto, il turpiloquio e le espressioni idiomatiche, con un’attenzione particolare anche alla traduzione dei titoli.

Rendre les stéréotypes dans le film "Qu'est-ce qu'on a fait au bon Dieu?": transposition ou traduction ?

Le rôle du traducteur est de permettre le dialogue entre deux « mondes autres », de connaître les éléments qui les différencient et de transmettre le message le plus fidèlement possible. Tout dans un texte peut résister à la traduction (vocabulaire, syntaxe, culture). Le but de la traduction est de recréer l’original, tout en sachant que la traduction a ses limites. Quelles sont les limites de la traduction ? Est-il suffisant de bien maîtriser une langue pour pouvoir la traduire ? Est-ce que tous nos mots ont une équivalence dans les autres langues ? Pouvons-nous faire rire l'autre avec les mêmes traits d’humour ? Une traduction, peut-elle transmettre au lecteur ou au spectateur cible toutes les nuances présentes dans le texte ou le film de départ ? Le film français Qu'est-ce qu'on a fait au bon Dieu ?3 sera l'objet de notre analyse. Tout comme le film de Dany Boon, il a eu beaucoup de succès en France et il a également été doublé en italien. Il s'agit ici aussi d'un film humoristique qui joue sur les stéréotypes que nous avons sur l'autre, d'où le choix de commenter le doublage et d'imaginer une piste de transposition italienne. Ce mémoire se propose de répondre aux questions posées ci-dessus, tout en proposant des commentaires de traduction et des pistes de transposition. Nous allons développer trois parties : tout d'abord, nous allons voir comment notre vision du monde influence notre langue et, vice versa, comment notre langue crée un ordre dans le monde. Ensuite, nous allons nous concentrer sur l'intraduisible verbal et non verbal, sur la traduction et l'adaptation de l'humour. Enfin, la troisième et dernière partie sera consacrée au thème de la transposition et, plus particulièrement, à la piste transposition du film Qu'est-ce qu'on a fait au bon Dieu ?.

Analisi del film L'appartamento spagnolo: multilinguismo e comunicazione interculturale

The present research study focuses on intercultural communication and how its dynamics are portrayed in the Italian version of the movie L’appartamento spagnolo (original title: L’auberge espagnol) by Cédric Klapisch. The first chapter introduces the movie in all its main features, such as plot, setting, characters, languages, main themes, and sequels. The second chapter focuses on the dynamics of intercultural communication through the analysis of the most representative scenes of the movie. It is worth noting that the notion of intercultural communication comprises a lot of different kinds of communication, meaning not only communication among people coming from different countries and speaking a different language, but also among different generations, people with different social backgrounds, with a different social status, etc. However, language is indeed crucial to mutual understanding and it plays a fundamental role in communication. For this reason, the third chapter focuses on the multilingual dimension of the movie, since the issue of intercultural communication is also conveyed through a variety of languages. The aim is to analyze the different strategies used in the Italian dubbed version in order to manage the presence of different languages and to examine how such strategies affect the overall consistency of the dialogues and the effect achieved on the audience.

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.

Extraordinary transmission through a single coaxial aperture in a thin metal film

We investigate experimentally the transmission properties of single sub-wavelength coaxial apertures in thin metal films (t = 110 nm). Enhanced transmission through a single sub-wavelength coaxial aperture illuminated with a strongly focused radially polarized light beam is reported. In our experiments we achieved up to four times enhanced transmission through a single coaxial aperture as compared to a (hollow) circular aperture with the same outer diameter.We attribute this enhancement of transmission to the excitation of a TEM-mode for illumination with radially polarized light inside the single coaxial aperture. A strong polarization contrast is observed between the transmission for radially and azimuthally polarized illumination. Furthermore, the observed transmission through a single coaxial aperture can be strongly reduced if surface plasmons are excited. The experimental results are in good agreement with finite difference time domain (FDTD) simulations.

Thin-Film Sparse Boundary Array Design for Passive Acoustic Mapping During Ultrasound Therapy

A new 2-D hydrophone array for ultrasound therapy monitoring is presented, along with a novel algorithm for passive acoustic mapping using a sparse weighted aperture. The array is constructed using existing polyvinylidene fluoride (PVDF) ultrasound sensor technology, and is utilized for its broadband characteristics and its high receive sensitivity. For most 2-D arrays, high-resolution imagery is desired, which requires a large aperture at the cost of a large number of elements. The proposed array's geometry is sparse, with elements only on the boundary of the rectangular aperture. The missing information from the interior is filled in using linear imaging techniques. After receiving acoustic emissions during ultrasound therapy, this algorithm applies an apodization to the sparse aperture to limit side lobes and then reconstructs acoustic activity with high spatiotemporal resolution. Experiments show verification of the theoretical point spread function, and cavitation maps in agar phantoms correspond closely to predicted areas, showing the validity of the array and methodology.

Protective and risk factors in amateur equestrians and description of injury patterns: A retrospective data analysis and a case - control survey

Background In Switzerland there are about 150,000 equestrians. Horse related injuries, including head and spinal injuries, are frequently treated at our level I trauma centre. Objectives To analyse injury patterns, protective factors, and risk factors related to horse riding, and to define groups of safer riders and those at greater risk Methods We present a retrospective and a case-control survey at conducted a tertiary trauma centre in Bern, Switzerland. Injured equestrians from July 2000 - June 2006 were retrospectively classified by injury pattern and neurological symptoms. Injured equestrians from July-December 2008 were prospectively collected using a questionnaire with 17 variables. The same questionnaire was applied in non-injured controls. Multiple logistic regression was performed, and combined risk factors were calculated using inference trees. Results Retrospective survey A total of 528 injuries occured in 365 patients. The injury pattern revealed as follows: extremities (32%: upper 17%, lower 15%), head (24%), spine (14%), thorax (9%), face (9%), pelvis (7%) and abdomen (2%). Two injuries were fatal. One case resulted in quadriplegia, one in paraplegia. Case-control survey 61 patients and 102 controls (patients: 72% female, 28% male; controls: 63% female, 37% male) were included. Falls were most frequent (65%), followed by horse kicks (19%) and horse bites (2%). Variables statistically significant for the controls were: Older age (p = 0.015), male gender (p = 0.04) and holding a diploma in horse riding (p = 0.004). Inference trees revealed typical groups less and more likely to suffer injury. Conclusions Experience with riding and having passed a diploma in horse riding seem to be protective factors. Educational levels and injury risk should be graded within an educational level-injury risk index.