Tradurre il multilinguismo al cinema: Lingue, identità culturali e loro rappresentazione sullo schermo

La presente ricerca ha un duplice obiettivo. Primo, individuare i modi in cui lingue e identità culturali diverse sono state rappresentate al cinema. Secondo, identificare le diverse strade imboccate dai professionisti del doppiaggio italiano quando si trovano a confrontarsi con un film in cui si parlano più lingue. La ricerca propone un approccio multidisciplinare che combina i contributi teorici sviluppati nel campo degli studi di traduzione audiovisiva con le modalità di analisi più comunemente utilizzate dalla semiotica del cinema. L'analisi si basa su un campione di 224 film multilingue prodotti dall'inizio degli anni Trenta alla fine degli anni Duemila. Particolare attenzione viene indirizzata al quadro teorico all'interno del quale viene interpretato il ruolo che il multilinguismo assume al cinema. Vengono identificate tre funzioni principali: conflitto, confusione e resa realistica. Un altro elemento chiave nell'analisi è costituito dal genere cinematografico prevalente a cui è possibile ricondurre ciascuno dei film selezionati. Sono individuati tre generi principali: il film drammatico, la commedia e il thriller. Nel film drammatico il multilinguismo agisce come un veicolo che produce e accentua il conflitto, mentre nella commedia esso di solito diventa un dispositivo comico che crea confusione e umorismo. Nel cinema thriller, invece, il multilinguismo funziona essenzialmente come un veicolo di suspense. Per quanto riguarda le soluzioni traduttive adottate nel doppiaggio italiano del cinema multilingue, sono rilevate tre macro-strategie: la conservazione, la neutralizzazione e la riduzione dell'originale dimensione multilingue. Ciascuna di queste tre strategie è passata a vaglio critico. Se nel primo caso si tratta di un tentativo di riprodurre fedelmente le originali situazioni multilingue rappresentate nel film, negli altri due casi si tratta di soluzioni che risentono fortemente delle specificità del doppiaggio come modalità di traduzione degli audiovisivi (fattori ideologici ed economici, nonché il problema tecnico dell'armonizzazione delle voci per i personaggi bilingue).

L'agentività dell'interprete-figlia: un case study di interpretazione ad-hoc in contesto medico

In dieser Masterarbeit wird ein, aus einer Interaktion bzw. einem gedolmetschten medizinischen Aufklärungsgespräch bestehendes Korpus mithilfe der Instrumente und der methodischen Vorgehensweise der Konversationsanalyse untersucht. Die Gesprächspartner sind ein privater Arzt, eine Patientin und ihre, als Dolmetscherin fungierende Tochter. Die Untersuchung des Gesprächsverhaltens der Ad-hoc-Dolmetscherin durch die Anwendung der participation framework Theorie dient zur Festlegung der folgenden, nicht a priori festgelegten Verhaltensmuster: Die Dolmetscherin nimmt de facto im Gespräch eine invasive Rolle ein, die auf die Umstände ihrer Zweisprachigkeit und ihres Verwandtheitsgrades zur Patientin zurückzuführen ist. Die Tochter der Patientin – eine ausgebildete Krankenpflegerin – agiert als Laiengesprächsdolmetscherin, da sie zu einem früheren Zeitpunkt als ihre Mutter ins Gastland ausgewandert ist und die Landessprache bereits gemeistert hat. Es wird also erstmals das Bild der medizinisch ausgebildeten dolmetschenden Tochter geprägt, die die markante Tendenz aufweist, eine Advocate- und Proxyrolle einzunehmen, welche konversational als nicht neutral eingestuft wird. Dies scheint trotzdem die Qualität des gedolmetschten Textes nicht zu beeinträchtigen, da die Kommunikation zumeist reibungslos verläuft, obwohl die widergegebenen Inhalte sichtlich manipuliert werden. Aus der Analyse der gewählten Gesprächssituation lässt sich schließen, dass diese Ad-Hoc Dolmetscherin, die – im Fall des behandelten Gesprächs aus beruflichen Gründen – im behandelten medizinischen Fachbereich ausreichendes Hintergrundwissen aufweist, verglichen mit jenen Ad-Hoc Dolmetschern, die nicht über dieses Wissen verfügen, trotz stellenweiser fehlerhafter Dolmetschung und Abänderung der gesprochenen Inhalte kaum Missverständnisse aufwirft und so einen vergleichsweise ungestörten Gesprächsfluss ermöglicht.

La Slovacchia nel cinema contemporaneo: un'analisi politico-sociale e il linguaggio cinematografico

La tesi analizza alcuni film slovacchi e cechi, prevalentemente coproduzioni, ambientati in tre contesti storici diversi. Il primo periodo storico esaminato è quello del regime comunista, la seconda metà degli anni Sessanta, il secondo fa riferimento al periodo successivo alla caduta del regime con la Rivoluzione di Velluto, quindi gli anni a partire dal 1989, attraverso i quali saranno analizzati alcuni aspetti politico-sociali della realtà cecoslovacca. Il terzo periodo storico si concentra sull’analisi della modernità, soffermandosi su alcune caratteristiche della società contemporanea, con lungometraggi ambientati al giorno d’oggi per approfondire lo studio della realtà slovacca, che ha subito radicali trasformazioni nel corso dell’ultimo ventennio. A seguito di un’analisi di carattere politico-sociale verrà poi studiato, in chiave sincronica e diacronica, l’aspetto socio-linguistico, prendendo in esame i diversi cambiamenti che la lingua ha subito nel corso degli ultimi venticinque anni e le connotazioni che essa veicola a seconda delle caratteristiche sociali che rappresenta e di cui è il riflesso. L’elaborato analizza inoltre il rapporto fra la lingua slovacca e quella ceca, come queste due lingue vengono percepite in maniera diversa da Cechi e Slovacchi e come vengono trattate diversamente nel contesto cinematografico. Per ogni periodo storico sono stati scelti due film, per presentare uno studio più completo e per poter analizzare nel migliore dei modi periodi storici estremamente diversi tra loro. In particolare, i primi due film permettono di riflettere nel dettaglio sui rapporti di estrema vicinanza fra la lingua slovacca, quella ceca e quella russa; i film riguardanti il periodo di transizione sono maggiormente incentrati sugli aspetti sociali dell’epoca, in particolare a livello famigliare ed economico. In ultimo vengono analizzati film molto moderni, che presentano una lingua particolare, caratterizzata da anglicismi, espressioni colloquiali, slang e volgarismi. Nel complesso, si è cercato di proporre film che rappresentassero al meglio i cambiamenti della società e dai quali si potesse prendere spunto per una successiva riflessione linguistica.

L'interpretazione a distanza: Analisi di interazioni telefoniche mediate da interprete

Interpreter profession is currently changing: migration flows, the economic crisis and the fast development of ICTs brought unexpected changes in our societies and in traditional interpreting services all over. Remote interpreting (RI), which entails new methods such as videoconference interpreting and telephone interpreting (TI), has greatly developed and now sees interpreters working remotely and being connected to service users via videoconference set up or telephone calls. This dissertation aims at studying and analyzing the relevant aspects of interpreter-mediated telephone calls, describing the consequences for the interpreters in this new working field, as well as defining new strategies and techniques interpreters must develop in order to adjust to the new working context. For these purposes, the objectives of this dissertation are the following: to describe the settings in which RI is mostly used, to study the prominent consequences on interpreters and analyze real interpreter-mediated conversations. The dissertation deals with issues studied by the Shift project, a European project which aims at creating teaching materials for remote interpreting; the project started in 2015 and the University of Bologna and in particular the DIT - Department of Interpreting and Translation is the coordinating unit and promoting partner. This dissertation is divided into five chapters. Chapter 1 contains an outline of the major research related to RI and videoconference interpreting as well as a description of its main settings: healthcare, law, business economics and institution. Chapter 2 focuses on the physiological and psychological implications for interpreters working on RI. The concepts of absence, presence and remoteness are discussed; some opinions of professional interpreters and legal practitioners (LPs) concerning remote interpreting are offered as well. In chapter 3, telephone interpreting is presented; basic concepts of conversational analysis and prominent traits of interpreter-mediated calls are also explored. Chapter 4 presents the materials and methodology used for the analysis of data. The results, discussed in Chapter 5, show that telephone interpreting may be suitable for some specific contexts; however, it is clear that interpreters must get appropriate training before working in any form of RI. The dissertation finally offers suggestions for the implementation of training in RI for future interpreting students.

Mediazione interculturale e interpretazione per i servizi pubblici nel Belgio francofono. Peculiarità del ruolo dell'interprete nell'ambito della salute mentale.

La presente tesi intende analizzare il ruolo dell’interprete nel settore della salute mentale tra neutralità e partecipazione attiva. La ricerca è stata condotta nel Belgio francofono, dove il processo di professionalizzazione e armonizzazione ha portato alla creazione di due figure distinte: il mediatore interculturale che opera negli ospedali e l’interprete per i servizi pubblici. Entrambi lavorano nell’ambito della salute mentale. Benché questo settore presenti caratteristiche peculiari che influenzano la partecipazione dell’interprete, non esiste un codice deontologico specifico: quello dei mediatori interculturali è ideato sulle necessità dell’ambito medico, gli interpreti per i servizi pubblici hanno un codice etico generico. Sono stati intervistati quattordici interpreti al fine di ottenere una maggiore comprensione relativa a come concepiscono il loro ruolo, al rispetto del codice deontologico e alla gestione delle emozioni, in un contesto altamente emotivo come quello di una seduta psicoterapeutica. I risultati sono stati analizzati con un metodo qualitativo.

Proposta di sottotitolaggio del terzo episodio del film Operacija Y i drugie priključenija Šurika [Operazione Y e altre avventure di Šurik]

L’obiettivo del presente elaborato è quello di fornire un testo per il sottotitolaggio di Operacija Y [Operazione Y], il terzo episodio della celebre commedia sovietica Operacija Y i drugie priključenija Šurika [Operazione Y e altre avventure di Šurik]. Il capitolo iniziale introduce la traduzione audiovisiva e tratta in particolare il sottotitolaggio, i passaggi di realizzazione di quest’ultimo e i suoi tratti salienti. Il secondo capitolo propone una contestualizzazione del genere della commedia cinematografica russa durante il periodo sovietico, mentre il terzo fornisce una breve biografia del regista Leonid Gajdaj e la descrizione del film, con particolare attenzione al rinomato trio comico criminale formato da Trus, Balbes e Byvalyj. L’ultimo capitolo consiste in un commento alla traduzione e nell’analisi delle difficoltà incontrate e delle soluzioni trovate. In appendice viene riportato il testo per la sottotitolazione.

At breaking point? Challenges for Australian film policy through the lens of genre (horror) films

Cultural policy settings attempting to foster the growth and development of the Australian feature film industry in era of globalisation are coming under increasing pressure. Global forces and emerging production and distribution models are challenging the “narrowness” of cultural policy – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced through cultural policy driven subvention models. Australian horror film production is an important case study. Horror films are a production strategy well suited to the financial limitations of the Australian film industry with competitive advantages for producers against international competitors. However, emerging within a “national” cinema driven by public subsidy and social/cultural objectives, horror films – internationally oriented with a low-culture status – have been severely marginalised within public funding environments. This paper introduces Australian horror film production, and examines the limitations of cultural policy, and the impacts of these questions for the Producer Offset.

Recent Italian cinema : spaces, contexts, experiences

The book is an in-depth view of recent Italian cinema - bringing an interdisciplinary knowledge to the study of a complex cinema industry. The book aims to address a number of questions about Italian cinema of the last twenty years, bringing interdisciplinary knowledge to a cinema that eschews traditional definitions and categories, and challenges critical assumption about a film industry that is struggling to find a new direction. In doing so, Recent Italian Cinema offers a transverse analysis of the Italian cinema industry in its dealings with national and international production, and of the themes and issues that have emerged in films produced during the period 1980-2006.

Australian cinema’s dark sun : the boom in Australian horror film production

There has been a boom in Australian horror movie production in recent years. Daybreakers (2010), Wolf Creek (2005), Rogue (2007), Undead (2003), Black Water (2008), and Storm Warning (2006) among others, have all experienced varying degrees of popularity, mainstream visibility, and cult success in worldwide horror markets. While Aussie horror’s renaissance is widely acknowledged in industry literature, there is limited research into the extent of the boom and the dynamics of production. Consequently, there are few explanations for why and how this surge has occurred. This paper argues that the recent growth in Australian horror films has been driven by intersecting international market forces, domestic financing factors, and technological change. In so doing, it identifies two distinct tiers of Australian horror film production: ‘mainstream’ and ‘underground’ production; though overlap between these two tiers results in ‘high-end indie’ films capable of cinema release. Each tier represents the high and low-ends of Australian horror film production, each with different financing, production, and distribution models.

Australasian horror special issue editorial : putting Australian and New Zealand horror movies on the map of cinema studies

This Australasian horror special issue is an important step forward in putting Australian and New Zealand horror movies on the map of film and cinema studies as a subject worthy of intellectual debate. The journal issue is the first devoted solely to the academic discussion of Australasian horror movies. While an Australian horror movie tradition has produced numerous titles since the 1970s achieving commercial success and cult popularity worldwide, the horror genre is largely missing from Australian film history. While there have been occasional essays on standout titles such as Wolf Creek (Mclean, 2005), an increasing number of articles on ‘Ozploitation’ movies, and irregular discussion about Australian Gothic, overall the nature of Australian horror as a genre remains poorly understood. In terms of New Zealand, debate has tended to revolve around ‘Kiwi Gothic’ and of course Peter Jackon’s early splatter films, rather than Kiwi horror as a specific filmmaking tradition.

A new definition for today’s Chinese independent cinema

Different terminologies have been used to characterize the Chinese independent cinema in the 1990s. These definitions focus on the experimental practices outside the official production system and independent of official ideology. The film industry has had distinctive development since the entry of WTO in 2001. Private investors have played essential role in cinematic economy; strict censorship has been obviously relaxed; the film industry is being divided into two opposing extremes. Thus, it is necessary to give a new definition of the Chinese independent cinema. The definition of independent cinema in today China I suggest in the light of American independence is that any film that has not been financed, produced and distributed by majors is independent. At least four corporations are majors in the Chinese film industry. They are China Film Group Corporation, Huayi Brothers Corporation, PolyBona Film Distribution Corporation and Shanghai Film Group Corporation. Except the four majors, all the other film production or distribution companies are independents.

Towards an understanding of Australian genre cinema and entertainment : beyond the limitations of ‘Ozploitation’ discourse

While Australian cinema has produced popular movie genres since the 1970s, including action/adventure, road movies, crime, and horror movies, genre cinema has occupied a precarious position within a subsidised national cinema and has been largely written out of film history. In recent years the documentary Not Quite Hollywood (2008) has brought Australia’s genre movie heritage from the 1970s and 1980s back to the attention of cinephiles, critics and cult audiences worldwide. Since its release, the term ‘Ozploitation’ has become synonymous with Australian genre movies. In the absence of discussion about genre cinema within film studies, Ozploitation (and ‘paracinema’ as a theoretical lens) has emerged as a critical framework to fill this void as a de facto approach to genre and a conceptual framework for understanding Australian genres movies. However, although the Ozploitation brand has been extremely successful in raising the awareness of local genre flicks, Ozploitation discourse poses problems for film studies, and its utility is limited for the study of Australian genre movies. This paper argues that Ozploitation limits analysis of genre movies to the narrow confines of exploitation or trash cinema and obscures more important discussion of how Australian cinema engages with popular movies genres, the idea of Australian filmmaking as entertainment, and the dynamics of commercial filmmaking practises more generally.

Generation next : post-cinema Australian moviemaking, innovation and implications for cultural policy

The Australian screen industries are a leading domestic creative industry sector at a crossroad. New production, distribution and exhibition technologies are challenging traditional models of ‘filmmaking’. For the screen industries to remain competitive they must renovate business models for an emerging marketplace. This paper is a preliminary examination of three key aspects of next generation filmmaking: post-cinema approaches to screen production, emerging production and business models, and issues for policy.

Creative, culture tourism and place-making : Istanbul and London film industries

During the last decade many cities have sought to promote creativity by encouraging creative industries as drivers for economic and spatial growth. Among the creative industries, film industry play an important role in establishing high level of success in economic and spatial development of cities by fostering endogenous creativeness, attracting exogenous talent, and contributing to the formation of places that creative cities require. The paper aims to scrutinize the role of creative industries in general and the film industry in particular for place making, spatial development, tourism, and the formation of creative cities, their clustering and locational decisions. This paper investigates the positive effects of the film industry on tourism such as incubating creativity potential, increasing place recognition through locations of movies filmed and film festivals hosted, attracting visitors and establishing interaction among visitors, places and their cultures. This paper reveals the preliminary findings of two case studies from Beyoglu, Istanbul and Soho, London, examines the relation between creativity, tourism, culture and the film industry, and discusses their effects on place-making and tourism.

The first global entertainment company : explaining Pathe's dominance in the pre-Hollywood film industry

For almost a decade before Hollywood existed, French firm Pathe towered over the early film industry with estimates of its share of all films sold around the world varying between 50-70%. Pathe was the first global entertainment company. This paper analyses its rise to market leadership by applying a theoretical framework drawn from the business literature on causes of industry dominance, which provides insights into how firms acquire and maintain market dominance and in this case the film industry. This paper uses evidence presented by film historians to argue that Pathe "fits" the expected theoretical model of a dominant firm because it had a marketing orientation, used an effective quality-based competitive strategy and possessed the six critical marketing capabilities that business research shows enable the best performing firms to consistently outperform rivals.