The Third Language in Dubbing

Si tenim en compte que el procés de traducció és un procés complex, el procés de traducció d'un text audiovisual encara ho és més. A part dels problemes tècnics com per exemple la sincronització labial i temporal hi ha altres factors a tenir en compte com és l'ús d'estructures lingüístiques i textuals específiques d'aquest canal de comunicació. Moltes de les pel·lícules que sovint podem veure a la pantalla estan produïdes als Estats Units, i per tant estan en anglès, i hi ha una necessitat imperiosa de traduir-les al català i castellà. A part d'això, en algunes ocasions el text audiovisual original conté més d'una llengua; aquest és el cas de Raid on Rommel i Butch Cassidy and the Sundance Kid, entre d'altres. En aquests casos, ens trobem amb una nova dificultat: el traductor ha de traduir aquesta tercera llengua (o dialecte) a la corresponent cultura d'arribada. Aquest article vol presentar i exposar alguns exemples d'aquest tipus de dificultats així com també les diferents solucions que s'han aportat davant una "tercera" llengua.

Dubbing. Die Übersetzung im Kino / La traduction audiovisuelle

Dubbing rassemble une série d'études inédites en langue française ou allemande menées par des chercheurs et chercheuses qui se sont penchés sur les rapports entre le mot écrit ou parlé et les images animées, en particulier dans le cas de la traduction. Les questions de l'adaptation d'un film à un nouveau public-cible sont envisagées dans l'histoire du cinéma et des discours sur le doublage dans une perspective historiographique et à partir de corpus variés, du néo-réalisme italien (La Terra Trema distribué en France) aux productions japonaises récentes (anime, jeux vidéo) en passant par la Nouvelle Vague (A bout de souffle « censuré » dans sa version italienne, la voix over chez Truffaut ou Resnais). Un accent tout particulier est mis sur les premières années de la généralisation du parlant, à l'époque des « versions multiples » (telles que la version anglaise de Der Blaue Engel de Sternberg et la version française de M de Fritz Lang) et des films polyglottes (Kameradschaft de Pabst) ; à travers des études fouillées, ces films hybrides sont discutés dans leur contexte historique. Le cinéma de la modernité (Godard, Straub et Huillet) est quant à lui repensé dans sa manière d'intégrer le texte écrit et comparé sur ce point à la pratique usuelle du sous-titrage. Au-delà de l'analyse filmique, les études offrent un cadre théorique permettant de nourrir la réflexion sur les rapports entre texte et image, corps et voix dans les médias, et sur la pratique de l'adaptation audiovisuelle. Situé au croisement des aires linguistiques et des champs académiques (traductologie et histoire du cinéma), Dubbing livre une contribution originale à l'étude de l'un des facteurs importants de la diffusion des films.

Excuse me, but your accent is very unusual. The complexity of establishing third languages in Inglourious Basterds. Applying a model of translation analysis to dubbing

The growing multilingual trend in movie production comes with a challenge for dubbing translators since they are increasingly confronted with more than one source language. The main purpose of this master’s thesis is to provide a case study on how these third languages (see CORRIUS and ZABALBEASCOA 2011) are rendered. Another aim is to put a particular focus on their textual and narrative functions and detect possible shifts that might occur in translations. By applying a theoretical model for translation analysis (CORRIUS and ZABALBEASCOA 2011), this study describes how third languages are rendered in the German, Spanish, and Italian dubbed versions of the 2009 Tarantino movie Inglourious Basterds. A broad range of solution-types are thereby revealed and prevalent restrictions of the translation process identified. The target texts are brought in context with some sociohistorical aspects of dubbing in order to detect prevalent norms of the respective cultures andto discuss the acceptability of translations (TOURY 1995). The translatability potential of even highly complex multilingual audiovisual texts is demonstrated in this study. Moreover, proposals for further studies in multilingual audiovisual translation are outlined and the potential for future investigations in this field thereby emphasised.

How Spanish in an American film is rendered in translation: dubbing Butch Cassidy and the Sundance Kid in Spain

This is a case study of the Spanish dubbed version of Butch Cassidy and the Sundance Kid (George Roy Hill 1969) to illustrate and further develop the concept of L3 as a language that appears in source texts and their translations. L3 is distinguishable from the main language(s), L1 for the source text and L2 for the translation, based on a model proposed by Corrius and Zabalbeascoa 2011, and Corrius 2008. The study reveals various possible ways of rendering L3 in translation, in particular when L3 happens to coincide with L2. It also looks into the effect that certain translation solutions may have on intratextual translation and metatranslation.

The Perception of American Adolescent Culture Through the Dubbing and Fansubbing of a Selection of US Teen Series from 1990 to 2013

The present dissertation aims at analyzing the construction of American adolescent culture through teen-targeted television series and the shift in perception that occurs as a consequence of the translation process. In light of the recent changes in television production and consumption modes, largely caused by new technologies, this project explores the evolution of Italian audiences, focusing on fansubbing (freely distributed amateur subtitles made by fans for fan consumption) and social viewing (the re-aggregation of television consumption based on social networks and dedicated platforms, rather than on physical presence). These phenomena are symptoms of a sort of ‘viewership 2.0’ and of a new type of active viewing, which calls for a revision of traditional AVT strategies. Using a framework that combines television studies, new media studies, and fandom studies with an approach to AVT based on Descriptive Translation Studies (Toury 1995), this dissertation analyzes the non-Anglophone audience’s growing need to participation in the global dialogue and appropriation process based on US scheduling and informed by the new paradigm of convergence culture, transmedia storytelling, and affective economics (Jenkins 2006 and 2007), as well as the constraints intrinsic to multimodal translation and the different types of linguistic and cultural adaptation performed through dubbing (which tends to be more domesticating; Venuti 1995) and fansubbing (typically more foreignizing). The study analyzes a selection of episodes from six of the most popular teen television series between 1990 and 2013, which has been divided into three ages based on the different modes of television consumption: top-down, pre-Internet consumption (Beverly Hills, 90210, 1990 – 2000), emergence of audience participation (Buffy the Vampire Slayer, 1997 – 2003; Dawson’s Creek, 1998 – 2003), age of convergence and Viewership 2.0 (Gossip Girl, 2007 – 2012; Glee, 2009 – present; The Big Bang Theory, 2007 - present).

Augmented Audiovisual Translation: the Perks and Perils of the Implementation of Artificial Intelligence in Subtitling and Dubbing

This thesis examines the state of audiovisual translation (AVT) in the aftermath of the COVID-19 emergency, highlighting new trends with regards to the implementation of AI technologies as well as their strengths, constraints, and ethical implications. It starts with an overview of the current AVT landscape, focusing on future projections about its evolution and its critical aspects such as the worsening working conditions lamented by AVT professionals – especially freelancers – in recent years and how they might be affected by the advent of AI technologies in the industry. The second chapter delves into the history and development of three AI technologies which are used in combination with neural machine translation in automatic AVT tools: automatic speech recognition, speech synthesis and deepfakes (voice cloning and visual deepfakes for lip syncing), including real examples of start-up companies that utilize them – or are planning to do so – to localize audiovisual content automatically or semi-automatically. The third chapter explores the many ethical concerns around these innovative technologies, which extend far beyond the field of translation; at the same time, it attempts to revindicate their potential to bring about immense progress in terms of accessibility and international cooperation, provided that their use is properly regulated. Lastly, the fourth chapter describes two experiments, testing the efficacy of the currently available tools for automatic subtitling and automatic dubbing respectively, in order to take a closer look at their perks and limitations compared to more traditional approaches. This analysis aims to help discerning legitimate concerns from unfounded speculations with regards to the AI technologies which are entering the field of AVT; the intention behind it is to humbly suggest a constructive and optimistic view of the technological transformations that appear to be underway, whilst also acknowledging their potential risks.

The future of dubbing: an overview of the new technologies

Throughout the years, technology has had an undeniable impact on the AVT field. It has revolutionized the way audiovisual content is consumed by allowing audiences to easily access it at any time and on any device. Especially after the introduction of OTT streaming platforms such as Netflix, Amazon Prime Video, Disney+, Apple TV+, and HBO Max, which offer a vast catalog of national and international products, the consumption of audiovisual products has been on a constant rise and, consequently, the demand for localized content too. In turn, the AVT industry resorts to new technologies and practices to handle the ever-growing workload and the faster turnaround times. Due to the numerous implications that it has on the industry, technological advancement can be considered an area of research of particular interest for the AVT studies. However, in the case of dubbing, research and discussion regarding the topic is lagging behind because of the more limited impact that technology has had on the very conservative dubbing industry. Therefore, the aim of the dissertation is to offer an overview of some of the latest technological innovations and practices that have already been implemented (i.e. cloud dubbing and DeepDub technology) or that are still under development and research (i.e. automatic speech recognition and respeaking, machine translation and post-editing, audio-based and visual-based dubbing techniques, text-based editing of talking-head videos, and automatic dubbing), and respectively discuss their reception by the industry professionals, and make assumptions about their future implementation in the dubbing field.

Resultados preliminares de um estudo sobre tradução audiovisual infanto-juvenil: o caso da dobragem em Portugal

Nos últimos anos, o volume de produções audiovisuais aumentou exponencialmente graças ao desenvolvimento das novas tecnologias e à omnipresença dos mass media à escala global. No que concerne o público infanto- juvenil, o consumo massivo de produtos audiovisuais contribuiu para a construção de um novo tipo de espectador mais familiarizado com a imagem/palavra em movimento, seja no ecrã da televisão ou do computador. Com este artigo, pretendo partilhar os resultados preliminares de um estudo exploratório sobre o impacto da dobragem em Portugal no público infanto- juvenil enquanto consumidores/receptores deste tipo de tradução interlinguística. Considerando que a oferta televisiva é condicionante do tipo de consumo de produtos audiovisuais traduzidos é crucial compreender de que modo esta conjuntura poderá vir a criar públicos mais receptivos à dobragem num futuro próximo.

Remistura de vídeo: um estudo exploratório de diferentes estilos

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

Resultados preliminares de um estudo sobre tradução audiovisual infanto-juvenil: o caso da dobragem em Portugal

Nos últimos anos, o volume de produções audiovisuais aumentou exponencialmente graças ao desenvolvimento das novas tecnologias e à omnipresença dos mass media à escala global. No que concerne o público infanto- juvenil, o consumo massivo de produtos audiovisuais contribuiu para a construção de um novo tipo de espectador mais familiarizado com a imagem/palavra em movimento, seja no ecrã da televisão ou do computador. Com este artigo, pretendo partilhar os resultados preliminares de um estudo exploratório sobre o impacto da dobragem em Portugal no público infanto- juvenil enquanto consumidores/receptores deste tipo de tradução interlinguística. Considerando que a oferta televisiva é condicionante do tipo de consumo de produtos audiovisuais traduzidos é crucial compreender de que modo esta conjuntura poderá vir a criar públicos mais receptivos à dobragem num futuro próximo.

Sous-titrage de documentaire sur la capoeira

Trabalho de Projeto Apresentado ao Instituto de Contabilidade e Administração do Porto para a obtenção do grau de Mestre em Tradução e Interpretação Especializadas, sob orientação da professora Doutora Isabelle Tulekian Lopes e do professor Doutor Manuel Moreira da Silva