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E-raamat: Audiovisual Translation: Dubbing

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Audiovisual Translation: Dubbing is an introductory textbook that provides a solid overview of the world of dubbing and is fundamentally interactive in approach. A companion to Audiovisual Translation: Subtitling, it follows a similar structure and is accompanied by downloadable resources.

Based on first-hand experience in the field, the book combines translation practice with other related tasks usually commissioned to dialogue writers and dubbing assistants thus offering a complete introduction to the field of dubbing. It develops diversified skills, presents a broad picture of the industry, engages with the various controversies in the field, and challenges prevailing stereotypes. The individual chapters cover the map of dubbing in the world, the dubbing market and professional environment, text segmentation into takes or loops, lip-syncing, the challenge of emulating oral discourse, the semiotic nature of audiovisual texts, and specific audiovisual translation issues. The book further raises a number of research questions and looks at some of the unresolved challenges of this very specific form of translation. It includes graded exercises covering core skills that can be practised in class or at home, individually or collectively. The accompanying downloadable resources contain sample film material in Dutch, English, French, Italian and Spanish, as well as a range of useful material related to professional practice.
Acknowledgements xi
How to use this book and DVD xiii
The rationale of Audiovisual Translation: Dubbing xiii
The structure of Audiovisual Translation: Dubbing xvi
The Book xvi
The DVD xviii
1 Translation for dubbing
1(21)
1.0 Preliminary discussion
1(1)
1.1 Definition
1(1)
1.2 Dubbing as a type of Audiovisual Translation
2(4)
1.3 The global dubbing map
6(4)
1.3.1 Europe
6(3)
1.3.2 Asia
1.3.3 America
9(1)
1.3.4 Africa
10(1)
1.3.5 Oceania
10(1)
1.4 History of dubbing
10(4)
1.5 Quality standards
14(6)
1.5.1 Acceptable lip-sync
15(1)
1.5.2 Credible and realistic dialogue lines
15(1)
1.5.3 Coherence between images and words
16(1)
1.5.4 A loyal translation
17(1)
1.5.5 Clear sound quality
18(1)
1.5.6 Acting
19(1)
1.6 Exercises
20(2)
2 The professional environment
2.0 Preliminary discussion
22(1)
2.1 The market
23(3)
2.1.1 How to get a foot in the market
24(2)
2.2 Rates and visibility
26(3)
2.3 The dubbing process and professionals
29(8)
2.3.1 The industrial process
29(3)
2.3.2 The professionals
32(5)
2.4 The translator's task
37(2)
2.5 Globalization and localization
39(4)
2.6 Training
43(1)
2.7 Exercises
44(2)
3 Text segmenting and dubbing symbols
46(20)
3.0 Preliminary discussion
46(1)
3.1 Dubbing vs. subtitling in the global world
46(1)
3.2 Text segmentation: Takes or loops
47(11)
3.2.1 Text segmentation in Spain
48(2)
3.2.2 Text segmentation in France
50(2)
3.2.3 Text segmentation in Germany
52(1)
3.2.4 Text segmentation in Italy
53(2)
3.2.5 Text segmentation in Poland
55(2)
3.2.6 Text segmentation in Argentina
57(1)
3.2.7 Text segmentation in the United States of America
57(1)
3.3 Dubbing symbols
58(5)
3.3.1 Dubbing symbols in Spain
59(1)
3.3.2 Dubbing symbols in France
60(1)
3.3.3 Dubbing symbols in Italy
60(1)
3.3.4 Dubbing symbols in Germany
61(1)
3.3.5 Dubbing symbols in Poland
61(2)
3.4 Final remarks
63(1)
3.5 Exercises
64(2)
4 Synchronization or lip-sync: Read my lips
66(15)
4.0 Preliminary discussion
66(1)
4.1 Synchronization: A key factor in dubbing
66(4)
4.1.1 Denomination
67(1)
4.1.2 Definition
67(1)
4.1.3 Types of synchronization
68(1)
4.1.4 What synchronization is not
69(1)
4.2 Kinesic synchrony
70(2)
4.3 Isochrony
72(1)
4.4 Lip-sync
73(2)
4.5 Further discussion
75(3)
4.5.1 Considerations on genres and text types
75(1)
4.5.2 Considerations on language contact
76(1)
4.5.3 Considerations on the translation brief
77(1)
4.5.4 Considerations on the viewer
77(1)
4.5.5 Factors relevant to synchronization
78(1)
4.6 Exercises
78(3)
5 The language of dubbing: A matter of compromise
81(19)
5.0 Preliminary discussion
81(1)
5.1 In search of oral discourse
81(2)
5.1.1 A balance between planned and spontaneous speech
81(1)
5.1.2 The notion of prefabricated orality
82(1)
5.2 The language of dubbing: Linguistic and translation issues
83(5)
5.3 An analytical model for the study of prefabricated orality
88(4)
5.4 A usual case study: Calques
92(2)
5.5 Exercises
94(6)
6 The specific nature of AVT: Acoustic and visual dimensions
100(20)
6.0 Preliminary discussion
100(1)
6.1 The acoustic dimension
100(10)
6.1.1 Translating paralinguistic features
101(2)
6.1.2 Translating songs
103(3)
6.1.3 Special effects and the soundtrack: Implications for translation
106(2)
6.1.4 Off- and On-screen sound
108(2)
6.2 The visual dimension
110(9)
6.2.1 The language of images: Icons, indices and symbols
110(2)
6.2.2 The style of images: Photography and colour
112(1)
6.2.3 Types of shots and their incidence on translation operations
113(2)
6.2.4 Body language: Proxemics, kinesics and mouth articulation
115(2)
6.2.5 The language we watch: Text on screen
117(1)
6.2.6 Editing: Implications for translation
117(2)
6.3 Exercises
119(1)
7 Translation Issues
120(38)
7.0 Preliminary discussion
120(1)
7.1 An initial look at original scripts
121(8)
7.1.1 Dialogue lists
121(6)
7.1.2 Dubbing bibles
127(2)
7.2 Translating film titles
129(2)
7.2.1 Why are film titles translated?
129(1)
7.2.2 Retranslations and premieres
129(1)
7.2.3 Translation techniques
130(1)
7.3 Translating multilingual movies
131(2)
7.4 Translating language variation
133(12)
7.4.1 Style
133(3)
7.4.2 Dialects (user-related language varieties)
136(1)
7.4.2.1 Geographical dialects
136(2)
7.4.2.2 Temporal dialects
138(1)
7.4.2.3 Standard/non-standard dialects
139(1)
7.4.2.4 Social dialects or jargons
139(3)
7.4.2.5 Idiolects
142(1)
7.4.3 Registers (use-related language varieties)
143(2)
7.5 Translating cultural and intertextual references
145(3)
7.5.1 Cultural references
145(2)
7.5.2 Intertextual references
147(1)
7.6 Translating humour
148(3)
7.7 Translating ideology
151(3)
7.7.1 Censorship
151(1)
7.7.2 Normalization
152(1)
7.7.3 Gender issues
153(1)
7.7.4 Patronage
154(1)
7.8 Exercises
154(4)
8 Research in dubbing
158(22)
8.0 Preliminary discussion
158(1)
8.1 State of the art
158(3)
8.2 A descriptive and semiotic model of analysis of dubbed texts
161(16)
8.2.1 Rationale
161(1)
8.2.2 AVT models of analysis
162(3)
8.2.3 An integrated model of analysis
165(1)
8.2.3.1 The external level of the model
166(4)
8.2.3.2 The internal level of the model (I): General translation problems
170(1)
8.2.3.3 The internal level of the model (II): Specific problems of AVT
171(6)
8.3 Exercises
177(3)
9 A glossary of terms used in dubbing and AVT
180(9)
10 References
189(15)
10.1 Bibliography
189(12)
10.2 Filmography
201(3)
Index 204
Frederic Chaume is Professor of Audiovisual Translation at the Universitat Jaume I (Castelló, Spain), and Honorary Professor at Imperial College London. He is author of Doblatge i subtitulació per a la TV (Eumo, 2003), Cine y Traducción (Cátedra, 2004), and co-author of Teories Contemporànies de la Traducció (Bromera, 2010). For the past 24 years he has also been working as a professional translator for TV stations, dubbing and subtitling companies, and film distributors and producers.