Acknowledgements |
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xi | |
How to use this book and DVD |
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xiii | |
The rationale of Audiovisual Translation: Dubbing |
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xiii | |
The structure of Audiovisual Translation: Dubbing |
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xvi | |
The Book |
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xvi | |
The DVD |
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xviii | |
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1 Translation for dubbing |
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1 | (21) |
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1.0 Preliminary discussion |
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1 | (1) |
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1 | (1) |
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1.2 Dubbing as a type of Audiovisual Translation |
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2 | (4) |
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1.3 The global dubbing map |
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6 | (4) |
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6 | (3) |
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9 | (1) |
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10 | (1) |
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10 | (1) |
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10 | (4) |
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14 | (6) |
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1.5.1 Acceptable lip-sync |
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15 | (1) |
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1.5.2 Credible and realistic dialogue lines |
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15 | (1) |
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1.5.3 Coherence between images and words |
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16 | (1) |
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1.5.4 A loyal translation |
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17 | (1) |
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1.5.5 Clear sound quality |
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18 | (1) |
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19 | (1) |
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20 | (2) |
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2 The professional environment |
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2.0 Preliminary discussion |
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22 | (1) |
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23 | (3) |
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2.1.1 How to get a foot in the market |
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24 | (2) |
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26 | (3) |
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2.3 The dubbing process and professionals |
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29 | (8) |
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2.3.1 The industrial process |
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29 | (3) |
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32 | (5) |
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2.4 The translator's task |
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37 | (2) |
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2.5 Globalization and localization |
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39 | (4) |
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43 | (1) |
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44 | (2) |
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3 Text segmenting and dubbing symbols |
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46 | (20) |
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3.0 Preliminary discussion |
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46 | (1) |
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3.1 Dubbing vs. subtitling in the global world |
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46 | (1) |
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3.2 Text segmentation: Takes or loops |
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47 | (11) |
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3.2.1 Text segmentation in Spain |
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48 | (2) |
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3.2.2 Text segmentation in France |
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50 | (2) |
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3.2.3 Text segmentation in Germany |
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52 | (1) |
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3.2.4 Text segmentation in Italy |
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53 | (2) |
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3.2.5 Text segmentation in Poland |
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55 | (2) |
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3.2.6 Text segmentation in Argentina |
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57 | (1) |
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3.2.7 Text segmentation in the United States of America |
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57 | (1) |
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58 | (5) |
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3.3.1 Dubbing symbols in Spain |
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59 | (1) |
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3.3.2 Dubbing symbols in France |
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60 | (1) |
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3.3.3 Dubbing symbols in Italy |
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60 | (1) |
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3.3.4 Dubbing symbols in Germany |
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61 | (1) |
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3.3.5 Dubbing symbols in Poland |
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61 | (2) |
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63 | (1) |
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64 | (2) |
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4 Synchronization or lip-sync: Read my lips |
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66 | (15) |
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4.0 Preliminary discussion |
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66 | (1) |
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4.1 Synchronization: A key factor in dubbing |
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66 | (4) |
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67 | (1) |
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67 | (1) |
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4.1.3 Types of synchronization |
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68 | (1) |
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4.1.4 What synchronization is not |
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69 | (1) |
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70 | (2) |
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72 | (1) |
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73 | (2) |
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75 | (3) |
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4.5.1 Considerations on genres and text types |
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75 | (1) |
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4.5.2 Considerations on language contact |
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76 | (1) |
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4.5.3 Considerations on the translation brief |
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77 | (1) |
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4.5.4 Considerations on the viewer |
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77 | (1) |
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4.5.5 Factors relevant to synchronization |
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78 | (1) |
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78 | (3) |
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5 The language of dubbing: A matter of compromise |
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81 | (19) |
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5.0 Preliminary discussion |
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81 | (1) |
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5.1 In search of oral discourse |
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81 | (2) |
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5.1.1 A balance between planned and spontaneous speech |
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81 | (1) |
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5.1.2 The notion of prefabricated orality |
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82 | (1) |
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5.2 The language of dubbing: Linguistic and translation issues |
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83 | (5) |
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5.3 An analytical model for the study of prefabricated orality |
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88 | (4) |
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5.4 A usual case study: Calques |
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92 | (2) |
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94 | (6) |
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6 The specific nature of AVT: Acoustic and visual dimensions |
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100 | (20) |
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6.0 Preliminary discussion |
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100 | (1) |
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6.1 The acoustic dimension |
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100 | (10) |
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6.1.1 Translating paralinguistic features |
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101 | (2) |
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103 | (3) |
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6.1.3 Special effects and the soundtrack: Implications for translation |
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106 | (2) |
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6.1.4 Off- and On-screen sound |
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108 | (2) |
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110 | (9) |
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6.2.1 The language of images: Icons, indices and symbols |
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110 | (2) |
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6.2.2 The style of images: Photography and colour |
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112 | (1) |
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6.2.3 Types of shots and their incidence on translation operations |
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113 | (2) |
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6.2.4 Body language: Proxemics, kinesics and mouth articulation |
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115 | (2) |
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6.2.5 The language we watch: Text on screen |
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117 | (1) |
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6.2.6 Editing: Implications for translation |
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117 | (2) |
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119 | (1) |
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120 | (38) |
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7.0 Preliminary discussion |
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120 | (1) |
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7.1 An initial look at original scripts |
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121 | (8) |
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121 | (6) |
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127 | (2) |
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7.2 Translating film titles |
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129 | (2) |
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7.2.1 Why are film titles translated? |
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129 | (1) |
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7.2.2 Retranslations and premieres |
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129 | (1) |
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7.2.3 Translation techniques |
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130 | (1) |
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7.3 Translating multilingual movies |
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131 | (2) |
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7.4 Translating language variation |
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133 | (12) |
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133 | (3) |
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7.4.2 Dialects (user-related language varieties) |
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136 | (1) |
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7.4.2.1 Geographical dialects |
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136 | (2) |
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7.4.2.2 Temporal dialects |
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138 | (1) |
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7.4.2.3 Standard/non-standard dialects |
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139 | (1) |
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7.4.2.4 Social dialects or jargons |
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139 | (3) |
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142 | (1) |
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7.4.3 Registers (use-related language varieties) |
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143 | (2) |
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7.5 Translating cultural and intertextual references |
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145 | (3) |
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7.5.1 Cultural references |
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145 | (2) |
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7.5.2 Intertextual references |
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147 | (1) |
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148 | (3) |
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151 | (3) |
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151 | (1) |
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152 | (1) |
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153 | (1) |
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154 | (1) |
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154 | (4) |
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158 | (22) |
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8.0 Preliminary discussion |
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158 | (1) |
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158 | (3) |
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8.2 A descriptive and semiotic model of analysis of dubbed texts |
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161 | (16) |
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161 | (1) |
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8.2.2 AVT models of analysis |
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162 | (3) |
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8.2.3 An integrated model of analysis |
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165 | (1) |
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8.2.3.1 The external level of the model |
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166 | (4) |
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8.2.3.2 The internal level of the model (I): General translation problems |
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170 | (1) |
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8.2.3.3 The internal level of the model (II): Specific problems of AVT |
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171 | (6) |
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177 | (3) |
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9 A glossary of terms used in dubbing and AVT |
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180 | (9) |
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189 | (15) |
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189 | (12) |
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201 | (3) |
Index |
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204 | |