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Translation
Practices
Explained
AUDIOVISUAL
TRANSLATION:
DUBBING
Frederic
Chaume
Contents
▪
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
1.0
Preliminary
discussion
1
1.1
Definition
1
1.2
Dubbing
as
a
type
of
Audiovisual
Translation
2
1.3
The
global
dubbing
nnap
6
1.3.1
Europe
6
1.3.2
Asia
7
1.3.3
America
9
1.3.4
Africa
10
1.3.5
Oceania
10
1.4
History
of
dubbing
10
1.5
Quality
standards
14
1.5.1
Acceptable
lip-sync
15
1.5.2
Credible
and
realisfic
dialogue
lines
15
1.5.3
Coherence
between
images
and
words
16
1.5.4
A
loyal
translation
17
1.5.5
Clear
sound
quality
18
1.5.6
Acfing
19
1.6
Exercises
20
2.
'The
professional
environment
22
2.0
Preliminary
discussion
22
2.1
The
market
23
2.1.1
How
to
get
a
foot
in
the
market
24
2.2
Rates
and
visibility
26
2.3
The
dubbing
process
and
professionals
29
2.6
Training
43
2.7
Exercises
44
Text
segmenting
and
dubbing
symbols
46
3.0
Preliminary
discussion
46
3.1
Dubbing
vs.
subtitling
in
the
global
world
46
3.2.
Text
segmentation:
Takes
or
loops
47
3.2.1
Text
segmentation
in
Spain
48
3.2.2
Text
segmentation
in
France
50
3.2.3
Text
segmentation
in
Germany
52
3.2.4
Text
segmentation
in
Italy
53
3.2.5
Text
segmentation
in
Poland
55
3.2.6
Text
segmentation
in
Argentina
57
3.2.7
Text
segmentation
in
the
United
States
of
America
57
3.3
Dubbing
symbols
58
3.3.1
Dubbing
symbols
in
Spain
59
3.3.2
Dubbing
symbols
in
France
60
3.3.3
Dubbing
symbols
in
Italy
60
3.3.4
Dubbing
symbols
in
Germany
61
3.3.5
Dubbing
symbols
in
Poland
61
3.4
Final
remarks
63
3.5
Exercises
64
Synchronization
or
lip-sync:
Read
my
lips
66
4.0
Preliminary
discussion
66
4.1
Synchronízation:
A
key
factor
in
dubbing
66
4.1.1
Denomination
67
4.1.2
Definifion
67
4.1.3
Types
of
synchronization
68
4.1.4
What
synchronization
is
not
69
4.2
Kinesic
synchrony
70
4.3
lsochrony
72
4.4
Lip-sync
73
4.5
Further
discussion
75
4.5.1
Considerations
on
genres
and
text
types
75
4.5.2
Considerations
on
language
contact
76
4.5.3
Considerations
on
the
translation
brief
77
5.
I>
The
language
of
dubbing:
A
matter
of
compromise
81
5.0
Preliminary
discussion
81
5.1
In
search
of
oral
discourse
81
5.1.1
A
balance
between
planned
and
spontaneous
speech
81
5.1.2
The
notion
of
prefabricated
orality
82
5.2
The
language
of
dubbing:
Linguistic
and
translation
issues
83
5.3
An
analytical
model
for
the
study
of
prefabricated
orality
88
5.4
A
usual
case
study:
Calques
92
5.5
Exercises
94
6.
The
specific
nature
of
AVT:
Acoustic
and
visual
dimensions
100
6.0
Preliminary
discussion
100
6.1
The
acoustic
dimension
100
6.1.1
Translating
paralinguistic
features
101
6.1.2
Translating
songs
103
6.1.3
Special
effects
and
the
soundtrack:
Implications
for
translation
106
6.1.4
Off-
and
0n-screen
sound
108
6.2
The
visual
dimension
110
6.2.1
The
language
of
images:
Icons,
indices
and
symbols
110
6.2.2
The
style
of
images:
Photography
and
colour
112
6.2.3
Types
of
shots
and
their
incidence
on
translation
operations
113
6.2.4
Body
language:
Proxemics,
kinesics
and
mouth
articulation
115
6.2.5
The
language
we
watch:
Text
on
screen
117
6.2.6
Editing:
Implications
for
translation
117
6.3
Exercises
119
7.
I>
Translation
Issues
120
7.0
Preliminary
discussion
120
7.1
An
initial
look
at
original
scripts
121
7.1.1
Dialogue
lists
121
7.1.2
Dubbing
bibles
127
7.2
Translating
fi
lm
titles
129
7.2.1
Why
are
fi
lm
titles
translated?
129
7.2.2
Retranslations
and
premieres
129
7.4.2
Dialects
(user-related
language
varieties)
136
7.4.2.1
Geographical
dialects
136
7.4.2.2
Temporal
dialects
138
7.4.2.3
Standard/non-standard
dialects
139
7.4.2.4
Social
dialects
or
jargons
139
7.4.2.5
Idiolects
142
7.4.3
Registers
(use-related
language
varieties)
143
7.5
Translating
cultural
and
intertextual
references
145
7.5.1
Cultural
references
145
7.5.2
Intertextual
references
147
7.6
Translating
humour
148
7.7
Translating
ideology
151
7.7.1
Censorship
151
7.7.2
Normalization
152
7.7.3
Gender
issues
153
7.7.4
Patronage
154
7.8
Exercises
154
8.
I>
Research
in
dubbing
158
8.0
Preliminary
discussion
158
8.1
State
of
the
ad
158
8.2
A
descriptive
and
semiotic
model
of
analysis
of
dubbed
texts
161
8.2.1
Rationale
161
8.2.2
AVT
models
of
analysis
162
8.2.3
An
integrated
model
of
analysis
165
8.2.3.1
The
external
level
of
the
model
166
8.2.3.2
The
internal
level
of
the
model
(I):
General
translation
problems
170
8.2.3.3
The
internal
level
of
the
model
(II):
Specific
problems
of
AVT
171
8.3
Exercises
177
9.
I>
A
glossary
of
terms
used
in
dubbing
and
AVT
180
10.
11>
References
189
10.1
Bibliography
10.2
Filmography
189
201
Translation
Practices
Explained
Series
Editors:
Sara
Laviosa,
Sharon
O'Brien
and
Kelly
Washbourne
ISSN
1470-966X
AUDIOVISUAL
TRANSLATION:
DUBBING
Frederic
Chaume
A
well-written,
engaging
and
anxiously
awaited
book
that
will
be
regarded
as
a
watershed
in
the
field
of
dubbing.
A
truly
multimedia
project,
this
is
a
major
contribution
to
both
media
studies
and
translation
studies
and
will
appeal
to
teachers
and
students,
researchers
and
practiticmers,
specialist
and
general
readers.
A
must-read,
must-have
book
that
unravels
ah
l
the
fascinating
tricks
behind
dubbing.
Jorge
Díaz
Cintas,
Imperial
College
London
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
a
DVD.
Based
on
fi
rst-hand
experience
in
the
fi
eld,
the
book
combines
translation
practice
with
other
related
tasks
—
usually
commissioned
to
dialogue
writers
and
dubbing
assistants
—
thus
offering
a
complete
introduction
to
the
fi
eld
of
dubbing.
It
develops
diversified
skills,
presents
a
broad
picture
of
the
industry,
engages
with
the
various
controversies
in
the
fi
eld,
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
DVD
contains
sample
fi
lm
material
in
Dutch,
English,
French,
Italian
and
Spanish,
as
well
as
a
range
of
useful
material
related
to
professional
practice.
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
Contemporánies
de
la
Traducció
(Bromera,
2010).
Por
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.