Audiovisual translation, Appunti di Lingua Inglese

Scarica Audiovisual translation e più Appunti in PDF di Lingua Inglese solo su Docsity! AUDIOVISUAL TRANSLATION 6 SUSAN BASSNET (1945) Susan Bassnet is one of the most prominent figures in translation studies .She was born in 1945 and she’s a translation theorist and scholar of comparative literature. When Susan Bassnet’s Translation Studies appeared in the New Accents series, it quickly became the one introduction every student and interested reader had to know. Professor Bassnet deals with the crucial problems of translations and offers an history of translation theory , beginning with the ancient Romans and encompassing key twentieth-century work. She then explores specific problems of literary translation through a close , practical analysis oftexts , and completes her book with comprehensive suggestion for further reading , twenty years after publication , the field of translation studies continues to grow, but one thing has not changed: update for the second time , Susan Bassnet's Translation Studies remains essential reading. She is the author of a very prominent essay called "The translator as a cross-cultural mediator". This means that the translator is not only a mediator between 2 languages: a source language (original language in which something is written) and a target language (language in which something is being translated into). The translator is also a mediator between 2 cultures, a source culture and a target one. The 21st century was characterized by an unprecedented growing interest in translation. Many students started to be educated in this field. This interest in translation studies is due to global changes : Mass migration: When someone migrate from a country to another, needs to learn the language of the country he is moving to, otherwise he would not be able to communicate and understand other people The attacks of 9/11(war against terror): someone foreign, who we don't know and don't understand language wise, that is scaring us. Conflicts in Iraq and Afghanistan, in general the Middle East countries: communication is essential to understand better countries which we don't usually have a contact with in order to avoid these problems. The threat of global warming: this is a world's problem . Countries started taking to each other to find a solutions . Translators are really important because help people to talk to each other. Increased anxiety about the interlocking economic systems of nation-states. Expansion of global communication systems: thanks to internet we can communicate with people from all over the world, now translation is more important because of this. Google translation for example , did not exist in the past but over the years it has become very important and precise to help worldwide communication. TRANSLATION HAS BECOME AN INSTRUMENT Susan Bassnet thinks that we need translators in order to gain access to languages and cultures that we do not know. ORIGINS OF THE FIELD: Even translation studies existed for years , audiovisual translations is a recent field of studies. Cicero was one of the first philosopher who said that translation is a communicative activity that involves the transfer of information across linguistic boundaries. Cicero (between 405 and 410 AD) already distinguished between word-for-word translation and, sense-for-sense translation, a debate that is still going on nowadays. “A literal translation, he argued, ‘obscures the sense in the same way as the thriving weeds smother (cover) the seeds. [...] Let others stick to syllables, or even to letters, you should try to grasp the sense!This means that the understanding is much more important than translating something perfectly in his opinion.” THE IMPORTANCE OF CONTEXT (EUGENE NIDA): Eugene Nida said that context is essential for a translator. “A language cannot be understood ‘outside the total (p. 96) framework of the culture, of which the language in question is an integral part’ (1964a: 223). + We cannot understand a language without considering the culture, because languages are integral parts of cultures. Eugene stressed the importance of contextual understanding and the need for constant reconsideration of one's own embedded cultural presuppositions. In the book "Costumes and Cultures" (1964) : Eugene gives a clear example of this. The book beings with the story of Congolese elders , who rejected a proposal made by missionaries; according to the proposal, women should wear something to cover their breasts , so they would not have been seen as prostitutes. In that area of Congo fully dressed women were often prostitutes because they had enough money to spend on western clothes. So the translator needs to consider the context when he comes to translating , since each cultural background is different from the other. This attitude has to be applied when we are looking at movies, books because the cultural influences are very important. FAITHFULLNESS TO A SOURCE: C This debate, which has been going on since 1600, has generated a great deal of discussion around the question on what constitutes faithfulness to a source. A lot of figurative language has been used in the 17th century and was still used later to explain this debates: * Like women, it was fancifully suggested, translations could be either beautiful and unfaithful, or faithful but ugly. * Justaswomenand slaves must be subordinate to their husbands and masters, so translators must be subordinate to the original writer, hence, a translation is de facto an inferior textual product è Inthe 17°" century translators didn't have the same prestige of authors and they had to follow the original text; also their products were regarded as inferior when compared to the original source. * Italian adage :traduttore/traditore (translator/betrayer) A translator is rarely able to translate everything perfectly so the final product is never completely faithful to the original product. HOW MUCH CAN A TRANSLATION BE CREATIVE? Inthe 1960s the debate on faithfulness to a text kept on going on, and even more importantly scholars were wondering themselves how much creative the translator may be. Catford in 1965 tried to provide an answer to this dilemma distinguishing between linguistic and cultural untranslatabil * Linguistic untranslatability occurs when there is no lexical or syntactical equivalent in the target language (TL), which happens very often. * Cultural untranslatability, something that is seen as more complex and loosely formulated: something is culturally untranslatable when there is no equivalent situational feature in the source language. AUDIOVISUAL TRANSLATION NOWADAYS: During the last 15 years, AVT has been the fastest growing strand of translation studies.....W/hy only in the last 15 years? There are a number of reasons among which there is the fast pace of technological progress ( cinema, television, internet, videogames...) .Communication technology has become an integral part of social life , as attested by the ever bigger impact and wider dissemination of AVT content. THE WIDENING REMIT OF AUDIOVISUAL TRANSLATION: Expansion of AVT can be traced through terminological changes (Chaume Varela 2004): = film dubbing or film translation (Fodor 1976, Snell-Hornby 1988) = film and TV translation (Delabastita 1989) and media translation (Eguiluz): thanks to the popularity of TV. = screen translation (Mason 1989, O'Connell 2007) and multimedia translation (Gambier and Gottlieb 2001): we have the computerisation of a visual text thanks to the appearance of phones, PCs, Tablets... = constrained translation (Titford 1982, Mayoral et al. 1988), trans-adaptation (Gambier 2003) and transcreation (Bernal Merino 2006). DIFFERENT MODALITIES OF VISUAL TRANSLATION: Subtitling are considered as snippets , little pieces of written text that are superimposed on visual footage that convey a target language version of the source speech. Nowadays subtitles are an evolved version of the primitive intertitles. INTERTITLE (title cards): In films, an intertitle, also known as title card, is a piece of filmed, printed text edited into the middle of a photographed action at various points. Example: How it feels to be run over (1900) by Cecil M. Hepworth was the first movie ever to have intertitles ("will be pleased", it's not sure what the director meant by it). There are two different types of intertitles: * Dialogue intertitles: intertitles used to convey character dialogue, we have to remember that ,in the past, movies were silent (A Night in the Show, Charlie Chaplin). * Expository intertitles: intertitles used to provide related descriptive/narrative material so that we understand what's going on in a scene (Scrooge, or Marley's Ghost). SUBTITLES NOWADAYS: Subtitling are considered as snippets , little pieces of written text that are superimposed on visual footage that convey a target language version of the source speech + When we use subs we have a shift from spoken to written media, this shift is technically called "di-semiotic" or "intermodal" form of audiovisual translation (Gottlieb 1997). MODALITIES OF AUDIOVISUAL TRANSLATION: People generally speak faster than they read so not everything can be translated with subtitles because they have to match the pace of the movie (usually 60%-70% of information remains). Each of the snippets has to be delivered in synchrony with the corresponding fragment of spoken language . In communities there are several different constituencies. We could have people that speak 2/3 languages so it's important to have bilingual/multilingual subtitles. Sometimes we could have also trilingual subtitles , butit's something difficultto understand. In subtitles ,condensation and synthesis of the original spoken dialogue take place , this is not easy at all, the audiovisual translator has to decide what kind of information has to write as subtitles and what to discard , since he has to show only essential information. This means that there is a compromise of the interpersonal pragmatics of subtitled dialogue. In other words, the relationship between the movies’ author and the audience is compromised but we cannot do much about it because the audiovisual translator has to eliminate any ‘ambiguity that it could be found on the screen, so the message for viewers could be clear and precise. Also everything that is provided is a direct speech has to become indirect in subtitling. RULES OF SUBTITLING AND HOW TO BREAK THEM: Subtitles need to follow certain rules, a detrimental thing for creativity. This is why there are some film directors that decided to go against these rules, like the Vietnamese film director Trinh. T. Minh- ha. Example: Surname Viet. Given Name Nam (1989). > It's a documentary about Vietnamese women and their role in a patriarchal society. Women are seen as the "brides of the nation". The director explores these stereotypes through her radical style of filmmaking. We can see: >» close-ups, high angles, low angles, sometimes the face is not shown. > multiple soundtrack overlapping. > experimental use of subs: subtitles are superimposed directly onto the faces, that's because the director wants us to pay particular attention to them. > the camera roams impatiently and stops at hands, feet and faces as if looking for something. > the subject walks out of the frame. >» chiaroscuro effect obscures part of the frame. This documentary shows us, how much subtitles can be versatile and how a director can be creative with them. FANSUBBING : [ FAN + SUB ( -ING We saw a very fast development of digitalization techniques that had caused new models of distribution and consumption. Information are now available in a faster way due to the spread of transformational practices. All of us are able to join communities of translation , and help to transform something oral in a written form . Subtitlers have to obey to some limitations but recent changes in AVT landscape has provide a wide spread of transformational practices. The word Fansubbing is made up of two words : FANS + SUB . People working in those groups are known as fansubbers and the activity of translation in called ‘ fansub ‘. Japanese's anime experience the boom in the last decades . Anime industries worked a lot during that years and lots of anime were produced . They were initially influenced by Disney Shorts coming from Unites States. They were also influenced from the Japanese's manga , illustrated books coming out during that period. Anime grew very popular domestically in Japan and,thanks to a collaboration with Disney in the middle of the 1950s , they became famous all over the world. Being part of a fansub community was a very hard work , all the modern technological devices that nowadays fansubbers are using , in 1950s didn't exist. They had to import material (for example , from Japan if we talk about anime ) and they were hard to find. DVD’s didn't exist but instead there were DVC (cassette), which were bigger that DVD's. It was rare to have a ‘PC mega (the first big PC's ) and also the early version of a substation alpha , the early version ofthe software . AIl of these devices were very expensive and only few people could have them. When the product was finished, fansubbers sent it back through irregular mails , they create a packet which takes long to come back . We now use open sources programmes , modern PC with several softwares and hardwares. The fansubbers decided to put subtitles in different colours to better understand which Character was talking during the scene , they did that to make easier for audience reading subtitlers. Translators’ notes are used to explain the original japanese word .Translator tend to be very precise and faithful and to localize the translation ( means translating all the foreign and honorific words). Todays fansubbers have a totally different tendency, they reject localization quiet a lot and they try to keep the text as original as possible so , to keep those original word , they add notes in which they explain foreign words. It could happen that notes are too long , adding lots of personal information to explain something personal . Sometimes the english is not perfect , with some mistakes. There is also an activity of self- subtitling , overwriting the main stream subtitles to review the translation and correctit. How different ideas/ways of life/ideals can circulate ? Depending on where the film was made (Italy or USA) we have the same two genres that depicts two different sites of representational practice . In the formative years of film making and audiovisual translation we have a complex interviewing of ideological , artistic and economic factors ( money) . Depending on the country we have a different amount of money that went on the film making ; American producer were richer than the Italian ones so they could produce something Different and much more elaborate . So we have different economic and ideological factors going on during a film production . Film are able to construct ethnic , national , class and gender-based identities ; during translation this representations are rese available to different countries , so we could say that AVT practices propagate these representations SILENT FILMS > REPRESENTATIONALISM TO DIEGESIS In silent films we don't have sounds but we can only see images Based on visual elements Rely on visual semiotics to construct an experience of artistic expression for others. Because all cinema’s productions were silent , the stories had to be told and narrated through visual means . There was a display of expressed motions with the use of visual semiotic that were used to translate the feelings of the actors . 3. Filming technology had to accentuate actors’ highly conventionalised gestures 4. INSONIC FILMS : silent film with no sound and only images . The only resource available for the actors were their body . Acting becomes a pantomimic form of action , with extreme gestures and stylisations , used to compensates for the lack of speech, since audience had to understand what actors would say only through mimic gestures.( Gesture compensated with the lack of speech). There was a display of expressed motions , with visual semiotic that were used to translate the feelings of the actors . 5. EIXED ICONOGRAPHY: They used fixed iconography this means that everything on the scene , every action or gesture was iconographic , were always the same in each film . So viewers could understand only by seeing the gesture and without hearing any sounds . SILENT FILMS: FROM ‘PRESENTIONALISM’ TO ‘DIEGESIS’ Features of presentationalism : films directors try to make it easier to understand the silent films because there were no voice , and never set a specific historical time ( film could be set anywhere and developed anytime ) so we have a lot of experimentation going on. * Silentfilms drewof narratives that audiences were familiar with * Silent films sets suggested /ocale , rather than anchoring story in specific spatial-temporal setting * Silentfilmdistilled whole narrative into stage like scenes for monstration or showing, but large part of audience found it difficult to understand speechless films . First attempts to facilitate and shape audience’s reception of films : In order to make the story more clear to audience , directors started working on other ways and they tried new techniques for example : * Live narrations by in-house commentators , aka explainers ( Panofsky 1934-1999) or lecturers (Nornes 2007) * Ialkingpictures: group of actors standing off-stage delivering spoken dialogues to match and explains visual actions. There were problems related to talking pictures because the dialogues weren't written down and not universally adopted by all distributors ( all the producers ) . So they change from one theatres to another and the variety of written dialogues change depending on the producer, there were a lot of invention going on. SHIFT TO MIMETIC TO DIEGETIC FILM : There's a shift from mimetic to diegetic with the adoption for example of linear temporal structures : * Enforcing consistent forward movements of time * Elimination of retrogressive elements * Useof parallel editing to cut back and forth between two contemporaneous lines of actions and move time forward * Matchingaction technique means that they cut from one shot to another that showed roughly the same action SHIFT FROM REPRESENTIONALIST TO DIEGETIC FILM Diegetic films : showed what happened to characters , through editorial choices , directors could choose how to tell viewers what went on in the diegetic world . Directors start using on-screen texts or intertitles to orient viewers . Intertitles allowed for uniformity of information that was central to an industry based on mass production and consumption. SUBTITLING : Film industry had managed to develop a set of representational conventions ( rules ) that place control over the reception of the text firmly in the heads of creators and producers . Every film maker has to follow and obey to these conventions . We have a standardisation of intertitles that allows for a uniformity of information that is central for an industry based on mass production and consumption . Intertitles can be easily translated while In silent movies we have only gesture and It's difficult to have a standard translation ( Everyone could interpret in his own way ) . In America was easy to produce this kind of film because they were richer than other countries, they had money to invest ( Hollywood was the principal city ) . While in Italy this phenomenon happened a little bit later. FACILITATING AND SHAPING VIEWERS RECEPTION OF DIEGETIC FILMS Sound synchronisation was an important invention , producers has to synchronise image and voices, they had to match each other . To reach the synchronisation they had to follow standard rules : * Image, word, music and background noise could now be use as representational resources ( new avenues for artistic expressiveness ) * The priority of achieve the maximum synchrony between different expressive resources * Standardisation of relationship between image and voice TALKING FILMS (TALKY) AND SYNCHRONISED SOUNDS > a difficult but important transition * 1929 film The jazz singer ( Alan Crosland) is often regarded at the first ‘proper’ talkie , it only included about 15 minutes of standard sounds, with the rest maintaining characteristics of the silent era. * During The silent film era (19205) translating and recording intertitle card was easy and cheap The amount of word that people start hearing in talky films wasn't enough because often included only 15 minutes of sound and the resting part of the film were silent . Talking films weren't popular through filmmaker because the production requires lots of money. Silent films or subtitled films were cheaper to produce .To satisfy demands of foreign audience producers starts experimentation of multilingual filming method and dubbing , new representational practices for global distribution. Silent films represent an universal type of films , that use a unique language because they ta/k only through images while intertitled or sounded ones have to be translated if producers want to show them in a foreign country. Key information: * Dubbing apparatus requires strict alignment of speaker and voice * Elevated cost * Riskofalienating audience * Silentfilm > universal language of cinemas SUTURING TRANSLATIONS IN THE ERA OF MASS MEDIA : Producers realized that importing films from a foreign country include , beyond the linguistic aspect , all the cultural and political values of that country's .Subtitling apparatus imposed by industry prioritizes maximum synchrony between subtitles and speech but we have : TEMPORAL RESTRICTION: Talking pictures also include temporal restrictions because people need much more time to speak than to show silent images with written dialogues . Words need time to be shown and people need time to understand them. MULTIDIMENSIONAL PROCESS OF SEMIOTIC BLENDING_: image + word + music+ background noise Directors had to manage all these different semiotic features and they had to blend them. REPRESENTATIONAL IMPLICATIONS OF SYNCHRONISED SOUND We have a clash between the cultural identities and political values represented in American films and those found in imported markets . By importing words from America , European producers realized that they also had to import different ideals, political ideals and cultural values . CARTELIZATION ( protectionist measures )+ AIl the political ideas that doesn't fit correctly in the importing country has to be changed or adapted ( cartelized — censored ) depending on the country in which are used ( democratic- totalitarian etc..) .THE CARTELIZATION is an important protectionist kind of measure used by film companies in Europe, also in Italy , used to control international competition especially with Unites States . They prefer to relate with those countries which open the borders to the Italian film industry . At the end , they weren’t able to use this cartelization with USA because American producers only want to sell a lot. In a manga ( Comics without colour ) when there's a Violent scene , some part of the image becomesdarker, but you don't see the red colour of blood . But when manga is transformed into anime, the colours are added, so violent scene are coloured and therefore could be very disturbing for the audience . Most of the time the colours are changed or inverted to make the scene less violent or impressive , so kids couldn't recognize the real and original colour. Why film industry ( Italian ) decide to buy these products and show them to kids ? They were showing something inappropriate for the target audience’s age but they decided to show them definitively for the viewing time. In 1980-1990 cartoons where only during the afternoon after school, this was an high viewing time because everyone was watchingtv ( kids and parents ) so people could easily see merchandise. For that reason they decide to show this kind of product even they weren't , most of the time, appropriate for the audience’s age. Change the storyline Often in the Italian version of an anime , the age of characters has been changed ; in the original version of “Rossana “ or “ | Cavalieri dello zodiaco” the characters are much younger ( 10 years) than in the Italian version ; they decide to do that to justified the violence’s scene . In the Italian version translators make audience understand that the characters are older thorough the dialogues ( cartoons like : Card captor .Sakura - i cavalieri dello zodiaco ) . They also changed the nature of the relationship , in the anime “ Rossana “, Rossana is a 9 years old girls, fell in love with a much more older boy . This was something unacceptable for the Italian point of view and therefore they decided to modified the young girls age . Ad nal/ modify dialogues » Cavalieri dello zodiaco >» Dragon Ball In the original version they only talk during dialogues and the rest of the scenes were silent . There was a lot of staring at each other and a lot of introspection in the Japanese version . In the Italian version they modified and also add , dialogues , during the silent scenes. Change of Japanese names (805 905) > UFO robot Goldrake > Doraemon:todaythe characters call Nobita while in 80s 90s was called Guglielmo detto Guglia The name were changed in order to be much more comprehensible NO reference to Japan , not cultural references ( maps, currency ideograms ). They thought that Italian kids weren’t able to fully accept and understand what they were viewing , and a world so far like Japan . Thanks to the hard work of funsubbers in 1980 — 1990 ,the quality of translation was better and the amount of censored elements has diminished . ADAM Italia ( ASSOCIAZIONE DIFESA ANIME E MANGA ) Fansubbers started working because young people were no longer satisfied with the way Italian networks broadcast TV series , both because the dubbed version ,that are broadcast , didn't give them the opportunity to appreciate the original dialogues and because they were broadcast long after they were shown in the US . Translators understand the storyline very well because they usually focus on one specific series and they work on it with a lot of interest , they know everything about the characters and about their culture . In 2008 on Rai 4 tv some funsubbers from ItaSA and Subsfactory said that their activity was aimed at restoring the foreign products , allowing fans to appreciate its original voices , soundtrack and atmosphere while skipping the bureaucratic delays involved before the copyright of TV shows can be acquired , the script adapted and the dialogues dubbed . The Italian fansubbers were quite young , between the age of 18 and 35 . There was a lot of competition between the two communities ITASA and SUBSFACTORY because their purpose was to publish subtitles as soon as possible , before the other community publishes something. To translate ,for example ,in portuguese they started subtitling from English, without passing form Portuguese . They got the subtitles in English and they adapt them to the production ( reason for some mistakes ) . Every translation was a continuous collaboration among fansubbers , together they came up to the correct translation . They were much more precise than the official translators, thanks to their individual knowledge Even their activity was not seen as legal at all , fansubbers officially helped official translators that didn't know nothing about what they were translating. Official translator try to get some input form the fansubbers and they were also looking for some help . It was convenient to film industry that a product was already known and the scenes was already seen on internet . The product was well known before the series come out , and people were exited about that . It was a sort of publicity forthese series. Massidda , a researcher that worked a lot on fansubbers community said: “The work of amateur seems to be better than might be expected , not only for professional subtitles who exploit it , but also in terms of financial gain for subtitling companies which are able to rely on simply proofreading free translations (2015)” (Vedi la tesi sul fansub ) AUDIOVISUAL TRANSLATION AS A SITE OF INTERVENTIONIST PRACTICE The media landscape will be reshaped by the bottom-up energy of media created by amateurs and hobbyists as a matter of course. This bottom-up energy will generate enormous creativity, but it will also tear apart some of the categories that organize the lives and work of media makers ... A new generation of media makers and viewers are emerging which could lead to a sea change in how media is made and consumed. (Blau 2005: 3-5) The way we reach information is changing , we use social media , tweet , tv, internet . We are able to discuss openly about information even before these go through the normal media . We can quickly be aware on what is going on in the political world and always be updated in real time . In 2010 is actually when began this kind of approach . In the era of networked technologies, teach- savvy ‘netizens’ know how to get around the dictates of the media establishment and kickstart the transitional flow of selected media content . In 2009-10-11 we have lots of political debate because of the economic restrictions and austerity measures in places like Greece , Spain and also in Italy. We have blogger’s material about the political debates translated in different languages and available on internet ; it was possible to download these materials and often to change some part of the debates and therefore, participate to this debates . Audiovisual intervention Implications of advances in digital communication technology for ATV Involvement of ordinary citizens in production , manipulation and circulation of digital media content . We are consumers but also producers of something new , we can change the audiovisual material and we can produce some something new. We have become prosumers ( consumers-turned-producers ) work collectively to promote our agendas. It's really easy thanks to internet and social media to talk about a specific team , and other people could also agree with your job and your ideas. Prosumers-translator foster subjective viewing experiences and deviate from industry conventions . The industry wants us to understand what is happening and their purpose is to make us say what we want to hear. AVT is re-defining traditional boundaries of nation-based cultural and linguistic constituencies. We are no longer subjected to lobbies and we can reach people that share the same thought or point of view . EXAMPLE : if we think about Greta Thumberg , everyone knows her thanks to social media . If she would have lived 10 years ago maybe no one will have know her . Or if we think about the topic of climate change , everyone knows about that because it has been discussed on social media a lot. Also the election , another important topic that is really popular on social network . Thanks to the continuous tweets, for example, everyone is able to stay connected with people all around the world, to share content and to join groups that provide the same point of view . STUDY INTERVENTIONIST AUDIOVISUAL TRANSLATION Network technologies ‘enable consumers to archive , annotate , appropriate , and circulate media content in powerful new ways “(Jenkins 2004) . Until we have the chance to download material from internet and until we have software that allows us to change this materials ( add subtitles , video , picture ) it's possible for us to appropriate this audiovisual material and use it in the way we are using it today . Appropriation : securing own copy of media content . We can download whatever we want andwe become the owner of a copy of these information TO BUILD AN ARCHIVE : means to host video within their own server and share it via dedicated media player . Annotation : subtitling media content Recirculation : sharing annotated media content through blogs , internet , social networking media WORKFLOW : subtitles goes through the following steps before publication: 1 2. Transcription : TED provides an original transcript ( TEDx talks are the exception — these are delivered in many languages and are transcribed from audios by volunteer ) Translation : subtitles are translated from the original language into the target language , using a simple online interface Review : subtitles are reviewed by an experienced volunteer ( someone who has subtitles 90 minutes of talk content) Approval : before publications , reviewed translations are approved by a TED language coordinator or staff member . Someone that is probably paid to do that SUBTITLING is a unique skills set : volunteers must accurately convey meaning, despite time and space constraints To ensure viewers can read subtitles with ease , stick to these guidelines: d When a subtitles is longer than 42 characters, break it into two lines Newer use more than two lines per subtitles Keep broken lines as close in length as possible Keep linguistic wholes together when breaking lines Keep the subtitling reading speed at a maximum of 21 characters/second Compress subtitles over 21 characters/ second . Try to preserve as much meaning as possible AUAZEERA : Amateur subtitles involved in this venture as constrained by technical limitations of the subtitling tool and the range of texts made a viable for translation — with ultimately serve Al Jazeera to construct and circulate a specific narrative of events in the ALJAZEERA Arab world on a global scale and , arguably to promote the brand worldwide . Subtitles are constrain by these technical tools . As translators we should understand that there are agendas set out by different companies and that sometimes they exploit us , because we are able to carry out the kind of translations that they need ; if we accept that we continue doing it without any problem . It's important to realize that there are some communities that render cocreations a free kind of activity but other are more selective. STUDYING INTERVENTIONIST AUDIOVISUAL TRANSLATION Two main contexts of production of amateur audiovisual translation : 1 Technologization of democracy (foccault 1982) Monitored involvement in subtitling practices ( subtitling for EU, TED , Al Jazeera). Amateur subtitlers are bound by organizational agendas and are constrained by specific technological tools that are set by organization . Technology takes over democracy. Democratization of technology (Foccault 1982) . Amateur subtitlers articulate novel discourses of counter-institutional subversion and collective activism (chouliaraki 2010;227). We have the power and freedom to change the rules of subtitling and translation , to go against the basic rule of translation .In this case democracy is more important than technology. The are two types of activism taking part in this democratization of technology : a) Aesthetic activism b) Political activism Amateur translators play a role in cultural resistance against the global capitalist structure and they create new types of subtitling and translations ( also in audiovisual translation ) . It could be seen as a political activism in which translators want to go against the entire field of translation studies . Through this technological development and digitalization of audiovisual content ( software able to manipulate text ) media has overcome spatial boundaries and sped up the circulation of information and knowledge . 15 years ago this would not have been possible at all because of the lack of technological means and development. Thanks to the technological development we have something called “ de-materialization of space “ (Cronin 2003 — he published his works in 2003 because was in 2000 when technology started render translation and fansubbing possible ) means that geographical borders do not exist anymore . We have the creation of supraterritorial and interconnected audiences and accounts for the centrality of transworld simultaneity and instantaneity. ( sholte 2005) . Sholte says that we are all connected, the audience is interconnected and we have been able to create something known as : Glocalization, the combination of intense local and extensive global interactions . Thank to this we have reach common concerns across countries and linguistic collectivities so we can talk with someone that has our same interest . SHIFT FROM AUDIENCE TO AUDIENCESHIP We have come to see a shift from traditional audiences to audienceship . e Audience is a group of people that view something ; the word audience describes a context for the viewing process . The word audience technically describes the viewing process , the contexts (who views what ) e Audueceship: is not about what the audience see but how the audience acts and what does, how they create their process . It's all about the practice , encounter , the discursive process through which audience are formed TO BETTER UNDERSTAND .... To render the difference between audience and audienceship we can talk about anime . We can say that anime arrived in the USA in the 1960s , they were a kind or re-elaborated products , with lots of episodes stick together to create a single story . The audience considered was made up of children and therefore , dubbing was the preferred choice , since they had to dub everything coming from Japan , in order to make the story understandable by viewers . In 1980s other types of anime were imported by USA, not only for child but also for adults and therefore the anime fandom start growing much faster , especially in USA . During the 1980-90s we saw screening sessions , science fiction and anime video tapes taking place . What was important was that anime fan became aware on how much anime has been altered for American audience . Since Americans didn't like the changes that were made , anime community became much more engaged and they started to concentrate not only on render the original version of the anime but also started producing copies of the anime that were translated by fans. Toward the end of this second stage ; American audiences began their translation through audienceship , they no longer considered only audience but also audienceship, an audience that takes on different co-creation of translation and also change what the community view. 1. Digitization of media : creation of supraterritorial and interconnected audience 2. Global collectivities are clustered around mutual affinity and chosen affiliations Aesthetic subtitling And Political subtitling 3 aim to advance the agendas of media fans and grassroots movements ( movement engaged in a political movement, use collective actions from a local level , regional , national and then international ) Aesthetic subtitling : fansubbing Subtitling of television drama and films by fans involved in collaborative co-creational practices as part of networked , often translational collectivities Dwyer (2012) for example said that professionally translated anime tended to involve extreme “flattening” or domesticating textual strategies that performed a culturally “deodorizing” function , removing its distinctly Japanese flavour. Everything that wasn't understood by audience was changed Fansubbers engaged in a form of aesthetic activism , resisting commercial subtitling conventions and intervening in the circuitry of anime distribution ( Leonard 2005) . They try to go against the mainstream anime distribution What was happening to conventional translators ? The ones who follow rules > They presented a corruption mediations: CORRUPT MEDIATION : to preserve the synchronicity between the temporality of spoken dialogue and the temporality of subtitle presentation on screen , traditional subtitles convert foreigners into easily consumable information , thus depriving viewers of the possibility of getting to understand the other. Thanks to the grassroots movement we have lots of experimentation . Thorough formal experimentation and the breach of mainstream subtitling standards, fansubbing has emerged as a new paradigm of abusive mediation ( abusive subtitling) Greater cognitive demands are placed on viewers , who are expected to process more information displayed in less predictable formats and in non-conventional regions of frame. This because all the elements that once were eliminated , are now inserts on the translations .we see translations texts in places were we don’t expect to see them ABUSIVE SUBTITLING - MEDIATION : esere one * We can see the use of headnotes to enhance the visibility of fansubbers as translators , they complete the traditional subtitles and provide audiences with a ‘thicker’ translation ofthe audiovisual text. They drive the viewers’ attention to contextual aspect like speakers’ accents , geographical information etc.. * Dilution of written text within the pictorial semiotic of the audiovisual text * All the extra information ( extra diegetic material ) are placed on the head notes , all the cultural aspect are explained (for example untranslatable word .) At the bottom we see what the characters is really saying atthe moment ( diegetic speech). Translation of diegetic speech We see notes with a glossive function , means extra information ST SAT ass OVERVIEW The move firm simple practice into the theorization of audiovisual translation is something recent . Audiovisual translation has a field that started in the latest ‘80/790 and started growing more in the ’20 years this is because we do have a lack of systematic theorization. The audiovisual translational field still rely a lot on autochthonous and allochthonous models of ATV, process imported from other content of translation studies , general field . MAIN THEORETICAL MODELS OF TRANSLATION THAT HAVE BOOSTED THE DISCIPLINARY FIELD OF AVT: * Process models of translation * Comparative models of translation : difference between shift-based models and corpusdriven approaches * Casual modelsoftranslation : different between system norm-based and approaches FORM PRACTICE TO THEORIZATION What are the Factors hampering the academization of AVT ? : 1. Material difficulties If we want to consider the material difficulties we have to consider the difficulty of time consuming , for example we have to translate everything that the characters is saying so it's important to calculate the time of translation. The time factor is a critical aspect ; we have less standardized rules and conventions to transcribe multimodal text , than written text. When you have to transcribe you have to follow standardized rules. Working on AVT means that you need to know the technological processes and equipment involved in the process , all translators has to be updated on technology and in what is coming out . There are complex copyright issues , dealing with online material make difficult to obtain free material and copyright issues . Building a homogeneous corpus of comparable audiovisual material can be expansive , we might have to buy , for example, different languages version of the same film and this means buy a random corpora that collects different type of material 2. Prescriptivsm Asa researcher in audiovisual translation you have to be knowledgeable in different fields for example semiotic , film studies , linguistic . This can be really har sometimes because there aren't many researchers in AVT. There are also elements of prescriptivism that often drives the learning of translation skills and this is not always based on researches . A lot of researcher and academics can tech the activity of professional translation through prescriptivism and thanks to their researcher. 3. Mediality In AVT there are multimodal products on which a translators are working on and also there are texts , images , sounds that need to be considered at the same time because they all work together to create the meaning of the story. Translators have to obey to a strict adherence to synchronous diegetic sound principle and everything will be subordinate to this principle . AVT is an acronym utilized in different contexts ; it's an umbrella term encompassing a wide range of audiovisual transfer types , each involving specific combination of semiotic resources , synchronization demands, different AVT products depending on country TRANSLATION THEORY VS TRANSLATION MODEL Chesterman on Translation Theories and Translation Models Theory’ and ‘model’ are slippery concepts. The recent Dictionary of Translation Studies (Shuttleworth and Cowie 1997) refers only to the following as theories: skopo’s theory, polysystem theory, and the interpretive theory of translation. The only entries containing the word ‘model’ are on the ethnolinguistic model of translation (Nida) and the operational model (Bathgate). This is interesting: some approaches are designated as theories and others are not (there is a manipulation school), and some models but not others seem to have attained proper-name status. There is obviously much conceptual work still to be done in translation studies on clarifying what we mean by a theory ora model.(Chesterman 2000 > pioneer of AVT FIELD ) Some models seems to have obtained proper name status , there's so much work that has to be done in AVT. > Chesterman , 20 years ago , was already saying that researcher , within the translation studies field , were not consistent in what they thought about being model and how they conceptualized theory and model , what is a theory and what is a model, when you use one and when you use the other and how you use them . Things has not changed much , especially in AVT studies . e Translation-theory : is a set of concepts and statements that provide a systematic prospective of something and provide to explain that . We use translation theory to create hypothesis, plans and gives us a prospective on something . So idealise the representation of the object of study ‘A set of concepts and statements (claims, hypotheses) that provides a systematic perspective on something, a perspective that allows us to understand it in some way, and hence perhaps to explain it' (Chesterman 2000: 15) ® Translation-model: is pre-theoretical model to present the object , they have more practical purpose and they have to illustrate how a theory should be laid out. Has a practical use ‘Preliminary, pre-theoretical ways of representing the object or research’ (Chesterman 2000: 15) On the basis of these definitions, it is reasonable to posit that a fully fledged theory is yet to emerge within and for AVT studies . AUTOCHTHONOUS VS ALLOCHTHOCTONOUS AVT MODELS 1. Allochthonous modelsof translation are models that are imported form other field of studied > models imported from the wider context of translation studies or beyond 2. Autochthonous counterparts , developed so far from the AVT filed > approaches developed from within and for audiovisual translation studies MODELS OF TRANSLATION Process models of translation: we mean models that rely on cycle linguistic , cognitive studies , neurolinguistic studies . Study what happens in our mind during the AVT translation , when we translate something * dynamic representations seeking to capture and formalize the different phases of the translation process Comparative models of translation: they try to show if there are any correspondences between sources and target texts . We compare translations . * constructions developed in positing relations of similarity between source and target texts, with an emphasis on the description of translation products Casual models of translation: try to tell us why the translation act the way it does * how different ‘levels of causation’ (cognitive, situational and socio-cultural) influence the production of target text * identifythe effectthatthe target text has on its readership 4.3 models of translation Studying seeking to make interferences about the functioning on translators’ minds ,on the basis of the source lanquage input and the target language output . Studies based on process models of translation that are surveyed here deal with : * Application of Psycholinguistic theory to optimize information processing in subtitling and re-speaking * Contribution of figure/ground alignments to minimize the arbitrariness of current audio description guidelines * The articulation of cognitive metrics to maximize the match between visuals and their verbalizations * The impact of sensory stimuli on the comprehension and perception of original and translated media content * Thefeasibility of translating audio description across languages and cultures * Subtitlers' handling of implied language AVT has traditionally relied and continues to draw on sequential constructs and assumption originally developed within a psycholinguistics and information processing studies . Subtitling can be conceptualized as the reshaping of linguistic information over a number of stages . The source language speech is transformed into a target language written representation , starting with the choice of words , subtitlers proceeds on to form a phrase , the clauses and , eventually, assemble complete ‘information units’. These Studies seek to make inferences about the functioning of translators’ minds and the scholars of that theory , try to make hypothesis about ‘how a translator works ‘ Talmy's research : Talmy's applications of these notions shows that perceptual stimuli typically selected as figures tend to be geometrically simpler , smaller and more moveable than ground entities Gestalt principles includes : 71/7 A Law of Ck siglati Closure (reification) : human tend to complete the blank elements . I ii ) 98 Preferring complete shapes and fill in gaps between elements to L_I N_ Laz9.:S perceive a complete image , so we see the hole first. Proximity ( Emergence ) : we group closer-together element , Law of Proximity separating them from those farther away. Our brain and eyes are driven to elements close to us and next to elements that 000 o 0 60 are far away Continuation : Our brain is going to attempt to look first to a continuous line , secondly it concentrate on the colours. We follow and flow with lines Continuity Figure/ground (multi-stability ) : our brain doesn't like messy thing ,he likes to {{ Figure / Ground concentrate on one thing first and next , after few second, on the others . Disliking uncertainty , we look for solid , stable items . Unless an image is truly ambiguous , its foreground catches the eye first. Similarity (invariance) : We seek differences and similarities in an image and link similar elements Similarity Law of Common Region Common region : We group elements that are in the same closed |e region. We have to pay attention on what we put on the background and what we put on the main scene 3) cognitive metrics : we use them to maximize the match between visuals and their verbalization Perception of prominence or salience Perceptions of prominence or salience are beginning to yield interesting results in the study of audio description ( Orero 2008 , Orero and Vilarò 2012) Audio describers have so far tended to select the information they convey to their blind audience by relying on their own institutions as to what their viewers require to enjoy the narrative. Even watching the same film , different people have different recollections and interpretations , and in some cases some details are observed by some while going unnoticed by others. This makes blind people understand what is going on because only by hearing what is shown on the screen. They use audio description to Better understand what they can only hear, the voices becomes their eyes and so they can feel the atmosphere. AVT translator not only have to translate the words but also all the prominent elements on the screen , all that has a special important meaning for viewers. How they identify the same beauty of a target product ? Using cognitive models , when AVT didn't have this devices they used their own intuition . Everything was based on arbitrariness jon the idea that everyone can make a different interpretation of the same film , the important elements are different in everyone’s mind . So , thanks to these software and eye tracking hardware we can understand more and we are able to see systematic responses . To achieve equivalence between film images and the material imagery that re-create them in audio described narrations , it is necessary to incorporate a perspectival reading of time and space , where events are described with reference to the viewer. Kruger ( 2012) concludes that audio describers capacity to re-narrativize film more effectively for blind is contingent on their ability to gauge both the visual prominence and narrative saliency of specific entities. > it would appear that the audio narrator has to be attuned firstly to the narrative saliency of the different visual elements before selecting which elements to convey in the Audio Narration , and not attend only or mainly, to those elements with a high visual saliency . It may be very well imply that there will be cases where elements with a high visual saliency but a lower narrative saliency will have to be sacrificed . The competition between different codes is often based on the prioritization of information which means that when faced with a situation in which there are more than one visually salient element that also have high , but not equal , narrative saliency , the narrative saliency will have to take priority . Vandale also relies on a cognitive theoretical framework to examine how audio describers identify those discourse elements that produce narrative force . According to him is important to have similarity between film images and mental imagery that audio describers produce through their verbalizations 4)Impact of sensory stimuli : Neurolinguistics has traditionally been dominated by research on language disorders , this field of study has widened its scope to account for the impact of factors such as sensory stimuli , emotions , multimodality , body movements and actions , on the relationship between language and brain activity . Through neurolinguistic models we can understand the audiovisual product, categorized the cultural background, all the implicate things . * Influence of sounds effects: the influence of sound effect on the comprehension of video content illustrates how the widened remit of neurolinguistics can inform AVT research. We have to consider sounds and particularly music Villarò (AVT) : talks about the influence of sound effects . He argued that the perception of a given visual clip can vary if this is viewed in combination with different audio tracks . Changes in acoustic stimuli would appear to influence the gaze trajectories. * Categorizations of backgrounds cultural knowledge : that viewers had to know to comprehend audiovisual content ( Gronek ) According to Gronek, the variability of repurposing audio descriptions across linguacultures can only be established by comparing the culture system that underpin different language version of a given narration. Cultural system are understood as categorizations of background cultural knowledge that viewers need to know. * Conversational indirectness or implicatures : are elucidated in multimodal environments.( Desilla 2009 ) . The construal of implicatures in audiovisual texts often involves the combined use of spoken language and salient non-verbal cinematic signifiers. Desilla build the insight that opaque or indirect meaning is central to the enjoyment of translated film dialogue. When interpreting implicatures viewers drawn on a background of expectations which may be revised or elaborated as the utterance unfold . Instances of conventional indirectness or implicatures are particularly difficult to elucidate in multimodal environments . Drawing on the theoretical apparatus of relevance theory of Desilla ( Desilla hypothesizes that viewers work on implicatures by retrieving background knowledge in the form of implicated premises , the most readily accessible assumptions guiding the addressee towards a relevant interpretation in that context) hypothesizes that viewers work out implicatures by: * Retrieving background knowledge in the form of implicated premises/conclusions ( the most readily accessible assumptions guiding the addressee towards a relevant interpretation inthat context * Selecting the information readily conveyed via the film’s image and sound as immediate contextual premises. CLASSIFICATION OF SUBTITLING STRATEGIES/SHIFTS ( Based on Diaz Cintas and Ramael 2007) TEXT REDUCTION SHIFTS + aims of text reduction 11. 12. 2.1. 2.2. Eliminating what is not relevant for the comprehension of the message Reformulating what is relevant concisely Condensation and reformulation Condensation and reformulation at word level Simplifying verbal periphrasis with shorter verb forms [ He's gonna be just the same > He won”t change ] Generalizing enumerations [ You lied to us , son . Your own mother and father > you lied to us, your parents ] Using a shorter near-synonym or equivalent expression [ He's got lots of money > He's rich] Using simple rather than compound verbal tenses [ Her father had thrown her out > Her father threw her out] Changing word classes , e.g. adjectives into verb That's an expansive weapon > That's costs alot] Using short forms and contractions Condensation and reformulation at clause/sentence level Turning negative or interrogative clauses into affirmative sentences [ Can't you hear the difference . Listen ] Changing indirect into direct questions [Did | tell you there's a party Friday ? > There's a party Friday ] Simplifying indicators of modality [ | understand that it may be the best result ,politically , that can be delivered just atthe moment > That is the best political solution right now] Turning direct speech into indirect speech [ | often tell myself : Good thing she went > Sometimes I'm glad she went ] Manipulation of theme and rheme [ The laundry , the ironing , your grandmother did all that> Your grandmother did all the chores] Turn long and/or compound sentence into simple ones Turning active sentences into passive or vice versa Use of pronouns and other deictis to replace nouns or noun phrases [there is no food in this high mountain > There's nothing to eat here ] Omission Omission at word level [ A cup of coffee , please > A coffee ] Omission clauses/sentence level [ Why did she leave ? if she left . It's because she had some reason ! > She must have had as reason ] SHIFT PERTAINING TO CULTURE-BOUND TERMS * Loan:a source text word ( e.g. perestroika ) is transferred to the target text * Calque:literal translation ( e.g. translating Secretary of State into Spanish as Secretario de Estado , instead of the more idiomatic Ministro de Asuntos Exteriores ) * Explicitation : translating via specification (using hyponym ) or generalization ( using hyperonym or superordinate ) * Substitution : When spatial constrains to not allow for the insertion of a rather long term, even if it exist in the TC ( goulash > stew ) * Transposition : replacing a cultural concept from source into a concept from TC * Lexical recreation : of neologism in the TC when words are made up in the source one * Compensation : making up for a translational loss in one exchange by overtraining or adding something in another * Omission: when the target language does not have an equivalent for a culture-specific term in the source language * Additions: when comprehension might be at stake ( now you can send him the chair > you can send him to the electric chair ) Corpus-driven models Scholars working in the field of dubbing studies have led the way in exposing the limitation of traditional comparative models . Most contrastive descriptions of translation shifts have been developed of the analysis of written data . + Corpus ( plu. Corpora ) : collection of material in any form , could be audio material , video material , written material that the translators deals with. Thanks to the growing availability of electronic corpora in translation studies research has opened up new ways of looking into the authenticity of dubbed dialogue. Computer-held collections of texts , which can be processed using concordances and other software applications ( Olohan 2004) help scholars to identify typicalities (Baker 1993 ) of translated language through comparison with original text, means that through this software we are able to find patterns in language , something that is continually use in a context . 20 years ago researcher simply collected a small quantity of material , all was done manually because there weren't all the technological devices that we can use nowadays . What kind of corpora do we have ? Romero-Fresco's (2006-2009) work on naturalness in Spanish dubbing language illustrates the basic premises of corpus-driven research in AVT.. As in also the case with other researchers in the field ( Pavesi 2005,2009a : Freddi 2009 : Bruti 2009 ) . Romero-Fresco relies on different types of corpora: PARALLEL CORPUS : this collection of source language texts and their translations in the target language is commonly used to identify translational shifts across languages. Romero-Fresco”s (2009) parallel corpus consists of transcripts ofthe American TV series Friends (ST) and their dubbed versions in Spanish (TT) (300,000 words approximately).We have materials similar in characteristic that can be compared. An example that shows Italian as leading parallel corpus : THE PAVIA CORPUS OF FILM DIALOGUE: Corpus that has collected many films belonging to American and British pop culture. Collects the original version of the film and then compares it with the translation Film title Ae Fond Kiss Bend it like Beckham Billy Elliot Crash Dead Man Walking Erin Brockovich Finding Forrester Notting Hill Ocean's 11 One Hour Photo Year 1999 2001 2002 Film director K. Loach G. Chadha S. Daldry P. Haggis T. Robbins oderberg G. Van Sant R. Mitchell lerberg M. Romanek Production UK/Belgium/ Germany/Italy/Spain UK/Germany/USA UK/France USA USA/Germany USA USA UK/USA USA/Australia USA Words in Italian 8828 9729 5354 8709 11382 12842 10591 9661 9273 5231 Words in English 8624 9582 5507 9639 12447 13714 10379 10438 9784 5731 COMPARABLE CORPUS : made up of two independent collections of texts. These monolingual corpora help analysts to pinpoint typical linguistic features of translated texts through comparison with originals belonging to the same genre or sharing one/more communicative functions. Romero Fresco’s (2009) comparable corpus includes transcripts of the Spanish dubbed version of “Friends” (TT) and the Spanish sitcom “Siete Vidas” (‘Seven Lives’) (1999- 2006) (300,000 words approximately) — as both sitcoms feature similar settings, plots and protagonists RANZATO & ZANOTTI came up with a comparable corpus : they looked at TV channels. Table 7.3. Corpus information Channels Newscasts No. of Corpus Type Recordings Rai Uno 8:00 p.m., av. length 35 min. 43 Monolingual, comparable (IT) Rainews24 1:00 p.m., 3:00 p.m., av. length 22.5 min. Euronews Online video news, av. length 70 624 (IT+EN) | Bilingual, comparable (EN, IT) sec. (IT, EN) BBC One 6:00 p.m., 10:00 p.m., av. length 29 Monolingual, 27.5 min. comparable (EN) REFERENCE CORPUS : this comprehensive collection of texts, belonging to a specific variety of the language (e.g. spoken language,) is used as a benchmark for comparison with some other variety of the same language (e.g. written language) or the same variety of some other language. During this period we have a so called cultural turning point that has produces a lot of researches in AVT studies concerning historical reasons. In 1970 we find two main schools in the field of translation studies : * The Axis of Louvain or the school of Manipulation * The Axisor school of Tel Aviv. One ofthe main founder is the Israeli scholar ‘Itama EvanZhoar' that developed the polysystem theory in the ‘70s. LOGIC OF BINARY OPPOSITIONS: Anything that is produced has to be literally understand through different systems. To explain this polysystem we can use a logical binary oppositions . At the bases of the polysystem there are two products . There are products that follow canonical ( accepted by the Academy) or non- canonical models. Talking about ‘Academy’ means everyone that is doing researches and writing about a certain field. Such products circulate between the centre , ruled by the Academy and the institutions based on their opinions , and the periphery of the system . Everything that we find in the middle in considered a product that is traditional , with a very long history and so produced for a hundred of years . Everything that is at the periphery instead , is a non-canonical type of model , something more experimental . Another binary oppositions to understand is between primary ( innovative ) and secondary ( conservative ) activities . These are in constant struggle to maintain a certain degree of balance between the production of the centre and the periphery. Primary products : we find these products at the periphery of the system because they are the innovative one’s, which keep on changing Secondary products : they are between the centre of the system We have a constant struggle because they all want to move to the centre but also they want to innovate themselves and so go next to the periphery . The position of the system occurs in a dynamic hierarchy , changing according to the historical moment . The system and literary genres keep on changing because of technological innovations , historical background or social movement . The position of translated literature within the polysystem its not fixed and it may occupy a primary or secondary positions ( Munday , 2001): * The Primary : participate actively in shaping the centre of the polysystem . Its likely to be innovative and linked to major events of literary history. The products are innovative * Secondary:itrepresenta peripheral systems within the polysystem, likely to be conservative The visualization of all the system is made up of concentrical circles : at the centre we find secondary activities and all in here represent the canonical products . The other areas are across the periphery where we see new kind of genres and products that change really fast . Everything away from the centre is something innovative. Everything that is in the middle is really fixed and widely accepted by the academy. In the centre we can put for example classical studies (latin and greek texts) which have a very long history and they have been studied for so long. Translation studies is a field of studies that cannot compare with classical studies .AVT, as a field of studies, is recent ; it started in 90s and it's affected by technological and economic aspects . The amount of money that goes into the production and translation of AVT is huge, it's a very dynamic field , much more dynamic of a simple translation book. There are still lot of debates going on in translation studies . Structure of the POLYSYSTEM DYNAMIC FUNCTIONALISM PERIPHERY (_ > /| CENTRE - CANON DYNAMISM ( Seconioy ) ) octivites N System | 1” Primary System 2 | octivies = Xx [System] 7 i The relevance of casual concepts to the study of audiovisual translation is particularly discernible in studies driven by Even-Zohar's (1979) theorization of culture as a polysystem theory. This fluid heterogeneous structure is made up of various interconnected systems ( such us language, economy , politics or ideology) which in turn consist of a number of sub-system. Extending Even-ZHOAR'S theory to cover our object of study , the dynamics of the filmic system can be accounted for as the product of the interplay between its various sub-systems: institutionalized genres, non-canonized forms of expression and , most importantly , translated films. There are 3 cases when translation literature occupies a primary position : * Whena Young literature is being established and look initially to more established models . We do not have autochthonous models yet , we build the models. * Whenaliterature is peripheral or weak and imports those literary types which it is lacking. * When there is a turning point in the literary history of the country and old models are not considered sufficient anymore ( Munday, 2001) Translated literature operates a system in a system in the way the TL culture selects works for translation and In the way translation norms , behaviour and policies are influenced by other cosystems. Even-Zohar focused on the relations between all these systems in the concept which named POLYSYSTEM ( Munday , 2001) . Through the polysystem the academy also looks at the way target culture selects translations and consider if they have to follow the norms . Evan Zoahr , in fact, in 2005 says that a system of various system , which intersects with each other and partly overlap , using different opinions, yet functioning as one structured whole , whose members are interdepended Even-Zohar's (1979) The idea here isthat when n of culture as Structure of the POLYSYSTEM PRODUCTION, CIRCULATION AND USE OFTRANLATIONS a product goes through a system changes because of L TEXTIN L1 — Tolkien's Trilogy I the different systems POLYSYSTEM There's different practices , I believe , influences and all tl the practices are what Castilian translation (by Minotauro publisher) : P Film version (by Jackson) Gideon Toury calls Norms , rules. imposed by an institution or academy . If we consider Tolkien’s Trilogy it goes trough the polysystem and when that happens it follows or not different marketing norms . If he goes through a cinematic system it will also follow the repertoires and norms of the cinematic system while if he goes through an editorial system it will follow the repertoires and norms of this system . When the texts comes out of the polysystem we find another type of products ; we might have the castillian translations of the trilogy or the film version of that trilogy , and all these products they look the way that they are because they have gone trough a certain system within the polysystem . They can decide to follow or not the repertoires rules and so there are different types of products. The ugly duckling: MARIE It's a fable written by Hans Christian Andersen and published on the 11°" November 1843. If we look at the original translated text we only have a translated text. Secondly the product has changed , the word have been simplified and reduced . Coloured Images were added between Mustration by Vilhelm Pedersen, Andersen» —1the paragraph. The texts can change in every different publication in first strato” Author Hans Christian Andersen order to adapt it for the audience. We have a reformulation of the Original title "Den grimmo anling* Lu . Country Denmark original text due also to marketing reasons . The text could also come pen ri out asa film or better as a cartoon with coloured images ( AV product). ii ne New technologies allows producers to add colours to their productions Publication type Fairy tale collection : : . Mresrengliantoiie . We can also have musical version of the same text . We have different Re re re product depending on the system that a producer use ( book- cartoon- Publication date 11 November 1843 film). —— 5 ai NATTN The position occupied by translated literature in the polysystem , system V system \ conditions the translation strategies: if the translations deals with a Acportore — primary product the translator does not feel constrained to follow TL. |\ 7 x / models and are more prepared to break conventions . If deals with Sy "i Edi \° secondary, translator tend to use exsting target culture models for the \ Raperioica sod orme : target text thus producing less innovative translations. / From a polysystemic perspective , translations are shaped by the interactions between different filmic sub-system and bound to cluster around two poles. Source-text oriented film translations , on the one hand, involved a relatively linguistic recording , with minimal adaptions of culture-specific meaning. By contrast, the linguistic and cultural configuration of target-text oriented film translations is the result of an effort to conceal the translated nature of the target text through processes of cultural realignment and adaption. Target-text oriented films thus act as a conservatives force by pandering on the conventions that prevail in the receiving context. AC BRUTTO AnArROccOLÀ 4) cultural transplantation : On the other end of the scale from exoticism is cultural transplantation ( adaptation) ,the complete transplanting of the entire setting of the ST , resulting in the entire text being completely rewritten in a target-culture setting. An entire story, set in a certain place, could be transplanted and resettled in another place even the story line isthe same . Source-culture bas «-—__———» Target-culture bias e —__—1 —_ _—«*;}€°«.-.......» Exoticism and Cultural Communicative calque borrowing translation Bienvienue chez les CH'TIS ----> Benvenuti al sud Bienvienue chez les CH'TIS was translated into italian , it becomes ‘Benvenuti al sud ‘ that actually comes out later than the original film . They opted for a cultural transplantation because they knew that the cultural background was the same and all the pre-conceptions were similar ( people living in the north and people living in south) . A simple translation would have been much more cheaper than a cultural transplantation . The same concept could be find in videogames localizations . Videogames localizations is the preparation of video game software and hardware for sale in a new region or country. The goal of localization is to create an enjoyable non-confusing play experience for the end user by paying heed to their specific cultural context while being faithful to the source material. The original videogame is changed so that it fits better in the target culture . A lot has to do with marketing decisions , how much money can a videogame produce in a country . Overwhelming dominance of the American film industry over the last century Duringthis period the US has established itself as the world's largest film exporter ( Novell-Smith 1998) and by extension , as the default source culture in most processes of translational audiovisual transfer. 80% of AV product that we see on tv , are American . The source culture , the American culture , is wide spread around the world and because of that there is a widespread occurrence of Anglicism and calques ( from english) European dubbese. Dubbese are now see in everyday language , not only in AVT. Dubbese: Anglicism uses in the dubbed language even if there is a correspondent term. Dubbese is a term that ‘negatively connotes the linguistic hybrid that over the years has emerged as the ‘standard’ variety of a number of European languages spoken by characters in dubbed filmic products for both TV and cinemas By importing linguistic and culture-bound elements from the source linguaculture into their respective variations of dubbese , most receiving cultures display their openness towards American filmic conventions-thus entertaining a relationship of subordination vis-à-vis the US industry ( Nedergaard 1993). When a translator decides to lean towards source-culture bias , he is entertaining a Relationship of subordination . Translators are open towards American filmic conventions . On the other hand we see a Reluctance of American audience to watch films in other languages, this leads to significant implications for the commercialization of foreign films in the USA ( Rich 2004) . The dominance of American filmic discourses and aesthetic is more palpable in those comparatively few instances of translational flows where foreign films find their way into the US market. The reluctance of American audiences to watch films in other languages has significant implications for the commercialization of such commodities. To ensure that subtitled or dubbed dialogue do not deter American viewers from going to the cinemas , trailers dropped dialogue completely. This move brought about other formal changes , such as the quickening of the trailer’'s pace through the introduction of multiple shot changes We have different strategies used to disguised the foreign origin of films: we have something called ‘ no-foreign-tongue trailers’ since the mid 1980s Examples: Ran ( Akira Korosawa ) : People working in American marketing, knows that if they would have published a trailer in a foreign language nobody would have gone to see the film so they create instead a trailer with only music and no words, hoping that these element were enough for audience The postaman ( Michael Radford and Massimo Troisi ) : in this trailer we don't hear voices but we do hear a narrator talking about the main aspects of the love story. When people went to the cinema they realizedthatthey had to read subtitles, it was a problem because they were not usedto do that. Adaptive dubbing, an extreme form of domestication involving a significant departure from the source text and, in some cases, the reconfiguration of non-verbal components of the audiovisual text . The voices are changed and there aren’t subtitles. We use the word ‘localized’ to talk about something that was created in a place far away from our country ; this products was firstly changed and then became local. In order to meet what was ‘basically a demand and precondition of the televisual distribution in the first place’ (ibid.: 195), adaptive dubbing challenged traditional perceptions of translation * Different number of episodes (104 à 85) * Elimination of violent scenes for US viewers * Changeoftitle (reminds US viewers of Star Wars) * Rewritingof script + collage of episodes and parts of episodes to insert commercial breaks * Creationofa new character (7 Zark 7) to fill the gaps of the story for US viewers * New soundtrack (‘ Rescoring') EXAMPLE : “Kagaku Ninjatai Gatchaman” was showed in Japan between 1972-74 and becomes quickly a big hit . In the United States arrived some years later , in 1978 with another name : “Battle of the Planets”. Firstlythe title was changed, because in 1970s another popular series came out : “ Star Wars “: so the title reminds audience about another decade. The adaptive dubbing of the AV text was a re-writing ofthe japanese dialogue . They involved the commission of new animations and something called ‘rescoring’ that means to create a new soundtrack .Also the number of episodes changed, the japanese anime had 104 episodes ,while the english version only 85. Japanese episode were much longer with lots of pauses during the story; many of the characters were just thinking things through and the action was lower . American viewers eliminate some elements for example violent scene , to adapt the scenes for audience. The script was re-written due to commercials purposes . Because of these cuts , the storyline was broken up and lots of episodes were understandable . To resolve this problem , american producers create a new character , not in the previous version of the anime . It was areal robot whose purpose was to fillthe gaps of the story for american viewers, he talks a lot about what was happening in order to make more comprehensible what was shown on the screen Is it a translation anymore ? Or it's something different ? Fragments from different short shows would be repackaged and repurposed to form new episodes of a single series. As a result, characters that had originally inhabited different fictions and dramatic spaces would be brought together by new narratives and the deployment of new visual transitions. The translator ‘would watch the series with the volume off and imagine the narrative transpiring’, so he was retelling and rewriting completely the story, he wasn't translating. à Significantly, in adaptive dubbing ‘[t]his imaginative narrative would become the object of translation’ (ibid.). All these examples , shows the asymmetries between the international status of source and target film cultures and the impact of such differences on translation flows, both from a quantitative and qualitative point of view. [t]he blinders imposed by monolingualism and cinematic illiteracy [i.e. resistance of US viewers to subtitles] have created a nation prone to global illiteracy, bound by linguistic leashes to a univocal universe, impervious to subjectivities not their own’ (Rich 2004: 164). It's not only a situation regarding American viewers . People only accept only one product and one dubbed version . The products ofthe Italian cinematic literacy are not sold abroad, so italians receive foreign products Building on the polysystem theory , proponents of descriptive translation studies led by Toury (1995) have defined the concept oi NORMS : the translation of general values or ideas shared by a community — as to what is right or wrong , adequate or inadequate — into performance instructions appropriate for and applicable to particular situations . These norms are the ones that governate the translation field and are bound by cultural and geographical constrains , so they depend on the country on which they are set. Normative principles governing what is regarded as an adequate translation are thus bound by temporal, geographical and cultural constrains. These norms leads us to a all sense of: 1. Censorship 2. Self-censorship 3. Gender stereotypes 4. Sociolinguistic variation Proponents of the descriptive translation studies , led by Toury , have invoked the sociological concept of norm to propose hypotheses as to why translations read the way they do . 1) CENSORSHIP The consolidation of different film translating modes went hand in hand with the emergence and institutionalization of totalitarian regimes , particularly in Europe . Censorship is the most common way used by a regime to control the information imported from abroad . In Italy for example , we had a totalitarian regime and one ofthe way the regime moves was to limit and control everything coming from abroad , especially from the United States. Any information coming from a nontotalitarian regime was strictly limited and controlled and translated applying censorship. This is because AV texts SELF-CENSORSHIP IN FULL METAL JACKET “RES LESORSRE'T EtESROREFRAINE AGI RAnIYIIIA WII FULL METAL JACKETS (1987) must have been a daunting task for translators everywhere . kubrick's film is notorious for its first half hour of boot camp where drill sergeant subjects his recruits , and by extension the audience, to nonstop verbal abuse. Aside from his onslaught of words your mother told you never to use , the drill sergeant has a knack for producing scandalous imagery with the skill of a surrealistic poet ( A former drill sergeant from U.S. Marines who was hired as ana adviser so impressed Kubrick with his ad-lib rants that the director gave him the role ) . Few films have achieved such dizzying dirtiness through language . "> In the book camp scene , the sergeant , uses a very colourful and harsh verbal abuse. He produced scandalous imagery and was so skill to teach the Marine’s language . The person that we see acting on the screen is a real Marines sergeant and he exposes us to the typical language utilized in the military field . "> The italian translations of the film and particularly to the ‘book camp scene’ , is similar to the original one. Other translations are less acceptable during that scene, when he comes to using harsh word . For example in Japanese language , this because Japanese society reacts to swearing anything that is derogatory . So Kubrick's first commissioned the translation to a commissioned Japanese AV translator : Toda Natsuko , very famous in 1980s. He Self- censored the translation of the movie and he eliminated all the swearing , obscene language and the military ambivalent ( love-hate) relationship with homosexuality . Kubrick was not happy about the translation , so he commissioned the 2"° translation to a less famous translator : Harada, the second version prioritized adequacy over acceptability . Apart from preserving obscene language , the translator’ proved willing to make his audience work, using imagery and phrase that may not have made crystal clear sense , but which had tremendous force of the original’ ( Normes 2007). In this case the product was more faithful to the original , and euphemism where utilized to make some message in a less harsh way. Even today when we download the movie , and we don't watch the original version on DVD, the Japanese bad language is censored by using a ‘beep’ sound. GENDER: The norms concerning gender are really important in translation because dubbed in subtitles dialogues should exacerbate gender stereotypes already present in the original films ( De Marco 2012). When a film made for male audience VS a film made for female audience goes through a translation, the translator is able to abolish the gender stereotypes of the original texts or to exacerbate them . If we look into an AV production today , we can find products that are meant for female audience , known as “chick-flicks” ( this word is also used in literature to describe a book meant for female audience ). Examples of “chick-flicks” , where we can find genres stereotypes : Sex and the city Buffy the vampire slayer Bridget Jones's diary Ally McBeal Other AV products are mend for a male audience , for example the James' Bond movies . The example of self-controlled, sexy and smart man, surrounded by beautiful women as beautiful as models . This is the genderized AV products of the last years . Considering the feminist thinking , there are three main approaches to study genders in AV products , coming from the feminist thought of the 705. 1) 2) 3) The first approach focuses on : Feminist material in Anglo-American AV products and their translations into Romance languages . For example , in a film produced in America or in UK or in Australia, the gender stereotypes are translated is a romance language , such us Italian or Spanish. The second approach focuses on : Differences between subtitles and dubbed version of Anglo-American source texts. Focuses on the different types on subtitles that could be created when the product is translated in different languages . The third approach focuses on : Gay and queer source — text materials and their treatment in translations . Focuses on all the AV products that portrait gay material and the language that it's utilized to translate into another language . The so called ‘ gay speech “are mediate by an audiovisual translator Focusing more about this third approach : In 2012 , Irene Ranzato , wrote a research paper called “ Gayspeak and Gay Subjects in Audiovisual Translation : Strategies in Italian Dubbing “ Meta 57(2) : 369-84. One of the first thing that she noticed was that the first time the word ‘Gay’ was used in a AV product was in 1938, inthe presumed sense of homosexual and not in its original meaning of happy. In 1930s but first of all in 1920s , in the United States , the word ‘gay’ was commonly use as a slang word , although the term did not enter mainstream language until the 1940s in the USA and in the 1950s in England ( Partridge 2002) . Because it was a slang word, it escaped the notice of the Hay's Office , whose censorship code was particularly strict at the time ( they didn't recognized the word gay as a wordto be censored) . In Italy we started using that word much later , in 1960s and 1970s. This was the billboard ofthe fist film using the word ‘gay in 1938 Example of a speech in the film : In Italy the film was shown during the Second World War period . We see that the Italian word gay is translated with “ pazzo” , not using the original slang meaning of : ‘happy’ . Probably we have a certain act of censorship in the Italian translation and probably the translator self- censored himself . Secondly , the word ‘gay’ entered the Italian lexicon as a known word in the late 1940s. He has probably translated the word without knowing the real meaning. PIECE OF DIALOGUES : A. “Why are you wearing these clothes ?” B. “ Because | just went gay all of a sudden !” A. “Perchè è vestito così ?” B. “Perchè sono diventato pazzo , ecco perchè” ( Because l’ve turned mad , that's why) Speech community : The concept of Speech community was first introduced by Saussure ( 1967/2009) and received further definition in the course of the late 1960s and early 1970s , thanks to the contribution of sociolinguistics. The members of a speech community are people who have habitual contact with each other and have developed a shared use of the language , with a common lexicon and language practices. One of the most interesting idiolect spoken by a community is the so called : gayspeak , the modes and ways of homosexual communication . Gayspeak become important thanks to the secret setting , the social setting and the radical-activist setting. Inthe English language , as early as 1941, Legman included 146 terms in the American glossary which contained “only words and phrases current in American slang , argot , and colloquial speech since the First World War, and particularly during the period between 1930 and 1940 “( Legman 1941/2006) . A great number of these word s are now part of standard English or are slang words used also by the general public. Italian gay lexicon has struggled to find its way into mainstream language orto be absorbed as loan words . Thus keeping an exotic feelto them. This testifies tothe factthat, at least, at the beginning, these words struggled to be absorbed by the target culture : [gay], [transgender] , [ coming out] , [drag queen] , are now words recognizable by most Italian people , but they are just about the only words of the homosexual jargon to have entered mainstream language . We have a wide gap that divides Italian and American gay community lexicon , and must be recognized by translator , because an American translator working on gayspeak material, is going to have very hard time find an equivalent word in Italian, because the two lexicon are different . The translators, in the French version , they choose for translation between three options : 1) Option numberone: subtitling or dubbing this film using a standard variety of the target language ( conservative approach ) 2) Option number two : find an equivalent dialect in the target language ( experimental approach — localization strategy) 3) Option number three : translate the ch’timi dialect into an invented variety ( drawback> an invented dialect does not carry any authentic sociolinguistic meaning). In the translation from the southern dialect into the northern , we lost all the positive and negative connotation of the dialect and also the stereotypes connected to it. In the subtitled version some words are pronounced differently and they opted for an Eye dialect ; Eye dialect is the representation of regional or dialectal variation by spelling words in nonstandard ways , such as writing “wuz” for “was” and “fella” for “fellow” . This is also known as eye spelling . The term eye dialect was coined by linguistic George P. Krapp in “ The Psychology of Dialect Writing “ ( 1926) . The AVT translator want to make viewers aware that some problems in the story are due to the pronunciation of some word. In the Italian version of the story called “ Benvenuti al Sud “the english subtitles were standardized , and because of that, we lose the original flavor and some of the positive and negative connotative of the Italian language . We can see that in a particular scene , where we don't have the subtitles referring to what the old woman was saying . We have cultural differences in translation , some things are change and are translated in a different way and using different words. Audiovisual translation isone concrete example of an area of research that has to find its rightful place in Translation Studies. It's the responsibility of teacher and researcher to drawn attention precisely to the aspects which mark it out as different form the other modalities of translation [...] (Chaume Varela 2002) The emergency of cinematography as a revolutionary form of representational technology in the late 19° century ended the monopoly that the painting press had held on the mass production and consumption of culture since Middle Ages. As the cultural historian Karin Littau (2006) explains , the materiality and semiotic fabric of film redefined our understanding of writing and reading practices . The medium of film was ‘ able to translate , by technologically reproducing , hallucinatory images onto the screen ‘through a unique synthesis of content , form and matter . Literary critics and authors was soon concerned by the rapid rise of film as a rival form of entertainment to the novel . ‘As a medium which bombards viewers with the quick suggestion of moving pictures’ . ‘[A] film so entrance spectators thar they react to , rather than reflect on, what they see ‘( Littau 2006)'.7 The recognition of the new medium as the most universal and independent art form was therefore predicated on its capacity to REMEDIATE actions and emotions without recourse to language . SILENT MOVIES > [FLANGUAGE ( intertitles -1900) > FSGiind ( 19205) » multimodal product MULTYMODALITY : Is fast becoming one of the theoretical frameworks that most informs research in AV translation. The study of multimodal semiotics redresses some of the fundamental criticism that have been traditionally raised against current AV research : unlike other theoretical frameworks , multimodality does not prioritize language at the expense of other meaning- making modes. Multimodality is a simultaneous deployment of several sign repertoires — a combination of speaking , writing , visualization and music . Audiovisual texts are composite product of the combined effects of all the resources used to create and interpret them .The terms mode and modality designate each type of acoustic and optic meaning- making resources or sign involved in the creation of the composite text. An AV text involve simultaneous deployment of several sign repertoires , including but not limited to speech or the written language of subtitles , film editing, image , music , colour and perspective, often referred to as MULTIMODAL . Audiovisual texts — whose visual and acoustic modes need to be presented in a synchronised manner via ‘a screen , with multimedia technology as the coordinating instance ‘— are therefore not only multimodal , but also MULTIMEDIAL . ( Negroponte 1991) . Audiovisual communications consist in the production and interpretation of an ensemble of semiotic modalities that are made available via the synchronized use of multiple media . Are multimodal texts always multimedial ? > NO . multimodal texts such as printed magazines ( combining ,for instance , written language photographs , and a creative use of colours or fonts ) or radio broadcasts ( consisting normally of modes such as speech and music ) are monomedial : they can only be seen or heard, respectively . Alles is Liefde : the plot of “ Alles is Liefde” revolves around Jan , a wanderer who has hitchhiked his way from Spain to Amsterdam on the run-up to St. Nicholas’ day . As he approaches his final destination , the truck he has been travelling in crashes into a minivan and blocks the road by accidentally spilling its cargo of oranges . The occupants of the minivan were on their way to join Sinterklaas ( as St, Nicholas is known in Dutch ) cortege , which every year arrives in the port of Amsterdam to the tune of thousand of screaming children eager for candy and toys. Concept of dischrony > there is a dischrony between the information expressed through the verbal mode and the message conveyed through images : culture-specific symbolic information is encoded exclusively in the visual . Dutch viewers , while watching this movie , immediately understand the meaning of the story and they are able to interpret the visual semiotics and make the relevant inter-modal connections with the message communicated through diegetic speech . Take , for instance , the contribution of the following visual stimuli . Although there is no spoken reference to the point of origin of Jan's journey , the truck carrying him to Amsterdam is painted with the colours of the Spanish national flag . In the Netherlands , tradition dictates that St. Nicholas travels from Spain every year to deliver goodies to children .The visual presence of oranges , is an important cue for the viewers interpretation of these establishing scenes ; as oranges, have been traditionally presented as gifts on holiday. Dutch viewers gradually construct a multimodally informed interpretation of the role that Jan is called to play in the narrative . For non-Dutch viewers the dischrony between image and dialogue severely limit their appreciation for the film . Subtitles conveying only a translated version of the Dutch dialogue would not help foreign viewers overcome their inability to gasp the contribution of visual semiotic to the overall meaning of the film . The connections between the events leading Jan to dress up as St, Nicholas and his dramatic role as unifier piecing broken relationship back together would be poorly , if at all, understood. Visual elements and other modes , besides the linguistic one , are fundamental ; translation studies , one time , only focused on the linguistic element without considering all other aspect such as music , sound and images , and they didn't understand that these elements were carrier of meaning . Long period of time where the development of translation studies was steered mainly by linguistic. AVT translation scholars are calling for a systematic theorization of ‘meaning constructed from the conjunction of images and words ‘ in audiovisual texts ( Chaume Varela 2002) and of ‘the extent to which the different components of the audio-visual message influence’ translation ( Pettit 2004) have begun to shift the focus away from dialogue towards the concerted action of language and visuals ‘. For him , multimodality can be modelled as a networked system of choices. Creating and AV text involves choosing those specific modes whose meaning potential will help communicators best realize their communicative intentions long the visual channel . The advent of sound in the late 1920s , for example , allowed film creators to incorporate spoken language to the mix of modes that had previously been used to convey meaning through films . SUB-MODES Each core modes commands a set of SUB-MODES. The systems of sub-modes choice provide communicators with the opportunity to make more delicate selections among the semiotic resources associated with each core mode. As each core mode often entails more than one system of sub-mode choice , its overall semiotic value and realization in a given communicative event is determined by the interplay between its constitutive sub-modes. LANGUAGE SUB-MODES + CORE MODE : LANGUAGE SUB-MODES VERBAL SIGNIFIERS * Graphemes * Phonemes * Lexico-grammar * Syntax MEDIAL VARIANTS SUB-MODES SPEECH PARA-VERBAL * Volume MEANS *.Intonation Accents /phonetics of linguistic variation Voice quality Rhythm Speed Pausing STATIC WRITING Typography Layout Font Colours Ornaments Spacing Margins ANIMATED WRITING AII of sub-modes for static writing Direction Speed Rhythm Special effects Primarily language is relized through choices among the system of verbal signifiers available at different levels of linguistic organization. GRAPHEMES ( letters) , PHONEMES (sounds) ) LEXICAL ITEMS ) GRAMMATICAL STRUCTURES, and SYNTACTICAL PATTERNS are the sub-modes contributing to realization of LANGUAGE across its different medial variants. Acoustically language is realized through para-verbal means of speech . Visually it is instantiated in the form of static and animated or dynamic writing. Para-verbal means o speech While language has always been in the minds of AV translators , the semiotic potential of the paraverbal manifestation of speech remains relatively under-researched. The sum of the sub modes that underpin the materialization of dialogue in AV texts delineates a site of intersection between the body and language that film studies specialists traditionally call ‘voice’ . The impact that choices in performance , as instantiated in the selection of voices for the dubbed version of AV text, have on filmic characterization addresses the contribution of most of the sub-modes formalized under the category of para-verbal means of speech , including VOICE QAULITY , RYTHM and SPEED. Static and dynamic writing The differences between the static and the dynamic realizations of written language exploit the semiotic potential of an interplay between different submodes including : LAY OUT, FONT, COLOUR, RYTHM or SPEED. LAY OUT, FONT, COLOUR are shared by both medial variants of written language . The latter , strategically employs an additional range of sub-modes , including RYTHM or SPEED, but also DIRECTION and SPECIALEFFECTS , to unfold the full semiotic potential ofthe core mode language. The animated subtitles break down the suspension of disbelief that occurs when watching a film and become a living part of it . This strategic realization of two sub-modes of language facilitates the integration of the act of reading into the film’ diegetic space , thus capturing viewers' attention . PIOVONO POLPETTE VS CLOUDY WITH A CHANCE OF MEATBALLS The scene that we had analyzed is from the sequel of the film ‘Piovono Polpette ‘— ‘Cloudy with a chance of meatballs “. We see a very ground man that doesn't speak a lot and in both versions, he uses a low voice’s tone . In the italian version the man doesn't have a particular accent while in the American version , he has got a southern accent , probably because of his job ; he his a fisherman and it would have been strange to hear a fisherman man talking with a northern accent. The tone used in the Italian version is the same, except for a localization technique , namely the use of the local accent in the American version . Also the subtitles changes from one version to the other, but subtitles don't allow viewers to use the paraverbal meaning ; to understand it they have to hear the voices, accents , different type of language and pronunciations (slang ) . Ifthere are only subtitles without sound the paraverbal meaning is lost because viewers can only read. It's important to match the subtitles with the modes of the scene , with images and sound. If a character’s voice is coming from a place far away is most likely lost in subtitles , viewers could understand that, only if the translator adds a note in the subtitles . For this, they sometimes decide to add an extra content before the sentence of the character that is speaking , to better understand from where the voice is coming from ( they can write sth like “Man in the background: ...” ) . In the scene that we had seen , the boy was really appreciating is burger, so the translators add an ‘ appreciation sound’ (mmm ...mmm) to make the viewers immediately feels the same sensations of the boy . Audio- description translation is different from a simply subtitled version , some scene are eliminated and dialogues replaced with speech . This is not a good choice for non-visual people because some audio part of the scene are missing and they could not understand the story at all. IMAGES SUB-MODES > CORE MODE : IMAGE MEDIAL VARIANT | SUB-MODES The networks of sub-modes that make up the core mode of STATIC (STILL) * Elements IMAGE are the two medial *. Vectors variant of : static and dynamic ° Colour or moving images . The range of 7 cightnine sub-modes contributing to the + Distance realization of image along its two medial variants its remarkably large . ELEMENTS , in the form of animate beings , * Angle /perspective * Composition DYNAMIC * Allofsub-modes for static (still) | Inanimate object or other (MOVING ) * Camera panning figurative / abstract visual *. Colours representations , are the * Cameratitling smallest building blocks of the * Camera cuts core mode of image . In AV text * Visual effects bal/body/I , visual and verbal elements are * Non-verbal/body/language bound together. Conflations of verbal and visual elements cohere by building intermodal sense relations and adding to a common mental image that facilitates the viewer’s comprehension of the multimodal artefact . When mediating AV text , professionals need to articulate new inter- modal synergies between the visual and verbal elements. As the production and representation of visual elements can be very expansive , visual elements cannot normally be replaced during the translating process. In the prehistory of AVT , the manipulation of the visual sub-modes , for example , by replacing actors , object or landscapes, was a common practice during the process of translation . With the advent of the sound era , and the need to incorporate spoken language with motion pictures , the American film industry began a struggle to maintain its foreign market .Multilingual version of films became the most important form of audiovisual transfer . The production of multilingual version , involved a re-shooting of the films. By re-encoding the information conveyed through the sub-mode of visual elements , film makers were able to switch the narrative locale , changing the geographical mapping of the diegetic universe and changing the language of those inhabitants . COLOUR , LIGHTING and CAMERA MOVEMENT are other productive visual sub-modes in multimodal artefacts . The manifold connection between colour and camera movement and the interplay with other sub-modes commanded by the core modes SOUND and MUSIC , communicate emotional information. SOUND SUB-MODES > CORE MODE : SOUND Acoustically , sound is realized through sound effects ; visually , it is instantiated in the form of spectrograms Sound effects -in particular natural noises presented in synchronization with the visual — are the main medial variant through which the core mode of sound is realized in AV text SPECTOGRAM : A spectrogram is a visual representation of the spectrum of frequencies of a signal as it varies with time . When applied MEDIAL VARIANT SUB-MODES coli to an audio signal . spectrogram SOUND EFFECTS + intensity are sometimes called sonographs, voiceprints or voicegrams .When * Volume . . Qualit the data is represented in 3D plot uality they may be called waterfalls . SPECTROGRAM ° dorzonal a (time) Diegetic submodes deployed in the nu ei requency) realization od sound effects are mplitude normally left unchanged when audiovisual texts are translated into other languages . Audiovisual translators need to be aware of their specific semiotic contribution and make the relevant inter-modal connections to ensure that an effective interplay between noises and translated speech or subtitles is in the place in the target language version . EXAMPLE > Chaume Varela (2004) examines the impact that sound effects can have on translational decisions , illustrating the discussion with an example pertaining to the animation series The Real Ghostbusters (1986-91) .In the example below , corresponding to the episode entitled “ The Copycat “, the Ghostbusters have completed their inspection of an allegedly haunted property and report their finding to the house owner MRS CAMPBELL: You are completely sure there’s no ghost ? RAY: We checked the entire house. No ghost. PETER: It's clean as a whistle RAY: Have you ever wondered how clean whistles really are ? EGON: Well, absolutely PETER : Frequently , why? Just as Peter finishes delivering the sentence ‘It's clear as a whistle’ ,a whistle sound can be heard accompanying and synchronized to an image of the ghost slickly the property .This represent an important translation difficulty , as the Spanish equivalent of the English idiomatic expression ‘It's clean as a whistle ‘contains no reference whistling :the translator, unable to find a Spanish equivalent expression that manages to connect cleanliness with whistling may opt for translations featuring alternative metaphors or comparisons . The recording studio may choose to remove the whistling sound from the original soundtrack and replace it with another sound that is coherent with the target language text. MUSIC SUB-MODES + CORE MODE : MUSIC Acoustically , music is realized through MEDIAL VARIANTS SUB-MODES PERFORMED or INCIDENTAL PERFORMED OR *. Melody/tune MUSIC ; visually , it is instantiated in the INCIDENTAL MUSIC * Orchestration form of SCORE or SHEET MUSIC . Music is * Rhythm /time really important in the semiotic fabric of AV * Speed text. It can be produced diegetically , in * Provenance which case it will be accessible to the * Lyrics characters themselves , or come from outside the narrative sphere of AV text, thus SCORE / SHEET * Typography aimed solely at the recipients of audiovisual MUSIC * Layout texts . The fact that the * Colours meaning of music is conveyed both through *. Ornaments . _ * Spacing the tune itself and any accompanying text ( * Margins both in terms of its linguistic and para- linguistic dimension , lyrics and voice , respectively ) makes it possible for AV text recipients to enjoy MUSIC-BASED SIGNIFIERS as a single unified gestalt in perception 17 ways music can be used in film <<[...] music in the dark , music in the air, music apparently played by the screen , or music generated by the same mysterious and sublime force that is making the imagery move-as if it were alive ! — on the screen .See how it writhes and reaches out tentacles that will draw us into the screen . The music is a beast from within the depth of the screen . it is the soul of the movie >> ( David Thomson 2006) “The Fresh prince of Bel-air “ with Alfonso Ribeiro and Will Smith. In this TV series the theme is the clash from a social point of view . The theme song is a mix of rap, R&B and Hip-hop music . They decided to use this type of music because it better represents the emotions of black people during that period in America. Music reflects people's emotions and helps to re-create the story . In the Italian version , the translators , translated the music , they changed the words while the tune remain the same , in order to make the product acceptable for Italian society. The music is the soul of the movie , is music that gives a complete meaning of what viewer are watching on the screen What happens in a movie if music would not have been added ? In the movie known as “ET “, if music would not have been added, the character emotions probably would not have been understood at all . Viewer are push into feelings depending on the music . Music is an important mode, because helps viewers to immediately understand the emotions showed on the screen. In the first cinematic production, music was used to explain the figures because , most of time, films were silent with only music and no words. EX: ODISSEA NELLO PAZIO > inthe scene that we have seen , the monkey understands the meaning of having a weapon in her hand . The augmenting force of the music makes viewers better understand what is going on EFFECTS THAT MUSIC HELPS TO PRODUCE IN A MOVIE : * ILLUSTRATION MOVEMENT * CREATE UNREAL SITUATION : Create nightmare and scary situations . (Ex: In an harry potter scene music change depending on what the character is doing. At the beginning is pretty scary , while at the end it becomes more unpleasant ) * CREATE ATMOSPHERE * PSYCHOLOGICAL CONDITION ( in science fiction films, where the tension grows more and more and, at one point, the volume raises and the rhythm picks up ) * CONNECT SCENE MONTAGE ( FLASHBACK , FUTURE SCENE , could be connected through music. Music unifies different elements) * DEVELOP CHARACTER * CREATE CONTRADICTIONS ( we expect a kind of music, but the film offers us a totally different type , this create a contradiction . For example ;In a middle of a battle everything is destroyed but the music is joyful , this is not what we were expecting , and so it's a contradiction ) * SOCIAL-CULTURAL- GEOGRAPHICAL REFERENCES (Music could refer to a particular cultural aspect and gives us references and so we can, for example understand, where the film takes geographically place.