SESIN 1:

Historia y panormica de la TAV

Las modalidades de la TAV:
la postsincronizacin de voces (revoicing)
doblaje
voice-over
audiodescripcin
audiosubtitulacin
fandubs
localizacin de videojuegos

HISTORIA TAV = HISTORIA DEL CINE

22/03/1895: primera proyeccin flmica

Incorporacin temprana de lenguaje escrito a la imagen

Mecanismo narrativo lenguaje escrito (interttulos)
para compensar las elipsis narrativas, espaciales y
temporales y para representar los momentos de dilogo
The Birth of a Nation (D.W. Griffith, 1915)

Los inicios
CINE MUDO (SILENT CINEMA)
Titles: first attempt to integrate words into images
First titles shown in Uncle Toms Cabin (Edward S. Porter,
1903) White (capital) letters on black, universalization
(aesthetics)
The Circus (Charles Chaplin, 1928)
Titles need to be translated to reach foreign audiences

Anita Loos y John Emerson chequean los

intertulos para su siguiente pelcula.

El legado en el cine sonoro

(Suspicion, Alfred Hitchcock, 1941)

Dos formas de traduccin

Texto a Texto: simplemente se cortaba el
segmento del filme donde estaba el interttulo y
se substitua por el negativo de la foto que se
haca al ttulo traducido
Texto a Voz: Interpretacin simultnea en el cine,
por parte del pianista, que adems compona la
msica, inventaba texto, interpretaba, de modo
que estaramos ms ante un comentario libre,
mezclado con la traduccin de los interttulos,
casi un tipo de audiodescripcin avant-la-lettre.
L. Buuel: Los explicadores 1901 Barcelona

Brasil y Japn
Otros pases probaron diferentes maneras de
sonorizar el cine mudo. The early cinema of
Brazil featured fitas cantatas: filmed operettas
with singers performing behind the screen.
En Japn, adems de msica en vivo, los
filmes contaban con los benshi, a live
narrator who provided commentary and
character voices. Persisten hasta hoy en da.

 Tailandia: Live narration procedente del Japn.

Anuncio:A Thai interpreter who speaks English.
Japanese films English translation Thai
narration + Summary
Ratchapataen official dress

The talkies
1927, The Jazz Singer: first talkie (part talkie + intertitles)
1928, The Lights of New York (first talkie)
Hasta 1930: dos versiones: talkie + silent version
Primeras reacciones: rechazo
Actores, dramatizacin exagerada
Directores: destruccin de la representacin artstica y final del
Esperanto universal
Louis B. Mayer: foreign viewers will accept English as a world language
Europa: rechazo a la invasin de la lengua inglesa
Los filmes mudos eran ms baratos
Espectadores: This visual Esperanto of silence was swiftly eradicated
with the advent of talkies. As if formerly not aware that they had been
consuming import goods, audiences were suddenly indignant at hearing
their film stars speak in tongues unknown (Whitman 1992: 12)

TRADUCCIN???

Solucin #1: Versiones multilinges

Same or different director: One hour with you, Lubitsch,
1932; or six different directors for the six versions of The
lady lies, 1929
Usually different actors (but Buster Keaton and Laurel and
Hardy using idiot cards).
Greta Garbo, Marlene Dietrich (and bilingual actresses
and actors)
Dracula (Tod Browning, 1931)
Clip Dracula -- Spanish
Directed into Spanish by George Melford , for Universal
Pictures, in nightly sessions , without knowing a word of
Spanish, while Tod Browning directed the American
original version, during the day, with the original cast
including an enigmatic Bela Lugosi

Oliver Hardy & Stanley Laurel

Dubbed into Spanish in Mexico
Voice Talents: Lorenzo Lezama & Carlos Riquelme
Dubbing Director: Rubn Arvizu
Example: - Los Vagabundos
Example: - Ladrones
Dubbed into Spanish in Spain, with intended foreign
accent:
Example: - Block-Heads (700)

 Cualquiera de estas versiones multilinges es un buen

ejemplo de la coexistencia de acentos espaoles y
latinoamericanos. En California se amontonaban los actores
procedentes de Mxico, Cuba, Argentina, Chile, Puerto
Rico, Filipinas y todos los territorios de Espaa. Las
compaas solan utilizar un actor de cada nacionalidad y
acento, de tal modo que en ocasiones no se entendan
entre ellos.
Se establece entonces una nueva norma: el llamado
espaol neutro, un a variedad inexistente de espaol
formado por rasgos de todas las variedades de la lengua.

La invencin del espaol neutro

Solucin # 2 - Subtitulacin
Cine The Singing Fool (Lloyd Bacon, 1928),
con Al Jonson, se pasa en Copenhague con
subtitulos en dans.
TV la subtitulacin es tan antigua como el
propio medio: 14 Agosto, 1938, Der Student
von Prag (1935) emitida en Gran Bretaa con
subttulos en ingls.

Solucin #3: Doblaje

1929: Primer doblaje realizdo en Hollywood: Ro Rita
(Espaol, Alemn & Francs)
Muy mala calidad
Edwin Hopking: mejora la tcnica (post-synchronization)
Jakob Carol: sustituye la pista de sonido original por otra
con dilogos en lengua meta
Consolidacin del doblaje en algunos pases: poder
econmico, analfabetismo, lenguas mayoritarias,
tecnologa...

Spoken output (SL) >

Written output (TL)

Captioning

TAV
Revoicing

Spoken output (SL) >

Spoken output (TL)

Revoicing

The original soundtrack is totally

replaced by a new one in the TL
and the target viewer can no longer
hear the original exchanges

- Lip synch dubbing

The translation is overlapped and
the original spoken dialogue is still
audible in the background
Daz Cintas and Orero (2010: 41)

- Voice-over
- Interpreting
- Free commentary
(es, de, en)

Dubbing is a type of Audiovisual Translation [...]

consisting of a replacement of the original track of a
film containing the source language dialogs, for another
track on which translated dialogs in the target language
are recorded (Chaume 2006: 6)

Not only films & series

- Cartoons are dubbed all over the world
- Adverts, infomercials (dubbing, subtitling, voice-over, new ads)
- Videogames (dubbing + subtitling + localisation)
Fiction is not always rendered through dubbing/subtitling
- Russian dubbing (partial dubbing), voice-over
Amateurs also dub their own clips
-Fandubs

AVT modes on cinema

screens in Europe

http://mediadeskpoland.eu/upload/PP_Comite_media_280708_FINAL.pdf

AVT modes on TV in Europe

http://mediadeskpoland.eu/upload/PP_Comite_media_280708_FINAL.pdf

SOME INTERESTING TRENDS:

DUBBING (I)
Dubbing is used to translate cartoons all over the world: UK
Dubbing used to translated animation films: Serbia
Portugal Hannah Montana (Choro 2013); Soundub Lisboa (SDIMedia)
Denmark The Nutty Professor, Dansk Dub
Norway teen TV series and films (teen pics) (Tveit 2009)
Russia gradually replacing the once predominant voice-over
mode
Greece South American and Turkish soap operas
the Arab world South American and Turkish soap operas

SOME INTERESTING TRENDS:

DUBBING (II)
some commercials are dubbed even in traditional subtitling
countries
fandubbing is becoming internationally popular
DVDs, DTV and digital technology on the web may include dubbings
into traditional subtitling languages: Crouching Tiger, Hidden
Dragon, spaghetti westerns (dubbed into English)
dubbing is also used to teach foreign languages (Danan, ClipFlair)
dubbing has also moved into other complex audiovisual translation
modes:
in videogame localisation, especially in blockbusters, dialogues are usually
dubbed

Lucky Star: http://www.youtube.com/watch?v=rrUhIgdLWCw

Hannah Montana: http://www.youtube.com/watch?v=poxEsv0TWnM
Dansk Dub: http://www.youtube.com/watch?v=kMIRiM5WcpY
Russia: http://www.youtube.com/watch?v=Gptp0vqpzG0
Russia replacing voice-over: http://www.youtube.com/watch?v=HiSmcG2dOU4
South American soap operas: http://www.youtube.com/watch?v=ItrLJ8xnbnk
(Slovak dubbing): http://www.youtube.com/watch?v=V1oMDLmyA7Q
Turkish soap operas into Arabic: http://www.youtube.com/watch?v=ptJedfuGJtM
Commercials:
http://www.youtube.com/watch?v=3-LavXsgRlw [IT]
http://www.youtube.com/watch?v=4P-nZZkQqTc [EN]
Japan: http://www.youtube.com/watch?v=HBTheJXJEcg
Indonesia: http://www.youtube.com/watch?v=khlIy0OfsmE
Fandub: http://www.youtube.com/watch?v=E-H3K8TK2Vw
VGLOC: http://www.youtube.com/watch?v=9EvP4NWW0T0&feature=related

Algunos ejemplos

SOME INTERESTING TRENDS: DUBBING (III)

Concepto de doblaje colaborativo
Otro aspecto importante a tener en cuenta son los
llamados doblajes colaborativos. Hay empresas
que tienen sedes en distintos pases. Por ejemplo,
Etctera Group y The Kitchen Inc. tienen sedes en
Caracas, Venezuela, y en Miami, Estados Unidos. Y
hay canales que doblan en distintos pases, y por lo
tanto, cuando se entrecruzan voces de actores de
uno y otro estudio en algn programa, se realiza un
doblaje colaborativo entre ambos estudios. Un caso
llamativo es el de Big Time Rush. (Scandura, 2015)

LATINOAMRICA
Con la diversidad de la oferta de programas, en un
mismo canal de televisin es posible encontrar
producciones propias y ajenas, provenientes de
distintos pases y a su vez dobladas por distintas
empresas y en distintos pases latinoamericanos
Las traducciones y doblajes de un mismo pas no
son necesariamente similares. Influencia del canal
de televisin o del estudio de doblaje sobre las
estrategias utilizadas por los traductores de un
mismo pas?

LATINOAMRICA
Por otro lado, en un mismo programa se
encuentran cuatro versiones distintas para un
mismo trmino (Scandura, 2015). Es muy probable
que cada traductor, en busca de una palabra que
se entienda en toda Latinoamrica, termine
optando por lo que le parezca mejor y que dicha
opcin no siempre coincida con la elegida por los
dems (refrigerador, heladera, nevera, refri, etc.).

LATINOAMRICA
Movilidad de directores y actores. Es comn que
los actores y directores trabajen para distintos
estudios de un mismo pas, e incluso para estudios
de distintos pases.
http://es.doblaje.wikia.com/wiki/Ra%C3%BAl_Aldana

SOME INTERESTING TRENDS: SUBTITLING (I)

DVDs include subtitlings into traditional dubbing languages

Emerging trend of commercials subtitled into dubbing languages

An increase of subtitled films in cinema houses
Subtitling cartoons for children in dubbing countries (bilingual
education)
Poland gradually replacing the once predominant voice-over

mode (opinion polls seem to favour dubbing)

SOME INTERESTING TRENDS: SUBTITLING (II)

Fansubbing is becoming internationally

popular

Subtitling is also used to teach foreign

languages

Subtitling takes part in other complex

audiovisual translation modes:
in videogame localisation, captions are usually subtitled

SOME INTERESTING TRENDS:

VOICE-OVER

MTV is beginning to voice-over teen TV series in

dubbing countries (Italia, Espaa)

Emerging trend of voiced-over commercials

(teleshop)
Instructional videos
Webinars

Corporate videos

SOME INTERESTING TRENDS: ACCESSIBILITY (I)

DVDs incluyen SPS y AD
Cadenas de TV emiten ms programas con SPS & AD
Tendencia emergente de anuncios subtitulados para sordos

Incremento de pelculas subtituladas para sordos y

audiodescritas pra ciegos en cines
Nuevas tecnologas con propsitos de accesibilidad (gafas
especiales, pera)

SOME INTERESTING TRENDS: ACCESSIBILITY (II)

Dibujos animados para nios sordos
Interpretacin de lengua de seas en TV
Rehablado / subtitulacin en directo
Audiosubtitulacin para ciegos en pases
subtituladores

Audiodescripcin en museos
...

UN PROCESO PARALELO:
ADAPTATIONS / TRANSCREATIONS (Remakes?)

A combination of globalisation and localisation:

Glocalisation
Pavitr Prabhakar (Indian Spiderman)
PowerPuff Girls
Sesame Street

Glocalisation como sinnimo de traduccin

Once, American entertainment companies

exporting characters just dubbed them
into other languages. But in recent
years, Asia has become the testing
ground for character reinvention, a
process called "transcreation. (WSJ)
Glocalization means a case in which a
global product is transformed into
another shape in order to meet the
needs of local consumers.

VGLOC: Video Game Localization

Localizacin: proceso de traduccin que consiste

en traducir y adaptar culturalmente (familiarizar)
el producto original a las normas y expectativas
de la cultura meta
Localizacin: assets (Excel) + software
MemoQ / Trados
Doblaje: blockbusters / ajuste
Subtitulacin: texto en pantalla, dilogos

VGLOC: Video Game Localization

Assets:
Texto en pantalla (in-game text)
Grficos textuales (art texts)
Componentes de audio y cinemticos (audio and
cinematic assets)
Box and docs
Web
Control de calidad (control de bugs)
Ver ejercicios

FANDUBS

Fandub: filmes, series, dibujos animados o

simplemente canciones dobladas no
profesionalmente por un aficionado o grupo de
aficionados.
Windows Movie Maker / Audacity / Adobe
Premiere
Doblaje amateur o fandoblaje.
SKYRIM

LA TECNOLOGA QUE VIENE

Redubbing is the process of replacing the audio

track in a video: a) translating audiovisual texts
and b) replace offensive words, etc.,
intralinguistically
Disney: visemas grupos de fonemas cuya
configuracin articulatoria es igual desde el punto
de vista visual: p-b-m, o f-v, entre otros
Sugerir secuencias de palabras alternativas y
visualmente consistentes, ms que predecir el
dilogo original

SESIN 2:

El proceso industrial del doblaje

El mercado del doblaje y del
voice-over
Software

El proceso
Producer

(International Agents) Distributor

TV Channel / Exhibitor
Dubbing Studio (Casting and Production)
TV Channel / Cinema House
)

La traduccin
Dubbing Studio (Casting and Production)

Translator (Rough translation)

Dialogue Writer/ Adapter (Synchronised translation)

Dubbing Studio (Dubbing actors, director, QA, etc. )

Adapters/Dialogue writers are responsible for synchronising the
translation with the audio and visual cues of the original.
Should translators be responsible for dialogue writing?

El traductor
Receives: script + FTP
Uses: Computer, good access to the Internet,
general & specialised dictionaries, various
translation resources (imdb)
Submits: Word / Excel file with the translation
sent by e-mail (+script, + DVD, + a printed
version of the translation). Translation +
Dialogue writing
Occasionally: specific software to separate
takes or to count actors and takes

Software
para el
traductor de
doblaje?

 Windows Movie Maker & Adobe Premiere

Virtual Dub - used often by fandubs:
Dubbing of audiovisual texts broadcast on the web. Fans watch
their favourite cartoons on the web and then produce a
dubbed version at home: they translate, lip-sync and revoice
the dialogues, record them in a new soundtrack and upload
them back on the web. (Chaume, 2006: 164)
Voice Q ADR & Voice Q DUB (+ ProTools)
Reel Voice:
Voice-conversion technology: dialogues in the TL are recorded and
then the pitch of the voice is manipulated to resemble the original
screen actors voice (Chaume, 2006: 163)
Video Rewrite:
Uses existing footage to create a new clip of a person mouthing
words that s/he didnt speak in the original footage. (Chaume,
ibid.)
VLC + Audacity + Avidemux / MKVToolnix Opcin recomendada

 Colaborativa: trabajo en equipo, traductores realizan

diferentes papeles en el ciclo de produccin, que
trabajan en equipo, que respetan los flujos de trabajo y
las directrices y convenciones profesionales
Global: trabajo por Internet, raramente cara a cara
Tecnolgica: tanto para ganar tiempo y producir ms
rpido como para asegurar la consistencia y la
coherencia
Customizada/localizada Per??

RESUMEN: LA TAV HOY EN DA

Memorias de una geisha, Color, ao 2005. No recomendada para menores de 13 aos

(descripcin de planos generales)
00:00:12
Columbia Pictures, Dreamwork pictures y Spyglass entertainment presentan
00:00:19
Una produccin de Amblin entertainment y red wagon entertainment
00:00:26
En un encapotado cielo gris, las nubes pasan a toda velocidad.
00:00:31
Las olas se agitan en un mar del mismo color que el cielo.
00/00/38
En la playa hay pescadores que recogen su labor.
00:00:41/
Memorias de una Geisha

Preguntas?

SESIN 3:
Las convenciones de la traduccin para el
doblaje
Takes o loops (aneis, anelli, boucles)
Smbolos del doblaje (dubbing props)
Ajuste: tipos (lip-sync)
Naturalidad de los dilogos

Ejercicio prctico

Formato de takes en Italia (anelli)

Cuore dAfrica 5 Ep. 4
____________________________________________________________________________
00:35
106
ALICE
FC) Conter fino a tre. / (IC) Danny! / (DS) Sei pronto?
DANNY
(da CL) Scusa s, pronto.
ALICE
Okay? / (da FC) Uno / due / tre!
CHARLOTTE
(da FC) Corri, Ngozi, corri! (FIN. FC)
DANNY
(01:09) (FC) Fila dentro. / (IC) (fiato)
____________________________________________________________________________
01:13
107
ALICE
(da FC) Allora (fiato) che ne pensi?
DANNY
(da FC) Comincia a funzionare
CHARLOTTE
Possiamo liberarlo adesso?
ALICE
No, se non torna il proprietario.
CHARLOTTE
E allora che facciamo?
ALICE
Aah, potresti andare dai fornitori con Danny, va bene? (FIN. FC)
DANNY
No lei non pu. / (FC) Ci vado con Dup.
ALICE
(su muto) Ma, c spazio per tutti e tre no?
DANNY
(fiato) Forse unaltra volta. / (FC) Sai una cosa? / (IC) Ti porto
allasta degli animali la prossima settimana. (FIN. FC)
ALICE
(FC) (verso)
CHARLOTTE
(verso)
___________________________________________________________________________
01:43
108

Formato de takes en Argentina (loops)

Se entrega un documento de Word. Un software (SIMM, en Turner) le da este formato:
DUB [0 N 01:47:25:25>01:47:28:09] NARRADOR
El increble nacimiento de los octillizos.
DUB [0 N 01:47:28:05>01:47:29:28] EDUARDO
Silencio, por favor.
DUB[ 0 N 01:47:36:27>01:47:38:23] GERARDO
Te ves en un futuro como madre de alquiler?
DUB[0 N 01:47:39:03>01:47:43:13] PRESENTADOR
Debido a la atencin de los medios, Nadya ha instalado un sistema de seguridad avanzada y un
portn metlico.
DUB[0 N 01:47:43:19>01:47:52:02] NADYA
Me pongo muy nerviosa. Se ha vuelto peor ltimamente. Tengo que saber, asegurarme de que
estn cien por ciento a salvo en la casa por todo lo que ha estado sucediendo.
Se guarda el documento de Word como .TXT para el software que se usa en la cabina.

Respeto a la narrativa audiovisual

Scene changes (not shot changes)

Action breaks
Turning points
One character leaves or comes into scene
Audiovisual Punctuation Marks:
Flash backs, flash forwards
Iris, wipes, etc.

SMBOLOS DE DOBLAJE EN ESPAA

Varan en cada pas

(OFF) Voice Off, Out of Camera

(ON) On Screen, Field
(DE) The character shows his/her back to the camera
(DL) The character is far from the camera
(SB) The character is on screen, but we cant see his/her mouth
(G) Paralinguistic gestures
(A la vez) Two or more characters speak at a time
(P) (T) A character interrupts another character
(AMBIENTE) General shot pans - No dialogues in the script but a
translation is offered
(R) Laughter
(LL) (PL) The character cries or weeps
/ Short Pause (2-5)
// Long Pause (6-14)

SMBOLOS EN FRANCIA

Gestos sonoros con boca cerrada: (rac)

Con boca abierta (se transcriben): hum, mm,
hhh, ahh
ON / OFF se marcan solo en la bande rythmo
(rire)
(sanglot)
(ambiance)

SMBOLOS EN ITALIA

IC - in campo
FC - fuori campo
inIC, finIC - inizia/finisce campo
inFC, finFC - inizia/finisce fuori campo
SOVR - sovrapposto ovv. accavallato
/
- pausa fra due frasi
//
- pausa fra due scene
EFF - voce effet - tel. - altop.
SM - sul muto
VOCE - voce pensiero
Ant. - anticipato
DS
- di spalle
Orig. - come da originale
VERSO -(coughing, kissing, crying, whistling...)
FIATO -(sighing, huffing, puffing)
RIDE - proper laugh
RIS - risatina

LOS 3 TIPOS DE AJUSTE

Ajuste labial / phonetic or lip synchrony: only close-ups,
big/extreme close-ups and detailed shots (lips)
(p,b,m,f,v + open vowels: a, e, o)

Sincrona cinsica / kinesic synchrony or body movement

synchrony: translation has to be coherent with
movements
Isocrona / isochrony or synchrony between utterances
and pauses (German: texten; French: adapter)
clips

Anlisis de los planos de detalle: Pulp Fiction

(V.O.) Mia: Go make yourself a drink, and I'll be down in two
shakes of a lamb's tail
5 labiales: /m/ /f/ /b/ /v/ /m/
(V.D.E.) Mia: Srvete una copa y bajar en lo que tardas en
bebrtela
5 labiales: /b/ /p/ /b/ /b/ /b/
Prdida de la frase hecha, frente a respeto al ajuste

(V.S.E.) Mia: Srvete una copa y bajar antes de que cante un

gallo

 Faites comme chez vous, j'en ai pour deux

secondes, le temps d'un battement de cils
Pulp Fiction francs
Machen Sie sich was zu trinken. Ich bin
schneller bei Inhen als ein Lmmchen den
Schwanz wackelt
Pulp Fiction alemn
Preparati qualche cosa da bere, io verr
gi tra due secondi. Accomodati

 One minute they are havin' a Denver

omelette, next minute someone is stickin' a
gun in their face
Estn ah comindose una empanada y, de
repente, alguien les apunta al coco
Denver ingls
Denver espaol

Convenciones profesionales
Las convenciones profesionales del ajuste se respetarn en
la mayora de los casos: En primeros y primersmos planos y
en planos de detalle se realizar ajuste labial (lip-sync)
El grado de consecucin del ajuste ser mayor en los
planos de detalle primersimos planos primeros
planos
No necesariamente se emplearn las mismas consonantes
en lengua meta, sino una rotacin
Uso de tcnicas de traduccin de tipo creativo y obligar al
traductor a modificar o cambiar el significado del texto
origen

Ejercicios
Sincrona cinsica

Ejemplo: The Nanny (06:10) 1x 20 Ode to Barbra

The Nanny espaol latino

Isocrona

Denver omelette

Sincrona labial o ajuste labial

Pulp Fiction

NATURALIDAD
Doblajitis
The creation of a convincing script, ideally meeting all the
demands of the different types of synchrony, yet still creating
the illusion of original dialog.
Unlabored dialogs, avoiding artificiality
But never real oral speech, it must comply with the standard
norms (phonetics, morphology, syntax):
written
spoken
____________________________X__________+
Translation routines: Pavesi, Baos, Marz, Chaume, Prats,
Romero, Bruti, Freddi, Matamala, Izard, Santamaria, Kozloff,
Quaglio, Valden, Valentini...

SESIN 4:
Problemas de la traduccin para el doblaje
Ttulos de pelculas
Referentes culturales
Filmes multilinges
Canciones
Ejercicios prcticos

LA TRADUCCIN
DE TTULOS DE PELCULAS
Tcnicas de traduccin en doblaje

Opciones tcnicas en el caso del doblaje

Recording the target title with a voice off
Subtitling the original title
Editing and inserting a new title
Keeping the original title (No translation )

TRANSLATING FILM TITLES (II)

Cmo se traduce un ttulo?

The client decides according to economic
reasons (distributor, catchy titles, same title
in remakes and retranslations)
Option 1: The film has been previously
broadcast same title (imdb)
Option 2: A premiere: creative strategies,
short titles, direct language, thrilling, epic,
romance... connotations translators
offer 3 alternatives

TRANSLATING FILM TITLES (II)

Cmo se traduce un ttulo?
Translation Techniques (Spain):

direct translation: Home Alone / Solo en Casa / Mi pobre

angelito
partial translation: Lorenzos Oil / Un milagro para Lorenzo
catchy new translation: The Frighteners / Agrrame esos
fantasmas/ Muertos de miedo
no translation: Pulp Fiction
no translation + catchy explicitation: Snatch
reformulation: Johnny English Reborn/ Johnny English
Returns

 Find the title of the following movies in your language :

Some Like it Hot, Bend of the River, Blacula, On Connat la
Chanson, Gazon Maudit, Gegen die Wand, Sostiene Pereira,
La Ciociara, Tacones Lejanos
akas.imdb.com / spanish.imdb.com / german.imdb.com /

italian.imdb.com / french.imdb.com /
__________________________________

Ejercicio

TRANSLATING
MULTILINGUAL FILMS
Dubbing and Subtitling Techniques

DUBBING
Strategy

Directionality

Technique
Subtitling

To mark
dialogues
in L3

Self-translation
L3 L2

Liaison
interpreting
Voice-over *

Not to mark
dialogues in
L3

L3

No-translation

L3 L2

Dubbing

Entre la extranjerizacin y la familiarizacin

Domestication

Selftranslation

Marked

Liaison
interpreting

Voice-over

Foreignisation

Subtitling

No-translation

Exercise: Multilingual Movies and Translation

______________________________________

1. Find a clip of a multilingual film

2. Find the dubbing and/or subtitling versions of the clip into
Spanish
3. Identify the translation modes and the translation
strategies and techniques used
4. According to your findings identify the possible method of
translation

Cultural references in dubbing

Translation Techniques

CULTURAL REFERENCES:
TRANSLATION TECHNIQUES IN DUBBING

No translation or orthographic adaptation (Halloween)

Minimum change or literal translation (Thanksgiving)
Explicative translation: explicitation of semantic or pragmatic meaning
(haggis Scottish black pudding)
Cultural adaptation:
Limited universalization, i.e., substitution of cultural ref. for another one
belonging to the same culture, but accessible for the target audience
(music groups)
Absolute universalization, i.e. substitution of cultural ref. for another
neutral one, not culture-bound, or for its meaning
Cultural substitution o naturalization -substitution for a reference
belonging to the target culture (cartoons, teen pics).
Deletion
Autonomous or creative translation: adding a reference not present in the
source text (compensation)

Entre la extranjerizacin y la familiarizacin

Domestication

New creation/ Deletion

compensation

Foreignisation

Cultural Adapt. Explicative

Translation

Literal
Trans.

No
Trans.

Exercise: Cultural references and AVT

______________________________________

1. Find several clips containing cultural references or a

film/TV series episode containing various cultural
references
2. Find the dubbing and/or subtitling versions of the
clips into Spanish
3. Identify the translation techniques used

Translating songs
Translation Techniques

The four rhythms

Songs in films or cartoons usually require
an adaptation in the translation that Exercise: Translate the Ghostbusters song
matches the pace of the music in
Theres something strange
accordance with the four poetic rhythms
in the neighborhood
of classical rhetoric:
Who you gonna call?
rhythm of quantity or number of
syllables
rhythm of intensity or accentual
distribution
rhythm of tone
rhythm of timbre or rhyme

Ghostbusters!

Theres something weird

and it dont look good.
Who you gonna call?
Ghostbusters!

Aint afraid of no ghost.

Aint afraid of no ghost.

Present trends
Some dubbing countries are reluctant to translate songs and generally leave
them in the original version
In some countries the norm has changed. Whereas previously songs tended to
be translated, nowadays they are subtitled in the dubbed version.
Translating songs is also related to the audiovisual genre. Commercials use
songs that are often subtitled in target languages, musicals are also often
subtitled, and songs in the opening sequences of cartoons are translated and
dubbed
And last but not least, the key factor in deciding whether a song should be
translated (dubbed or subtitled) or not is its function in the film. When the lyrics
refer to the plot, the song should be translated to give the target audience the
same access to the meaning of the lyrics as the original audience has. In the case
of plot-related songs, subtitling is now the preferred mode of translation. When
this is not the case, the song remains untranslated

Exercise: Dubbing songs

______________________________________

1. Find a clip containing a song. You can choose an old

film or a cartoon
2. Find the dubbing version of the clip into Spanish

3. Identify the four rythms of all verses in both the

original and the dubbed version

4. Mention which rythms have been kept in the

translation and which others havent

MUCHAS GRACIAS!!!!
Sulpy!!!!