An Introduction of

Translation for the

Cinema
Gonzalo Constenla Bergueiro
Universidade de Vigo
07/12/2014

An Introduction of Translation
for the Cinema
1. A Brief History of Translation for the
Cinema.
2. The Subordinate Character of Film
Translation
3. The Process for Dubbing and
Subtitling Films
4. Some Important Aspects to Take into
Account when Translating a Film
07/12/2014

1. A Brief History of Translation for

the Cinema

1.1 The Use of Language in Silent

Films
1.2 The Arrival of Sound
1.3 The Resistance to Change
1.4 The First Translations for the
Cinema: A Brief History of Dubbing

07/12/2014

1.1 The Use of Language

in Silent Films

Intertitles
1908 onwards: Julius Caesar
The Lodger (1926) by Hitchcock
Highlighted intertitles:
Potemkim Battleship (Eisenstein):
Drama!, Brothers!, Fire!
Translation of Intertitles: written/oral

07/12/2014

1.2 The Arrival of Sound

Der Grne Wald (Oscar Messter, 1910)

The Jazz Singer (Alan Crosland,
1927):part-talkie: dialogues + soundtrack
+ intertitles
The Lights of New York ( Warner Bross,
1928): first talkie
Steamboat Willie (Walt Disney, 1929): first
cartoon talkie
The combination between image and
sound is an impossible dream (Einsestein)

07/12/2014

1.3 The Resistance to Change

Economic and psychological problems

Exaggerated expressionism in silent films
Arrival of dialogues: change into diction and
declamation
Some actors: problems with verbal expression
Foreign actors: reluctant to change
Greta Garbo: A Woman of Affairs (1928), Anna
Christie (1930), Sapho (1931), Mata Hari (1932)
Charlie Chaplin: Lights of the City (1931),
Modern Times (1936). The Great Dictator
(1940)

07/12/2014

1.4 The Arrival of Languages:

Contradictions and paradoxes

On the one hand:

Internationalization
Getting

to know internal cultural and

linguistic differences

On the other:
A

barrier to universality
Darkening of universal and national cultural
and linguistic diversity
Exclusion of peripheral identities
07/12/2014

1.5 The First Translations for the

Cinema.
First sound films: exported in the English
version
Use of English as universal cinema
language
Reaction>>>Subtitled versions
1929: First dubbed versions
October, 1929: Rio Rita
First dubbed versions: poor quality
Alternative solution: multilingual versions
07/12/2014

1.3 The First Translations for the

Cinema.

First multilingual versions:

Atlantic (1929), The Hate Ship (1930)
Blaze of Glory (1930): Sombras de
gloria (Sono Art-Worlwide)
Idiot cards
Polyglot films
Dunning method

07/12/2014

1.3 The First Translations for the

Cinema.

Failure of multilingual versions:

lack of quality, management
disorganisation and lack of profit
From 1930: Dubbed versions again
newly

improved techniques
Sound Track: different tracks:
sound
07/12/2014

effects, original dialogues,

translated dialogues, music, etc

10

1.3 The First Translations for the

Cinema.

Joinville Studios (Los Angeles)

Joinville-Le Pont (Paris):
1930:

Derelict (Desamparados)
1931: Devil on the Deep (Entre la espada y la
pared)

07/12/2014

1932: Barcelona
1933: Madrid
From 30s and 40s onwards: national
dubbing, mainly due to political reasons.
A way of preventing foreign influence and
allow censorship and manipulation

11

1.3 The First Translations for the

Cinema.

23rd April, 1941: Spanish Law on

Dubbing
No

sex, no bad words, no criticism against

religion, fascism, etc
Films in a foreign/national language banned:
manipulation and censorship of dialogues:
Mogambo:

adultery becomes incest

Casablanca: Rick no longer a supporter of the
Spanish Republican Army.

1978: Censorship abolished

07/12/2014

12

1.3 The First Translations for the

Cinema.

Nowadays: dubbing versus

subtitling:
Dubbing (mainly)
Spain,

Germany, Italy, France

Subtitling:
Holland,

Belgium, Sweden, Norway,

Denmark, Greece, Portugal, etc (except
children products which are dubbed)

07/12/2014

13

2. The Subordinate Character of

Film Translation

2.1 Subordinate translations and

the concept of synchrony
2.2 The Different Types of
Synchrony in Dubbing
2.2.1

Content Synchrony
2.2.2 Visual/ Optical Synchrony
2.2.3 Audio/ Accoustic Synchrony
07/12/2014

14

2.1 Subordinate Translations and the

Concept of Synchrony

Non subordinate translation:

Only

written code
Literary and non literary written prose

Subordinate translation:
two

or more codes involved

Publicity, comic, songs, poetry, theatre,
films...
Common characteristic: synchrony
07/12/2014
TextSubordinated to other codes

15

2.2 Synchronies:
3 steps in the process of dubbing

1) Content synchrony (Translator):

Cultural

variations
Accents and dialects
Idiomatic expressions
Presence of different languages
Songs
Graphic elements
Subtitles or voices in OFF
07/12/2014

16

2.2 Synchronies:
3 steps in the process of dubbing

2) Visual-optical Synchronies (adaptor):

Phonetics/

Lip synchrony:

Bilabial

/p/, /b/, /m/

Labiodental /f/ /v/
Open vowels /e/ /a:/ /o/
Syllable

utterance synchrony (Isochrony):

Stress-pattern

rythm
Weakening of unstressed vowels: lips dont move
Utterance-length

synchrony
Gesture and facial expression synchrony: Kinetic
07/12/2014synchrony: body language
17

2.2 Synchronies. 3 steps in

the process of dubbing

3) Audio-Acoustics Synchronies (translator,

adaptor, director and dubbing actors):
Cultural

variations
Accents and dialects
Idiosyncratic vocal type
Paralinguistic elements (tone, timbre, pitch of
voice)
Prosody (intonation, melody and tempo)
07/12/2014

18

3.1 The Process

for Dubbing Films

A) Transcription
Transcribe,

check with tape , mark times,

divide into takes, mark mouth movements
and non-verbal expressions.

B) Translation
Contrast tape and text, write rough translations
C) Adaptation
Check lip synchrony and adapt translation
D) Correction

07/12/2014

19

3.1 The Process

for Subtitling Films

07/12/2014

A) Spotting
B) Translation
C) Adaptation
D) Simulation
E) Printing

20

4. Some Important Aspects to Take

into Account When Translating a
Film

4.1 Intercultural Transpositions

4.2 Humour, Puns, Idiomatic
Expressions, Amphibology
4.3. Film Title Translation
4.4 Some Basic Norms of Translation for
Dubbing
4.5 Some Basic Norms of Translation for
Subtitling

07/12/2014

21

4. Some Important Aspects to

Take into Account When
Translating a Film

4.1 Intercultural Transpositions:

Sometimes,

omit
Sometimes, transform and adapt:
WOODY

ALLENS CRIME AND MISDEMEANORS

...and he will read your Miranda rights.
... E ler-che os teu direitos.
... und wird er Ihnen Ihre Rechte vorlesen.

07/12/2014

lawyer for the ACLU

Unha advogada moi progresista
Eine Brgerrechtsanwltin

22

4. Some Important Aspects to Take

into Account When Translating a
Film

Intercultural Transpositions:
I

love him like a brother. David Greenglass

Quero-o como un irmao. Como Cain a Abel
Ich liebe ihn wie einen Bruder. Wie Kain und
Abel
May,

we are having a seder

May, o xantar de Pscoa
May, wir haben einen Seder
07/12/2014

23

4. Some Important Aspects to

Take into Account When
Translating a Film
Christ,

I sound like an FM radio

Meu Deus, falo coma un doutor
Klingt ja wie das dritte Programm!
Trick

or Treat?
A bolsa ou a vida?

07/12/2014

24

4. Some Important Aspects to Take

into Account When Translating a Film

4.2 Humour,puns,idiomatic expressions, amphibology:

An

ounce of pretension is worth a pound of manure

(from an ounce of prevention is worth a pound of cure)
Angeben ist seliger als Scheisse verteilen
Jam

them! (In Space Balls, M.Brooks, to the enemies)

Bloquear a esos pringados
-No, Ive got my sweater on
07/12/2014
-Banda azul? -Non, non me acae ao xersei.
-Draught?

25

4. Some Important Aspects to Take

into Account When Translating a Film

4.2 Humour, puns, idiomatic expressions and

amphibology:
A

seal, seal (They want to sign a contract)

Dobbiamo foccalizare
-Nancy

Beth was caught in a motel with a high political

office -They were both high
Nancy Beth ist in einem Motel mit einem Mitglied der
High Society erwischt worden -Sie waren beide high
07/12/2014

26

4. Some Important Aspects to Take

into Account When Translating a Film

4.2 Humour, puns, idiomatic expressions and

amphibology:
Life of Brian (Monthy Python)
The crowd: The Messiah! Show us the Messiah!
Mandy: The who?
The crowd: The Messiah
Mandy: Huh, theres no Messiah in here. Theres a
mess, all right, but no Messiah
SDV: Aqu no hay ningn mesi. Lo que hay es
demasi personal (There is no monsieur in here.There
07/12/2014
27
are too many people)

4. Some Important Aspects to Take

into Account When Translating a Film

4.3 FILM TITLE TRANSLATION:

Orphans
Un

anxo cado: A Fallen Angel

Friends
Algo

mis ca amigos: Friends and something else

Some Like it Hot

Con

saias e a rachar: Fooling around in skirts

Manche mgen heiss

Paris, Texas
Paris,

07/12/2014

Texas
28

4. Some Important Aspects to Take

into Account When Translating a Film

World of Henry Orient

O

irresistbel H. O. : The Irrisistible H. O.

The Hawaians
Os

indomebeis: The Untamed

Bound for Glory

Esta

terra a mia terra: This Land is My Land

Man Who Loved Women

Os

meus problemas coas mulleres. My problems with

women

One Flew over the Cuckoos Nest

Einer

07/12/2014

flog ber das Kuckucksnest

29

4. Some Important Aspects to Take

into Account When Translating a Film

4.4 Some Basic Norms of Translation for

Dubbing:
4.4.1

Linguistic Standardisation

Spoken

language (gonna, wanna..): left out

Social differences (lexical level): kept
Dialectical language use (accents): left out
Idiolects: left out
4.4.2

Naturalisation

Socio-cultural
07/12/2014

adaptations: measures...
Visual synchrony (signs, notices...)

30

4. Some Important Aspects to Take

into Account When Translating a Film

4.4 Some Basic Norms of Translation for

Dubbing:
4.4.3

Explicitness (-redundancy +internal

coherence)
equivocal

or vague expressions
logical links
internal references
textual explicitness of images
07/12/2014

31

4. Some Important Aspects to Take

into Account When Translating a Film

4.4 Some Basic Norms of Translation for

Dubbing:
4.4.4

Secondary (but also basic) Norms:

Respect

grammar
Keep characteristics
Standard language: simple dialogues,
common language, no technical or difficult
words
07/12/2014

32

4.5 Some Basic Norms of Translating

for Subtitling

07/12/2014

Each country: own rules,

sometimes opposed ones
Need of a unified framework,
at least within the EU
Proposal of a unifying
formula by Fotios
Karamitroglou (ESIST)
33

4.5 Some Basic Norms of Translation

for Subtitling

Layout:
Positioned

at the lower part of the screen

Maximum of two lines at a time
Presented centred on its allocated line(s) except
double text (dialogue turns initiated by
dashes): aligned to the left side of the screen
Around 35 characters per line
Typefaces without serifs preferable
Proportional distribution rather than Monospace
Font colour: pale white against a fixed grey
background (ghost-box)

07/12/2014

34

4.5 Some Basic Norms of Translation

for Subtitling

Temporal parameter / duration:

Duration

on screen: 2 lines: 6 sec; 1 line: 3 1/2

sec; single word: 1 1/2 sec
Leading-in time: 1/4 sec after initiation of utterance
Lagging-out time: No more than 2 sec
Between 2 consecutive subtitles: 1/4 sec

Punctuation and letter case:

Sequence

dots (ending triple dots ...): right after

the last character of a subtitle if the sentence is not
finished and continues over the next subtitle

07/12/2014

35

4.5 Some Basic Norms of Translation

for Subtitling
Linking

dots (starting triple dots ...): right before the

first character of a subtitle when it carries the
follow-up text of the previous uncompleted words
Full stop (.): To indicate end of subtitled sentence
Dash (-): Before first character of each of the lines
of a two-lined subtitle to indicate dialogue
Hyphen (-): To link words; no space in between
Question and exclamation marks: To indicate
question(?) or emphasis(!), no space in between
Parentheses ( ) and brackets [ : to embrace
explanatory comments to the preceding phrase
Single quotation marks ( ) : alleged information
07/12/2014
36

4.5 Some Basic Norms of Translation

for Subtitling
Double

quotation marks ( ) : quoted information

Coma(,), colon(:), semicolon(;): short pause
Italics: off-screen dialogue+foreign words/phrases
Question marks embracing text in italics: public
broadcast (TV, radio, loudspeaker, song lyrics)
Upper- and lower-case letters: as in printed
materials. Displays or captions only in upper-case
Boldface and underline: not allowed
Parentheses,

brackets, single and double quotation

marks, commas, colons and semicolons should be
used cautiously and not as wild cards
07/12/2014
37

4.5 Some Basic Norms of Translation

for Subtitling

Text editing:
Its

better to divide a long single-line subtitle into two

Each subtitle flash should contain one complete
sentence. If not possible, the segmentation should
coincide with the highest syntactic node possible
The upper line and lower line of a two-line subtitle
should be as equal in length as possible
Each spoken utterance should ideally correspond to a
subtitled sentence
No more than two sentences on the same subtitle
Items which can be omitted:
07/12/2014

padding expressions (you know, well, as I said...)38

4.5 Some Basic Norms of Translation

for Subtitling
Tautological

cumulative adjectives/adverbs:
great big> huge; teeny weeny>tiny
Responsive expressions: (yes, no, ok, please,
thank you, thanks, sorry...)
Choose
Active

shorter and easier syntactic structures:

instead of passive constructions

Positive instead of negative expressions
Prepositional phrases instead of subordinate clauses
Modified nouns instead of referring relative clauses
Gapping instead of double verb insertions
Direct questions instead of pragmatic requests
Direct imperative sentences instead of pragmatic
07/12/2014
39
requests

4.5 Some Basic Norms of Translation

for Subtitling
Acronyms:

only when perfectly recognisable (NATO,

USA, UE...)
Apostrophes: for contracted forms of verbs
Numerals: only for numbers over twelve. Never in
numeric expressions *1000s of time, *the 2 of us...
Symbols: only common and easily recognisable ones
Dialects (regional or social): not rendered into TL
Taboo words: should not be censored
Songs and poems: rhyme or, at least, some kind of
rhythm should be kept
07/12/2014

40

4.5 Some Basic Norms of Translation

for Subtitling
Cultural-specific

linguistic elements: No standard

guideline. Five possible alternatives. Example: It was
like Buckingham
>Transfer: It was like (Versailles, La Zarzuela....)
>Transposition: It was like Buckingham
>Transposition with explanation: It was like
Buckingham, The Queen of Englands palace
Neutralisation: It was like a palace / a castle
Omission: not possible here
The

choice will depend on the target culture as well as

on the contextual situation

07/12/2014

41