Introduction to audiovidual translation by adriana serban

Introduction to Audiovisual Translation

Adriana Şerban

Centre for Translation Studies

University of Leeds

[email protected]

Leeds, 6 May 2004 Intro to Audiovisual Translation A. Serban

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Talk map

a few words about translation types of audiovisual (AV) translation AV translation and language policy main issues involved in subtitling text compression the technology


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Translation

approaches to translation: source versus target oriented linguistic, functional, cultural studies-oriented, cognitive,

philosophical examples of issues:

equivalence, e.g. formal versus dynamic strategies to be adopted, e.g. domesticating versus

foreignising textual features such as deixis, presupposition, lexical

choice, modality, politeness markers ideology


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Translation (cont’d)

audience design translation and publication patterns in the world translation and (post) colonialism translation and gender universals of translation


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Types of audiovisual translation

Inter-lingual translation subtitling dubbing voice-over

Intra-lingual (monolingual) subtitling for the hard-of-hearing and the deaf

Audio description for the blind Live subtitling (e.g. news broadcasts) Subtitling for opera and the theatre


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Subtitling, dubbing, or voice-over?

Subtitling advantages: not expensive, does not take a very long time,

original soundtrack is preserved, may have a role in language learning, is better for the

hard-of-hearing and the deaf and for immigrants and tourists

disadvantages: ‘contaminates’ the image, greater loss of information due to compression, the attention of the audience is split between

image, soundtrack, and subtitles

Note: oral text written text


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Dubbing advantages: does not distract attention from image, is

better for children and for people with poor reading skills, less reduction of the original dialogue compared to subtitling

disadvantages: expensive, takes more time, loss of the original soundtrack, the voices of dubbing actors can become repetitive after a while

Note: oral text oral text


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Voice-over advantages: not expensive, does not take a long time to

make, may be appropriate to some audio-visual genres (such as documentaries, particularly when it comes to translating the narrator’s part)

disadvantages: it ‘contaminates’ the original soundtrack, if used in genres such as feature films it may create confusion as to who is speaking


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Subtitling for the hard-of-hearing

indicate relevant noises in your subtitles (music, phone or doorbell ringing, footsteps, shouting). Otherwise, scenes may become incomprehensible

make it easier to understand who is speaking (especially if off-screen): use colour codes and/or change the position of the subtitles

avoid paraphrase; use as many of the ST words as possible (unlike in interlingual subtitling!)

take into consideration the issue of reading speeds


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Audio description for the blind

the ‘usual’ soundtrack is not enough to understand what is going on in the programme

but why does someone blind need to ‘watch’ TV? Can’t they listen to the radio instead? Issues of social integration and access to information

different views on how to best do audio-descriptions the skills of an audio-describer


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AV translation and language policy

the right of linguistic and/or ethnic minorities to have access to audio-visual programmes in their own language;

the role of nationalism in decisions with respect to form of audio-visual translation;

the right of the hard-of-hearing and the deaf to have access to audio-visual programmes;

the role of screen translation in language acquisition.


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Subtitling


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Main issues involved in subtitling

linguistic, cultural, and cognitive issues involved in subtitling

spoken versus written language the audience time/space constraints in subtitling text

compression


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Linguistic issues involved in subtitling

transfer from spoken to written text cohesion swear words and slang dialects and accents broken language use of several languages in the audio-visual

programme etc


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Cultural issues

cultural references intertextuality cross-cultural politeness humour etc


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Cognitive issues

reading speed efficiency (processing ease), effectiveness (processing

depth) and appropriacy (correlation between text, current occasion, and receivers).

considerations of relevance (see Sperber and Wilson 1986)

Note: the importance, for the audience, of experiencing

the audio-visual programme in a holistic way


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Time/space constraints Text compression

Constraints time constraints: a minimum of 1.5 to 2 seconds

display per chunk of subtitles, and a maximum display of 6.5 to 7 seconds

space constraints: not more than two lines per screen, and not more than 34-37 characters/line

rhythm cuts


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Text compression (cont’d)

Text compression the original may need to be reduced with as much as

1/3 (e.g. fast speakers, several people speaking at the same time, programmes where it is felt that the audience should be left to focus on the image)

involves reformulation, summarisation, adaptation simplification of syntax

So, how do you decide what to leave out? Examples: false starts, interjections, (some) repetitions,(some) interpersonal markers


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Text compression (cont’d)

considerations of relevance the importance of having a strategy

TIME FOR AN EXERCISE!


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Child audiences what is a child audience? books versus audiovisual programmes prevalent ideas about childhood adults creating programmes for children the role of programmes for children controversies and censorship parents will often watch with children, hence there

are two very different audiences at the same time. So, frequently, there is double-coding

dubbing is preferred


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The technology

analogue technology digital subtitling software


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THANK YOU!

Introduction to audiovidual translation by adriana serban

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