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Audiovisual Translation ( Introduction)

Audiovisual Translation ( Introduction). What does it mean?. Translation. approaches to translation: source versus target oriented linguistic, functional, cultural studies-oriented, cognitive, philosophical examples of issues: equivalence, e.g. formal versus dynamic

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Audiovisual Translation ( Introduction)

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  1. Audiovisual Translation(Introduction)

  2. What does it mean?

  3. 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

  4. Translation (cont’d) • audience design • translation and publication patterns in the world • translation and (post) colonialism • translation and gender • universals of translation

  5. 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

  6. Subtitling, dubbing, orvoice-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

  7. Subtitling, dubbing, orvoice-over? 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

  8. Subtitling, dubbing, orvoice-over? 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

  9. 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

  10. 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

  11. 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.

  12. Subtitling Intro to Audiovisual Translation A. Serban

  13. 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

  14. 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

  15. Cultural issues • cultural references • intertextuality • cross-cultural politeness • humour • etc

  16. 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

  17. 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

  18. 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

  19. 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

  20. Voice-overandAudioDubbing Whatyouneedtoknow •Contextofthevideo:itisveryimportantthattheclientspecifiesthecontextinwhichthevideowillbeusedand itstargetaudiencesinorderforustoselecttheappropriatetranslatorsandvoicetalents. •Receivingthescriptsandtranslating:Oncewereceivethescriptsorhavetranscribedthevideoourselves, weproceedwithtranslation+revisionbyasecondindependenttranslatorandsendforclient’sapproval. •AdequateVoiceTalents:Oncethetranslationiscompleted,weproceedwiththerecordingofthevoices.Inboth cases,fordubbingandvoice-overs,theclientcanchoosethetypeofvoicethatshouldbeusedinthevideos(maleor female,youngerorolder,children,softandtendervoice,accent,etc.).Wecanalsoproposetotrymatchingthetonalityof theEnglishvoice(orwhicheverlanguagethesourcevideoisin). •Goodtoknow!Wewillsendtheclientsamplesofvoicetalents,usuallyachoiceofthreeforeveryvoiceinthevideo/audio,andashort descriptiontowhythosevoicesselectedaregoodandsuitable. •Islipsyncingrequired?Doweneedtomakesurethatwematchthelipmovementonscreenwiththevoice? •Inmostcases,ourclientssettleforsyncingonthesentencelevel(phrase-syncdubbing)as100%lipsyncisveryexpensiveanditalso requiresalotofstudiotimetogetitright.Usuallytheaimisjusttomatchthevisualsortalkingheads. @conversis_uk

  21. Voice-overandAudioDubbing Whatyouneedtoknow •Checkingthesourcescript:Wealwayscheckwiththeclientifwehavedoubtsaboutanytermsthatmightbe problematictopronounce(especiallyEnglishwordsthatarenottranslated)andweclarifythepronunciationofbrand namesbothwiththeclientandwiththevoicetalent. •Forambiguousterms/possibleissuesaroundpronunciation,acallinvolvingthevoiceartist,soundengineerandthepersonresponsible forapprovingthevideomighthelp. •Duringtherecordingsession:Wealwaysrecommendthatalinguisticdirector(whoideallywouldhavealso donethetranslation)ispresentattherecording,ashe/sheiscapableofdirectingthevoicetalentandsoundengineeron toneofvoice,accent,pronunciation,etc.,basedonthebriefreceivedfromtheclient.Theclientcanalsobepresentatthe recordingsessionorcallthestudioandlistentotherecordinglivetomakesuggestions. @conversis_uk

  22. Voice-overandAudioDubbing Whatyouneedtoknow •UsageFee?Weneedtoconsiderwhattheusageoftherecordingwillbe.Ifitisforrestrictedonlineusethenthere arenousagefees.IfitwillbeinpublicuseonlineorviaTVorotherpublicbroadcastthenausagefeeistypicallycharged. •Qualitychecks:Forvoice-over/dubbingitisveryimportantthatthetranslationofthescriptisapprovedbytheclient priortotherecordingsession.Anymattersonpronunciation(brand,productnames,etc.)willalsoneedtobeclarified.This isimportantashavingtoreorganiseasessionwillbeexpensive,includingadditionalstudioandtalentfees.Thereforewe alwaysrecommendthattheclientdials-inorattendstherecordingsession.Foranyuncertaintieswecanalwaysproduce additionaltakesfortheclienttoselectfrombutre-recordingwillalwaysaddtime/coststotheproject. @conversis_uk

  23. Voice-overandAudioDubbing Whatyouneedtoknow •Chargesinvolvingvoice-oversanddubbing: •TranslationandRevisionofthescripts/transcription(ifrequired) •Voicetalent •StudioFacilities:Studiotimerequiredtoprepareforrecording,record,editandmixinordertocreatethefinal files •Voice-overDirector •ProjectManagement @conversis_uk

  24. Mendayung sampan ketepianBersamaKekasih....

  25. SekiandanTerimakasih

  26. Terimakasih…..Untuk mahasiswa/i yang tidak ngantuk dan tetap konsentrasi Mengikuti Perkuliahan.Sampai berjumpa minggu depan …….. (Dalam perkuliahan dan dosen yang sama)

  27. Terimakasih • http://process.spoken-tutorial.org/index.php/Dubbing_Stages

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