This study deals with the translation for subtitling and dubbing of a type of Italian expression called contronomi traditionally used by members of the Neapolitan mafia. We have focused on this ...special kind of nickname used in the Italian series Gomorra to identify and describe the techniques employed in the translation of these meaningful linguistic cultural elements found in the series into English and Spanish. A contrastive analysis of the source text in the Neapolitan dialect and the subtitled version in English and the dubbed version in Spanish of the first season has been carried out. Through this analysis, conclusions could be drawn about the translation tendency regarding the handling of a cultural aspect of the Neapolitan series: the contronomi of the main and secondary characters of this audiovisual product in the two target languages and cultures.
Aquest estudi tracta de la traducció per a subtitulació i doblatge d'un tipus d'expressió italiana anomenada contronomi tradicionalment utilitzada pels membres de la màfia napolitana. Ens hem centrat en aquest tipus especial de sobrenom que s'usa a la sèrie italiana Gomorra per identificar i descriure les tècniques emprades en la traducció d'aquests elements culturals lingüístics significatius que es troben a la sèrie a l'anglés i l'espanyol. S'ha dut a terme una anàlisi contrastiva del text d'origen en dialecte napolità i de la versió subtitulada en anglès i la versió doblada en castellà de la primera temporada. A través d'aquesta anàlisi, es podrien extreure conclusions sobre la tendència de la traducció respecte al maneig d'un aspecte cultural de la sèrie napolitana: els contronomi dels personatges principals i secundaris d'aquest producte audiovisual en les dues llengües i cultures objectiu.
Este estudio trata sobre la traducción para subtitulado y para doblaje de un tipo de expresiones italianas empleadas tradicionalmente por miembros de la mafia napolitana: los contronomi. Nos hemos centrado en este tipo especial de apodos usados en la serie de TV italiana Gomorra, con el fin de identificar y describir las técnicas de traducción que se han aplicado en la traducción al inglés y al español de estos elementos lingüísticos tan significativos hallados en la serie. Para ello, se ha llevado a cabo un análisis contrastivo del texto original en dialecto napolitano y la versión subtitulada en inglés y la doblada en español de la primera temporada. A través de este análisis ha sido posible extraer conclusiones con respecto a la tendencia traductora de los contronomi de los personajes principales y secundarios de este producto audiovisual en las dos culturas meta.
Objectivity is a constant recommendation in audio description (AD) guidelines. However, some scholars have pointed to the advantages of a more subjective, creative, or narrative rendition. In this ...paper, we seek to determine to what extent subjectivity and objectivity coexist in Spanish filmic AD. In order to fulfil our aim, we operationalised objectivity by means of multimodal analysis based on Chaume’s (2004) classification of meaning codes. To operationalise objectivity through multimodality, we employed a qualitative content analysis and examined whether visual and acoustic information was rendered objectively or subjectively in a corpus of four Spanish AD scripts from Netflix. Our results show, firstly, that objectivity and subjectivity interact in the mobility, iconographic, and editing codes. Moreover, dissimilarities arise in the way these meaning codes are described in Spanish: movement is mainly described objectively, whereas iconography and editing are rendered either subjectively or objectively. In conclusion, we can state that neither is objectivity systematically applied in our AD scripts, nor is a purely narrative AD to be found, but rather a mixture of both coexists. Furthermore, this coexistence seems unequal, since different tendencies can be identified in the way that movement, editing, and iconography are described.
Lay summary
Audio description is an oral narration aimed at blind people that provides information about what is going on in an audiovisual product. The traditional view has been to inform objectively about the audio description contents, but some scholars support more subjective or creative alternatives. This papers seeks to observe whether audio description actually contains both subjective and objective elements. In order to find these elements, we used multimodality, a kind of analysis that shows how visual and acoustic information interact to create meaning. In this analysis we exposed instances of objective and subjective elements in a group of Spanish audio descriptions from Netflix. Our results show that there are objective and subjective elements when informing about movement, symbols, or spatio-temporal changes. However, these elements are not balanced, since movement is mainly described objectively, whereas symbols and spatio-temporal changes are described either subjectively or objectively. In conclusion, we can state that current audio description seems to be the result of a mixture of subjective and objective elements.
This article is a theoretical essay discussing the potential for the analysis of media accessibility contents and practices (AD, SDH, Sign Language Interpreting, etc.) through a queer feminist lens, ...which makes it possible to tackle the representation of diversity and non-normativity. Based on a literature review of previous works on the intersection of Queer and Feminist Studies, and Media Accessibility and Disability Studies, it shows the need for this approach based on the nature of media accessibility services, which primarily cater for people with disabilities, a historically excluded minority actively involved in the claim for socio-cultural space and representation.
It then proposes a method of work and analysis that combines queer and feminist translation strategies – a method, which is subsequently applied to commercial instances of audio description of diversity. The conclusions highlight the need to bring accessibility closer to contemporary concerns in research, i.e., gender, queer, feminist, and postcolonial issues. Some future lines of research are proposed, such as the expansion of this model of analysis to other accessibility services or the call for interlinguistic studies.
Lay summary
This article presents theoretical essay which describes the potential of the analysis of media accessibility, those services for the visually impaired and the Deaf, such as audio description, subtitling and Sign Language Interpreting, through a queer feminist lens able to tackle the representation of non-normative characters and narratives: racialised or queer individuals, for instance. Based on a literature review that gathers previous works on Queer and Feminist Studies, and Media Accessibility and Disability Studies, it shows the need for this approach based on the nature of media accessibility services, which target people with disabilities, a minority actively involved in the claim for socio-cultural representation.
It then proposes a method of work and analysis that combines queer and feminist translation strategies, which is subsequently applied to real excerpts of audio description of series. The conclusions highlight the need to bring accessibility closer to contemporary concerns in research, i.e. gender, queer, feminist, and postcolonial issues. Some future lines of research are proposed, such as the expansion of this model of analysis to other accessibility services or the call for studies combining different languages.
Abstract This article explores the intricate nature of lip synchrony in dubbing as an audiovisual translation mode, highlighting its significance beyond aesthetic considerations. Often overlooked ...during the translation process for dubbing, the mismatch between auditory and visual signals caused by unsynchronized lip movements can have a negative impact on speech perception. Moreover, with the constant rise of audiovisual content, achieving satisfactory lip synchrony remains a crucial challenge that demands attention. Although scholars such as Fodor (1976) and Chaume (2012) have recognized the importance of bilabial consonants in maintaining lip synchrony, there is a notable research gap specifically focusing on this aspect within the Lithuanian dubbed industry. To address this gap, this study investigates the lip synchrony of bilabial consonants in the Lithuanian dubbed version of the live-action film A Dog's Way Home (2019). By employing a comparative research approach that integrates qualitative and quantitative analyses, the study draws on theoretical perspectives presented by McGurk and MacDonald (1976), Fodor (1976), Chaume (2004, 2012), and Koverienė (2015). The analysis of the cinematographic shots reveals that only a small percentage (19%) of the bilabial phonemes in the source language utterances were visually prominent instances, and consequently chosen for detailed examination of lip synchrony. This finding suggests that strict adherence to lip synchrony may not be crucial in numerous instances, allowing translators to have greater flexibility in their approach. The target language utterances demonstrate a relatively high percentage (approximately 76%) of synchronous cases for bilabials, particularly in proper names and international words. However, the research also reveals additional 94 instances of bilabials in the target language that were not found in the source language utterances, leading to dischronemes. Therefore, audiovisual translators are urged to consider not only how to maintain the lip synchrony of bilabial consonants in the target language, but also how to avoid the emergence of new bilabials.
The paper details on the use of TED video-based material as a didactic tool in developing subtitling skills in university students. Focus is laid on the training of language specialists in ...audiovisual translation courses taught at G.E. Palade UMPhST of Targu Mures, with a triggered civic engagement by means of taking part in a community subtitling project while contributing to making “ideas worth spreading” accessible to viewership.
The current study investigates the subtitling strategies of sensitive language in Netflix’s Jinn and Al-Rawabi shows from Arabic into English. A corpus of Arabic sex-related expressions from the two ...shows subtitled into English are extracted. The typology of the sex-related examples is classified into four groups, namely verbal innuendo, clothing revealment, slang and vulgar words, and body part-related references. The study findings show that direct translation and cultural substitution are the most commonly adopted subtitling strategies in the shows. The findings also reveal that the subtitlers’use of generalization and omission may produce inadequate translation, loss of meaning, and ambiguity which can result in audience dissatisfaction. In addition, subtitlers refer to more than one strategy when two sex-related terms appear in the same sentence. Further research is recommended to explore audience perception and satisfaction of the prevailing subtitling strategies under the Netflix no-censorship policy, with particular emphasis onsensitive language.
•Subtitling sensitive language from Arabic into English is challenging due to socio-cultural and linguistic differences.•Despite using ST- and TT-oriented strategies, translation loss in subtitling sensitive language is unavoidable.•Research is needed to explore audience perception of prevailing subtitling strategies under Netflix's no-censorship policy.
Audiovisual translation techniques, such as audio description (AD), subtitling and dubbing, have a significant role in the overall television experience of people with visual or hearing impairments, ...illiterate or persons unfamiliar with foreign languages. These techniques are assured by qualified professionals using specific technical resources, resulting in expensive production processes. However, new models to support alternative and more affordable audiovisual translation techniques can be used in the current interactive television (iTV) ecosystem.
This paper aims to discuss two models to produce audiovisual translation (voluntary audio description and automatic reading of subtitles), which present the potential to increase the offer of TV contents adapted to the aforementioned persons.
An integrative literature review was carried out in order to identify and define the technical framework inherent to the proposed models. The main findings of the performed analysis show that the models have technical viability enabling its technical implementation.
Translation is characterized by its internal interdisciplinarity (Mayoral, 2001: 65), so the audiovisual translation process requires specific skills from the translator, such as: an extraordinary ...facility for the foreign languages used, a developed visual sense, an excellent understanding of the rhythm, both of films, as well as of reading, but also a special ability to condense and know how to exclude conversation from different sections that are not crucial for comprehension (Ivarsson and Carroll, 1998: 1). This study particularizes and defines all these competencies and abilities stated above, which audiovisual translators in Romania have or consider necessary. To define them, we conducted questionnaires and interviews addressed to both translators and employers in which they classified the most important from their point of view.
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