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Audiovisual Translation
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Table of Contents

Acknowledgements

How to use this book and DVD
The rationale of Audiovisual Translation: Dubbing
The structure of Audiovisual Translation: Dubbing
The Book
The DVD

1. Translation for dubbing
1.0 Preliminary discussion
1.1 Definition
1.2 Dubbing as a type of Audiovisual Translation
1.3 The global dubbing map
1.3.1 Europe
1.3.2 Asia
1.3.3 America
1.3.4 Africa
1.3.5 Oceania
1.4 History of dubbing
1.5 Quality standards
1.5.1 Acceptable lip-sync
1.5.2 Credible and realistic dialogue lines
1.5.3 Coherence between images and words
1.5.4 A loyal translation
1.5.5 Clear sound quality
1.5.6 Acting
1.6 Exercises


2. The professional environment
2.0 Preliminary discussion
2.1 The market
2.1.1 How to get a foot in the market
2.2 Rates and visibility
2.3 The dubbing process and professionals
2.3.1 The industrial process
2.3.2 The professionals
2.4 The translator's task
2.5 Globalization and localization
2.6 Training
2.7 Exercises


3. Text segmenting and dubbing symbols
3.0 Preliminary discussion
3.1 Dubbing vs. subtitling in the global world
3.2. Text segmentation: Takes or loops
3.2.1 Text segmentation in Spain
3.2.2 Text segmentation in France
3.2.3 Text segmentation in Germany
3.2.4 Text segmentation in Italy
3.2.5 Text segmentation in Poland
3.2.6 Text segmentation in Argentina
3.2.7 Text segmentation in the United States of America
3.3 Dubbing symbols
3.3.1 Dubbing symbols in Spain
3.3.2 Dubbing symbols in France
3.3.3 Dubbing symbols in Italy
3.3.4 Dubbing symbols in Germany
3.3.5 Dubbing symbols in Poland
3.4 Final remarks
3.5 Exercises


4. Synchronization or lip-sync: Read my lips
4.0 Preliminary discussion
4.1 Synchronization: A key factor in dubbing
4.1.1 Denomination
4.1.2 Definition
4.1.3 Types of synchronization
4.1.4 What synchronization is not
4.2 Kinesic synchrony
4.3 Isochrony
4.4 Lip-sync
4.5 Further discussion
4.5.1 Considerations on genres and text types
4.5.2 Considerations on language contact
4.5.3 Considerations on the translation brief
4.5.4 Considerations on the viewer
4.5.5 Factors relevant to synchronization
4.6 Exercises


5. The language of dubbing: A matter of compromise
5.0 Preliminary discussion
5.1 In search of oral discourse
5.1.1 A balance between planned and spontaneous speech
5.1.2 The notion of prefabricated orality
5.2 The language of dubbing: Linguistic and translation issues
5.3 An analytical model for the study of prefabricated orality
5.4 A usual case study: Calques
5.5 Exercises


6. The specific nature of AVT: Acoustic and visual dimensions
6.0 Preliminary discussion
6.1 The acoustic dimension
6.1.1 Translating paralinguistic features
6.1.2 Translating songs
6.1.3 Special effects and the soundtrack: Implications for translation
6.1.4 Off- and On-screen sound
6.2 The visual dimension
6.2.1 The language of images: Icons, indices and symbols
6.2.2 The style of images: Photography and colour
6.2.3 Types of shots and their incidence on translation operations
6.2.4 Body language: Proxemics, kinesics and mouth articulation
6.2.5 The language we watch: Text on screen
6.2.6 Editing: Implications for translation
6.3 Exercises


7. Translation Issues
7.0 Preliminary discussion
7.1 An initial look at original scripts
7.1.1 Dialogue lists
7.1.2 Dubbing bibles
7.2 Translating film titles
7.2.1 Why are film titles translated?
7.2.2 Retranslations and premieres
7.2.3 Translation techniques
7.3 Translating multilingual movies
7.4 Translating language variation
7.4.1 Style
7.4.2 Dialects (user-related language varieties)
7.4.2.1 Geographical dialects
7.4.2.2 Temporal dialects
7.4.2.3 Standard/non-standard dialects
7.4.2.4 Social dialects or jargons
7.4.2.5 Idiolects
7.4.3 Registers (use-related language varieties)
7.5 Translating cultural and intertextual references
7.5.1 Cultural references
7.5.2 Intertextual references
7.6 Translating humour
7.7 Translating ideology
7.7.1 Censorship
7.7.2 Normalization
7.7.3 Gender issues
7.7.4 Patronage
7.8 Exercises

8. Research in dubbing
8.0 Preliminary discussion
8.1 State of the art
8.2 A descriptive and semiotic model of analysis of dubbed texts
8.2.1 Rationale
8.2.2 AVT models of analysis
8.2.3 An integrated model of analysis
8.2.3.1 The external level of the model
8.2.3.2 The internal level of the model (I): General translation problems
8.2.3.3 The internal level of the model (II): Specific problems of AVT
8.3 Exercises

9. A glossary of terms used in dubbing and AVT

10. References
10.1 Bibliography
10.2 Filmography

Index

About the Author

Frederic Chaume is Professor of Audiovisual Translation at the Universitat Jaume I (Castello, Spain), and Honorary Professor at Imperial College London. He is author of Doblatge i subtitulacio per a la TV (Eumo, 2003), Cine y Traduccion (Catedra, 2004), and co-author of Teories Contemporanies de la Traduccio (Bromera, 2010). For the past 24 years he has also been working as a professional translator for TV stations, dubbing and subtitling companies, and film distributors and producers.

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