Proceedings - Translation Concepts

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MuTra 2006 – Audiovisual Translation Scenarios: Conference Proceedings Sabine Braun Paras, Melinda & Leyva, Obiel A. & Berthold, Tim & Otake, Raymond N. (2002): Videoconferencing medical interpretation. The results of clinical trials. Oakland: Health Access Foundation. http://health-access.org/videomedint.htm (accessed 17 October 2006). Poyatos, Fernando (ed.) (1997): Nonverbal communication and translation. Amsterdam: Benjamins. Riccardi, Alessandra (2000): Die Rolle des Dolmetschens in der globalisierten Gesellschaft. In Kalina, Sylvia & Buhl, Silke & Gerzymisch-Arbogast, Heidrun (eds), 75-89. Short, John & Williams, Ederyn & Christie, Bruce (1976): The social psychology of telecommunications. Chichester: Wiley & Sons. Wadensjö, Cecilia (1999): Telephone interpreting & the synchronisation of talk in social interaction. The Translator 5 (2), 247-264. Whittacker, Steve (1995): Rethinking video as a technology for interpersonal communication: theory and design implications. International Journal of Human-Computer Studies, 42, 501-529. 172
Pilar Orero (Barcelona) Contents EU-High-Level Scientific Conference Series MuTra 2006 – Audiovisual Translation Scenarios: Conference Proceedings Voice-over: A Case of Hyper-reality 1 Hyper-reality 2 Voice-over and its association to non-fiction genres 3 The different traits in portraying the feeling of reality 4 The delay effect 5 The voice which replaces the original voice 6 The accent of the voice 7 The visible translator 8 The format of the material 9 Conclusions 10 References Abstract “Le simulacre n'est jamais ce qui cache la verité C'est la verite qui cache qu'il n'y en pas... Le Simulacre est vrai.” (Baudrillard 1981: 1). Voice-over is an audiovisual translation modality usually associated with non-fiction genres (Kilborn 1993: 648, Díaz Cintas and Orero 2006: 477). This association has been established by taking into account two issues: that voice-over is the preferred translation modality for audiovisual genres, such as documentaries and news (Franco 2000: 235, Espasa 2004; David 2004), and that translation plays a role in the construction of reality (Franco 2001). Both issues will be discussed in this article, first by studying the concept of simulacrum and hyper-reality and second by looking at formal features of voice-over in translation regarding its non-fictional association, and asking how hyper-reality is achieved to create the feeling of a non-fictional product. 1 Hyper-reality The concepts of “hyper-reality” and “simulacrum” were introduced by McLuhan’s direct heir, the French sociologist Jean Baudrillard (Merrin 2001: 95, Barker 2006: 3). They are useful tools for both analysis and description in the field of Audiovisual Translation Studies because they can help in the understanding of the reception of audiovisual media and its translation in answer to the question of why voice-over is associated with the non-fictional genres and how the creation of reality is achieved. Simulacrum is not a new concept. It has been known in Western civilization from ancient times and has been studied in areas such as theology, philosophy and aesthetics in cultures which centered on the image and the power it portrays. William Merrin (2001: 88) describes this power: it “possesses a remarkable hold over the hearts and minds of humanity – as having the capacity to assume for us the force of that which it represents, threatening in the process the very distinction of original and image”. In Western societies this power, as Baudrillard (1998a: 34) wrote, has long been recognized as a threat to the real since we, through audiovisual media or any media such as books, photography, and the constructed image “live in denial of the real” and consume reality as a sign. With audiovisual media, the effect (McLuhan 1994: 41) is that of a vast process of simulation where coded significatory © Copyright 2006-2007 by MuTra 173
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Proceedings - Translation Concepts

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