Proceedings - Translation Concepts

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MuTra 2006 – Audiovisual Translation Scenarios: Conference Proceedings Eduard Bartoll The solutions we observed are the following: not to mark the use of a different language; to mark it by not translating it, to mark it by transcribing it, or to translate it. If we chose the last solution, we can use either normal letters or italics; and it seems advisable to use italics, since it is a way to show this special use, but not to translate all of the “special” words, since it could become difficult for the viewers to follow. A similar problem arises when dealing with more than two languages. As we have seen, most of the cases referred to here were not marked, leaving the audience unaware of the existence of different language levels. One possible solution could be the use of different colors, as we know is done in subtitling for the hard of hearing. Another possible solution, also taken from SDH could be the “note” within brackets, as in the Icelandic in Björk's songs, just to warn the audience that what they are hearing is not English, and that the non-appearance of the subtitles is not due to the translator's incompetence. Another question is the problem of the use of dialects or sociolects and even “invented” languages as well as speech impediments. Because of the special nature of subtitles, it seems advisable not to use misspellings. And maybe it would be advisable to use italics, when doing so. Again, another possible solution to these problems could be the addition of information in brackets, as in the Subtitles for the Hard of Hearing to warn the audience of something irregular in the language used. As already pointed out at the Conference Media for all, held at the Universitat Autònoma de Barcelona in June 2005, I really think we should reconsider the traditional gap between intralingual subtitles for the hard of hearing and subtitles for the hearing, and try to take advantage of the possibilities offered there to solve traditionally “difficult” problems. 5 References Bartoll, Eduard (2004): “Parameters for the classification of subtitles”. In Pilar Orero (ed.): Topics in Audiovisual Translation. Amsterdam/Philadelphia: John Benjamins. Chaume, Federic (2003): Doblatge i subtitulació per a TV. Vic: Eumo. Díaz Cintas, Jorge (2003): Teoría y práctica de la subtitulación. Inglés-Español. Barcelona: Ariel. Gottlieb, Henrik (1997): Subtitles, Translation & Idioms. Copenhagen: University of Copenhagen. Gottlieb, Henrik (2004): "Language-political implications of subtitling". In Pilar Orero (ed.): Topics in Audiovisual Translation. Amsterdam/Philadelphia: John Benjamins. Ivarsson, Jan & Carroll, Mary (1998): Subtitling. Simrisham: TransEdit HB. Tuma, Thomas (2003): “Die Sense stimuliert”. In Der Spiegel 38, p. 87 Films Costner, Kevin (1990): Dances with Wolves Cukor, George (1964): My Fair Lady Fassbinder, Rainer Werner (1979): Die Ehe der Maria Braun Gudmundsdottir, Björk (1997): Live at Shepherds Bush Jones, Terry (1979): The life of Brian Klapisch, Cédric (2002): L'auberge espagnole Lukas, George (1999): Star Wars I. The Phantom Menace Nair, Mira (2002): Monsoon Wedding Payami, Babak (2001) Raye Makhfi (The Vote is Secret) Pons, Ventura (2002): Anita no perd el tren (Anita doesn't take chances) Wenders, Wim (1987): Der Himmel über Berlin 18
Marcella De Marco (London) EU-High-Level Scientific Conference Series MuTra 2006 – Audiovisual Translation Scenarios: Conference Proceedings Multiple portrayals of gender in cinematographic and audiovisual translation discourse Contents 1 The non-verbal dimension of language 2 The verbal dimension of language 3 Conclusions 4 References Abstract The present paper is the follow-up of previous research (De Marco, 2004; 2006) in which a first attempt has been made to interrelate two scholarly fields – Gender Studies and Audiovisual Translation. Many factors have contributed to keep on studying audiovisual translation from a wider sociolinguistic perspective: the fact that both Gender Studies and Audiovisual Translation have been at the core of academic debates in the past decades; that the study of gender issues has already been positioned within cinematographic discourse as well as in (literary) translation; that there are scholars (Danan, 1991; Díaz-Cintas, 1997; Ballester, 2001) who have recently approached the processes of dubbing and subtitling beyond mere technical aspects; and that, under the influence of the so-called ‘cultural turn’ translation has been interpreted as a realm where different languages and different identities meet. The aim of the present study is to examine how gender is portrayed in British cinema and to show how translation for dubbing may contribute to transmitting clichés and assumptions about women and other social groups from one culture to another. More specifically, the present study will focus, on the one hand, on the visual and acoustic representation of gender in some British films. It is paying particular attention to the sociological implications that these representations may have on the way in which the audience of different languages and cultures may interpret what they see and hear. On the other hand, the study will discuss the dubbed translations in Spanish and Italian of some relevant exchanges of original British films where sexuality-related issues come to the fore. 1 The corpus of films analyzed here is constituted by: East is East (1999, Damien O’Donnell), Bridget Jones’s Diary (2001, Sharon Maguire), Bend it like Beckham (2002, Gurinder Chadha) and Calendar Girls (2003, Nigel Cole). 2 1 The non-verbal dimension of language When talking about translation it is easy to pay attention only to its linguistic aspects, but in the case of audiovisual translation we need to also consider the semiotic dimension of cinematographic language. Audiovisual translation is the cultural process by which the meanings and values contained in both words and images of television and cinematographic programs are made intelligible to different audiences. 1 Throughout the paper the word “Spanish” is used to refer to the Spanish versions released in Spain, not in Latin America. 2 The following abbreviations will be used to refer to the films: EE (East is East), BJD (Bridget Jones’s Diary), BB (Bend it like Beckham) and CG (Calendar Girls). © Copyright 2006-2007 by MuTra 19
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