Analysis of the Problems and Influencing Factors in Dubbing Actors’ Role Shaping

In recent years, with the rapid development of the Internet, dubbing has gradually gone out of the loop, and dubbing industry is being known by more and more people. Dubbing products such as radio dramas are also favored by more and more listeners. However, the understanding of dubbing by many dubbing enthusiasts and dubbing actors is only superficial, and the mechanical streamline of character creation does not show the real charm of dubbing performance. According to the basic skills of actors, this paper will discuss the basic skills of dubbing performance, voice makeup, how to shape roles, dubbing mentality and dubbing problems

Investigating the influence of video-dubbing tasks on EFL learning

This study investigates the effects of completing video-dubbing tasks on English speaking proficiency, English public speaking anxiety (EPSA), and group cohesion (GC). Two classes of EFL college students were assigned to either the dubbing group or the comparison group. Both groups began by responding to the EPSA scale, the GC scale, and a standardized English speaking test. Next, the dubbing group completed two video-dubbing tasks, for each of which they worked in groups to select a video clip, remove the original soundtrack, rehearse the monologues and dialogues, create a new soundtrack, combine the video clip with the new soundtrack, submit the dubbed video clip, and perform the live dubbing in class. In contrast, during the weeks when the dubbing group performed live dubbing, the comparison group watched and discussed movies in English. Finally, both groups took the post-test comprising the two scales and a second set of the standardized English speaking test. The synthesis of quantitative and qualitative findings revealed that, firstly, video-dubbing tasks constituted an entertaining task that could enhance English speaking proficiency. Second, completing video-dubbing tasks reduced foreign language anxiety but not English public speaking anxiety. Third, group cohesion increased substantially as a result of accomplishing video- dubbing tasks

Exploring the Attitudes and Expectations of Iranian Audiences in Terms of Professional Dubbing into Persian

For more than seven decades, dubbing has been the dominant professional modality for overcoming language barriers in foreign movies and TV series in Iran and has been revered as a national art. Although limited, some recent work has explored Persian dubbing reception and to continue this endeavor, this study attempts to offer further insights into how the Iranian viewers perceive dubbing, translation for dubbing and what they expect from dubbing. More precisely, the study aims at examining how the Iranian audiences view dubbing and particularly its agents and translation. To these ends, a questionnaire including open and closed items was designed. The overall results revealed that translation quality was considered considerably less important than the technical issues related to the dubbing production, such as voice-acting and synchronization. The findings also suggested that the performance of dubbing actors and dubbing directors was regarded more important than the contribution of translators. Overall, these findings seemed to indicate that the Iranian viewers’ appreciation of a dubbed program is mainly guided by non-translation issues including the performance of the dubbing actors and the accuracy of the relevant synchronizations

The Italian Dubbing of Dialects, Accents and Slang in the British Dark Comedy Drama Misfits

Although they are far from reflecting real interaction stricto sensu, TV series try to recreate a sort of idealised community. In order to do this, the language they use is based on those communicative patterns that are deemed prototypical for a given social group. It is therefore not surprising to find that stereotyped language variations are exploited in audiovisual texts to mark differences in social status. In particular, British TV dramas and films have often relied on such strategies to enhance dramatic characterisation. The British dark comedy drama Misfits proves to be an interesting example of the way British dialects, accents and slang are used to characterise its five young main characters. Each of them displays a peculiar accent, which reflects their social and personal background, yet they all also use contemporary slang that shows their willingness to be part of the same social group representing young people of all backgrounds. When dealing with such linguistic peculiarities, translators may resort to global strategies such as standardization to ensure the smooth processing of the target text, or opt for more creative solutions instead. Hence, this study investigates the strategies and procedures used to transfer Misfits into Italian. The comparative analysis of the English source text and its dubbed Italian counterpart shows that the characters’ dialectal inflections have been replaced by standardised pronunciation. It goes without saying that this has led to significant losses in terms of connotation. However, the translator has attempted to compensate by means of a consistent use of Italian slang and swear words to convey the in-group bonding that such linguistic elements can create

Rigidity, natural kind terms and metasemantics

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The dubbing of animated films in Croatia

This descriptive study offers a detailed description of the process of dubbing animated films into Croatian. Considering the large number of animated films dubbed into Croatian and the surprising lack of data about this industry in Croatia, this paper aims to present a thorough description of all stages of the dubbing process, from the initial request of a dubbed version of an animated film until the moment the final product of this process reaches the audience. In this description of the state of the art in Croatia, special attention is given to the role of the translator in the dubbing process. The description of the Croatian dubbing practices is based on semi-structured interviews conducted with people employed in the dubbing industry, as well as on personal observation of a dubbing session at Croatian Radio and Television (HRT), Croatia's public broadcaster. Finally, the dubbing process in Croatia is compared with the dubbing practices of Western Europe’s most developed dubbing industries, leading to a conclusion about the state of the art not only in Croatia but also in other European countries

Las ventajas de integrar actividades de doblaje en el aula de traducción

Germany is a dubbing country, but translators do not play an important role in the dubbing process. Still, it makes sense to teach dubbing in the translation classroom, for a variety of reasons. Firstly, the constraints of translation and dialogue writing for dubbing pose a challenge to the students which they normally enjoy. Secondly, classes in dubbing can focus on the distribution of tasks typical of the process and on the role translators play and might play in the dubbing process. In addition to teaching competences needed for the translation process itself, a dubbing class can provide a platform for reflecting on the role of the profession in the audiovisual sectorGermany is a dubbing country, but translators do not play an important role in the dubbing process. Still, it makes sense to teach dubbing in the translation classroom, for a variety of reasons. Firstly, the constraints of translation and dialogue writing for dubbing pose a challenge to the students which they normally enjoy. Secondly, classes in dubbing can focus on the distribution of tasks typical of the process and on the role translators play and might play in the dubbing process. In addition to teaching competences needed for the translation process itself, a dubbing class can provide a platform for reflecting on the role of the profession in the audiovisual sectorA pesar de que el doblaje es la modalidad de traducción audiovisual predominante en Alemania, los traductores no desempeñan un papel fundamental en el proceso de doblaje. No obstante, por varios motivos, tiene sentido enseñar doblaje en el aula de traducción. En primer lugar, las restricciones propias de la traducción y el ajuste necesario en doblaje suponen un reto que los estudiantes afrontan de buen grado. Asimismo, las clases de doblaje se pueden orientar hacia la distribución de tareas propia del proceso de doblaje y hacia el papel que el traductor desempeña (así como el que podría llegar a desempeñar) en dicho proceso. La enseñanza del doblaje puede contribuir a la adquisición de las competencias traductoras necesarias y, además, proporcionar una plataforma para reflexionar sobre el papel del traductor en el sector audiovisual

The Retranslation and Mediated Translation of Audiovisual Content in Multilingual Spain: Reasons and Market Trends

Retranslations are the second, third, fourth or nth-translations of the same text produced at a later stage. In the case of audiovisual content, retranslations occur under certain circumstances. Focusing on Spain as a multilingual country, where regional languages demand new translations, frequently conceived as mediated translations, this article concentrates on the definition of retranslation and the differences between retranslation and mediated translation, and also lists the major reasons why retranslations, be them redubbings or resubtitlings, are commissioned and carried about. Economic, historical, linguistic and political issues triggering retranslations will also be dealt with, and some translatological conclusions will be drawn, as well as some new avenues of research grounded on retranslations

Translating register, style and tone in dubbing and subtitling

This article considers the manner in which the translators of a selection of subtitled and dubbed versions (English-French) approach the style and tone of the source text in relation to language register. Stylistic effects inform the viewer about the speaker. Emotions can be expressed and social relationships portrayed through the use of particular forms of language. The audiovisual translator has to sift through the multiple layers of meaning within the context of the verbal, non-verbal, aural and visual signs of the audiovisual text. Lexical, grammatical and stylistic changes in the subtitled and dubbed versions of three films (Smoke, Blue in the Face and The Piano) will be studied to establish the extent to which coherence is secured in relation to these features