Comparative analysis of Shrek 2 dubbing translation: cultural references and songs

One of the consequences of globalization is the dissemination of audiovisual content throughout diverse multimedia platforms that reach countless international audiences apart from the original one. Due to this phenomenon, audiovisual translation and, specifically, dubbing, are becoming crucial to this increasing demand for new accessible content. However, to reach this accessibility the translator has to overcome several constraints, such as the translation of cultural references and songs. For this project, the Spanish translation of the movie Shrek 2 has been analysed with regard to identifying how these challenges have been translated and adapted to the target language.Una de las consecuencias de la globalización es la diseminación de contenidos audiovisuales a través de diversas plataformas multimedia que alcanzan una innumerable cantidad de espectadores internacionales. Debido a este fenómeno, la traducción audiovisual y, en concreto, el doblaje, se están convirtiendo en elementos cruciales para este auge de la demanda de nuevos contenidos accesibles. Sin embargo; para alcanzar esta accesibilidad, el traductor tiene que superar varios obstáculos, como la traducción de las referencias culturales y de las canciones. Para este proyecto, se ha analizado la traducción al español de la película Shrek 2 con el fin de identificar cómo se han traducido y adaptado estos obstáculos a la lengua de meta.Departamento de Filología InglesaGrado en Estudios Inglese

La adaptación y la extranjerización. El caso de las canciones de Shrek 2

Treball Final de Grau en Traducció i Interpretació. Codi: TI0983. Curs: 2013-2014En el presente trabajo realizaremos un estudio descriptivo sobre las diferentes traducciones propuestas, tanto para el español como para el catalán, de las canciones de una de las películas más conocidas de Dreamworks, Shrek 2, basándonos en las estrategias de traducción empleadas en cada lengua, según las propuestas por Andrew Chesterman (1997). Partiremos de la hipótesis inicial de que la lengua española emplea estrategias más adaptadoras, mientras que la lengua catalana emplea estrategias más extranjerizantes. Para demostrar esta hipótesis analizaremos de manera exhaustiva e individual las tres canciones dobladas al catalán y al español que aparecen en la película de Shrek 2. El trabajo constará de dos partes: en la primera se explicarán unos fundamentos teóricos sobre aspectos esenciales de la teoría de la traducción (funciones del lenguaje, normas y estrategias de traducción) que orientarán el análisis posterior; la segunda parte constará con los resultados del análisis del corpus realizado mediante unas tablas que se podrán encontrar en los anexos. El objetivo de este trabajo es demostrar cuáles son las tendencias que siguen el español y el catalán en cuanto al empleo de estrategias en la traducción de las canciones en la modalidad audiovisual del doblaje

A Wave of the Magic Wand: Fairy Godmothers in Contemporary American Media

The increased personification of fairy godmothers in contemporary American media corresponds to an aspect of the American worldview that emphasizes magical quick fixes and solutions. The two fairy-tale pastiche works informing this study are a novel, The Fairy Godmother, by fantasy author Mercedes Lackey, and a movie, Shrek 2. Both of these works feature fairy godmother characters that depart from canonical folktale and fairy-tale depictions. Associated with fate and wisdom, fairy godmothers act much as folklorists do by rewarding traditional behavior with gifts. Recent fairy godmother roles are hybrid and multivocal, illuminating ideologies and power structures in both society and story

Happily Ever After Take Two: Rewriting Femininity in Hybridization Fairy Tale Films

The tradition of fairy tales has evolved drastically over the past five hundred years. At the beginning of the 20th century, fairy tale cartoons became widely popular as an independent medium, as well as introductions to larger films. In 1937, Walt Disney started the tradition of fairy tale cinema with the release of Snow White. Since that time, Disney has released and re-released eleven princess fairy tale films. Critics and parents alike ridicule Disney for its depictions of women as submissive and subservient. Recent films have used fairy tale tropes, without referring to a specific classic tale, in order to ridicule and establish a new image of woman. By simply using the tropes of the tales, the new hybridization fairy tales attempt to rewrite the depiction of femininity as a whole, without the confines of a specific character. Despite the great strides that these films have made , there is still a persistent depiction of women as weak with a lack of agency. DreamWorks\u27 creation of the Shrek quadrilogy provides an example to explore the progress of reworking female fairy tale stereotypes through Princess Fiona, Queen Lillian, Fairy Godmother, and other minor, female characters

The Nurturing Nature of Nature

This piece of creative non-fiction describes my relationship with National Parks and the way their beauty and power has shaped my life

Creative Television Promotion

The advertising world is a place focused on research, brand identity, and creativity, all of which combine to achieve one seemingly simple goal: to convince the consumer to purchase a specific item. It is often a difficult enough challenge to persuade a buyer that a product is worth her money, but there is one product category that demands something much more valuable than any price tag cost. This category requires its advertising to create a personal bond with the consumer; to welcome it and want it in her life. What is this audacious sounding product that charges something greater than money? It is television programming and its price is time. Selling television programs is an interesting and difficult task. It must successfully deliver the message that it is a product worth your time, which is a currency far less disposable than money. In order to explore and practice the challenge of creative television promotion, I have taken my experience from general creative advertising and specialized it to create a portfolio of five different multi-media campaigns, including network branding, specific program promotion, and special event advertising. This project is more than a portfolio of final advertisements, however. It has been a learning process of the television promotion industry and how general product advertising can be both applied to and differ from the development of this unique type of advertising

Daily Eastern News: January 22, 2020

https://thekeep.eiu.edu/den_2020_jan/1006/thumbnail.jp

Daily Eastern News: January 22, 2020

https://thekeep.eiu.edu/den_2020_jan/1006/thumbnail.jp

Spartan Daily, May 17, 2004

Volume 122, Issue 69https://scholarworks.sjsu.edu/spartandaily/10003/thumbnail.jp