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of the English source text and its dubbed Italian counterpart shows that the characters’ dialectal inflections have been replaced by standardised pronunciation.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

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

Rigidity, natural kind terms and metasemantics

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Straight from the horse’s mouth: children’s reception of dubbed animated films in Spain

Reception studies in the field of audiovisual translation (AVT) have increased considerably in the last two decades, including the target viewer in the picture. This paper presents the results of a study exploring young children’s reactions to some of the translation strategies regularly adopted in dubbed animated films. A total of 163 participants were shown nine animated film clips dubbed from English into Spanish, which included cultural references, colloquial language, educational content and songs. Data were then collected through a questionnaire adapted to the participants’ level of cognitive development and the analysis was based on two independent variables: the participants’ year in school and the number of previous viewings of the films. The results show that children do not seem to have much trouble understanding cultural, educational and musical content that is specific to the source culture and is kept in the target text. Interestingly, having previously watched the films does not appear to be a determining factor in children’s ability to identify these elements

Performing class, performing genre : The squire of low degree as fifteenth-century drag

Despite the expansion of Judith Butler's theories of performativity which have proliferated since the publication of Gender Trouble: Feminism and the Subversion of Identity in 1990, few scholars have examined the implications that performativity may have for social class. Fewer still have considered how social class might be performed in the premodern text. In this thesis, I examine how the economic language which pervades the little-studied fifteenth-century romance The Squire of Low Degree enacts a socioeconomic iteration of Butler's theory of performativity. This performance of social class occurs primarily in the speeches of this romance's courtly characters and at the site of the squire's body, as he attempts to rise above his ascribed social class to become a knight and qualify as a suitable partner for his beloved, born of royalty. Finally, this thesis demonstrates not only the social performativity within the poem's narrative, but also the classed performance enacted by the genre of the romance itself, producing a medievalist fantasy of social mobility for the increasingly prominent late medieval gentry classes itself, producing a medievalist fantasy of social mobility for the increasingly prominent late medieval gentry classes.Englis

Approaching the audio description of humour

Este artículo tiene como propósito principal ofrecer una introducción a la audiodescripción (AD) y realizar una aproximación a la cuestión de la AD, a la vez que se comenta brevemente la situación actual de esta práctica y se mencionan algunos de los trabajos más representativos de este campo. A continuación se presenta un estudio de caso cuyo principal objetivo consistió en analizar (desde una perspectiva descriptiva y centrando la atención en los chistes visuales) la AD de la comedia británica I want Candy (se muestran varios ejemplos con objeto de ilustar cómo se manejó el humor). Algunos de los resultados obtenidos son: 1) si bien se detectaron ciertos momentos puntuales y marginales en los que la descripción se superpuso al diálogo, en términos generales se respetó la regla de usar los espacios o silencios entre diálogos para incluir la descripción (lo que en ocasiones supuso la pérdida de elementos potencialmente humorísticos) y 2) casi dos quintas partes de los fragmentos visuales potencialmente humorísticos no se describieron, probablemente debido a las restricciones temporales. Por último se proponen algunas ideas de investigación futura.G.I. HUM 767 (ayudas a Grupos de Investigación de la Junta de Andalucía) / Editorial Comares (colección interlingua

Intentionality

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Culture-bound aspects in subtitling of animated films. Tales of the night of M. Ocelot

Este estudio descriptivo tiene como objetivo analizar las estrategias de traducción de las referencias culturales en los subtítulos (francés-español) de la pelicula de animación de sombras chinas en 3D Los cuentos de la noche (2011) del escritor y director francés Michel Ocelot. El film conjuga las siluetas de los personajes con el relieve tridimensional en color lo que facilita la lectura de los subtitulos que reflejan una gran diversidad de estrategias de traducción de referencias culturales.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech