Role Reversal: An Overview of Audiovisual Translation into English

  1. Jorge Díaz-Cintas 1
  2. Lydia Hayes 2
  1. 1 University College London,
  2. 2 University of Bristol
    info

    University of Bristol

    Brístol, Reino Unido

    ROR https://ror.org/0524sp257

Revista:
Íkala

ISSN: 0123-3432

Any de publicació: 2023

Volum: 28

Número: 2

Tipus: Article

DOI: 10.17533/UDEA.IKALA.V28N2A01 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

Altres publicacions en: Íkala

Resum

Cet article décrit l'état actuel de la traduction audiovisuelle en langue anglaise (TAV) et apporte un éclairage aux changements récents qui ont un impact sur les pratiques de localisation des médias, les modes de visionnage et l'action des téléspectateurs. Les motivations qui ont catapulté des pratiques telles que le sous-titrage et le doublage en anglais sur les plateformes de vidéo à la demande (VOD) sont examinées, et l'accent est mis sur le passage d'un contenu en anglais à la production et à la distribution d'originaux créés dans une multitude de langues et présentés sur des plateformes de streaming avec des sous-titres et des doublages en anglais. Certaines des dernières avancées technologiques sont examinées car elles ont influencé l'expérience de visionnage et la sélection des modes de tav par le public, entraînant un changement significatif dans les modes de visionnage et les préférences des téléspectateurs anglophones. Les défis posés à l'étude et à la formation pour la TAV en anglais sont identifiés et l'importance d'inverser son regard et de percevoir l'anglais comme la langue cible de la traduction, plutôt que comme la langue source, est soulignée dans ce nouveau paradigme. Des suggestions concrètes sont faites pour des pistes de recherche potentielles dans ce domaine en pleine expansion, qui contribueront, nous l'espérons, à brosser un tableau plus détaillé de la TAV en anglais.

Referències bibliogràfiques

  • Adoma (n.d.). Series españolas que triunfan por el mundo… dobladas. Artistas de Doblaje de Madrid https://adoma.es/series-espanolas-que-triunfan-por-el-mundo-dobldas-2
  • Alfano, V. (2020). Subtitling gender stereotypes into English: The case of comedy Italian style. PhD thesis. University College London. https://discovery.ucl.ac.uk/id/eprint/10119161
  • Ávila-Cabrera, J. J. (2020). Profanity and blasphemy in the subtitling of English into European Spanish: four case studies based on a selection of Tarantino’s films. Quaderns, Revista de Traducció, 27, 125–140.
  • Black, S. (2022). Could integrated subtitles benefit young viewers? Children’s reception of standard and integrated subtitles: a mixed methods approach using eye tracking. Perspectives, 30(3), 503–519. https://doi.org/10.1080/0907676X.2020.1849324
  • Bolaños-García-Escribano, A., Díaz-Cintas, J. & Massidda, S. (Eds.) (2021). Latest advancements in audiovisual translation education, special issue of The Interpreter and Translator Trainer, 15(1). https://doi.org/10.1080/1750399X.2021.1880308
  • Brennan, L. (2018). How Netflix expanded to 190 countries in 7 years. Harvard Business Review. https://hbr.org/2018/10/how-netflix-expanded-to-190-countries-in-7-years#comment-section
  • Bruti, S., & Vignozzi, G. (forthcoming). Pinocchio and its lasting legacy. A study across adaptations and dubbings. In I. Ranzato, & L. Valleriani (Eds.), The classics translated on screen, special issue of Token: A Journal of English Linguistics, 17.
  • Bylykbashi, K. (2019). The big business of dubbing. TBI Vision. https://tbivision.com/2019/04/04/the-big-business-of-dubbing
  • Chaume, F. (2012). Audiovisual translation: Dubbing. Routledge.
  • Collins, K. 2018. Netflix's plan to get everyone watching foreign-language content. Yes, even English-speaking Americans. CNET Magazine. www.cnet.com/culture/entertainment/netflixs-plan-to-get-everyone-watching-foreign-language-content
  • Cunningham, K. (2023). Mumbling actors, bad speakers or lazy listeners? Why everyone is watching TV with subtitles on. The Guardian. www.theguardian.com/tv-and-radio/2023/jan/28/mumbling-actors-bad-speakers-or-lazy-listeners-why-everyone-is-watching-tv-with-subtitles-on
  • Díaz-Cintas, J., & Remael, A. (2007). Audiovisual translation: Subtitling. Routledge.
  • Díaz-Cintas, J., & Orero, P. (2010). Voiceover and dubbing. In Y. Gambier, & L. van Doorslaer (Eds.), Handbook of Translation Studies (pp. 441–445, volume 1). John Benjamins.
  • Fetner, C., & Sheehan, D. (2017). Netflix is looking for the best translators around the globe. https://about.netflix.com/en/news/netflix-is-looking-for-the-best-translators-around-the-globe
  • Filmer D. (2019). Voicing diversity? Negotiating Italian identity through voice-over translation in BBC broadcasting. Perspectives, 27(2), 299–315. https://doi.org/10.1080/0907676X.2018.1449871
  • Forsberg, C. (2023). Subtitles become popular among general population due to changes in TV, film consumption. ABC News: Australian Broadcasting Corporation. www.abc.net.au/news/2023-02-12/subtitles-popular-among-general-population-change-tv-film/101956758
  • Franco-Aixelá, J. (1996). Culture-specific items in translation. In R. Álvarez, & Ma Carmen-África Vidal (Eds.), Translation, power, subversion (pp. 52–78). Multilingual Matters.
  • Gottlieb, H. (2009). Subtitling against the current: Danish concepts, English minds. In J. Díaz-Cintas (Ed.), New trends in audiovisual translation (pp. 21–43). Multilingual Matters. https://doi.org/10.21832/9781847691552-004
  • Greenwood, G. (2023). Younger TV viewers prefer to watch with subtitles on. The Times. www.thetimes.co.uk/article/younger-tv-viewers-prefer-to-watch-with-subtitles-on-bbbcthft8
  • Hall, S. (2016). The first 15 feature films broadcast on British television. Sheldon Times. http://sheldontimeshall.com/the-first-15-feature-films-broadcast-on-british-television-v2
  • Hayes, L. (2021). Netflix disrupting dubbing: English dubs and British accents. Journal of Audiovisual Translation, 4(1), 1–26. https://doi.org/10.47476/jat.v4i1.2021.148
  • Hayes, L. (2022). Linguistic variation in Netflix’s English dubs: Memetic translation of Galician-Spanish series Fariña (Cocaine Coast). In L. Mejías-Climent, & F. Carrero Martín (Eds.), New perspectives in audiovisual translation: Towards future research trends (pp. 185–210). Publicacions Universitat València.
  • Hayes, L. (2023). English dubs: why are viewers receptive to the dubbing mode and to (‘foreign’) accent strategies. Íkala, Revista de Lenguaje y Cultura, 28(2), 1–20.
  • Hayes, L., & Bolaños-García-Escribano, A. (2022). (Main)streaming English dubs: a snapshot of Netflix’s playbook on strategies for English dubbing. Journal of Audiovisual Translation, 5(2), 213–233. https://doi.org/10.47476/jat.v5i2.2022
  • Holmes, S. P. (2000). The Hollywood star system and the regulation of actors’ labour, 1916-1934. Film History 12(1), 97–114. www.jstor.org/stable/3815272
  • Lee, W. (2022). Why dubbing has become more crucial to Netflix’s business. Los Angeles Times, 28 February. www.latimes.com/entertainment-arts/business/story/2022-02-28/why-dubbing-has-become-more-crucial-to-netflixs-business
  • McDonald, P. (2000). The star system: Hollywood’s production of popular identities. Wallflower.
  • Marking, M. (2022). Netflix COO reveals scale of dubbing and subtitling operations. Slator. https://slator.com/netflix-coo-reveals-scale-of-dubbing-subtitling-operations
  • Mereu Keating, C. (2021). “The usual hubbub of accents”: Italian films, transnational distribution and the reception of English-language dubbing in Britain (1950s-60s). Textus. English Studies in Italy, 1, 255-276. https://doi.org/10.7370/100404
  • Netflix. (2018). A great story and come from anywhere and travel everywhere. https://about.netflix.com/en/news/a-great-story-can-come-from-anywhere-and-travel-everywhere
  • Netflix. (2023). Dubbed audio style guide – Lector dubbing. https://partnerhelp.netflixstudios.com/hc/en-us/articles/220454368-Dubbed-Audio-Style-Guide-Lector-Dubbing
  • Nornes, A. M. (2007). Cinema Babel. Translating global cinema. University of Minnesota Press.
  • Orrego-Carmona, D. (2021). Squid Game: Why you shouldn’t be too hard on translators. The Conversation. https://theconversation.com/squid-game-why-you-shouldnt-be-too-hard-on-translators-169968
  • O’Sullivan, C. & Cornu, J.-F. (2019). The translation of films, 1900–1950. The British Academy by Oxford University Press.
  • Official Journal of the European Union. (2018). Article 13 of the Audiovisual Media Services Directives. https://eur-lex.europa.eu/legal-content/EN/TXT/PDF/?uri=CELEX:32018L1808&from=EN
  • Parrot Analytics. (2021). US demand for non-English content. https://tinyurl.com/4pjyvtc8
  • Patel, R. (2021). How SVoD platforms lead the internationalisation of popular content. Ampere Analysis. www.ampereanalysis.com/insight/how-svod-platforms-lead-the-internationalisation-of-popular-content
  • Pearson, B. (2022). Here's why movie dialogue has gotten more difficult to understand (and three ways to fix it). Slash Film. www.slashfilm.com/673162/heres-why-movie-dialogue-has-gotten-more-difficult-to-understand-and-three-ways-to-fix-it
  • Pedersen, J. (2011). Subtitling norms for television: An exploration focussing on extralinguistic cultural references. John Benjamins.
  • Pedersen, J. (2017). The FAR model: assessing quality in interlingual subtitling. The Journal of Specialised Translation 28, 210–229.
  • Pedersen, J. (2018). From old tricks to Netflix: how local are interlingual subtitling norms for streamed television? Journal of Audiovisual Translation 1(1), 81–100. https://doi.org/10.47476/jat.v1i1.46
  • Ranzato, I. (2016). Translating culture specific references on television: The case of dubbing. Routledge.
  • Sánchez-Mompeán, S. (2021). Netflix likes it dubbed: taking on the challenge of dubbing into English. Language & Communication, 80, 180–190. www.sciencedirect.com/science/article/pii/S0271530921000562
  • Sanders, L. (2022). Subtitling, semiotics and Spirited Away. Journal of Audiovisual Translation, 5(1), 1–21. https://doi.org/10.47476/jat.v5i1.2022.112
  • Savoldelli, S., & Spiteri Miggiani, G. (2023). The rendering of multilingual occurrences in Netflix’s Italian dub streams: evolving trends and norms on streaming platforms. Languages, 8(113), 1–23. https://doi.org/10.3390/languages8020113
  • South China Morning Post (2021). Voice actors in demand as Netflix series like Lupin and Money Heist put dubbed content front and centre. www.scmp.com/lifestyle/entertainment/article/3128576/voice-actors-demand-netflix-series-lupin-and-money-heist
  • Spiteri-Miggiani, G. (2021a). English-language dubbing: challenges and quality standards of an emerging localisation trend. The Journal of Specialised Translation, 36, 2–25. www.jostrans.org/issue36/art_spiteri.pdf
  • Spiteri-Miggiani, G. (2021b). Exploring applied strategies for English-language dubbing. Journal of Audiovisual Translation, 4(1), 137–156. https://doi.org/10.47476/jat.v4i1.2021.166
  • Svensson, G. (2001), “Glocalization” of business activities: a “glocal strategy” approach. Management Decision 39(1), 6–18. https://doi.org/10.1108/EUM0000000005403
  • Zanettin, F. (2012). Translation-driven corpora. St. Jerome.
  • Zeng, W., & Li, D. (2023). Presenting China’s image through the translation of comments: a case study of the WeChat subscription account of Reference News. Perspectives, 31(2), 313–330. https://doi.org/10.1080/0907676X.2021.1960397
Fuente de los datos: Dialnet