Humour found in audiovisual products is, of course, performative in na- Gian Luigi De Rosa, Francesca Bianchi ture. If we consider instances of humour – any droll moment occurring in today’s fare of mixed-genre products as a composite of cognition, emo- Antonella De Laurentiis & Elisa Perego (eds.) tion, interaction and expression – we see that the verbal code becomes just one component of four equally signi cant elements. And, as ‘expression’ is not limited to verbal output alone, humour may of course be created in absence of a verbal code. Translating humour for audiovisuals is not too di erent from translating verbal humour tout court. What makes humour occurring within audiovisual texts more problematic is the fact that it may TRANSLATING HUMOUR be visually anchored; in other words a gag or a joke may pivot on verbal content directed at a speci c element that is present within the graphic system of the same text. As the term itself suggests, audiovisuals contain two overlying structures: a visual and an auditory channel each of which IN AUDIOVISUAL TEXTS contain a series of both verbal and non-verbal elements which inextricably cross-cut one another. e contributors in this collection of essays present a series of case studies from lms and video-games exemplifying problems and solutions to audiovisual humour in the dubs and subs in a variety of language combinations. GIAN LUIGI DE ROSA (Ph.D. in Portuguese and Brazilian Studies) is researcher and lecturer at the University of Salento (Italy). In 2013, he co-founded the Unisalento Summer School of Audiovisual Translation. HUMOUR IN AUDIOVISUAL TEXTS TRANSLATING FRANCESCA BIANCHI (Ph.D. in Linguistics) is researcher and lecturer at the University of Salento (Italy). In 2013, she co-founded the Unisalento Summer School of Audiovisual Translation. ANTONELLA DE LAURENTIIS (Ph.D. in Spanish and Latin American Studies) is researcher and lecturer at the University of Salento (Italy). She is collabo- rating with Lupe Romero (University of Barcelona) in a translation project focussing on Spanish-Italian subtitling. ELISA PEREGO (Ph.D. in Linguistics) is researcher and lecturer at the Univer- G.L. De Rosa, F. Bianchi, G.L. De Rosa, F. sity of Trieste (Italy). Her current research interests involve the reception of dubbing, subtitling and audio description for the blind. A. De Laurentiis & E. Perego (eds.) & E. Perego A. De Laurentiis ISBN 978-3-0343-1555-5 www.peterlang.com PETER LANG TRANSLATING HUMOUR IN AUDIOVISUAL TEXTS Gian Luigi De Rosa, Francesca Bianchi Antonella De Laurentiis & Elisa Perego (eds.) TRANSLATING HUMOUR IN AUDIOVISUAL TEXTS PETER LANG Bern · Berlin · Bruxelles · Frankfurt am Main · New York · Oxford · Wien Bibliographic information published by die Deutsche Nationalbibliothek Die Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data is available on the Internet at ‹http://dnb.d-nb.de›. British Library Cataloguing-in-Publication Data: A catalogue record for this book is available from The British Library, Great Britain Library of Congress Cataloging-in-Publication Data This volume was published thanks to the support of the University of Salento and the financial support of Monti dei Paschi di Siena Bank. Cover Illustration: Cristian Guerreschi ISBN 978-3-0343-1555-5 br. ISBN 978-3-0351-0740-1 eBook This publication has been peer reviewed. © Peter Lang AG, International Academic Publishers, Bern 2014 Hochfeldstrasse 32, CH-3012 Bern, Switzerland [email protected], www.peterlang.com All rights reserved. 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Printed in Switzerland Table of Contents Foreword Humour and audiovisual translation: an overview ......................... 9 Elisa Perego Preface Laugh and the world laughs with you: tickling people’s (transcultural) fancy ........................................................... 15 Delia Chiaro Introducción La combinación de lenguas como mecanismo de humor y problema de traducción audiovisual ................................... 25 Patrick Zabalbeascoa SECTION 1 – HUMOUR AND CARTOONS Audiovisual humour transfer strategies in the Italian, German and Hungarian dubbed versions of Shrek the Halls ........... 51 Judit Mudriczki Translating verbally expressed humour in dubbing and subtitling: the Italian versions of Shrek .............................. 67 Vincenza Minutella Accent and dialect as a source of humour: the case of Rio .......... 89 Silvia Bruti Back to Brazil: humor and sociolinguistic variation in Rio ........ 105 Gian Luigi De Rosa 6 Humour e giochi di parole in Astérix et Obélix : Mission Cléopâtre. Quali strategie nella traduzione audiovisiva? . 129 Alessandra Rollo Culture, language, and humour: adapting wordplay in the Italian version of Wreck-it-Ralph ............................... 155 Elena Manca & Daesy Aprile SECTION 2 – TRANSLATING TRANSCULTURAL HUMOUR A tragicomic Australian film in Italian translation: finding something funny in Muriel’s Wedding ............................. 173 Brigid Maher Commedia in scompiglio: One, Two, Three. Il multilinguismo come veicolo di umorismo ............................................... 189 Giuseppe De Bonis La variación en la recepción del humor como elemento cultural en la traducción audiovisual: Un estudio de caso ............. 215 Lucía Ruiz Rosendo Bienvenue chez les Ch’tis – Giù al nord: lo stesso film? Sull’intraducibilità dello humour ..................................... 239 Elisa Lupetti Lo humor di Almodóvar tradotto in italiano. Casi emblematici di doppiaggio e sottotitolaggio in ¡Átame!, La flor de mi secreto e Todo sobre mi madre ........................................ 257 Beatrice Garzelli Humour partenopeo e varietà linguistiche nel doppiaggio spagnolo di Benvenuti al Sud ........................................... 279 Antonella De Laurentiis 7 SECTION 3 – DUBBING HUMOUR Dubbing or subtitling humour: does it really make any difference? ........................................................................ 311 Juan José Martínez Sierra It don’t mean a thing if you ain’t got that sync – An analysis of word order, kinesic synchrony and comic timing in dubbed humour ................................................................. 333 Giovanna Di Pietro Tradurre lo humor nei sottotitoli per ipoudenti: la “Kiez-Komödie” Die Friseuse di Doris Dörrie (2010) ............................................................................... 359 Claudia Buffagni Il comico verbale della Canção de Lisboa (1933): traducibilità e reinvenzione ..................................................................... 389 Valeria Tocco Diversità culturale e umorismo nel film Maria, ihm schmeckt’s nicht! ................................................................................ 401 Laura A. Colaci SECTION 4 – SUBTITLING HUMOUR The Switch: an analysis of the film’s conversational humour in terms of Grice’s Cooperative Principle – and of its transfer into Swedish subtitles ......................................... 425 Thorsten Schröter “Volver a inmadurar” e altri “funny tricks of time”. Decrescita, umorismo, prenotorietà e traduzione delle canzoni nelle versioni italiana e spagnola del film Mamma mia!͒ ........ 449 Marco Cipolloni 8 Fostering creativity in the translation of humour. The Stable Hyper-Islands Procedure .................................................. 477 Francesca Bianchi SECTION 5 – TRANSLATING HUMOUR IN VIDEO GAMES Playing with humor: the translation of humor in video games ... 499 Ornella Lepre Transcreating humor in video games: the use of Italian diatopic varieties and their effects on target audiences .................. 517 Pietro Luigi Iaia ANTONELLA DE LAURENTIIS Humour partenopeo e varietà linguistiche nel doppiaggio spagnolo di Benvenuti al Sud 1. Introduzione Benvenuti al Sud è il remake del francese Bienvenue chez le Ch’tis, film uscito in Francia nel 2008 e, successivamente, doppiato e distribuito nel nostro paese con il titolo Giù al Nord.63 La trama ricalca fedelmente quella dell’originale, adattando le dinamiche che differenziano a livello linguistico e socio-culturale il sud e il nord della Francia ai pregiudizi e agli stereotipi che caratterizzano il rapporto tra il settentrione e il meri- dione d’Italia. Il protagonista, Alberto Colombo (Claudio Bisio), lavora come re- sponsabile delle Poste in un paesino della bassa Brianza, in Lombardia e, disposto a tutto pur di ottenere un posto a Milano e non deludere le spe- ranze della moglie Silvia (Angela Finocchiaro), si finge disabile. Durante la visita di controllo, però, il suo espediente viene scoperto e per puni- zione gli viene imposto il trasferimento a Castellabate, un piccolo paese campano del Cilento. Prima di partire verso la nuova destinazione, viene messo in guardia sulle preoccupanti condizioni di vita nel meridione da parte dei soci dell’Accademia del Gorgonzola: camorra, rifiuti per strada, caldo afoso e “terroni” incomprensibili. 63 Il film è uscito nelle sale cinematografiche italiane il primo ottobre del 2010; l’adattamento è stato affidato allo sceneggiatore Massimo Gaudioso e la regia a Lu- ca Miniero. Ha ricevuto importanti riconoscimenti, è stato distribuito in quattro Paesi europei (Francia, Germania, Portogallo