Dubbing Viewers in Cyberspaces: a Netnographic Investigation of the Attitudes of a Persian-Language Online Community
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Subtitling and Dubbing Songs in Musical Films
SUBTITLING AND DUBBING SONGS IN MUSICAL FILMS FECHA DE RECEPCIÓN: 4 de marzo FECHA DE APROBACIÓN: 17 de abril Por: Pp. 107-125. Martha García Gato Abstract Audiovisual translation (AVT) is a type of translation subjected to numerous constraints. Until now, many studies have been carried out about subtitling and dubbing in films. In musical films, which have been less studied, language transfer is mainly made through songs and, due to their characteristics, their translation is additionally constrained. This article provides some insights into some elements that make translation of songs for dubbing and subtitling a complex task using songs from the musical film My Fair Lady. Keywords Subtitling, Dubbing, Musicals, Translation, My Fair Lady. Comunicación, Cultura y Política Revista de Ciencias Sociales Subtitling and Dubbing Songs in Musical Films Resumen La traducción audiovisual (AVT) es un campo de la traducción sujeto a numerosos condicionantes. Hasta la fecha se han desarrollado múltiples estudios sobre la subtitulación y el doblaje de películas. En los musicales, menos estudiados, la transferencia lingüística recae en gran medida en las canciones y, por sus características, su traducción está sujeta a limitaciones adicionales. El presente artículo proporciona un análisis sobre algunos elementos que hacen de la traducción de las canciones para subtitular y doblar musicales una labor compleja, usando como ejemplo el musical My Fair Lady. Palabras clave Subtitulación, doblaje, musicales, traducción. 108 109 Martha García Vol.4-No.1:Enero-Junio de 2013 Introduction use of DVDs as one of the technologi- cal devises has benefited subtitling and The term ‘subtitling’ is used to refer dubbing; it is possible to watch films in to an activity which consists of adding the original version, with subtitles or printed words on a foreign film to trans- dubbed in different languages. -
Parodic Dubbing in Spain: Digital Manifestations of Cultural Appropriation, Repurposing and Subversion 1. Introduction Having Be
The Journal of Specialised Translation Issue 32 – July 2019 Parodic dubbing in Spain: digital manifestations of cultural appropriation, repurposing and subversion Rocío Baños, University College London ABSTRACT This paper sets out to explore the phenomenon of parodic dubbing by examining its origins and situating it in its current context. Parodic dubbing symbolises the union of two loathed but highly influential forms of artistic and cultural appropriation, used innovatively in the current digital era. The aim is also to investigate how parodic dubbing reflects the politics of audiovisual translation in general, and of dubbing in particular, revealing similarities and divergences with official dubbing practices. This is done drawing on examples from two different Spanish parodic dubbings from an iconic scene from Pulp Fiction (Tarantino 1994). Throughout this work, theoretical perspectives and notions through which parodic dubbing can be examined (among others, rewriting, ideological manipulation, cultural and textual poaching, participatory culture or fandubbing) are presented, framing this phenomenon in the current discussion of fan practices and participatory culture, and drawing on theoretical perspectives and notions developed within Translation Studies and Media Studies. The investigation of the relationship between parodic dubbing, translation and subversion has illustrated that this and other forms of cultural appropriation and repurposing challenge our traditional understanding of notions such as originality, authorship and fidelity. In addition, it has revealed how such practices can be used as a site of experimentation and innovation, as well as an ideological tool. KEYWORDS Parodic dubbing, fundubbing, fandubbing, subversion, cultural appropriation. 1. Introduction Having been both praised and demonised by some scholars, intellectuals, viewers and film directors (see for instance the discussion in Yampolsky 1993 or in Nornes 2007), dubbing rarely escapes controversy. -
Acting for Film + Television Acting Essentials Learn More About the Program: Makeup Design for Film + Television Vfs.Edu/Acting
Acting for 12 Alumni The Flash Film + Television 3D Animation + Visual Effects Acting for Film + Television Acting Essentials Learn more about the program: Makeup Design for Film + Television vfs.edu/acting Connect with a VFS Advisor: vfs.edu/startnow For admission requirements go to: vfs.edu/portfolios 14 Alumni Dead Rising 4 Acting for Film + Television Game Design Sound Design for Visual Media 3D Animation + Visual Effects Classical Animation Foundation Visual Art + Design Writing for Film, Television + Games Check us out on YouTube! Visit the VFS YouTube channel and take a look at student projects, alumni interviews, and more! youtube.com/vancouverfilmschool Vancouver Film School 37 Alumni 9 Alumni Star Trek Beyond vancouverfilmschool 3D Animation + Visual Effects Legends of Tomorrow Film Production Acting for Film + Television Makeup Design for Film + Television Acting Essentials Acting for Film + Television @vfs Film Production Acting Essentials Makeup for Film + Television Digital Design Ready for Your Close-Up? vancouverfilmschool We’ll get you ready for the screen and beyond in just one year. VFS’s acclaimed one-year Acting program not only gives VFS has more than 13 Alumni $500,000 CAD in scholarships you in-depth training in camera skills, audition techniques, available! We’re searching worldwide for the most War for the Planet of the Apes movement, voice, and improvisation, but also what it really Acting for Film + Television creative candidates, traveling across countries takes to make it in the film and TV industry. You’ll acquire 3D Animation + Visual Effects Film Production and continents. We’re looking for your talent, your professional-level performance techniques and industry-ready passion, and your drive. -
Voice Overs: Where Do I Begin?
VOICE OVERS: WHERE DO I BEGIN? 1. WELCOME 2. GETTING STARTED 3. WHAT IS A VOICE OVER? 4. ON THE JOB 5. TODAY’S VOICE 6. UNDERSTANDING YOUR VOICE 7. WHERE TO LOOK FOR WORK 8. INDUSTRY PROS AND CONS 9. HOW DO I BEGIN? 2 WELCOME Welcome! I want to personally thank you for your interest in this publication. I’ve been fortunate to produce voice overs and educate aspiring voice actors for more than 20 years, and it is an experience I continue to sincerely enjoy. While there are always opportunities to learn something new, I feel that true excitement comes from a decision to choose something to learn about. As is common with many professions, there’s a lot of information out there about the voice over field. The good news is that most of that information is valuable. Of course, there will always be information that doesn’t exactly satisfy your specific curiosity. Fortunately for you, there are always new learning opportunities. Unfortunately, there is also information out there that sensationalizes our industry or presents it in an unrealistic manner. One of my primary goals in developing this publication is to introduce the voice over field in a manner that is realistic. I will share information based on my own experience, but I’ll also share information from other professionals, including voice actors, casting professionals, agents, and producers. And I’ll incorporate perspective from people who hire voice actors. After all, if you understand the mindset of a potential client, you are much more likely to position yourself for success. -
Can Spoilers in Online Reviews Impact Viewer Enjoyment?
The University of Maine DigitalCommons@UMaine Honors College Spring 5-2020 Can Spoilers in Online Reviews Impact Viewer Enjoyment? Marshall Abbott Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Film and Media Studies Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. CAN SPOILERS IN ONLINE REVIEWS IMPACT VIEWER ENJOYMENT? by Marshall Abbott A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Media Studies) The Honors College University of Maine May 2020 Advisory Committee: Michael Grillo, Associate Professor of History of Art, Advisor Robert W. Glover, Associate Professor of Political Science and Honors Judith E. Rosenbaum, Assistant Professor of Media Studies Clinton Spaulding, Ph.D. Student and Instructor of Communication and Journalism Jennie Woodard, Lecturer in Honors ©2020 ABSTRACT Spoilers research has produced contradictory findings when it comes to the impact they have on enjoyment (Eden, Johnson, Udvardi, & Rosenbaum, 2019). The relationship varies based on viewers’ personality traits, the medium, as well as the genre. To answer these research questions, this study uses a naturalistic study featuring a horror film from 2003 called Gothika. The study used a convenience sampling of college-aged students, a population that commonly watches horror movies (Eden, Johnson, Udvardi, & Rosenbaum, 2019). I designed the study to consider different groups watching Gothika. The individuals were divided into two categories: those who read neutral spoiled reviews and those who read neutral unspoiled reviews. -
Found in Translation: an Analysis of Popular American Film in Spain
Bowling Green State University ScholarWorks@BGSU Honors Projects Honors College Spring 5-6-2016 Found in Translation: An Analysis of Popular American Film in Spain Emily Dushek [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/honorsprojects Part of the American Popular Culture Commons, European Languages and Societies Commons, Other Film and Media Studies Commons, and the Other Spanish and Portuguese Language and Literature Commons Repository Citation Dushek, Emily, "Found in Translation: An Analysis of Popular American Film in Spain" (2016). Honors Projects. 272. https://scholarworks.bgsu.edu/honorsprojects/272 This work is brought to you for free and open access by the Honors College at ScholarWorks@BGSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@BGSU. Found in Translation: An Analysis of Popular American Film in Spain Emily Dushek Double Major: Popular Culture and Spanish Bowling Green State University Spring 2016 Senior Capstone/Honors Project Instructor of Record: Dr. Rebecca Kinney Faculty Consultants: Dr. Heath Diehl and Dr. Nathan Richardson Dushek 1 Introduction: While studying abroad in Spain during the 2014-2015 school year, I ate comida1 with my host family nearly every single day. On days when my older host brother César was home, while we ate we would watch Los Simpson - the wildly popular Spanish-dubbed version of the classic American adult cartoon show. I noticed that the verbal jokes based on following the dialogue throughout the episode and/or including humorous and clever phrasing would appeal to César, but I favored the humor that was rooted in cultural context (such as mentioning a reference to American pop culture, a particular place in the states, or a piece of US history) which was often lost on my host brother. -
A Translation Autopsy of Cormac Mccarthy's The
A TRANSLATION AUTOPSY OF CORMAC MCCARTHY’S THE SUNSET LIMITED IN SPANISH: LITERARY AND FILM CODA Michael Scott Doyle [T]he translation is not the work, but a path toward the work. —José Ortega y Gasset, “The Misery and Splendor of Translation,” 109 We now have the personal word of the author’s to be transformed into a personal word of the trans- lator’s. As always with translation, this calls for a choice among synonyms. —Gregory Rabassa, If This Be Treason: Translation and Its Dyscontents, 12–13 Glossary of the Codes Used S1 = the first Spanish TLT version to be analyzed = Y1,theliterary translation-in-progress S2 = the second Spanish TLT version to be analyzed = Y2, the final, published literary translation S3 = the third Spanish TLT version to be analyzed = the movie subtitles S4 = the fourth Spanish TLT version to be analyzed = the movie dubbing SLT-E = Source Language Text English (Translation from English) SLT-X = Source Language Text in X Language (Translation from Language X) TLT = Target Language Text TLT-S = Target Language Text Spanish (translation into Spanish) Y1 = Biopsy Stage of a Translation = the Translation-in-Progress (in the Process of Being Translated) Y2 = Autopsy Stage of a Translation = the Final Published Translation (Post-process of the Act of Translating, an Outcome of Y1) Introduction: From Biopsy to Autopsy The literary translation criticism undertaken in the Sendebar article “A Translation Biopsy of Cormac McCarthy’s The Sunset Limited in Spanish: Shadowing the Re-creative Process” antici- pates a postmortem -
Dubbing Practices in Europe: Localisation Beats Globalisation 1
Dubbing practices in Europe: localisation beats globalisation 1 Frederic Chaume Universitat Jaume I Whereas new technologies seem to favour globalisation in many areas of translation, dubbing shows a reluctance to embrace this trend of globalisa- tion. Translation memories are now used to make translation easier and faster all over the world. In the area of audiovisual translation, new subti- tling software has been developed, which is now widely used among both practitioners and companies. Also in subtitling, most microtextual practices (line segmentation, subtitle segmentation, typographical usages, synthesis of information, etc.) are followed by the majority of professionals. But dub- bing seems to refuse to bend to homogenisation. Perhaps due to notions of nationalism and singularity attached to this concept, dubbing still shows different macro- and microtextual practices in the European countries in which it is the most popular type of audiovisual translation. This paper examines four different dubbing practices at a microtex- tual level -those carried out in Germany, Italy, Spain and France. Before considering new failed attempts to globalise this practice, and also some major advances brought by new technologies, the paper focuses on the dif- ferences in layout, take segmentation and dialogue writing in these four countries. These differences show that dubbing practices are still very con- servative, and resistant to change and homogenisation. 1. Introduction: dubbing vs. subtitling in the global world New technologies seem to favour globalisation in many translation domains all over the world. Translation memories are now used to shorten transla- tion processes and avoid repetitive routines in legal, administrative, medical or scientific translation, to mention just a few areas. -
2021 – 2022 Red Deer College Course Guide Welcome to Rdc Learning Philosophy
2021 – 2022 RED DEER COLLEGE COURSE GUIDE WELCOME TO RDC LEARNING PHILOSOPHY Our commitment to learners and learning is at the heart of Red Deer College and this is reflected in our values of accountability, inclusiveness, exploration, excellence, integrity and community. We believe in fostering intellectually rigorous, professionally relevant, and dynamic learning environments of inquiry, exploration, application and creativity. We ensure accessibility to multiple pathways of formal and informal learning through active engagement, facilitated learning processes, and scholarly excellence. We value learning because it empowers our learners to be highly productive in the work force and within our communities. We honour the intrinsic value of learning in supporting self development, growth and fulfillment in the individual learner. We promote positive lifelong learning habits and attitudes that embrace local, national, and global experiences, issues and perspectives. Contents Table of Contents . 3 Health Sciences. .42 Adult Basic Education Courses . 85 . Academic Schedule . 4 History . 43 Academic Upgrading Courses . .86 . Human Resources Management . 44 Course Descriptions . 6 Indigenous Studies . 45 Index . 90 Instrumentation Engineering Academic Upgrading . 7 Technology . .46 Accounting . 7 Interdisciplinary Studies . 47 Acting. .8 International Business. .48 Administrative Professional . 10 Justice Studies . 49 Anthropology . .11 Kinesiology and Sport Studies . 50 Art . 12 Legal Assistant . 53 Arts and Animation . 15 Management . 54 Animation and Visual Effects. .15 Mathematics . 56 Astronomy. .16 Mechanical Engineering Biochemistry . 17 Technology . 57 Biology . 17 Media Studies and Professional Business . 18 Communication . 58 Business Administration . 19 Medical Lab Assistant . 59 Chemistry . 22 Motion Picture Arts . 59 Classics . 23 Music . 60 Communications. .23 Nursing . .64 Computing Science . 24 Occupational and Physical Creation . -
DOCUMENT RESUME CE 056 758 Central Florida Film Production Technology Training Program. Curriculum. Universal Studios Florida, O
DOCUMENT RESUME ED 326 663 CE 056 758 TITLE Central Florida Film Production Technology Training Program. Curriculum. INSTITUTION Universal Studios Florida, Orlando.; Valencia Community Coll., Orlando, Fla. SPONS AGENCY Office of Vocational and Adult Education (ED), Washington, DC. PUB DATE 90 CONTRACT V199A90113 NOTE 182p.; For a related final report, see CE 056 759. PUB TYPE Guides - Classroom Use - Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC08 Plus PoQtage. DESCRIPTORS Associate Degrees, Career Choice; *College Programs; Community Colleges; Cooperative Programs; Course Content; Curriculun; *Entry Workers; Film Industry; Film Production; *Film Production Specialists; Films; Institutional Cooperation; *Job Skills; *Occupational Information; On the Job Training; Photographic Equipment; *School TAisiness Relationship; Technical Education; Two Year Colleges IDENTIFIERS *Valencia Community College FL ABSTRACT The Central Florida Film Production Technology Training program provided training to prepare 134 persons for employment in the motion picture industry. Students were trained in stagecraft, sound, set construction, camera/editing, and post production. The project also developed a curriculum model that could be used for establishing an Associate in Science degree in film production technology, unique in the country. The project was conducted by a partnership of Universal Studios Florida and Valencia Community College. The course combined hands-on classroom instruction with participation in the production of a feature-length film. Curriculum development involved seminars with working professionals in the five subject areas, using the Developing a Curriculum (DACUM) process. This curriculum guide for the 15-week course outlines the course and provides information on film production careers. It is organized in three parts. Part 1 includes brief job summaries ofmany technical positions within the film industry. -
Dubbing Animation Into Spanish: Behind the Voices of Animated Characters Sofía Sánchez Mompeán, Universidad De Murcia
The Journal of Specialised Translation Issue 23 – January 2015 Dubbing animation into Spanish: behind the voices of animated characters Sofía Sánchez Mompeán, Universidad de Murcia ABSTRACT In response to the burgeoning growth that the animation market has witnessed in recent years and to the competitive rivalry that exists within the industry, the presence of celebrity voices in animated movies is increasingly regarded as an effective strategy to broaden audience appeal. This paper attempts to determine if the use of celebrities in the original version may somehow influence the way the target text is dubbed in foreign markets. A clean-cut distinction between two key concepts that are sometimes overlapped, voice acting and dubbing, will not only provide the perfect backdrop for the upcoming sections, but will also offer useful context to understand their theoretical and practical limitations. The data under study will illustrate the current panorama within the Spanish dubbing framework by comparing the presence of both celebrities and dubbing actors in those Hollywood blockbusters released in Spain from 2007 to 2013. The results obtained suggest that some of the strategies used in the dubbed version might indeed be prompted by the original voicing. KEYWORDS Dubbing, voice acting, animated films, celebrities, dubbing actors, voice actors. 1. Introduction Animation is in vogue. The exponential growth that this genre has experienced over the last decade has even led to talk about a period of “animation congestion” (Verrier 2013). In the US, one of the leading countries in animation production, the total amount of movies produced per year since the turn of the new century has doubled from 18 films in 2000 to 37 in 2013, reaching its peak in 2011 with 45 productions, as shown in Figure 1. -
An Eye-Tracking Study on How Viewers Make Dubbing Work Pablo Romero-Fresco, University of Vigo and University of Roehampton
The Journal of Specialised Translation Issue 33 – January 2020 The dubbing effect: an eye-tracking study on how viewers make dubbing work Pablo Romero-Fresco, University of Vigo and University of Roehampton ABSTRACT Although dubbing is regularly criticised for its artifice and its manipulation of film sound, it has proved to be the preferred modality of audiovisual translation for millions of viewers. Research in this area has explored at length the way in which the professionals involved in dubbing make it work. What has been overlooked so far is the cognitive process undergone by the viewers to make it work. In order to explore this issue, this paper starts with a discussion of several aspects that may be relevant to the perception and overall reception of dubbing, including cultural arguments on habituation, psychological and cognitive notions of suspension of disbelief and perceptual phenomena such as the McGurk effect. It then goes on to compare, with the help of eye-tracking technology, the eye movements of a group of native Spanish participants watching a clip dubbed into Spanish featuring close- ups with (a) the eye movements of a group of native English participants watching the same clip in English and (b) the eye movements of the Spanish participants watching an original (and comparable) clip in Spanish. This analysis is complemented by data on the participants’ comprehension, sense of presence and self-perception of their eye movements when watching these clips. The findings obtained point to the potential existence of a dubbing effect, an unconscious eye movement strategy performed by dubbing viewers to avoid looking at mouths in dubbing, which prevails over the natural way in which they watch original films and real-life scenes, and which allows them to suspend disbelief and be transported into the fictional world.