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Facultat De Ciències Humanes I Socials Departament De Traducció I Facultat de Ciències Humanes i Socials Departament de Traducció i Comunicació La gestión de proyectos de traducción audiovisual en España Seis estudios de caso TESIS DOCTORAL María R. Ferrer Simó Dirigida por: Prof. Frederic Chaume Universitat Jaume I Castellón de la Plana, Febrero 2016 «It's dangerous to go alone! Take this.» The Legend of Zelda (1986) Para Julián, que me ha enseñado que en la vida es peligroso ir solo. AGRADECIMIENTOS Quiero aprovechar estas líneas para dar las gracias a todos los que me han apoyado y acompañado durante el tiempo dedicado a elaborar la presente tesis, en especial: Al director de esta tesis, el Prof. Frederic Chaume, por el esfuerzo invertido en este trabajo y el tiempo dedicado a orientarme y a resolver mis dudas. Y sobre todo, por creer en este proyecto, apoyarme en mi particular enfoque y animarme a no abandonar un capítulo de mi vida que difícilmente podía compaginar con la profesión. Al profesorado del Departamento de Traducción y Comunicación de la Universitat Jaume I, que me ha dado la mejor formación universitaria posible desde la licenciatura y que despertó en mí el interés por la reflexión en torno a este oficio. A todos los profesionales que han participado en las encuestas y entrevistas voluntaria y desinteresadamente. En especial a Manu Guerrero, que desde mucho antes de que empezara esta aventura, me ayudó a entender cómo funciona el sector audiovisual. Y también a Javier Nadal, por estar disponible para ayudarme cada vez que ha sido necesario, sin dudarlo y sin mirar el reloj. A mi familia y amigos, que me han dado todo su cariño y comprensión, y en especial a mi hermano, que ha tomado el relevo al mando de Traducciones Imposibles para que yo tuviera más tiempo. Su esfuerzo ha contribuido en gran parte a que este trabajo saliera adelante. No puedo terminar sin mencionar a mis padres, que me dieron una educación privilegiada, me enseñaron que con esfuerzo podría alcanzar mis metas, y siempre apoyaron mis iniciativas. Su recuerdo y su ejemplo me han dado fuerzas para terminar esta tesis. ÍNDICE AGRADECIMIENTOS ÍNDICE .................................................................................................................................................... i ÍNDICE DE TABLAS........................................................................................................................... vii ÍNDICE DE FIGURAS .......................................................................................................................... ix ÍNDICE DE EJEMPLOS ....................................................................................................................... xi GLOSARIO DE ABREVIATURAS .................................................................................................... xiii INTRODUCCIÓN .................................................................................................................................. 1 Motivación .............................................................................................................................. 1 Justificación ............................................................................................................................. 1 Objetivos ................................................................................................................................. 3 Metodología............................................................................................................................. 4 Preguntas de investigación ...................................................................................................... 5 Proyectos (corpus de análisis) ................................................................................................. 6 Estructura ................................................................................................................................ 8 1. CONTEXTO Y SITUACIÓN ACTUAL DE LA TRADUCCIÓN AUDIOVISUAL EN ESPAÑA 13 1.1 La traducción audiovisual en la era digital .................................................................................. 13 1.1.1 Cambios en las cadenas de producción ................................................................................ 20 1.1.2 El encargo de traducción masivo .......................................................................................... 21 1.1.3 Cambios en las tarifas: de los años 90 al boom audiovisual ................................................. 24 1.2. Las nuevas promesas en el sector audiovisual ........................................................................... 30 1.2.1 La accesibilidad en traducción audiovisual .......................................................................... 30 1.2.2 Las reediciones y el Video on Demand (VOD)..................................................................... 31 1.2.3 La irrupción de la localización de videojuegos .................................................................... 33 1.2.4 Los proyectos transmedia ..................................................................................................... 35 1.3 El cambio de dirección del sector del doblaje ............................................................................. 36 1.4 La crisis económica y la caída del sector de los servicios ........................................................... 38 1.4.2 Las nuevas plataformas de distribución digital y la recuperación de la traducción audiovisual .................................................................................................................................... 41 1.5 A modo de conclusión: un nuevo replanteamiento de la actividad profesional de la TAV ........ 43 2. LA TAV EN EL SECTOR DE LOS SERVICIOS ........................................................................... 45 2.1 La traducción audiovisual como parte del sistema audiovisual: El modelo de Karamitroglou ... 45 2.2 La TAV profesional..................................................................................................................... 47 2.2.1 La cadena de la traducción para el doblaje ........................................................................... 50 i 2.2.2 La cadena de la traducción para la subtitulación .................................................................. 54 2.3 La cadena de postproducción ...................................................................................................... 57 2.3.1 Tipos de agentes y funciones ................................................................................................ 58 2.3.2 Procesos de producción de un doblaje o subtitulación ......................................................... 61 2.4 El proyecto TAV en la empresa especializada ............................................................................ 64 2.4.1 La gestión del proyecto ........................................................................................................ 64 2.4.2 Tipos de encargo .................................................................................................................. 66 2.5 Fases del proyecto de TAV en la empresa especializada ............................................................ 67 2.5.1 Administración ..................................................................................................................... 70 2.5.1.1 El contrato de TAV ....................................................................................................... 70 2.5.1.2 Presupuesto y negociación ............................................................................................ 71 2.5.1.3 Aprobación .................................................................................................................... 71 2.5.1.4 Asignación project manager ......................................................................................... 71 2.5.2 Coordinación ........................................................................................................................ 71 2.5.2.1 Asignación a traductor ................................................................................................... 71 2.5.2.2 Gestión del material ....................................................................................................... 72 2.5.3 Producción ............................................................................................................................ 72 2.5.3.1 Traducción ..................................................................................................................... 72 2.5.3.2 Ajuste............................................................................................................................. 72 2.5.3.3 Pautado, takeo o takeado, segmentación, división en takes .......................................... 74 2.5.3.4 Codificación, sincronización, pautado o localización de subtítulos .............................. 74 2.5.3.5 Revisión ......................................................................................................................... 74 2.5.4 Control de calidad ................................................................................................................ 75 2.5.4.1 Revisión del guion ......................................................................................................... 75 2.5.4.2 Visionado de subtítulos o simulación ............................................................................ 75 2.5.5 Facturación ..........................................................................................................................
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