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Las Entrevistas a Directores Y Guionistas Facultat de Ciències Humanes i Socials Departament de Traducció i Comunicació Estudio descriptivo y comparativo de la traducción de lmes plurilingües: el caso del cine británico de migración y diáspora ANEXOS TESIS DOCTORAL Irene de Higes Andino Dirigida por: Dr. Frederic Chaume Varela Castelló de la Plana, mayo de 2014 Índice Anexo 1. Los flujos migratorios en el cine ................................................... 1 Anexo 2. Programas informáticos ................................................................. 3 Anexo 2.1. Excel: Herramienta para el análisis microtextual ...................................... 3 La búsqueda avanzada en Excel ............................................................................... 3 Anexo 2.2. ATLAS.ti: Herramienta para el análisis extratextual ................................. 6 Anexo 3. Pautas de transcripción ................................................................ 11 Anexo 3.1. La copia y la transcripción de las fuentes textuales ................................. 11 Anexo 3.2. La transcripción de las entrevistas ........................................................... 15 Anexo 4. Fuentes institucionales ................................................................. 17 Anexo 4.1. Número total de filmes estrenados en España ......................................... 18 Anexo 4.2. Coproducciones españolas (2002-2009) .................................................. 20 Anexo 5. Apéndice II, ETS 147 (Council of Europe, 1992) ....................... 22 Anexo 6. Cine para leer .............................................................................. 23 Anexo 7. Procesos de realización, distribución y traducción de los filmes del corpus 1 ................................................................................................. 28 Anexo 8. Sinopsis y fichas técnicas del corpus 2 ....................................... 30 Anexo 8.1. Ae Fond Kiss… ........................................................................................ 31 Anexo 8.2. Beautiful People ....................................................................................... 32 Anexo 8.3. It’s a Free World… .................................................................................. 34 Anexo 8.4. Provoked: A True Story ........................................................................... 35 Anexo 8.5. Room to Rent ............................................................................................ 36 Anexo 9. Análisis de muestras .................................................................... 38 i Anexo 10. El proceso de realización de un filme plurilingüe de migración y diáspora: las entrevistas a directores y guionistas ....................................... 40 Anexo 10.1. Entrevista personal a Paul Laverty, realizada el 3 de diciembre de 2010 en Ronda (Málaga, España) ........................................................................................ 41 Anexo 10.2. Entrevista personal a Ken Loach y Paul Laverty, realizada el 3 de diciembre de 2010 en Ronda (Málaga, España) ......................................................... 50 Anexo 10.3. Entrevista personal a Rahila Gupta, realizada el 9 de febrero de 2011 en Londres (Reino Unido) ............................................................................................... 55 Anexo 10.4. Entrevista personal a Amanda Mackenzie Stuart, realizada el 16 de febrero de 2011 en Londres (Reino Unido) ................................................................ 75 Anexo 10.5. Entrevista personal a Jasmin Dizdar, realizada el 4 de marzo de 2011 en Londres (Reino Unido) ............................................................................................... 89 Anexo 10.6. Entrevista personal a Khaled El-Hagar, realizada el 1 de abril de 2011 a través de videoconferencia ....................................................................................... 114 Anexo 11. El proceso de distribución: las entrevistas a distribuidoras .... 127 Anexo 11.1. Entrevista personal a Josetxo Moreno (Golem), realizada el 13 de agosto de 2012 en Pamplona (Navarra) ............................................................................... 128 Anexo 11.2. Entrevista personal a Enrique González Kuhn y Armanda Rodríguez (Alta Films), realizada el 22 de octubre de 2012 en Madrid .................................... 155 Anexo 12. El proceso de traducción: las entrevistas a traductores y directores de doblaje .................................................................................. 206 Anexo 12.1. Cuestionario respondido por Gustavo Troncoso sobre la traducción para el doblaje de It’s a Free World… en agosto de 2009 ............................................... 207 Anexo 12.2. Cuestionario respondido por Sally Templer en conversación telefónica sobre la traducción para el doblaje de Room to Rent en marzo de 2012 .................. 213 Anexo 12.3. Entrevista personal a Gustavo Troncoso, realizada el 23 de octubre de 2012 en Madrid ......................................................................................................... 216 Anexo 12.4. Cuestionario respondido por Judith Cortés sobre la subtitulación de Room to Rent en enero de 2013 ................................................................................ 237 Anexo 12.5. Cuestionario respondido por Elisabet Nonell sobre la traducción para doblaje de Provoked en enero de 2013 ..................................................................... 244 Anexo 12.6. Cuestionario respondido por Lía Moya sobre la subtitulación de Ae Fond Kiss... en abril de 2013 ............................................................................................. 250 Anexo 12.7. Cuestionario respondido por Eduardo Gutiérrez sobre el doblaje de It’s a Free World… en agosto de 2009 .............................................................................. 260 Anexo 12.8. Entrevista personal a Rosa Pastó, realizada el 10 de abril de 2012 en Barcelona .................................................................................................................. 270 Anexo 12.9. Entrevista personal a Rosa Sánchez, realizada el 29 de noviembre de 2012 en Madrid ......................................................................................................... 312 Anexo 13. Clips ......................................................................................... 344 ii Anexo 1. Los flujos migratorios en el cine Desde los años 70 del siglo XX, los filmes que narran historias de migración y diáspora han sido objeto de estudio en el ámbito de los Estudios Fílmicos. Como se observa en la siguiente tabla, se han etiquetado de diversas formas en función del rasgo que se quiere resaltar. Tabla 1. Evolución cronológica de la terminología que define a los filmes que narran historias de migración y diáspora TÉRMINO(S) AUTOR(ES) RASGO QUE SE RESALTA Cine de guerrilla, propio de las industrias cinematográficas de las Solanas y Gettino (1976), antiguas colonias. Surge como respuesta a la hegemonía del cine Third Cinema retomado por Shohat y de las ex metrópolis y de Hollywood. Pretende despertar la Stam (1994) conciencia de los espectadores y servir como pretexto para iniciar un debate en busca de soluciones. Hennebelle (1979); Cinéma de Filmes que tratan el tema de la inmigración desde el punto de vista Hennebelle y Soyer l’émigration del emigrante. (1981) Filmes realizados por cineastas de origen beur o largometrajes sobre la comunidad beur1. En un principio, se caracterizaban por Cinéma beur Cinématographe (1985) versar sobre los problemas de identidad nacional que sufre esta segunda generación de inmigrantes (Tarr, 2005). Filmes británicos realizados por directores procedentes de África, el Caribe y el subcontinente asiático. Surgieron en los años 60 del Mercer (1988/2003); Black cinema siglo XX y en ellos prima la estética realista con el objetivo de Pines (1988) criticar la realidad contada por los discursos dominantes en Reino Unido en dicha época. Jousse (1995b, 1995a); Cintas independientes cuya narración transcurre en los barrios Cinéma de banlieue Tobin (1995) periféricos de las grandes ciudades francesas, la banlieue. Largometrajes que emplean un lenguaje cinematográfico Hybrid cinema / Marks (1994), a partir occidental para crear cintas, en ocasiones autobiográficas, que experimental de Deleuze (1983, 1985) tratan aspectos de la vida de una comunidad minoritaria no diasporian cinema occidental. Representación visual metafórica de la (des)ubicación de los Cinema Ghosh y Sarkal desplazados económicos al poner énfasis en los viajes y el of displacement (1995-1996) constante tránsito entre el lugar de origen y el lugar de acogida. Cintas que emplean estilos experimentales para reflejar cómo se Intercultural cinema Marks (2000) vive entre dos o más culturas. Se dirigen a un público minoritario, lo que dificulta su distribución. Filmes realizados por cineastas que trabajan en países occidentales, Cinema del métissage Spagnoletti (2000) pero provienen de otros países, en especial del Hemisferio Sur. 1 El apelativo beur define a los individuos de origen magrebí nacidos en Francia de padres inmigrantes. Disponible en: http://www.larousse.fr/dictionnaires/francais/beur/8983. 1 TÉRMINO(S) AUTOR(ES) RASGO QUE SE RESALTA 1. Largometrajes que traspasan fronteras en el proceso de financiación y producción. Göktürk (2001b); 2. Cintas heterogéneas marcadas por la hibridación estética y Transnational Ezra y Rowden (2006b); narrativa. Crean vínculos
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