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Hassani-Ouassima-Tesis15.Pdf (4.423Mb) UNIVERSIDAD PABLO DE OLAVIDE DEPARTAMENTO DE FILOLOGÍA Y TRADUCCIÓN TESIS DOCTORAL LA TRADUCCIÓN AUDIOVISUAL EN MARRUECOS: ESTUDIO DESCRIPTIVO Y ANÁLISIS TRADUCTOLÓGICO Sevilla, 2015 Presentada por: Ouassima Bakkali Hassani Dirigida por: Dr. Adrián Fuentes Luque Esta tesis fue realizada gracias a una beca de la Agencia Española de Cooperación Internacional (AECID). AGRADECIMIENTOS La realización de este trabajo de investigación me ha hecho pasar por momentos duros y difíciles, y ha supuesto ser un verdadero reto tanto personal como profesional. Por ello, es menester agradecer y reconocer la ayuda crucial brindada por aquellas personas y que de una manera u otra han contribuido para llevar a buen puerto la presente Tesis. Son muchas las que han estado a mi lado en momentos difíciles y en los que en más de una ocasión pensé tirar la toalla. Pude hacer frente a ellos y he podido seguir adelante y superar todos los obstáculos que se me pusieron en frente. En primer lugar, quiero agradecer al Dr. Adrián Fuentes Luque, quien ha creído y apostado por mí y en el tema de la investigación desde el primer momento, me ha ayudado a mantener el ánimo y ha seguido con lupa e interés todo el proceso de elaboración de la Tesis. 7DPELpQDO&HQWUR&LQHPDWRJUi¿FR0DUURTXtSRUHOPDWHULDOIDFLOLWDGR\ODVHQWUHYLVWDVFRQFHGLGDV en especial al que fuera su director, D. Nouredine Sail, y al Jefe del departamento de Cooperación y Promoción, D. Tariq Khalami. Asimismo, quiero dar un especial agradecimiento a todos los profesionales del sector audiovisual \GHODWUDGXFFLyQDXGLRYLVXDOHQ0DUUXHFRVDORVTXHKHWHQLGRODRFDVLyQ\HOJXVWRGHHQWUHYLVWDUHQ HVSHFLDOD'xD+LQG=NLNGLUHFWRUDGH3OXJ,Q'(O+RXVVLQH0DMGRXELGLUHFWRUGHOSHULyGLFRAlif Post y académico, Dña. Saloua Zouiten, secretaria general de la Fondation du Festival International du )LOPGH0DUUDNHFK',PDG0HQLDULHMHFXWLYRHQOD+DXWH$XWRULWpGH&RPPXQLFDWLRQ$XGLRYLVXHO D. Isa Ouahbi, jefe de programación en la cadena marroquí Tamazight, Dña. Nadia Hansali, H[DXGLRGHVFULSWRUD'0RKDPPHG$PPRUDDXGLRGHVFULSWRU\SUHVHQWDGRUGHSURJUDPDVD'xD $QD=DIUDUHVSRQVDEOHGHSURGXFFLyQGH5HHG%HH0HGLDDVtFRPRDORVWUDGXFWRUHVDXGLRYLVXDOHV GH3OXJ,QORVUHDOL]DGRUHVFLQHPDWRJUi¿FRVPDUURTXtHV\HOFRQMXQWRGHSHUVRQDVLQYLGHQWHV\FRQ GH¿FLHQFLDVYLVXDOHVTXHDVLVWLHURQDOD;,,HGLFLyQGHO)HVWLYDO,QWHUQDWLRQDOGX)LOPGH0DUUDNHFK DOGHSDUWDPHQWRGH,QIRUPiWLFDGHOD+DXW&RPLVVDULDWDX3ODQGH0DUUXHFRV\DO0LQLVWHULRGH 3ODQL¿FDFLyQGHO'HVDUUROORGH&DWDU$ORVSURIHVRUHVGHOD(VFXHOD6XSHULRU5H\)DKGGH7UDGXFFLyQ de Tánger y en particular a los profesores D. Abdelouahab El Imrani, D. Tayeb Noutebkalt, así como a todos los profesores del departamento de Español. 'HMRSDUDHO¿QDOHODJUDGHFLPLHQWRPiVSHUVRQDO$PLPDGUHYDOHURVD\OXFKDGRUDPXMHUTXH durante 30 años ha esperado este momento: ver doctorándose a su hija. A Hanadi y Nahyane, mi gabinete de crisis, quienes han aportado dosis de energía y fe a mi trabajo académico cuando tenía PLVGXGDV<D'ÈQJHO)HUQiQGH]0LOOiQFRPSDxHUR\DPLJRSRUQRKDEHUGXGDGRHQHVWDUDOOt siempre cuando le he necesitado. A todos, gracias. 7 ÍNDICE Introducción 17 Objetivos del estudio 19 Metodología general y fuentes de la investigación 20 PRIMERA PARTE: ASPECTOS CONCEPTUALES DEL SECTOR AUDIOVISUAL Y DE LA TRADUCCIÓN AUDIOVISUAL. CAPÍTULO 1. Conceptualización de la industria audiovisual 23 1.1. Conceptualización de la industria audiovisual 23 1.2. Los sectores audiovisuales 25 1.1.1. Televisión 27 1.1.1.1. Géneros televisivos 29 1.1.2. Cine 30 1.1.3. DVD 33 CAPÍTULO 2. Conceptualización de la traducción audiovisual 35 2.1. La traducción audiovisual 35 2.1.1. Doblaje 35 2.1.2. Subtitulación 37 2.1.3. Audiodescripción 37 &$3Ë78/2'H¿QLFLyQ\FDWHJRUL]DFLyQGHORVUHIHUHQWHVFXOWXUDOHV 'H¿QLFLyQ\FDWHJRUL]DFLyQGHORVUHIHUHQWHVFXOWXUDOHV 3.1.1. Estrategias de traducción de los referentes culturales 42 3.1.2. Fraseología 43 3.1.3. Canciones 45 3.1.4. Variación lingüística 46 3.1.5. Lenguaje tabú 48 PARTE SEGUNDA: SECTOR AUDIOVISUAL. CAPÍTULO 4. El Sector audiovisual en el mundo árabe 49 4.1. El sector audiovisual en el mundo árabe 49 4.1.1. La televisión y el cine 50 4.1.1.1. Líbano 52 4.1.1.2. Jordania 53 4.1.1.3. Siria 53 4.1.1.4. Catar 53 4.1.1.5. Emiratos Árabes Unidos 55 4.1.1.6. Arabia Saudí 56 4.1.1.7. Egipto 57 4.1.1.8. Irak 59 4.1.1.9. Palestina 59 (O0DJUHE 4.2. Las nuevas tendencias audiovisuales en el mundo árabe 61 4.3. Conclusiones 63 CAPÍTULO 5. El sector audiovisual en Marruecos 65 5.1. La televisión en 0DUUXHFRV 65 5.1.1. Las cadenas de televisión 66 5.1.1.1. Société Nationale de Radiodiffusion et de Télévision (SNRT) 67 625($'0 68 0HGL79 69 5.1.2. La programación televisiva 69 5.1.2.1. Programación SNRT 69 3URJUDPDFLyQ0 72 3URJUDPDFLyQ0HGL7Y 74 /D¿QDQFLDFLyQGHODWHOHYLVLyQS~EOLFD 74 (OFLQHHQ0DUUXHFRV 74 3URGXFFLyQFLQHPDWRJUi¿FD 84 5.2.2. Distribución cinePDWRJUi¿FD ([KLELFLyQFLQHPDWRJUi¿FD 5.2.4. Festivales de cine 100 '9'HQ0DUUXHFRV 5.2.6. Conclusiones 107 PARTE TERCERA: TRADUCCIÓN AUDIOVISUAL. CAPITULO 6. La traducción audiovisual en el mundo árabe 109 6.1. Lengua y lenguaje 110 6.2. Doblaje 113 6.2.1. Panorama histórico 113 6.2.2. Aspectos profesionales 117 6.3. Subtitulación 123 6.3.1. Panorama histórico 123 6.3.2. Aspectos profesionales 124 6.4. Audiodescripción 126 6.5. Conclusiones 127 CAPÍTULO 7. La traducción audiovisual en Marruecos 128 7.1. Doblaje 128 7.1.1. Panorama histórico 128 7.1.2. Aspectos lingüístico-traductivos 134 7.1.3. Aspectos artísticos 142 7.1.4. Aspectos técnicos 144 7.1.5. Aspectos socioeconómicos 145 7.2. Subtitulación 147 7.2.1. Panorama histórico 147 7.2.2. Aspectos lingüístico-traductivos 148 7.2.3. Aspectos técnicos 149 7.2.4. Aspectos socioeconómicos 151 7.3. Audiodescripción 152 7.3.1. Panorama histórico 152 $FFHVLELOLGDGHQ0DUUXHFRV 7.3.3. Asociacionismo 157 )RUPDFLyQHQWUDGXFFLyQDXGLRYLVXDOHQ0DUUXHFRV 0DUFRMXUtGLFRGHODWUDGXFFLyQDXGLRYLVXDOHQ0DUUXHFRV 7.6. Conclusiones 164 PARTE CUARTA: TRADUCCIÓN AUDIOVISUAL EN MARRUECOS. TRABAJO DE CAMPO. CAPÍTULO 8. Metodología del trabajo de campo 165 0HWRGRORJtDGHOWUDEDMRGHFDPSR 8.2. Objeto del trabajo de campo 166 8.3. Ámbito de estudio 166 0XHVWUD\VHOHFFLyQGHODPXHVWUD 8.4.1. Presentación de la muestra del sector del doblaje 167 8.4.2. Presentación de la muestra del sector de la subtitulación 167 8.4.3. Presentación de la muestra del sector de la audiodescripción 167 8.5. Técnicas de investigación y estrategias de obtención de datos 168 8.5.1. Trabajo de campo 169 8.5.2. Diseño y aplicación de los instrumentos de recogida de datos 169 8.6. Análisis de datos e interpretación de resultados 170 8.6.1. Doblaje 171 8.6.1.1. Datos de la empresa 171 8.1.1.2. Acceso a la profesión 172 8.6.1.3. Aspectos lingüístico-traductivos 175 8.6.1.4. Aspectos técnicos 182 8.6.1.5. Condiciones laborales 182 8.6.1.6. Propiedad intelectual 184 8.6.1.7. Asociacionismo 185 8.6.2. Subtitulación 186 8.6.2.1. Aspectos lingüístico-traductivos 186 8.6.2.2. Aspectos económicos 188 8.6.2.3. Aspectos técnicos 188 8.6.3. Audiodescripción 190 8.6.3.1. Formación 190 8.6.3.2. Aspectos lingüísticos 190 8.6.3.3. Aspectos técnicos 192 8.6.3.4. Condiciones laborales 192 8.7. Conclusiones 194 PARTE QUINTA: ANÁLISIS DE LOS REFERENTES CULTURALES. CAPÍTULO 9. Presentación y descripción del corpus 197 9.1. Presentación y descripción del corpus 197 9.1.1. Características de las series 197 9.1.1.1. Los hombres de Paco 198 9.1.1.1.1. Los personajes de Los Hombres de Paco 198 0LVDGRUDEOHVYHFLQRV /RVSHUVRQDMHVGH0LVDGRUDEOHVYHFLQRV 9.2. Tratamiento del corpus 201 9.2.1. Los hombres de Paco 201 7UDWDPLHQWRGHUHIHUHQWHVGHFDUiFWHUJHRJUi¿FR 9.2.1.2. Tratamiento de referentes de carácter histórico 203 9.2.1.3. Tratamiento de referentes de carácter social 210 9.2.1.4. Tratamiento de referentes de carácter cultural 222 9.2.1.5. Fraseología 248 9.2.1.6. Canciones 257 9.2.1.7. Variación lingüística 259 9.2.1.8. Lenguaje tabú 262 0LVDGRUDEOHVYHFLQRV 7UDWDPLHQWRGHUHIHUHQWHVGHFDUiFWHUJHRJUi¿FR 9.2.2.2. Tratamiento de referentes de carácter histórico 285 9.2.2.3. Tratamiento de referentes de carácter social 288 9.2.2.4. Tratamiento de referentes de carácter cultural 297 9.2.2.5. Fraseología 311 9.2.2.6. Canciones 316 9.2.2.7. Variación lingüística 318 9.2.2.8. Lenguaje tabú 323 9.3. Conclusiones 335 PARTE SEXTA: CONCLUSIONES Y RECOMENDACIONES. Anexos (véase soporte electrónico adjunto) Bibliografía 345 ÍNDICE DE TABLAS Tabla 1. Sectores de la industria audiovisual 26 Tabla 2. Criterios de noticiabilidad 27 Tabla 3. Referentes culturales extralingüísticos 40 Tabla 4. Número de corporaciones árabes 51 Tabla 5. Desarrollo del número de canales emitidos por las corporaciones árabes durante los últimos años 51 Tabla 6. Sistema de emisión de los canales árabes 52 Tabla 7. Reparto mensual de las horas de emisión de la cadena de Catar según el tipo de programación 54 7DEOD/LVWDGH¿FFLyQQDFLRQDO6157GHODxR 7DEOD/LVWDGH¿FFLyQH[WUDQMHUDGHODxR VLQFRQWDUODVSHOtFXODV\ORVWHOH¿OPV 7DEOD/LVWDSURJUDPDFLyQGHHQWUHWHQLPLHQWRGH0GHODxR 7DEOD/LVWDGH¿FFLyQH[WUDQMHUDGH0GHODxR 7DEOD6DODV&LQHPDWRJUi¿FDVGHO3URWHFWRUDGR(VSDxROHQ0DUUXHFRV 7DEOD3HOtFXODVVREUHHO0DUUXHFRV(VSDxRO 7DEOD3DUTXHFLQHPDWRJUi¿FRDQWHVGHOD,QGHSHQGHQFLD Tabla 15. Creación de salas de cine (1947-1952) 81 7DEOD([SORWDFLyQFLQHPDWRJUi¿FD Tabla 17. Adelantos por ingresos de taquillas concedidos entre 1988 y 2013 85 7DEOD/LVWDGHDVRFLDGRVDOD&iPDUD0DUURTXtGH3URGXFWRUHVGHSHOtFXODV Tabla 19. Autorizaciones de rodaje de producciones marroquíes expedidas por el &&0HQWUH\ 7DEOD/LVWDGHFRSURGXFFLRQHVGH0DUUXHFRVFRQRWURVSDtVHV 7DEOD2EUDVDIULFDQDVHQFRSURGXFFLyQFRQ0DUUXHFRV 7DEOD/LVWDGHGLVWULEXLGRUDVGHSHOtFXODVFLQHPDWRJUi¿FDVHQIXQFLRQDPLHQWR
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