AUDIOVISUAL TRANSLATION, IDEOLOGY AND POLITICS: A CASE STUDY OF THE EFFECTS OF FRANCO-AMERICAN RELATIONS ON HOLLYWOOD FILM TRANSLATION RACHEL FLYNN A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN TRANSLATION STUDIES YORK UNIVERSITY TORONTO, ONTARIO AUGUST 2016 © RACHEL FLYNN 2016 ABSTRACT This thesis explores the importance of audiovisual translation (AVT) as a facilitator of cross-cultural communication. It considers the hegemonic power of Hollywood and the ideological significance of dubbing its films for a French audience. Contributing to modern popular culture, Hollywood blockbusters reach millions of individuals worldwide; thus, the cultural, ideological and political embeddedness of its dubbed products warrants analysis within a Translation Studies framework. Situated within the context of Franco-American political relations of 2003, when the two nations disagreed over the Iraq invasion, this case study reflects upon the ways in which incidences of Frenchness and Americanness in blockbuster films were translated before and after the disagreement. By considering dubbed films within two contexts, the findings of this research highlight the interconnectedness between context, ideology, translation and meaning transfer. This interdisciplinary research creates a discussion regarding the far-reaching implications of AVT in relation to cultural ideology and international politics. KEYWORDS: Franco-American relations, audiovisual translation (AVT), Hollywood dubbing, ideology, linguistic manipulation ii ACKNOWLEDGMENTS Firstly, I would like to extend my appreciation to the department of Translation Studies at Glendon College. As my time in the Master of Arts program comes to a close, I would like to acknowledge Professors Lyse Hébert, Julie McDonough-Dolmaya and Candace Séguinot for introducing me to the extensive, fascinating world of Translation Studies research through course work. Thank you for sharing your experiences and knowledge, and for encouraging critical thinking and risk-taking. I would also like to thank my thesis supervisor, Professor María Constanza Guzmán, for agreeing to embark on this exciting journey with me, as well as the members of the defense committee, Professors Şehnaz Tahir Gürçağlar, Lyse Hébert and Aurelia Klimkiewicz for generously sharing their time and expertise. Appreciation is also expressed for the committees involved with the Ontario Graduate Scholarship (OGS) program for supporting and funding this research project. The Translation Studies program is strengthened each year with bright, eager students, and it has been a privilege to study and learn alongside each of you. I would like to express my most heartfelt gratitude to fellow classmates Anissa Bachan and Sara Azar for sharing hours of conversation on translation and research, and mostly importantly, for being such a significant part of this journey. Your ideas have enriched this project, and your endless support fuelled my passion along the way. Our field is a wealthier place with both of you in it, and the translation industry will continue to benefit from your work. I would also like express my profound appreciation for the greatest woman in my life, Cindy Flynn, for her ever-present and wholehearted support throughout this process. In addition to the countless hours of revision, your faith and encouragement mean more than I can properly express. Thank you for being eager to learn about my discipline, for your confidence in me at every turn, for spending countless hours reading (and re-reading) each draft, and for reminding me to enjoy the journey as much as the destination. Above all, thank you for understanding. Finally, I would like to express my infinite love, appreciation and awe for my wonderful spouse, Craig (CJ) Zsoldos. You have been unbelievable throughout this entire experience; beginning when this goal was merely a seed so many years ago, followed by applications, course work and each phase of the thesis process, you have been my rock. Thank you for your patience and encouragement during the periods of difficulty, and for so genuinely sharing in the excitement and thrill of each success. Thank you for spending countless hours bouncing ideas back and forth, for conducting your own research in order to better understand mine, for sitting next to me night after night while I worked just keeping me company, and for celebrating every small victory along the way. This accomplishment would not have been possible without your endless love and selfless, all-encompassing support. Together, we have forged the last link in the chain. iii TABLE OF CONTENTS ABSTRACT ....................................................................................................................................... ii ACKNOWLEDGMENTS ................................................................................................................... iii TABLE OF CONTENTS ................................................................................................................... iv INTRODUCTION ...............................................................................................................................1 CHAPTER ONE: FRANCO-AMERICAN POLITICAL RELATIONS ...................................................14 Section One: The Disagreement .................................................................................................14 A Review of Franco-American Relations ..........................................................................23 Section Two: Ideology and Public Opinion ...............................................................................29 Section Three: Cultural Representation: Francophobia and Anti-American Sentiment ...........36 CHAPTER TWO: THEORETICAL FRAMEWORK AND CONCEPTS ..................................................47 Section One: Discourse Analysis as Ideological Investigation ..................................................47 Section Two: Dubbing as a Translation Process ........................................................................51 Section Three: Ideological Implications of Dubbing Constraints ..............................................56 Who Controls Dubbing Decisions? .......................................................................................58 Section Four: Ideological Implications of Dubbing Humour ....................................................62 CHAPTER THREE: CASE STUDY: PRE-DISAGREEMENT FILMS ...................................................66 Section One: French Kiss ...........................................................................................................67 Displays of Frenchness/Americanness ..................................................................................68 Section Two: The Man in the Iron Mask....................................................................................74 Displays of Frenchness/Americanness ..................................................................................75 CHAPTER FOUR: CASE STUDY: POST-DISAGREEMENT FILMS ...................................................81 Section One: Rush Hour 3 ..........................................................................................................81 Displays of Frenchness/Americanness ..................................................................................82 Section Two: The Pink Panther .................................................................................................91 Displays of Frenchness/Americanness ..................................................................................93 iv CHAPTER FIVE: DISCUSSION OF FINDINGS...................................................................................99 Section One: Overview of Linguistic Elements (per Film) .....................................................100 Shifts Exhibited in Pre-Disagreement Films .......................................................................103 Shifts Exhibited in Post-Disagreement Films ....................................................................106 Section Two: Humour and Innocuity ......................................................................................109 Section Three: Ideological Transfer and Manipulation ...........................................................111 Section Four: Hollywood as Hegemonic Power .....................................................................117 CONCLUSION ...............................................................................................................................122 BIBLIOGRAPHY ............................................................................................................................131 APPENDIX .....................................................................................................................................146 French Kiss .............................................................................................................................146 The Man in the Iron Mask .......................................................................................................151 Rush Hour 3 .............................................................................................................................156 The Pink Panther .....................................................................................................................167 v INTRODUCTION Each year, Hollywood