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Based on a new type of online data, danmu comments, this article examines the reception of the English-dubbed Chinese drama Journey to the West (Season II). This drama was adapted from a classic Chinese novel of the same title. Studies on dubbing reception have focused on how audiences understand and appreciate dubbing products. However, this article approaches dubbing reception from the perspective of usability, conceiving reception as using translations for certain purposes. I first collected danmu comments on the dubbed version from Bilibili, the most popular danmu video-sharing website in China. A multimodal discourse analysis of these comments shows that the dubbed Journey has been used for Chinese viewers to learn English. Danmu interface functions like a "blackboard" to provide back translations for viewers, helping them better understand the English lines. By proposing the concept "danmu-assisted learning through back translation," this study argues that dubbed material could be useful in language learning. Such informal language learning may inspire the industry to develop a danmu-based learning software for foreign languages, which could be applied in a pedagogical setting. This article reveals new temporal features of danmu subtitling, including antecedent, concurrent, and delayed danmu translations, potentially facilitating learning in various ways. It also contributes methodologically to AVT reception studies by using danmu comments to study viewers in a naturalistic setting without researcher intervention. [ABSTRACT FROM AUTHOR]

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This article studies how the references to the color black in the first series of The Fresh Prince of Bel-Air were translated into French. They are generally erased in the dubbed French version when made in passing, but they are kept, or even amplified, when the plot deals with color. The authors of this article use approaches from the fields of translation studies and cultural studies (for example, by contrasting a "post-racial" America and France, where SOS Racisme had just been created). [ABSTRACT FROM AUTHOR]

Copyright of FORUM is the property of John Benjamins Publishing Co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Context: In intellectual work and cultural policy documents related to the francophone media market, the struggle between the old mechanisms, bound to the physical infrastructure of the land, and the new virtual ones is recast as a competition between nation and globalism, between québécois--a local accent seen as a marker of national character and self-recognition--and the linguistic construct of français international--spoken only on the dubbing stage. Analysis:This article examines how dubbing practices become acts of cultural diplomacy in the clash between legacy and platform distribution. Conclusions and Implications: Ambivalent towards traditional displays of national selfhood, the Québec dubbing industry insists that its cultural identity is more accurately represented through participation in the global market rather than through regional accents. [ABSTRACT FROM AUTHOR]

Cet article présente une expérience d'enseignement alliant traduction automatique (TA) et traduction audiovisuelle (TAV) avec des étudiants de traduction en Espagne. Après avoir traduit pour le doublage un extrait de série télévisée, les participants ont réalisé la post-édition du même texte et ensuite évalué le temps consacré et la typologie d'erreurs générés par la TA. Si les résultats montrent des difficultés pour insérer la TA dans le cadre d'un projet de doublage, une réduction du temps global a été constaté, ce qui encourage à poursuivre la recherche dans ce domaine.

The dubbing process is usually depicted as a linear model in which its participants occupy fixed roles determined by their specializations. However, Torre A, a Peruvian dubbing firm, applies alternative procedures in an emerging context of the dubbing industry. This first case study of dubbing in Peru seeks to examine the dubbing process employed by the agency Torre A based on two projects taking place during its emerging stage as a company. Participants from both projects were interviewed to reconstruct each project workflow. The workflows were then analyzed to contrast the monological, linear theoretical model found in the literature with the dialogical model arising from the participants' voices. The results show the looping nature of the dubbing process, which is comprised of tasks performed simultaneously or repeatedly by versatile agents whose roles depend on available human and temporal resources as well as intrinsic motivation. This multiplicity of roles also influences the quality criteria used by the agents, who formulate criteria based on their professional perspectives, experiences, and general knowledge of the dubbing process. Thus, a variety of dubbing project circumstances determine how dubbing takes place. This represents a departure from the traditional, or standardized, model of dubbing. [ABSTRACT FROM AUTHOR]

With the rapid development of digitization and the emergence of social networks and streaming platforms, audiovisual translation (AVT) has become one of the most prolific expressions of global communication in today's society, able to overcome linguistic barriers when disseminating culture across the world. While audiovisual productions originally shot in English seem to be able to take full advantage of this situation, China's domestic programs frequently encounter more challenges to make it overseas. Adopting a primarily translational approach, this paper borrows the concept of "cultural discount," coined by Hoskins and Mirus (1988), to capture the notion that audiovisual productions are rooted in one culture and, therefore, may have diminished appeal among viewers from other communities. The study holds that the degree of cultural discount audiovisual productions may encounter when exported depends on numerous factors, which are explored through examples of recently localized films and TV series of Chinese origin. [ABSTRACT FROM AUTHOR]

Troisième série de Marvel diffusée sur Netflix, "Luke Cage" nous offre un superhéros noir à la force surhumaine dont la peau est pare-balles. Ancrée dans un cadre socio-culturel bien distinct, la série évoque le vécu des Afro-américains dans une société contemporaine clivée. Si la tâche du traducteur est de relâcher "the bonds of belonging" (Pym 145) du texte filmique on peut se demander ce qui arrive à la variété d'anglais parlée par les personnages de la série (l'anglais afro-américain) et aux références culturelles lorsque le produit entreprend son voyage vers la France. Nous verrons que la version française laisse traduit tout le malaise du studio de doublage face à un produit et une production culturels qu’elle ne semble pas complètement saisir.

Copyright of French Language & Translation Research is the property of Ferdowsi University of Mashhad Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study examines the degree of the adequate transference of humorous ECRs expressions in comedy animations from English into Persian dubbed and subtitled versions. It also identifies the most effective translation strategies for transferring humorous ECRs expressions in the Persian dubbed and subtitled versions. First, ECR-related humorous expressions were identified in the source texts, and later they were classified based on the classification of Nedergaard Larsen (1993, 211) for ECRs. Subsequently, the identified humorous ECRs expressions were compared with their equivalent Persian dubbed and subtitled versions to determine whether they were transferred adequately. To examine the employed translation strategies in transferring humorous ECRs expressions, the study opted for Pedersen's (2011, 77–97) translation strategies for ECRs. The results showed that translators employed a target-oriented approach in the dubbed versions and a source-oriented approach in subtitled versions. However, both techniques could not retain the humorous criteria of the source texts. At the same time, the findings revealed that humorous ECRs expressions were transferred more adequately in the dubbed versions than the subtitled versions. Situational substitution and cultural substitution (by target culture ECR) strategies were the most effective translation strategies for dubbed versions. Similarly, situational substitution and generalization strategies were the most effective translation strategies for subtitled versions. [ABSTRACT FROM AUTHOR]

Children’s stories have always been a source of entertainment and a way to discover the world for their readers. Today these stories have evolved and are now available on all kinds of media: books, tablets, and televisions. However, the importance of the translation of these stories remains the same, as children learn tremendously from every single one of them. The present article focused on one of theses stories, the French TV show Il était une fois… l’homme (1978), and our aim is to identify the translation norms in the version dubbed into Spanish. Furthermore, we will attempt to respond to these tendencies using studies into the translation of children’s literature as well as studies on audiovisual translation. Depuis toujours, les histoires pour enfants ont été une source de divertissement et de découverte du monde pour ces jeunes lecteurs. Aujourd’hui, ces histoires évoluent et se présentent sur tout type de supports, tels que les livres, tablettes ou téléviseurs. L’importance de la traduction reste pourtant la même, puisque l’enfant apprend énormément avec chacune d’entre elles. Ce travail vise à analyser la traduction de l’une de ces histoires, la série pour enfants française Il était une fois... l’homme (1978), et a pour but d’identifier les normes de traduction dans son doublage vers l’espagnol. Nous chercherons aussi à en expliquer les tendances en nous appuyant à la fois sur les études de traduction de la littérature d’enfance et de jeunesse mais aussi sur les travaux en traduction audiovisuelle.

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Après la fondation de la république populaire de Chine (RPC), les films soviétiques doublés sont devenus un outil important pour promouvoir l'alliance sino-soviétique auprès des Chinois. Cet essai explore la représentation des alliés soviétiques à travers le doublage de films soviétiques dans la Chine des années 1950, en mettant l'accent non seulement sur le contenu de ces voix, mais également sur les techniques et l'esthétique du doublage. Même si la RPC les utilisait pour produire une image familière et fiable des Soviétiques, ces films les ont également représentés comme des étrangers, ouvrant la possibilité de représentations alternatives des personnages soviétiques et de la relation sino-soviétique. Cet article montre l'ambiguïté de l'image des «grands frères soviétiques» dans les films doublés dans les années 1950, qui pouvait remettre en question l'image officielle des relations entre les Chinois et le monde. [ABSTRACT FROM AUTHOR]

Empirical reception research in audiovisual translation (AVT) has long been neglected as most previous studies focused primarily on features of AVT as a product and the producers of AVT, but not on end-users. The importance of these studies is emphasized by the fact that AV content is designed for target audiences. Knowing their preferences, expectations and needs can inform the industry and, thus, increase positive reception, placement and usability of the product. The present contribution aims at answering the question of whether there is a difference in preferences when it comes to translation strategies used for rendering the elements of culture (EC) in two different AVT modalities (subtitling and dubbing) and what could be the underlying reasons for it. For this purpose, we conducted an experiment with 136 participants among the undergraduate students at two universities in Montenegro. Results indicate that end-users have different general preferences and expectations for these modalities. We hypothesize that the observed differences are related to the "vulnerability" of subtitling. Furthermore, fluctuations from the general preference in subtitling have been noted in monocultural ECs in connection with encodedness of the EC in source text humor. This shows that industry's translation guidelines should be modality-specific and that an over-simplistic approach to the treatment of such a complex issue as rendering culture within certain modalities should be avoided. [ABSTRACT FROM AUTHOR]

Pronunciation is an often-neglected aspect of language instruction. Teachers usually place the blame on lack of time and resources, as well as curricular restrictions. However, in recent years, we have witnessed a proliferation of various tools that can be used to render work on different aspects of pronunciation much more interesting. In the present paper, we will focus on one particular technique: video dubbing. By examining the answers provided by the participants of a dubbing project conducted by the author of the present study, we will try to reflect on the potential advantages of such activities, and determine whether they are considered stimulating and effective by language learners. [ABSTRACT FROM AUTHOR]

In translation studies, investigating translations beyond the implications, realities and difficulties of single texts and single language combinations, viewing the larger picture surrounding translations and following the translations through to the impacts they produce wherever they are received, is an integral part of the discipline. The study discussed in this article is an effort to present food for thought for audiovisual translators of soap operas. Turkish soap operas have been aired in 90 countries around the world, reaching over 400 million viewers, according to 2014 statistics from the sector. The aim of the study is to indicate the type of translated soap operas preferred in different regions of the world; to explain, on the basis of feedback from experts, the public and local and international media, why these are watched; and to investigate the translation modes and strategies used to market the translations successfully in the receiver markets. [ABSTRACT FROM AUTHOR]

The dubbing versus subtitling debate has been a recurrent topic in the audiovisual translation literature, but empirical research into the reception of both modes is still lacking. This article presents the results of an experiment that aimed to investigate to what extent comprehension, memory, and enjoyment of a film differ in a dubbed and a subtitled version in a country that traditionally uses dubbing, like Spain. Fifty-one young Spanish adults participated in the study, which measured general comprehension, dialogue recognition, face-name association and visual scene recognition, as well as evaluative measures including film appreciation, self-reported effort related to film viewing, and metacognitive judgments of memory. [ABSTRACT FROM AUTHOR]

Film translation in China began as early as 1949 and has been developing very fast. This article aims at providing an overview of the current situation of film translation in China and explores the two major types of English-Chinese film translation: dubbing and subtitling. Therefore, it can be roughly divided into two parts. The first part constitutes a general background for the study of film translation. The author of this article first discusses film's origin and nature, the features of film language and the classification of film translation. Of the four categories of film translation (subtitling, lip-sync dubbing, narration, and free-commentary), dubbing and subtitling are the main forms used in China. Then the differences between the two types and social preference for them are analyzed. The author also presents a summary of film translation's development and current studies on this topic. The second part probes into the details of dubbing and subtitling. This article investigates the features and technical constraints of dubbing and subtitling. The main techniques adopted in practice are illustrated through specific examples. Both forms have their relative advantages and disadvantages. In subtitling, standardization and simplification are its two important techniques. Standardization is concerned with the transfer of text mode - from spoken text to written text, while simplification is related to the technical constraints in subtitling, namely spatial and temporal constraints. In dubbing, the translator should make his translation fit into the pictures and synchronize the lines and the pictures, so lip synchronization, gestures and pauses are the major constraints in dubbing. As the two main forms of film translation in China, dubbing and subtitling coexist and compete with each other in the market. [ABSTRACT FROM AUTHOR]

Voice-over as an audiovisual translation modality has traditionally been described for its rendering of the truth or its faithfulness. The manipulation and deviation from the original text through translation has already been the object of study in documentaries. This paper looks at the translation of TV news through voice-over. Technical and content infidelities are rendering the broadcast actualities into sexed up copies of the original, which for all intents and purposes are in sheer contravention of what translation is for as a faithful reproduction of the original and of objective and factual news reporting. The effects of the translator's visibility in news voice-over is re-examined and the physical presence of the translator/voice talent is analyzed. This paper argues that the visibility of the translator in this instance pushes the boundaries of mediation beyond mere technicalities towards a sociopolitical sphere of reasoning and rationality by editorial policy makers. The paper also argues that synchronicity of voice-overs stemming from the rhetorical features of the voice-over styles of delivery and the idiosyncrasies of the voices creates dissonance and renders the original message with a degree of infelicities that undermine the long-celebrated standards of objectivity and neutrality. Consequently, this paper underscores the invisibility of the translator in this mode of translation mediation. [ABSTRACT FROM AUTHOR]

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This article explores the presence of foreignization in dubbing. The author specifies that, in this context, foreignization refers to bringing out the foreign nature of the text through the creation of artificial dialogue. Focusing specifically on American films dubbed into Castilian Spanish, the author analyzes linguistic manifestations of this process such as vocabulary and syntactic structures that are too formal for the situation or simply unnatural in this variant of Spanish. It is suggested that this artificial language helps make these films more acceptable for the Spanish audience. There is an inherent contradiction in the portrayal of American characters in typical American situations speaking perfectly idiomatic Spanish. By having them communicate in a more formal, non-native manner, this contradiction is diminished, thereby making the representation more believable. It is argued, therefore, that foreignization, in the form of artificial dialogue, plays an important role in the success of a dubbed film. [ABSTRACT FROM AUTHOR]

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