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An increasing number of contributions have appeared in recent years on the subject of Audiovisual Translation (AVT), particularly in relation to dubbing and subtitling. The broad scope of this branch of Translation Studies is challenging because it brings together diverse disciplines, including film studies, translatology, semiotics, linguistics, applied linguistics, cognitive psychology, technology and ICT.This volume addresses issues relating to AVT research and didactics. The first section is dedicated to theoretical aspects in order to stimulate further debate and encourage progress in research-informed teaching. The second section focuses on a less developed area of research in the field of AVT: its potential use in foreign language pedagogy.This collection of articles is intended to create a discourse on new directions in AVT and foreign language learning. The book begins with reflections on wider methodological issues, advances to a proposed model of analysis for colloquial speech, touches on more «niche» aspects of AVT (e.g. surtitling), progresses to didactic applications in foreign language pedagogy and learning at both linguistic and cultural levels, and concludes with a practical proposal for the use of AVT in foreign language classes. An interview with a professional subtitler draws the volume to a close.

This volume sets out a new paradigm in intersemiotic translation research, drawing on the films of Ang Lee to problematize the notion of films as the simple binary of transmission between the verbal and non-verbal. The book surveys existing research as a jumping-off point from which to consider the role of audiovisual dimensions, going beyond the focus on the verbal as understood in Jakobsonian intersemiotic translation. The volume outlines a methodology comprising a system of various models which draw on both translation studies and film studies frameworks, with each model illustrated with examples from Ang Lee's Crouching Tiger, Hidden Dragon; Lust, Caution; and Life of Pi. In situating the discussion within the work of a director whose own work straddles East and West and remediates between cultures and semiotic systems, Zhang argues for an understanding of intersemiotic translation in which films are not simply determined by verbal source material but through the process of intersemiotic translators mediating non-verbal, quality-determining materials into the final film. The volume looks ahead to implications for translation and film research more broadly as well as other audiovisual media. This book will appeal to scholars interested in translation studies, film studies, media studies and cultural studies in general.

This volume is the first to give an account of speech act pragmatics and (im)politeness in film conversation and in dubbing translation, with a focus on requests. The scope of the book is twofold: on the one hand, it describes the pragmatic features of requests in English and Italian film dialogue, while, on the other, it reveals patterns and trends concerning their translation into dubbed Italian. The first part of the volume appeals to scholars in cross-cultural pragmatics and film conversation. Differences and similarities in requestive behaviour are investigated in a comparative perspective between the two film languages, while the pragmatic features typifying requests in film speech are analysed against features typifying requests in spontaneous conversation. The second section of the book will appeal to translation scholars, since it provides an insight into how the pragmatics and the (im)politeness of requests travel across languages in the translation process, thus contributing to the largely under-researched relationship between pragmatics and translation studies.

This book offers a descriptive and practical analysis of prosody in dubbed speech, examining the most distinctive traits that typify dubbed dialogue at the prosodic level. The author's unique perspective - as both a translation studies researcher and a voice-over professional - helps to bring these two aspects of the dubbing process together into a coherent study for the first time. Supported by corpus analysis of English and Spanish episodes of US TV show How I Met Your Mother, she examines aspects of prosody in source and target languages, including features such as intonation, loudness, tempo, rhythm and tension. This book will be of interest to students and scholars of translation and interpreting, media studies, television and film production, as well as dubbing professionals.

Despite a long tradition of scholarship and the vast amount of dubbed audiovisual products available on the global market, dubbing is still relatively underrepresented in audiovisual research. The aim of this volume is to give dubbing research its due by showing that, far from being a doomed or somewhat declining form of AVT, it is being exploited globally in the most diverse and fruitful ways. The contributions to this collection take up the diverse strands that make up the field, to offer a multi-faceted assessment of dubbing on the move, embracing its important historical past as well as present and future developments, thus proving that dubbing has really come a long way and has not been less ready than other AVT modes to respond to the mood of the times. The volume will be of interest for scholars and students of translation studies, audiovisual translation, linguistics, film, television and game studies.

This book analyses an important phase in the interlingual dubbing process of audiovisual productions: the elaboration of target language scripts for the recording studios. Written by a practitioner in the industry who is also an academic and trainer, it provides practical know-how and guidelines while adopting a scholarly, structural and methodical approach. Supported by an exemplified, analytical and theoretical framework, it is non-language specific and discusses strategies and tricks of the trade. Divided into three parts, the book provides a descriptive, practical and analytical approach to dubbing and dialogue writing. The author analyses scripts drawn from her own professional practice, including initial drafts that illustrate the various transformations of a text throughout the rewriting process. She also offers a ‘backstage'perspective, from first-hand experience in recording sessions that enabled knowledge of text manipulation, studio jargon, and the dubbing post production process. This publication will provide a valuable resource for novice dubbing translators and dialogue writers, while offering practitioner insights to scholars and researchers in the field of Audiovisual Translation, Film and Media Studies.

Translation, accessibility and the viewing experience of foreign, deaf and blind audiences has long been a neglected area of research within film studies. The same applies to the film industry, where current distribution strategies and exhibition platforms severely underestimate the audience that exists for foreign and accessible cinema. Translated and accessible versions are usually produced with limited time, for little remuneration, and traditionally involving zero contact with the creative team. Against this background, this book presents accessible filmmaking as an alternative approach, integrating translation and accessibility into the filmmaking process through collaboration between translators and filmmakers. The book introduces a wide notion of media accessibility and the concepts of the global version, the dubbing effect and subtitling blindness. It presents scientific evidence showing how translation and accessibility can impact the nature and reception of a film by foreign and sensory-impaired audiences, often changing the film in a way that filmmakers are not always aware of. The book includes clips from the award-winning film Notes on Blindness on the Routledge Translation Studies Portal, testimonies from filmmakers who have adopted this approach, and a presentation of the accessible filmmaking workflow and a new professional figure: the director of accessibility and translation. This is an essential resource for advanced students and scholars working in film, audiovisual translation and media accessibility, as well as for those (accessible) filmmakers who are not only concerned about their original viewers, but also about those of the foreign and accessible versions of their films, who are often left behind.

The coming of age of audiovisual translation studies has brought about a much-needed surge of studies focusing on the audience, their comprehension, appreciation or rejection of what reaches them through the medium of translation. Although complex to perform, studies on the reception of translated audiovisual texts offer a uniquely thorough picture of the life and afterlife of these texts. This volume provides a detailed and comprehensive overview of reception studies related to audiovisual translation and accessibility, from a diachronic and synchronic perspective. Focusing on all audiovisual translation techniques and encompassing theoretical and methodological approaches from translation, media and film studies, it aims to become a reference for students and scholars across these fields.

This edited collection offers a rounded vision of some of the ways in which audiovisual translation (AVT) can be approached from an academic, professional and educational point of view. The studies provide a stimulating and thought-provoking account of some of the most representative themes that are currently being researched in the field of AVT, while also highlighting new directions of potential research from a cognitive perspective. A conscious effort has been made to cover not only cultural and linguistic approaches to traditional domains of AVT (such as dubbing and subtitling), but also to look into lesser known areas of research that are attracting substantial interest from various stakeholders and gradually becoming part of the remit of AVT (including subtitling for the deaf and audio description for the blind). In this respect, the chapters of this book tackle the field of AVT from a plural, comprehensive and up-to-date perspective; speak of a rich and complex academic subject in the making; broaden our existing knowledge on AVT; reflect the many crossroads and junctions it currently faces and outline some of the issues that will become topical in the near future in this fascinating, flourishing discipline.

Die Untertitelung hält heute Einzug in Bereiche, die traditionell durch die Synchronisation besetzt waren. Der Zusatz «Original mit Untertiteln» hat sich längst zum Qualitätsmerkmal bei künstlerisch anspruchsvollen Kinofilmen entwickelt. Über Schulungsvideos, Image- und Produktfilme, Aufzeichnungen von Fachkongressen etc. erobern Untertitel auch die Fachsprache. Per DVD, Video-Streaming und Crowdsourced Subtitling erreichen sie unsere Alltagskultur und fordern den Übersetzern Kenntnisse ab, die sich nur teilweise mit denen anderer Translationsformen decken. Wie lassen sich das Translationsprofil und die Rahmenbedingungen, vor deren Hintergrund die Übersetzer agieren, beschreiben? Kann die Translationswissenschaft die Untertitel-Übersetzer methodologisch und praktisch unterstützen?

Subtitling: Concepts and Practices provides students, researchers and practitioners with a research-based introduction to the theory and practice of subtitling. The book, inspired by the highly successful Audiovisual Translation: Subtitling by the same authors, is a new publication reflecting the developments in practice and research that mark subtitling today, while considering the way ahead. It supplies the core concepts that will allow its users to acquaint themselves with the technical, linguistic and cultural features of this specific yet extremely diverse form of audiovisual translation and the many contexts in which it is deployed today. The book offers concrete subtitling strategies and contains a wealth of examples in numerous languages for dealing with specific translation problems. State-of-the art translation technologies and their impact on the profession are explored along with a discussion of the ways in which they cater for the socio-political, multicultural and multilingual challenges that audiovisual productions and their translations must meet today.A truly multimedia package, Subtitling: Concepts and Practices comes with a companion website which includes a wide range of exercises with answer keys, video clips, dialogue lists, a glossary of concepts and terminology used in the industry and much more. It also provides access to a professional desktop subtitle editor, Wincaps Q4, and a leading cloud-based subtitling platform, OOONA.

Due to a dearth of academic references in the area of English-Arabic audiovisual translation (AVT), this book represents a unique resource, in that it explores dubbing and subtitling into Arabic, a topic hardly discussed among academics both in the Arab world and worldwide. The book starts with some linguistic and audiovisual background, and lays new foundations for a discussion about the similarities between the translation of drama texts and AVT. It then moves on to highlight some grammatical, syntactic, semantic and functional challenges faced in subtitling with examples from various recent audiovisual material, as deictics, exophora, idiomatic language, register, negation, duality and plurality, and subject-predicate agreement in the target subtitled text. The book's originality is manifest in its investigation of the obstacles encountered by new anonymous subtitlers by providing evidence in the form of genuine samples of their work. The book concludes with some original subtitling quality assessment reports, and presents effective strategies of subtitling.

Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and'playback singing'in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context.

In Spike Lee's Do the Right Thing, African American character Mookie throws a rubbish bin through the window of the pizzeria he works for, which is owned by an Italian American family. Translators often find themselves in a position of moral ambiguity similar to that of Mookie: at the nexus between cultures, translators have to make clear statements through their choices, with sometimes dramatic consequences. Drawing on the fields of translation studies, sociolinguistics and film studies, this book analyses the French subtitling of African American English in a corpus of films from the United States. After describing African American English and analysing how this variety is often portrayed in films, the book explores the implications of resorting to the use of non-standard forms in the French subtitles to portray linguistic variation, paying special attention to the consequences of juxtaposing two linguistic varieties on screen. This book goes beyond the mere case study and examines the relevance of the concepts of domestication and foreignization in the context of subtitling.

Over 6000 different languages are used in the world today, but the conventions of ‘media speak'are far from universal and the complexities of translation are rarely acknowledged by the industry, audiences or scholars. Redressing this neglect, Speaking in Subtitles argues that the specific contingencies of translation are vital to screen media's global storytelling. Looking at a range of examples, from silent era intertitling to contemporary crowdsourced subtitling, and from avant-garde dubbing to the increasing practice of ‘fansubbing', Tessa Dwyer proposes that screen media itself is a fundamentally ‘translational'field.

La traducción audiovisual (TAV) es una disciplina reciente que ha alcanzado su máximo desarrollo durante el siglo XXI. Esta modalidad traductora se hace, si cabe, más necesaria en un contexto como el español, dado el considerable aumento de la producción audiovisual en los los últimos años: la afluencia de materiales audiovisuales dedicados al doblaje y el incremento de estos productos para un público que cada vez consume más televisión y cine en versión original (fundamentalmente en lengua inglesa) con subtítulos en castellano. A este auge se une la concienciación de las autoridades españolas para que este mercado audiovisual se abra al espectador con discapacidad auditiva (subtítulos para sordos) y visual (audio descripción para ciegos). Así, el libro presenta un análisis pormenorizado de las cuestiones lingüísticas e instrumentales que determinan las principales modalidades de la traducción audiovisual junto con las prioridades, restricciones y las técnicas más comunes, además de información relevante tanto para estudiantes como para profesores e investigadores interesados en este ámbito de los Estudios de Traducción.

The Multilingual Screen is the first edited volume to offer a wide-ranging exploration of the place of multilingualism in cinema, investigating the ways in which linguistic difference and exchange have shaped, and continue to shape, the medium's history. Moving across a vast array of geographical, historical, and theoretical contexts-from Japanese colonial filmmaking to the French New Wave to contemporary artists'moving image-the essays collected here address the aesthetic, political, and industrial significance of multilingualism in film production and reception. In grouping these works together, The Multilingual Screen discerns and emphasizes the areas of study most crucial to forging a renewed understanding of the relationship between cinema and language diversity. In particular, it reassesses the methodologies and frameworks that have influenced the study of filmic multilingualism to propose that its force is also, and perhaps counterintuitively, a silent one. While most studies of the subject have explored linguistic difference as a largely audible phenomenon-manifested through polyglot dialogues, or through the translation of monolingual dialogues for international audiences-The Multilingual Screen traces some of its unheard histories, contributing to a new field of inquiry based on an attentiveness to multilingualism's work beyond the soundtrack.

This book offers an up-to-date survey of the present state of affairs in Audiovisual Translation, providing a thought-provoking account of some of the most representative areas currently being researched in this field across the globe. The book discusses theoretical issues and provides useful and practical insights into professional practices.

This book provides a theoretical and practical framework for researchers and practitioners who focus on the construction, interpretation and retextualisation of audiovisual texts. It defines translation as a communicative and interpretative process, with translators seen as cross-cultural mediators who make the denotative-semantic and connotative-pragmatic dimensions of source scripts accessible to target receivers, prompting equivalent perlocutionary effects, while still respecting the original illocutionary force. While existing research on audiovisual translation generally adopts a product-based perspective, examining the lexico-semantic and syntactic features of source and target versions, this book proposes an “Interactive Model”, in order to explore what happens in the translators'minds, as well as the influence of the interaction between the linguistic and extralinguistic dimensions in the construction and interpretation of audiovisual texts. The application of this Model to the analysis of a corpus of humorous films, TV series and video games foregrounds the integration between the analysis of the source-text features and the knowledge of the target linguacultural backgrounds in the creation of pragmalingustic equivalent scripts. At the same time, this book also provides valuable insights into the audience's reception of these translations, by submitting close-ended and open-ended questionnaires to subjects representing empirical receivers, thus helping to evaluate the degree of linguistic and functional equivalence of target versions.

El presente volumen se centra en la traducción de proyectos cinematográficos y propone un modelo de análisis para los largometrajes de ficción gallegos. La principal novedad radica en la importancia que el autor otorga a los elementos paratextuales que giran en torno al guión de un determinado filme objeto de una traducción para el doblaje.

Subtitling films in another language becomes especially complex when the original language deviates from its standard form. Films that feature non-standard pronunciation, dialects or other varieties of language, especially when juxtaposed with more standard uses, are said to display «linguistic variation». As language use is central to characters'identities and to a film's plot, it is essential to retain the source language (SL) specificity as fully as possible in the target language (TL) subtitles so the target audience can experience the film as authentically as possible. Given its considerable difficulty, subtitling in this manner is often advised against, avoided or, when attempted, subjected to considerable criticism. This book focuses on a collection of British and French films selected for the range of approaches that they adopt in portraying linguistic variation. Each chapter explores the challenges posed by the subtitling of such linguistic difference in the given films and the corresponding solutions offered by their subtitlers. Drawing on these findings and referring to contemporary thinking in the field of translation studies, this book argues that with insight and skill, linguistic variation can be preserved in film subtitles.

Research on dubbing in audiovisual productions has been prolific in the past few decades, which has helped to expand our understanding of the history and impact of dubbing worldwide. Much of this work, however, has been concerned with the linguistic aspects of audiovisual productions, whereas studies emphasizing the importance of visual and acoustic dimensions are few and far between. Against this background, Dubbing, Film and Performance attempts to fill a gap in Audiovisual Translation (AVT) research by investigating dubbing from the point of view of film and sound studies. The author argues that dubbing ought to be viewed and analysed holistically in terms of its visual, acoustic and linguistic composition. The ultimate goal is to raise further awareness of the changes dubbing brings about by showing its impact on characterization. To this end, a tripartite model has been devised to investigate how visual, aural and linguistic elements combine to construct characters and their performance in the original productions and how these are deconstructed and reconstructed in translation through dubbing. To test the model, the author analyses extracts of the US television series Buffy the Vampire Slayer and its French dubbed version.

This collection of articles offers a comprehensive overview of some of the most current research approaches found in the field of audiovisual translation (AVT) and media accessibility across Europe. The authors, well-known experts in the field of AVT, reflect on new challenges and look into potential avenues for investigation in professional practices like subtitling, surtitling, dubbing and voiceover as well as audio description (AD), subtitling for the deaf and the hard-of-hearing (SDH) and audio subtitling. The book is divided into four sections. The first part discusses some of the cultural challenges encountered by professionals when dubbing and subtitling audiovisual productions and when surtitling live events. The second part focuses on AVT training, particularly on the teaching and learning of voiceover and subtitling. The third section is dedicated to AD and provides a detailed overview of some of the latest developments taking place in this area. The last section examines some of the most prevalent issues in SDH.

Audiovisual Translation: Dubbing is an introductory textbook that provides a solid overview of the world of dubbing and is fundamentally interactive in approach. A companion to Audiovisual Translation: Subtitling, it follows a similar structure and is accompanied by downloadable resources.Based on first-hand experience in the field, the book combines translation practice with other related tasks – usually commissioned to dialogue writers and dubbing assistants – thus offering a complete introduction to the field of dubbing. It develops diversified skills, presents a broad picture of the industry, engages with the various controversies in the field, and challenges prevailing stereotypes. The individual chapters cover the map of dubbing in the world, the dubbing market and professional environment, text segmentation into takes or loops, lip-syncing, the challenge of emulating oral discourse, the semiotic nature of audiovisual texts, and specific audiovisual translation issues. The book further raises a number of research questions and looks at some of the unresolved challenges of this very specific form of translation. It includes graded exercises covering core skills that can be practised in class or at home, individually or collectively. The accompanying downloadable resources contain sample film material in Dutch, English, French, Italian and Spanish, as well as a range of useful material related to professional practice.

The purpose of this volume is to investigate the languages of dubbing. The plural evokes the complex interplay of different codes as well as the numerous levels of analysis involved. The volume focuses on the languages of Anglophone films and television series and their dubbing into Italian while broadening the perspective to the general debate on audiovisual translation. Dubbing offers itself as a privileged place where languages interact in simulating, creating and recreating fictive orality and where influential linguistic and pragmatic conventions are generated and developed. The chapters cover a rich range of topics including syntactic, lexical and sociolinguistic features of audiovisual dialogue, cross-linguistic contrasts, and the translation of culture specific references and multilingualism on screen. The volume provides an updated picture of research on Italian dubbed language, a key area of inquiry with reference to the investigation of telecinematic discourse, Audiovisual Translation and Corpus-based Translation Studies.

Over the last decade there has been a dramatic increase in publications on media and translation. In fact, there are those who believe that so much has been published in this field that any further publications are superfluous. But if one views media and translation as anything ranging from film and television drama to news-casting, commercials, video games, web-pages and electronic street signs, it would seem that research in media and translation has barely scratched the surface. The research in this field is shared largely by scholars in communication and translation studies, often without knowledge of each other or access to their respective methods of scholarship. This collection will rectify this lack of communication by bringing such scholars together and creating a context for a theoretical discussion of the entire emerging field of Media and Translation, with a preference for theoretical work (rather than case studies) on translation and communications of various forms, and through various media.

Observing filmic product translation from multiple perspectives is the challenging subject of this volume, which opens up new ways of reading and sustaining dialogue on both theoretical and didactic levels. Its central focus is an observation of European and Oriental languages, gathering together reflections on English, French, Spanish, German, Portuguese, Russian, Arabic, Chinese and Japanese, as well as specific languages for hearing-impaired Italians, also analysed in their relation to Italian language and culture. The work focuses on audiovisual language, investigated in the linguistic and cultural dimensions and includes different genres: from election campaign commercials to short films, from animation films produced in the U.S. to Japanese anime, from classic musicals to television series, and finally European and extra European art-house films. Moreover, the volume assembles contributions concentrating both on the oral aspects dedicated to the study of the socio-cultural dimension (e.g. essays on diachronic and diastratic variations in Spanish films, also analysing specific dubbing problems) and on the written dimension represented by interlinguistic subtitles examined in their relationship with the original spoken text (e.g. German films).

The book's principal argument is that the concepts of Cognitive Linguistics offer considerable explanatory potential which can be systematically used in accounts of translation, and especially of subtitling as its more specifically constrained audiovisual mode. Authentic English-to-Polish subtitling data are explored to uncover patterns of construal reconfiguration which can be categorised with the use of cognitive semantic constructs. The author also examines other hypotheses: spatio-temporal constraints, for example, do not always directly account for the reductionist alterations of the source text in subtitling. Also, target construals need not display lower granularity levels than original construals and granularity can de facto be boosted via subtitling. And last, but not least, the conventionalisation of language structures used in subtitles can be higher than that of the original expressions.

This book is a thorough quantitative and qualitative study of a typical phenomenon pertaining to the English spoken language; namely question tags (QTs) and invariant tags. More specifically, English tags are analysed on the syntactic, pragmatic and prosodic level, taking into account cross-varietal differences as well as both visual and auditory dimensions, in order to get a more precise interpretation of their communicative functions. This is made possible by examining film language, since films, being complex semiotic “texts”, provide a more complete set of parameters for analysis, especially in the case of QTs, where intonation is crucial for their interpretation. The study of their function is based not only on their formal properties, but is integrated with the use of spectrograms, which makes it possible to actually “visualise” the prosody of tags and to back up the results with material evidence. Moreover, tags are also examined from a translational perspective, with analysis focusing on the transposition of tags in Italian dubbing, a specific type of audiovisual translation, for two main reasons: firstly, to check how and to what extent tags are rendered in Italian, a language which does not have so structured a set of equivalent expressions, and secondly, to see how much space they are granted in a typically “constrained” translation like dubbing, which is severely influenced by the visual dimension. After this, the use of the various translating options in Italian dubbing is studied in Italian original film language and compared with spontaneous conversation in both languages, by analysing data in corpora of spontaneous speech both in English and Italian to ascertain whether the use of tags and their Italian counterparts in film language is natural or artificial.The present work is the first to study the syntactic and prosodic properties of English tags from an integrated pragmatic and translational perspective. The study also qualifies as contrastive in that the use of these conversational routines is analysed in two different languages (English and Italian), as well as in different genres and varieties, including film language, dubbese and spontaneous speech.

This book presents the first study of voice-over from a wide approach, including not only academic issues but also a description of the practice of voice-over around the globe. The authors define the concept of voice-over in Film Studies and Translation Studies and clarify the relationship between voice-over and other audiovisual transfer modes. They also describe the translation process in voice-over both for production and postproduction, for fiction and non-fiction. The book also features course models on voice-over which can be used as a source of inspiration by trainers willing to include this transfer mode in their courses. A global survey on voice-over in which both practitioners and academics express their opinions and a commented bibliography on voice-over complete this study. Each chapter includes exercises which both lecturers and students can find useful.

How are audiovisual translations made and received? This is just one of the questions this book offers answers to. Bringing together research on various forms of audiovisual translation, the range of issues treated is wide: How are discourse features translated in dubbed and subtitled programmes? Does subtitling enhance foreign language learning? Can the quality of audiovisual translation be assessed in a relevant way? What should we know about the audience? How should we audio describe? Audiovisual Translation in Close-up addresses these issues from a variety of perspectives: from discourse analysis and pragmatics to cognitive science, second language acquisition, actor-network theory and speech recognition, amongst others. Most contributions to this volume originate from the international bilingual conference «Audiovisual Translation: Multidisciplinary Approaches/La traduction audiovisuelle : Approches pluridisciplinaires» held in Montpellier, France, in 2008.

Drawing on recent theoretical developments in second language acquisition, this book proposes a new approach to the learning of foreign languages through subtitled audiovisual input. Subtitled text is explored as a source of language acquisition, and its dialogue and subtitle components are focused on as sources of linguistic input. The primary focus of the research is subtitling and the impact it can have on learners'noticing and acquisition of linguistic structures. The concept of translational salience is introduced, a phenomenon that can occur due to an accentuated contrast between L2 dialogue and L1 subtitles. Two experimental studies on the acquisition of English syntax by Italian learners are used to test the role of translational salience in both noticing and L2 learning. The results lead to a definition of salience particular to the audiovisual medium and raise challenging issues in the pedagogic applications of subtitling.

Seit der Jahrtausendwende hat das Forschungsinteresse an der audiovisuellen Translation sprunghaft zugenommen. Ziel dieses Sammelbandes ist es, bislang weniger untersuchte Themenbereiche der Filmübersetzung näher zu betrachten. Gestützt auf ihre praktische Erfahrung beleuchten die Autorinnen so unterschiedliche Aspekte wie die Untertitelung der bisher unterschätzten Nichtfiktion, die Synchronisation von Dialekt, zensorische Eingriffe bei der Filmübersetzung sowie die Audiodeskription für sehgeschädigte Menschen. Somit gewährt dieser Band Übersetzern, Film- und Kommunikationswissenschaftlern wertvolle Einblicke in zentrale Herausforderungen der Filmübersetzungspraxis.

The aim of this book is to study how politeness, and particularly face negotiation, is dealt with when subtitling between Chinese and English. Face negotiation refers to the process of managing relationships across different cultures through verbal and nonverbal interactions. This research specifically investigates how British and Chinese audiences respond to face management through a study focused on film subtitling and viewers'reception and response. The book offers a survey of the developments in research on face management in Far East cultures and in the West. The author then presents a composite model of face management for analysing face interactions in selected Chinese and English film sequences as well as its representation in the corresponding subtitles. Support for the research is provided by audience response experiments conducted with six Chinese and six British subjects, using one-on-one interviews. The audience responses show that viewers who rely on subtitles gain a significantly different impression of the interlocutors'personality, attitude and intentions than those of native audiences. The results also demonstrate that the nature of the power relations between interlocutors changes from the original to the subtitled version.