An Introduction of Translation for the Cinema-2011

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An Introduction ofTranslation for theCinema

Gonzalo Constenla BergueiroUniversidade de Vigo


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An Introduction of Translationfor the Cinema

1. A Brief History of Translation for theCinema.

2. The Subordinate Character of FilmTranslation3. The Process for Dubbing and

Subtitling Films4. Some Important Aspects to Take into

Account when Translating a Film


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1. A Brief History of Translation forthe Cinema

1.1 The Use of Language in SilentFilms

1.2 The Arrival of Sound1.3 The Resistance to Change

1.4 The First Translations for theCinema: A Brief History of Dubbing


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1.1 The Use of Languagein Silent Films

Intertitles1908 onwards: Julius Caesar

The Lo dg er (1926) by HitchcockHighlighted intertitles:Potemkim Battleship (Eisenstein):Drama!, Brothers!, Fire!Translation of Intertitles: written/oral
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1.2 The Arrival of SoundDer Grne Wald (Oscar Messter, 1910) The Jazz Singer (Alan Crosland,1927): part- talkie: dialogues + soundtrack+ intertitlesThe Lights of New York ( Warner Bross,1928): first talkie Steamboat Willie (Walt Disney, 1929): firstcartoon talkieThe combination between image andsound is an impossible dream ( Einsestein)
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1.3 The Resistance to ChangeEconomic and psychological problemsExaggerated expressionism in silent films

Arrival of dialogues: change into diction anddeclamation

Some actors: problems with verbal expressionForeign actors: reluctant to changeGreta Garbo: A Woman of Affairs ( 1928), Anna

Christie (1930), Sapho (1931), Mata Hari (1932)Charlie Chaplin: Lights of the City (1931),Modern Times (1936) . The Great Dictator( 1940)
http://d/Graboid/Completed/GRETA%20GARBO%20in%20english%20Anna%20Christie%20the%20whiskey%20scene%20(Low).flvhttp://d/Graboid/Completed/GRETA%20GARBO%20in%20german%20Anna%20Christie%20the%20whiskey%20scene%20(SD).mp4http://d/Graboid/Completed/GRETA%20GARBO%20in%20german%20Anna%20Christie%20the%20whiskey%20scene%20(SD).mp4http://d/Graboid/Completed/GRETA%20GARBO%20in%20english%20Anna%20Christie%20the%20whiskey%20scene%20(Low).flv


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1.4 The Arrival of Languages:Contradictions and paradoxes

On the one hand:Internationalization Getting to know internal cultural and

linguistic differencesOn the other:

A barrier to universality

Darkening of universal and national culturaland linguistic diversityExclusion of peripheral identities


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1.5 The First Translations for theCinema.

First sound films: exported in the EnglishversionUse of English as universal cinemalanguage Reaction>>>Subtitled versions1929: First dubbed versionsOctober, 1929: Rio Rita First dubbed versions: poor quality

Alternative solution: multilingual versions


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1.3 The First Translations for the

Cinema.First multilingual versions: Atlantic (1929), The Hate Ship (1930)Blaze of Glory (1930): Sombras degloria (Sono Art-Worlwide)

Idiot cards Polyglot filmsDunning method


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1.3 The First Translations for the

Cinema.Failure of multilingual versions :lack of quality, managementdisorganisation and lack of profit From 1930: Dubbed versions again

newly improved techniquesSound Track: different tracks:

sound effects, original dialogues,

translated dialogues, music, etc


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Joinville Studios (Los Angeles)Joinville-Le Pont (Paris):

1930: Derelict (Desamparados)

1931: Devil on the Deep (Entre la espada y la pared)

1932: Barcelona1933: MadridFrom 30s and 40s onwards: nationaldubbing, mainly due to political reasons.

A way of preventing foreign influence and

allow censorship and manipulation


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23rd April, 1941: Spanish Law onDubbing

No sex, no bad words, no criticism againstreligion, fascism, etcFilms in a foreign/national language banned:manipulation and censorship of dialogues:

Mogambo: adultery becomes incestCasablanca: Rick no longer a supporter of theSpanish Republican Army .

1978: Censorship abolished


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Nowadays: dubbing versussubtitling:

Dubbing (mainly)Spain, Germany, Italy, France

Subtitling:Holland, Belgium, Sweden, Norway,Denmark, Greece, Portugal, etc (exceptchildren products which are dubbed)


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2. The Subordinate Character ofFilm Translation

2.1 Subordinate translations andthe concept of synchrony2.2 The Different Types ofSynchrony in Dubbing

2.2.1 Content Synchrony2.2.2 Visual/ Optical Synchrony2.2.3 Audio/ Accoustic Synchrony


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2.1 Subordinate Translations and theConcept of Synchrony

Non subordinate translation : Only written code

Literary and non literary written prose Subordinate translation :

two or more codes involved

Publicity, comic, songs, poetry, theatre,films...Common characteristic: synchrony

Text Subordinated to other codes


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2.2 Synchronies:3 steps in the process of dubbing

1) Content synchrony (Translator):Cultural variations

Accents and dialects

Idiomatic expressionsPresence of different languagesSongs

Graphic elementsSubtitles or voices in OFF


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2.2 Synchronies:3 steps in the process of dubbing

2) Visual-optical Synchronies (adaptor):Phonetics/ Lip synchrony:

Bilabial /p/, /b/, /m/Labiodental /f/ /v/Open vowels /e/ /a:/ /o/

Syllable utterance synchrony (Isochrony):Stress-pattern rythmWeakening of unstressed vowels: lips dont move

Utterance-length synchronyGesture and facial expression synchrony: Kinetic

synchrony: body language


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2.2 Synchronies. 3 steps inthe process of dubbing

3) Audio-Acoustics Synchronies (translator,adaptor, director and dubbing actors):

Cultural variations Accents and dialectsIdiosyncratic vocal type

Paralinguistic elements (tone, timbre, pitch ofvoice)Prosody (intonation, melody and tempo)


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3.1 The Processfor Dubbing Films

A) TranscriptionTranscribe, check with tape , mark times,divide into takes, mark mouth movementsand non-verbal expressions.

B) TranslationContrast tape and text, write rough translations

C) AdaptationCheck lip synchrony and adapt translation

D) Correction


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3.1 The Process

for Subtitling Films A) SpottingB) Translation

C) AdaptationD) SimulationE) Printing


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4. Some Important Aspects to Takeinto Account When Translating a

Film4.1 Intercultural Transpositions4.2 Humour, Puns, Idiomatic

Expressions, Amphibology4.3. Film Title Translation4.4 Some Basic Norms of Translation for

Dubbing4.5 Some Basic Norms of Translation forSubtitling


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4. Some Important Aspects toTake into Account When

Translating a Film4.1 Intercultural Transpositions:Sometimes, omitSometimes, transform and adapt:

WOODY ALLENS CRIME AND MISDEMEANORS ...and he will read your Miranda rights. ... E ler -che os teu direitos.

... und wird er Ihnen Ihre Rechte vorlesen.

lawyer for the ACLU Unha advogada moi progresista

Eine Brgerrechtsanwltin


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4. Some Important Aspects to Takeinto Account When Translating a

FilmIntercultural Transpositions:I love him like a brother. David Greeng lass Quero -o como un irmao. Com o Cain a Ab el Ich liebe ihn wie einen Bruder. Wie Kain un d

Abel

May, we are having a seder May, o xantar de Pscoa May, wir haben einen Seder


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4. Some Important Aspects toTake into Account When

Translating a FilmChrist, I sound like an FM radio Meu Deus, falo coma un doutor

Klingt ja wie das dr i t te Programm !

Trick or Treat? A bolsa ou a vida?

4 I A T k


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4. ome Important Aspects to Takeinto Account When Translating a Film

4.2 Humour,puns,idiomatic expressions, amphibology:

An ounce of pretension is worth a pound of manure

(from an ounce of prevention is worth a pound of cure)Angeben ist seliger als Scheisse verteilen

Jam them! (In Space Balls, M.Brooks, to the enemies)Bloquear a esos pringados

-Draught? -No, Ive got my sweater on

- Banda azul? -Non, non me acae ao xersei.

4 I A T k


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4.2 Humour, puns, idiomatic expressions andamphibology:

A seal, seal (They want to sign a contract) Dobbiamo foccalizare

- Nancy Beth was caught in a motel with a high politicaloffice -They were both high Nancy Beth ist in einem Motel mit einem Mitglied derHigh Society erwischt worden -Sie waren beide high

4 I t t A t t T k


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4.2 Humour, puns, idiomatic expressions andamphibology:Life of Brian (Monthy Python)

The crowd: The Messiah! Show us the Messiah!Mandy : The who?The crowd : The Messiah

Mandy : Huh, theres no Messiah in here. Theres amess, all right, but no MessiahSDV: Aqu no hay ningn mesi. Lo que hay esdemasi personal (There is no monsieur in here.There

are too many people)

4 I t t A t t T k


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4.3 FILM TITLE TRANSLATION:Orphans

Un anxo cado: A Fallen Angel

Friends

Algo mis ca amigos: Friends and something elseSome Like it Hot

Con saias e a rachar: Fooling around in skirts

Manche mgen heiss Paris, Texas

Paris, Texas

4 I t t A t t T k


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World of Henry OrientO irresistbel H. O. : The Irrisistible H. O.

The HawaiansOs indomebeis: The Untamed

Bound for GloryEsta terra a mia terra: This Land is My Land

Man Who Loved Women

Os meus problemas coas mulleres. My problems withwomen

One Flew over the Cuckoos Nest Einer flog ber das Kuckucksnest

4 I t t A t t T k


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4.4 Some Basic Norms of Translation forDubbing:

4.4.1 Linguistic Standardisation

Spoken language (gonna, wanna..): left outSocial differences (lexical level): keptDialectical language use (accents): left out

Idiolects: left out4.4.2 Naturalisation

Socio-cultural adaptations: measures...

Visual synchrony (signs, notices...)

4 I t t A t t T k


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4.4 Some Basic Norms of Translation forDubbing :

4.4.3 Explicitness (-redundancy +internalcoherence)

equivocal or vague expressionslogical linksinternal referencestextual explicitness of images

4 I t t A t t T k


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4.4 Some Basic Norms of Translation forDubbing :

4.4.4 Secondary (but also basic) Norms:Respect grammarKeep characteristicsStandard language: simple dialogues,common language, no technical or difficultwords

4 5 B i N T l ti g


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4.5 ome Basic Norms o Translatingfor Subtitling

Each country: own rules,sometimes opposed ones

Need of a unified framework,at least within the EUProposal of a unifyingformula by FotiosKaramitroglou (ESIST)

4 5 B i N T l ti


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4.5 ome Basic Norms o Translationfor Subtitling

Layout:Positioned at the lower part of the screenMaximum of two lines at a time

Presented centred on its allocated line(s) exceptdouble text (dialogue turns initiated bydashes): aligned to the left side of the screen

Around 35 characters per line

Typefaces without serifs preferableProportional distribution rather than MonospaceFont colour: pale white against a fixed greybackground (ghost -box)

4 5 ome Basic Norms o Translation


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Temporal parameter / duration:Duration on screen: 2 lines: 6 sec; 1 line: 3 1/2sec; single word: 1 1/2 secLeading-in time: 1/4 sec after initiation of utterance

Lagging-out time: No more than 2 secBetween 2 consecutive subtitles: 1/4 sec

Punctuation and letter case:Sequence dots (ending triple dots ...): right afterthe last character of a subtitle if the sentence is notfinished and continues over the next subtitle



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Linking dots (starting triple dots ...): right before thefirst character of a subtitle when it carries thefollow-up text of the previous uncompleted wordsFull stop (.): To indicate end of subtitled sentence

Dash (-): Before first character of each of the linesof a two-lined subtitle to indicate dialogueHyphen (-): To link words; no space in betweenQuestion and exclamation marks: To indicatequestion(?) or emphasis(!), no space in betweenParentheses ( ) and brackets [ : to embraceexplanatory comments to the preceding phrase

Single quotation marks ( ) : alleged information



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Double quotation marks ( ) : quoted information Coma(,), colon(:), semicolon(;): short pauseItalics : off-screen dialogue+foreign words/phrasesQuestion marks embracing text in italics : public

broadcast (TV, radio, loudspeaker, song lyrics)Upper- and lower-case letters: as in printedmaterials. Displays or captions only in upper-caseBoldface and underline: not allowed

Parentheses, brackets, single and double quotationmarks, commas, colons and semicolons should be

used cautiously and not as wild cards



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Text editing:Its better to divide a long single -line subtitle into twoEach subtitle flash should contain one completesentence. If not possible, the segmentation should

coincide with the highest syntactic node possibleThe upper line and lower line of a two-line subtitleshould be as equal in length as possibleEach spoken utterance should ideally correspond to asubtitled sentenceNo more than two sentences on the same subtitleItems which can be omitted:

padding expressions (you know, well, as I said...)



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Tautological cumulative adjectives/adverbs:great big> huge; teeny weeny>tiny

Responsive expressions: (yes, no, ok, please,thank you, thanks, sorry...)

Choose shorter and easier syntactic structures: Active instead of passive constructionsPositive instead of negative expressionsPrepositional phrases instead of subordinate clauses

Modified nouns instead of referring relative clausesGapping instead of double verb insertionsDirect questions instead of pragmatic requestsDirect imperative sentences instead of pragmaticrequests



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Acronyms: only when perfectly recognisable (NATO,USA, UE...)

Apostrophes: for contracted forms of verbs

Numerals: only for numbers over twelve. Never innumeric expressions *1000s of time, *the 2 of us...Symbols: only common and easily recognisable onesDialects (regional or social): not rendered into TL

Taboo words: should not be censoredSongs and poems: rhyme or, at least, some kind ofrhythm should be kept



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Cultural-specific linguistic elements: No standardguideline. Five possible alternatives. Example: It waslike Buckingham >Transfer: It was like (Versailles, La Zarzuela....) >Transposition: It was like Buckingham >Transposition with explanation: It was likeBuckingham, The Queen of Englands palace

Neutralisation: It was like a palace / a castle Omission: not possible here

The choice will depend on the target culture as well ason the contextual situation

An Introduction of Translation for the Cinema-2011

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