Change in Meaning in the Swedish Dub of Spirited 1113128/FULLTEXT01.pdf · PDF file...

Click here to load reader

  • date post

    29-Mar-2020
  • Category

    Documents

  • view

    5
  • download

    0

Embed Size (px)

Transcript of Change in Meaning in the Swedish Dub of Spirited 1113128/FULLTEXT01.pdf · PDF file...

  • 1

    Change in Meaning in the Swedish Dub of Spirited Away

    Bachelor’s Thesis A translation study on dubbing using a pivot language

    Author: Erik Johansson

    Supervisor: Hiroko Inose

    Examiner: Herbert Jonsson

    Subject/main field of study: Japanese Studies

    Course code: JP2011

    Credits: 15hp

    Date of examination: 2017-06-02

    At Dalarna University it is possible to publish the student thesis in full text in DiVA. The

    publishing is open access, which means the work will be freely accessible to read and

    download on the internet. This will significantly increase the dissemination and visibility

    of the student thesis.

    Open access is becoming the standard route for spreading scientific and academic infor-

    mation on the internet. Dalarna University recommends that both researchers as well as

    students publish their work open access.

    I give my/we give our consent for full text publishing (freely accessible on the internet,

    open access):

    Yes ☒ No ☐

  • 2

    Abstract:

    This paper aims to study the results of dubbing from Japanese to Swedish using a pivot

    language. The author examines the Swedish dubbed version of the Japanese animated film

    Spirited Away by comparing it to the original version and finding differences in what in-

    formation is conveyed through the dialogue. Because the Swedish dubbed version has

    been translated using the English language script as a base, the English dubbed version is

    also examined. The findings are then presented, categorized and analysed according to

    where the changes have appeared and what they consist of. Finally, the results are dis-

    cussed and compared to previous findings in the field. The study finds how many lines of

    dialogue have been altered, and that the use of a pivot language has greatly increased the

    number of altered lines, although no proof was found of an increased amount of mistrans-

    lations. The increased amount of altered lines leads to the conclusion that the usage of a

    pivot language can be problematic.

    Keywords: dubbing, Japanese, translation, pivot language, Spirited Away, audiovisual translation (AVT)

  • 3

    Table of contents 1. Introduction ...................................................................................................................................................... 4

    2. Background ....................................................................................................................................................... 5

    2.1 The pivot language problem in Japanese-Swedish translation ........................................................... 5

    3. Previous studies ................................................................................................................................................ 8

    3.1 Pivot language............................................................................................................................................. 8

    3.2 Studio Ghibli............................................................................................................................................... 8

    4. Method .............................................................................................................................................................11

    4.1 Material ......................................................................................................................................................11

    4.1.1 Spirited Away ........................................................................................................................................11

    4.1.2 Story ........................................................................................................................................................11

    4.1.3 Characters ..............................................................................................................................................11

    4.2 Methodology .................................................................................................................................................12

    4.3 Criteria ............................................................................................................................................................13

    5. Results ..............................................................................................................................................................15

    6. Analysis ............................................................................................................................................................16

    6.1 Omission .......................................................................................................................................................16

    6.1.1 Complete omission ..............................................................................................................................16

    6.1.2 Partial omission ....................................................................................................................................16

    6.2 Addition .........................................................................................................................................................17

    6.2.1 Complete addition ................................................................................................................................17

    6.2.2 Partial addition ......................................................................................................................................19

    6.3 Substitution ...................................................................................................................................................20

    6.3.1 Complete substitution .........................................................................................................................21

    6.3.2 Partial substitution ...............................................................................................................................23

    6.4 The final dialogue .........................................................................................................................................25

    7. Discussion .......................................................................................................................................................26

    8. Conclusion ......................................................................................................................................................28

    9. References .......................................................................................................................................................29

    Appendix A: Complete data ..................................................................................................................................30

  • 4

    1. Introduction

    This paper examines the Swedish dubbed version of the Japanese animated film Spirited

    Away (千と千尋の神隠し, Sen to Chihiro no Kamikakushi, 2001), which was released in

    Sweden in 2003. The translation was done by Olav F. Andersen for the Swedish dubbing

    studio PangStudios. The translation uses English as a pivot language by using the script of

    the English dub, rather than the original Japanese script. According to Martinez (2004),

    the process of dubbing is long and includes various professionals such as translators, dia-

    logue writers, directors, producers and voice actors, and because of this they will not al-

    ways stand by the initial translation.

    A dubbing project generally starts with a client such as a film producer

    sending the original film to a dubbing studio. Along with this original the dubbing compa-

    ny will usually receive an original script as well as specific instructions on whether songs

    should be translated or if the producer has a certain actor in mind for any role. The dub-

    bing studio then sends all this material to a translator. This translator is in most cases in-

    dependent from the dubbing studio. When the translator has managed to make a translated

    script, that script is sent to a proof reader. Then it is time to synchronize the script to actu-

    al mouth movements. This is done by a synchronizer who will alter the script in places

    where it might not fit the mouth movements on screen. The synchronizer may also add

    background sound effects to reflect the environment where the dialogue takes place. After

    that the recording stage takes place. This is when actors are brought in and made to record

    the lines, a few at a time, following the dubbing director’s orders on what type of perfor-

    mance he/she wishes. After some final tuning the lines are pasted into the film and so the

    project is complete.

    It is therefore important to note that the changes found in this study may

    not always be traced all the way back to the original translator, but can have appeared

    almost anywhere during the long process.

    The following research questions are posed in this study:

    1. What information has been added, omitted and substituted in the Swedish dub of

    Spirited Away?