Дисертації: "Film subtitling"

1

McClarty, R. L. "Film and translation : the art of subtitling." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.679231.

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Since the emergence of audiovisual translation as an academic discipline in the 1990s, research in the field has evolved in a wide range of directions. Subtitling, however, has remained a largely prescriptive form of translation, and has been typically unaffected by the various ethical and creative turns that have emerged within the wider discipline of translation studies. And, while recent years have seen an increasing preference for interdisciplinary research, this interest has rarely questioned subtitles' capacity to convey meaning within the film text. Little has therefore been done to consider the aesthetics of subtitles outside of the constraints of subtitling norms. Similarly, in spite of the influence of subtitles on an audience's cinematic experience, few works in film studies have investigated the role of translation in the distribution, marketing and reception of foreign films. This thesis therefore aims to forge a creative subtitling practice that draws upon both film and translation studies. It asks three key research questions. What can an interdisciplinary approach bring to an aesthetic form of subtitling? How might this interdisciplinary approach manifest itself in a creative subtitling practice? And how is this creative approach received by a target audience? These research questions are answered through an examination of film and translation theory and graphic design principles, with a view to establishing a methodology for a creative subtitling practice. This methodology is then tria lied through the production of creative subtitles for an award-winning Spanish film. Finally, these subtitles are tested empirically through an eye tracking study, consecutive questionnaire and focus group discussions. These studies provide qualitative and quantitative data on the processing effort required to view creative subtitles and the participants' opinions regarding their filmic experience. Together, the answers to these research questions demonstrate the creative potential of film subtitles and highlight the complexity of audience reception.

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2

Yuan, Yilei [Verfasser]. "Subtitling Chinese Cinema: A Case Study of Zhang Yimou's Films / Yilei Yuan." München : GRIN Verlag, 2020. http://d-nb.info/1228861579/34.

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3

Yuan, Yilei [Verfasser]. "Subtitling Chinese Cinema: A Case Study of Zhang Yimou's Films / Yilei Yuan." München : GRIN Verlag, 2021. http://d-nb.info/1224966783/34.

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4

Šliupaitė, Eglė. "Translation of Slanguage in the Subtitled Film." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120704_090817-94633.

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This bachelor thesis focuses on the usage of slang in the subtitled film "Next Day Air". In the theoretial part a scientific overview of the following phenomena, i.e. subtitling, slang and the procedures of transaltion, are provided. In the empirical part the peculiarities of translation of slang in the subtitled film are analysed. Statistical analysis allowed systematysing and generalising the collected data provided in the empirical part and allowed illustrating it graphically. Conclusions contain the outcomes of both theoretical and empirical parts.
Bakalauro darbe yra analizuojamas slengo vertimas subtitruotame filme "Kitos dienos paštas".Teorinėje darbo dalyje yra pateikiama mokslinės literatūros apžvalga, susijusi su subtitravimu, slengu ir slengo vertimo transformacijomis.Praktinėje dalyje yra nagrinėjami slengo ypatumai subtitruotame filme.Statistinė analizė leido susisteminti ir apibendrinti praktinėje dalyje pateiktus pavyzdzius, ir iliustruoti jų pasiskirtymą diagramoje.Išvadose yra pateikiamos teorinės ir praktinės dalies rezutatai ir išvados.

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5

Tacchi, Eleonora. "Sottotitolaggio e pivot subtitling a confronto nello spezzone del film "This is England"." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/10746/.

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Lo scopo di questa tesi è mettere a confronto due tecniche di sottotitolaggio presenti sul mercato, sottotitolando uno spezzone del film “This is England”. Il primo approccio è il sottotitolaggio tradizionale, ovvero la creazione di sottotitoli in una data lingua a partire dall’audio e dallo script nella lingua dei dialoghi originali. Il secondo metodo è il pivot subtitling, che consiste nella creazione di sottotitoli in una determinata lingua a partire da sottotitoli esistenti in una lingua diversa da quella dei dialoghi originali. Questa tesi nasce dalla curiosità di sperimentare personalmente le due tecniche e formare una mia opinione critica al riguardo. Così è seguita la scelta di un film. Il film “This is England”, di difficile comprensione a causa di accenti particolarmente marcati di alcuni protagonisti, della densità di alcuni dialoghi e dei riferimenti culturali alla sottocultura inglese skinhead nata a fine anni ‘60. La parte principale del lavoro è stata la creazione dei sottotitoli. Nel primo capitolo introdurrò il film, spiegherò la prima fase del lavoro, ovvero come ho svolto il processo del sottotitolaggio tradizionale, successivamente seguiranno nozioni sui pivot subtitles e il secondo processo di creazione di quelli italiani. Il secondo capitolo spiegherà il concetto di qualità dei sottotitoli. Successivamente seguiranno i commenti ai sottotitoli: si tratterà di mettere a confronto i sottotitoli ottenuti con le due diverse tecniche per la medesima battuta o scena. Per finire analizzerò le differenze che emergono dalle due tecniche, l’impatto sul pubblico, i vantaggi e gli svantaggi di ognuna e i motivi per cui una viene utilizzata più dell’altra. Queste considerazioni serviranno per dare una risposta alla questione della tesi: in cosa consiste la differenza fra le due tecniche? Sono accettabili entrambi i risultati seppur diversi?

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6

Reed, Sarah. "A Case Study of Tu and Vous Use in the French Dubbing and Subtitling in an American Film." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68037/.

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Translation and subtitling has always been a complicated dimension of the motion picture industry for years. The problem of dealing with linguistic elements in films and conveying them to audiences of different languages across the globe encompasses many difficulties regarding forms and structures of other languages. One of the more highly researched topics in French linguistic studies has been the use of address pronouns and a range of aspects related to their use and interpretation. Many studies have been conducted over the last sixty years in order to determine and understand these variables. An analysis of several of these studies reveals the many complexities involved in second-person pronoun choice in the French language and the development of the idea of pronoun choice as an act of social identity. The focus of this study is to provide an analysis of the use of formal and informal address pronoun use in the French subtitling and dubbing of an American film, Maid in Manhattan, in order to add, on a broader level, a way to differentially examine perceived norms in a variety of contexts within this medium.

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7

Schröter, Thorsten. "Shun the Pun, Rescue the Rhyme? : The Dubbing and Subtitling of Language Play in Film." Doctoral thesis, Karlstad University, Faculty of Arts and Education, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-704.

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Language-play can briefly be described as the wilful manipulation of the peculiarities of a linguistic system in a way that draws attention to these peculiarities themselves, thereby causing a communicative and cognitive effect that goes beyond the conveyance of propositional meaning. Among the various phenomena answering this description are the different kinds of puns, but also more strictly form-based manipulations such as rhymes and alliteration, in addition to a host of other, sometimes even fuzzier, subcategories.

Due to its unusual nature, and especially its frequently strong dependence on the idiosyncrasies of a particular language, language-play can generally be assumed to constitute a significant challenge in a translation context. Furthermore, given its non-negligible effects, the translator is not free to simply ignore the language-play (provided it has been recognized as such in the first place) without having taken an active stance on its treatment. However, the difficulties in finding a suitable target-language solution are possibly exacerbated if the source text is a complex multimedia product such as a film, the translation of which, normally in the form of dubbing or subtitling, is subject to additional constraints.

In view of these intricacies, it has been the aim of this study to analyze and measure how language-play in film has actually been treated in authentic dubbing and subtitle versions. As a prerequisite, the concept of language-play has been elaborated on, and more than a dozen subcategories have been described, developed, and employed. For the purpose of carrying out a meaningful analysis of the dubbing and subtitling of language-play, a corpus has been compiled, comprising 18 family films and 99 of their various target versions, most on DVD, and yielding nearly 800 source-text instances of language-play and thousands of translation solutions.

The results indicate that especially two sets of factors, among the many that are likely to influence a translation, play a prominent role: the type of the language-play, and the identity and working conditions of the translator. By contrast, the mode of translation (dubbing vs. subtitling), the target language, or the general properties of the films, could not be shown to have a sizeable impact.

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8

Josephy, Daniel Enrique. "Reflections on the Subtitling and Dubbing of Anime: The Translation of Gender in Perfect Blue, a Film by Kon Satoshi." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36596.

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Анотація:

Perfect Blue is an anime (Japanese animation) film directed by Kon Satoshi released in 1997. The film revolves around a female idol (a pop star) named Mima who quits her career as an idol to become an actress. She gradually loses her mind, as the pressures from her acting career, her managers, fans and a stalker catch up to her. Perfect Blue touches on the blurring line between fiction and reality, the objectification of women (and idols) as mere products, and the role of women in the idol industry. It is also a stark critique of the hegemonic masculinity and the gender roles that are imposed on women in Japanese society. This thesis presents anime as an important pop culture phenomenon with a massive influence worldwide. The thesis examines the gender stereotypes propagated by this phenomenon and proposes a that Kon’s work is different compared to other anime. This work compares how gender roles are portrayed in the different versions: The Japanese original and the US English subtitles and dubbing. Methodologically, the analysis relies on close observation of the use of the Japanese first and second person pronouns and sentence-final particles in the characters’ language, since “the use of these features is known to be highly gender-dependent” (Hiramoto 2013, 55). This study comes to the conclusion that the subtitles and the dubbing provide a relatively close rendering of gender of the Japanese text, even if the linguistic resources of English do not allow for the translation of gendered Japanese pronouns and sentence-final particles. This means that the subtitles and dubbings maintain the feminist message Kon wanted to give in his film. The study concludes by stressing the importance of taking into account the use of specific pronouns and sentence-final particles when translating Japanese, as these particles are gender-loaded. It also emphasises the importance of being critical of anime’s hegemonic masculinity, and argues that Kon goes against hegemony by portraying a strong and independent female character.

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9

Ponce, de León Diaz Allison Andrea, and Chocña Raul Antonio Espinoza. "Las preferencias en torno al doblaje y la subtitulación de géneros de cine entre estudiantes universitarios de Lima Metropolitana." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652532.

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El doblaje y la subtitulación son las dos modalidades de traducción audiovisual (TAV) más practicadas en la actualidad que permiten al público tener acceso a películas extranjeras en su lengua materna. Y Perú no es ajeno a esta realidad. Sin embargo, los estudios en el campo del doblaje y la subtitulación orientados a las preferencias del público por una u otra modalidad son escasos en Latinoamérica y, en particular, en Perú. Para subsanar este vacío, el presente estudio cuantitativo busca dar a conocer cuáles son las preferencias de los estudiantes universitarios en torno al doblaje y a la subtitulación de géneros de cine, así como las opiniones sobre cada una de estas modalidades. Se empleó una metodología cuantitativa por medio de un muestreo de tipo intencional que incluyó la aplicación de 200 encuestas a estudiantes de dos universidades (una privada y una pública) de Lima, Perú, y su posterior análisis. Los resultados mostraron que hay una mayor preferencia por la subtitulación y que los géneros que mejor se adecúan a esta modalidad son el drama, el romance y la ciencia ficción. Por otro lado, el género animado es el más adecuado para ser doblado según los encuestados. Asimismo, a partir de las diversas opiniones en torno a la TAV, se puede inferir que existe cierto desconocimiento por parte de los encuestados en cuanto a los procesos y la naturaleza de este tipo de traducción.
At present, dubbing and subtitling are the two most practiced modes of audiovisual translation (AVT), which allow the public to watch foreign movies in their mother tongue. Peru is not alien to that reality. Nevertheless, there are very few studies in Latin America, and more specifically in Peru, focusing on the public preferences for one mode of AVT or the other. In this sense, this quantitative study seeks to know the preferences of university students in regards to dubbing and subtitling of film genres, as well as the opinions about any of these modes. This study employed a quantitative methodology (surveys) with a purposive sample of 200 students from two universities in Lima, Peru (one private and one public). The results showed that there is a greater preference for subtitling and the genres that best suit this mode are drama, romance, and science fiction. As for dubbing, animation is the genre most suitable to be dubbed according to respondents. In addition, considering our respondents’ opinions about AVT, we can infer that their knowledge of the processes and nature of AVT is very limited.
Tesis

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10

Connors, Marianne Dorothy. "The pragmatic particles 'enfin' and 'écoute' in French film and TV dialogue." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27764.

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This thesis investigates the use of the pragmatic particles (PPs) 'enfin' and 'écoute' in French film dialogue, and their translations in British English subtitles. Using a corpus of nine films and eight episodes drawn from two television series – all released in the UK between 2005 and 2015, and equating to approximately twenty-two hours – the study identifies tokens across a much wider range of contexts than has previously been possible using traditional corpora. The main contribution is an analysis of PP functions. The results for 'enfin' show a different functional distribution of the particle to other corpora, with corrective 'enfin' occurring significantly less frequently. The relatively large number of tokens of performative and emotional (or affective) 'enfin' allows for an elaboration of these two categories, and a tendency is observed for 'enfin' to appear as an apparent disagreement mitigator in discussions between peers. With regard to 'écoute', it is argued that écoute1 functions as a face-threat mitigator in unequal relationships and écoute2 as an FTA, although the particle is multifunctional and some tokens exhibit characteristics of both categories. Attention is given to combinations of 'enfin' and 'écoute' with other particles: while there is a clear tendency for disagreement-mitigating 'enfin' to co-occur with 'mais', and for the precision and restrictive subcategories of the corrective to co-occur with 'je veux dire', other previously documented combinations ('enfin bon' and 'ben écoute') are not frequently occurring in the present corpus. The thesis also makes a significant contribution to the field of Audiovisual Translation (AVT). The English subtitles show high rates of omission for both particles consistent with previous research, with disagreement-mitigating 'enfin' particularly vulnerable to omission. However, the analysis reveals a surprising pattern regarding 'écoute': a clear division of labour between ‘look’ (used to translate more confrontational tokens) and ‘listen’ (more conciliatory and socially distant). The study includes an experimental analysis of the subtitles relative to their character limits, demonstrating a potential new approach for researchers wishing to investigate the impact of various subtitling constraints.

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11

Vayssière, Eve-Marie. "Le sous-titrage de film, une traduction condensatrice." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030133.

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Cette thèse propose une définition du sous-titrage de film en tant que traduction condensatrice. Cette recherche se base sur un corpus constitué des propos orignaux et sous-titres de dix films de langue française sous-titrés en allemand et de langue allemande sous-titrés en français. L’analyse met dans un premier temps en évidence que l'omission, l'implicitation et l'explicitation, qui apparaissent comme les trois procédés permettant d’obtenir un énoncé traduit de taille réduite mais de sens équivalent à celui de l’original, sont le résultat d’une hiérarchisation au cas par cas des unités de sens constitutives des propos orignaux. Dans un second temps, le constat de l’absence récurrente de traduction des marqueurs discursifs concourant à la vraisemblance des propos originaux permet de mettre en évidence un déplacement de la relation interactionnelle. La relation interactionnelle entre les protagonistes, perceptible dans les propos originaux par la présence de marqueurs discursifs, n’est pas perceptible dans les sous-titres. Les résultats éclairent alors les processus par lesquels intervient une nouvelle interaction dans laquelle le sous-titre devient métaphoriquement locuteur et s’adresse à un interlocuteur : le spectateur. C’est au spectateur de faire le travail d’inférence nécessaire à la compréhension de ST qui ne sont compréhensibles que par le cotexte et dans le contexte filmique
This thesis intends to define film subtitling as a condensing translation. Results are based on original utterances and subtitles of ten german and french films. In a first phase, analysis showed the fact that omission, implicitation and explicitation, which appear as the three processes allowing shorter translated utterances, while preserving an equivalent meaning, result from an organization into a hierarchy of meaning units constituting original utterances. Over a second phase, the fact that discursive markers, which contributes to the realism of original utterances, are frequently missing from the translation highlights a shifting of the discursive interaction. The discursive interaction between protagonists, noticeable in the original utterances thanks to the presence of discursive markers, is no longer noticeable in the subtitles. Those results shed light on the process through which a new interaction occurs, in which the subtitle becomes in itself a speaker and addresses itself to a new interlocutor : the spectator. Finally, it is up to the spectator to draw the inference which is compulsory for his understanding of the subtitles, the latter being only understandable thanks to the cotext and to the context of the film
Die vorliegende Dissertation hat zum Ziel, die Filmuntertitelung als eine verdichtende Übersetzung zu definieren. Die Untersuchung stützt sich auf die Analyse eines Korpus, das aus den Originaläußerungen und den entsprechenden Untertiteln von insgesamt zehn französisch- und deutschsprachigen Filmen besteht. In einem ersten Schritt werden mit der nachstehenden Untersuchung drei Prozesse, die Auslassung, die Implizierung und Explizierung aufgezeigt, die dem Übersetzer erlauben eine quantitativ reduzierte Äußerung zu formulieren, deren Sinn jedoch dem Original entspricht. Die Hierarchisierung der Sinneinheiten der Original-Äußerungen dient als Basis für die weiteren Prozesse. In einem zweiten Schritt wird der wiederholt auftretenden Auslassung von Diskursmarkern, die als Signale der Mündlichkeit fungieren und im Ausgangstext der Plausibilität dienen, nachgegangen. Dabei entsteht eine Verschiebung der Interaktion zwischen dem Untertitel und dem Zuschauer. Die durch die Diskursmarker wahrnehmbare Interaktion zwischen den Protagonisten der Filme in den Original-Äußerungen kann in den Untertiteln nicht wahrgenommen werden. Die Ergebnisse zeigen eine neue Form von Interaktion, ein Prozess, durch den der Untertitel gleichsam zu einem Sprecher wird, der sich an einen Gesprächspartner, in diesem Falle den Zuschauer, wendet. Es liegt also am Zuschauer, die für das Verständnis der Untertitel benötigten Folgerungen zu ziehen, welche wiederum einzig und allein durch den Kotext und den filmischen Kontext verständlich werden

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12

Cole, Alastair Charles. "Good Morning, Grade One : language ideologies and multilingualism within primary education in rural Zambia." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/11684.

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This practice based PhD project investigates the language ideologies which surround the specific multilingual context of rural primary education in Zambia. The project comprises of a creative documentary film and a complementary written submission. The fieldwork and filming of the project took place over 12 months between September 2011 and August 2012 in the community of Lwimba, in Chongwe District, Zambia. The project focuses on the experiences of a single grade one class, their teacher, and the surrounding community of Lwimba. The majority of the school children speak the community language of Soli. The regional lingua franca, and language of the teacher, however, is Nyanja, and the students must also learn Zambia’s only official language, English. At the centre of the project is a research inquiry focusing on the language ideologies which surround each of these languages, both within the classroom and the wider rural community. The project also simultaneously aims to investigate and reflect on the capacity of creative documentary film to engage with linguistic anthropological research. The film at the centre of the project presents a portrait of Annie, a young, urban teacher of the community’s grade one class, as well as three students and their families. Through the narrativised experiences of the teacher and children, it aims to highlight the linguistic ideologies present within the language events and practices in and around the classroom, as well as calling attention to their intersection with themes of linguistic modernity, multilingualism, and language capital. The project’s written submission is separated into three major chapters separated into the themes of narrative, value and text respectively. Each chapter will focus on subjects related to both the research inquiry and the project’s documentary film methodology. Chapter one outlines the intersection of political-historical narratives of nationhood and language that surround the project, and reflects on the practice of internal narrative construction within documentary film. Chapter two firstly focuses on the language valuations within the institutional setting of the classroom and the wider community, and secondly proposes a two-phase perspective of evaluation and value creation as a means to examine the practice of editing within documentary film making. Chapter three addresses the theme of text through discussing the role of literacy acquisition and use in the classroom and community, as well as analysing and reflecting on the practice of translation and subtitle creation within the project.

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13

Georgakopoulou, Panayota. "Reduction levels in subtitling-DVD subtitling : a compromise of trends." Thesis, University of Surrey, 2003. http://epubs.surrey.ac.uk/602/.

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Bumrungsalee, Intira. "Translating culture in films : subtitling in Thailand." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/63283/.

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Анотація:

This thesis investigates the way in which cultural elements are rendered in subtitling by analyzing the translation of culture-specific references, such as proper names, with the case studies from three American and Thai films: Annie Hall (1977), Juno (2007), and The Iron Ladies (2000). The structure of this research is based on Toury (1995)’s Descriptive Translation Studies framework. The methodology consists of 1) situating the preliminary norms of Audiovisual Translation in Thailand, which includes the overview of foreign film import and screen translation practice; 2) proceeding to analyse the cultural transfer strategies used in the subtitles in relations to their polysemiotic co-texts and contexts and present descriptive examples; and 3) from the analysis results, comparing the ways American and Thai culture is transferred/transformed to the target audience and explaining the significance. This research aims to take interdisciplinary approach into subtitling, in hope that it will bring more insights about Audiovisual Translation not only as a language transfer, but also as a complex socio-cultural activity, surrounded by norms and many influencing factors. Therefore, the study will combine text analysis and interviews with translation practitioners in order to present subtitling in the real world situation.

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15

Bywood, L. A. "Subtitling the films of Volker Schlöndorff in English." Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/1543141/.

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Volker Schlöndorff is one of Germany’s foremost directors, and a prominent member of the group who formed the New German Cinema in the 1960s, a movement which rejected the ‘old film-making’ in Germany and embraced a new way of working whose main thrust was artistic, rather than commercial. This thesis seeks to use the Descriptive Translation Studies framework to examine the English subtitles for two of Schlöndorff’s best known films: Die verlorene Ehre der Katharina Blum [The Lost Honour of Katharina Blum], directed in 1975, and Die Blechtrommel [The Tin Drum], from 1979. Using the concept of translational norms as one of its main heuristic tools, this research examines an audiovisual corpus consisting of five different sets of DVD subtitles from the two films: three from Die Blechtrommel, dating from 1995, 2002 and 2010, and two from Katharina Blum, dated 2003 and 2009, thus spanning the era from the advent of digitisation and the beginning of DVD to the rise of TV and film streaming services. The data is analysed to investigate the translation strategies that have been activated by the subtitlers when encountering culture-specific references, and then to pinpoint any diachronic trends that come to the fore, with a view to testing the earliest concept of the retranslation hypothesis (Bensimon, 1990; Berman, 1990).

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16

Yuan, Yilei. "Subtitling Chinese cinema : a case study of Zhang Yimou's films." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7724/.

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Анотація:

In recent years, more and more Chinese films have been exported abroad. This thesis intends to explore the subtitling of Chinese cinema into English, with Zhang Yimou’s films as a case study. Zhang Yimou is arguably the most critically and internationally acclaimed Chinese filmmaker, who has experimented with a variety of genres of films. I argue that in the subtitling of his films, there is an obvious adoption of the domestication translation strategy that reduces or even omits Chinese cultural references. I try to discover what cultural categories or perspectives of China are prone to the domestication of translation and have formulated five categories: humour, politeness, dialect, history and songs and the Peking Opera. My methodology is that I compare the source Chinese dialogue lines with the existing English subtitles by providing literal translations of the source lines, and I will also give my alternative translations that tend to retain the source cultural references better. I also speculate that the domestication strategy is frequently employed by subtitlers possibly because the subtitlers assume the source cultural references are difficult for target language subtitle readers to comprehend, even if they are translated into a target language. However, subtitle readers are very likely to understand more than what the dialogue lines and the target language subtitles express, because films are multimodal entities and verbal information is not the only source of information for subtitle readers. The image and the sound are also significant sources of information for subtitle readers who are constantly involved in a dynamic film-watching experience. They are also expected to grasp visual and acoustic information. The complete omission or domestication of source cultural references might also affect their interpretation of the non-verbal cues. I also contemplate that the translation, which frequently domesticates the source culture carried out by a translator who is also a native speaker of the source language, is ‘submissive translation’.

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17

Zhu, Zhu. "Translators' communicative assumptions in subtitling Chinese feature films into English." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3317.

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Анотація:

Medium-bound features and translation strategies are two central issues in the study of subtitling. However, the translator, who reacts to the medium-bound features and opts for translation strategies, has remained outside the focus in research on subtitling. The scarcity of studies on the translator in the context of subtitling seems to suggest that the translator in this type of translation is simply viewed as a transparent vehicle. This study attempts to shed light on the translator’s discursive presence in subtitling by proposing the use of a new concept, the translator’s communicative assumptions. A bottom-up model, rooted in Descriptive Translation Studies, has been established to investigate the translator’s communicative assumptions. This model consists of a comparative phase followed by an analysis phase. The English subtitles of three Chinese feature films were examined using this model in order to reveal the translators’ communicative assumptions. In the comparative phase, the original dialogues and the subtitles are compared in order to identify and categorise micro-structural shifts in the subtitles. In the following analysis phase, Bordwell’s (1997) approach to filmic perception and cognition, Text World Theory and Relevance Theory are adapted and combined to provide a theoretical framework and analytical tools to further scrutinise patterns and tendencies observed at the comparative phase. The comparative-analysis model proves to be a useful tool to reveal translators’ communicative assumptions in subtitling. The findings show that although translation shifts take place at various levels, the translator makes linguistic adjustments to give priority to syuzhet (plot elements) related to his/her own established fabula (story). Consequently, syuzhet is made more explicit; film characters’ inner worlds and personality are enhanced; culture-specific and stylistic features of the original dialogue exchanges are generally diminished. Viewers seem to be regarded as cultural outsiders who have little knowledge of the Chinese culture in general and need additional assistance in the comprehension of certain syuzhet information.

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Espindola, Elaine. "The use and abuse of subtitling as a pratice of cultural representation." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/103080.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.
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Chen, Lin. "Subtitling culture : the reception of subtitles of fifth generation Chinese films by British viewers." Thesis, University of Roehampton, 2018. https://pure.roehampton.ac.uk/portal/en/studentthesis/Subtitling-culture(30171dc6-09a1-4bda-a934-cdf41accfb2f).html.

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Анотація:

This research intends to study the effect of English subtitles of Chinese films on British viewers. For this purpose, this thesis gives a theoretical background on the key notion of effect and its use in Translation Studies. It provides a textual analysis of the subtitles of a selected film corpus and presents a reception study based on this corpus. Three of Chinese director Zhang Yimou’s films, Red Sorghum (1987), Ju Dou (1990) and Raise the Red Lantern (1992), are used as case studies, both for the textual analysis and for the study of end-users’ reactions. Contrastive textual analysis of the original Chinese dialogues and the English subtitles in the selected films shows how culture-specific references in the Chinese source text have been translated in English through subtitles. Through this analysis, this research seeks to ascertain whether the translation approaches and strategies followed in these subtitled Chinese films allow for the transmission of all the intended culture-specific references, and if so, to what extent. More specifically, it considers (a) potential differences between the representation of Chinese culture in the source films and that which emerges from the subtitles; (b) recurring patterns of subtitling in Chinese films regarding cultural representation; (c) the potential effect that translation may have on audiences. The originality of this research lies in the emphasis on “effect”, which generates the need for reception studies, and in combining the research method of textual analysis with empirical testing on the reception of the subtitled Chinese films by actual audiences. A questionnaire is conducted with both native Chinese (resident in the UK and with Chinese as their first language) and British viewers (resident in the UK and with English as their first language), in an attempt to provide an insight 3 into the effect of the subtitled Chinese films. Analysis of the data from the questionnaire presents how British and Chinese viewers interpret the chosen films and Chinese culture conveyed in them, especially with regard to their understanding of certain concepts and themes that arise from the films’ narratives, namely, power and solidarity, Chinese features of politeness, sexual metaphors and family traditions. Through a comparison of the interpretations of British viewers, who rely on subtitles, and Chinese viewers, who are solely based on visual images and the original soundtrack, this research investigates how subtitles portray and mediate films and Chinese culture. This research complements other research in Audiovisual Translation Studies in this area (Pedersen, 2007; Guillot, 2010; Desilla, 2009, 2012, 2014; Suojanen et al., 2015), as it attempts to examine the effect of translated audiovisual texts, by combining an analysis based on the content of films and subtitles with empirical research on audiences. Furthermore, it primarily focuses on the case of Chinese films, which have been relatively neglected in Translation Studies.

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Liang, Lisi. "Subtitling English-language films for a Chinese audience : cross-linguistic and cross-cultural transfer." Thesis, Cardiff University, 2017. http://orca.cf.ac.uk/110879/.

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This thesis explores the complex and intricate linguistic and cultural negotiations which take place when Anglophone films are subtitled for a Chinese audience. The project seeks to break new ground by offering the first study of subtitling in relation to thematically heterogeneous genres of films and different disciplines. This contemporary phenomenon of subtitling from English into Chinese thus provides a valuable case study for the discipline of Translation Studies as it does not straddle different disciplines but interconnects them. The project also provides new insights into the reshaping of English-language films for a contemporary Chinese audience and the ways in which the Chinese subtitles are mediated for their domestic agenda. This project builds on Venuti’s binary argument in relation to foreignisation and domestication and extends it to complex translational processes which sit at the confluence of linguistic, cultural, historical, political and commercial considerations. A new theoretical frame is generated to make a theoretical contribution to reading Chinese subtitles in association with different disciplines rather than focusing on translation theories in isolation. The Chinese subtitles reevaluate the complexities and specificities of British culture linked to the varied films and posit Chinese cultural values to shape the multidirectional facet of translation as much as the original source shapes its own. The study thus suggests that the hybrid dynamics of transformation occurs as a result of the various forms of transfer and the interaction between them: linguistic, cultural, political, historical, ideological transfer and the transfer of gender, sexuality, and humour. Through this transformation, the Chinese subtitling process allows for elements of British heritage to permeate the Chinese culture with the ultimate goal of enhancing China’s own cultural values.

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Alkadi, Tammam. "Issues in the subtitling and dubbing of English-language films into Arabic : problems and solutions." Thesis, Durham University, 2010. http://etheses.dur.ac.uk/326/.

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This study investigates the problems that translators tend to face in the subtitling and dubbing of English-language films and television programmes into Arabic and suggests solutions for these problems. In the light of an examination of the generic features of audiovisual translation and of the particular cultural constraints inherent in translation for Arabic-speaking audiences, it is proposed that certain elements of translation theory can be useful in overcoming the technical and cultural barriers identified. This proposition is tested through analysis of the translation of three feature films, one television sitcom and an animation series that have been subtitled and dubbed into Arabic, with a particular focus on the translation of dialect, swear words, and humour. Technical, linguistic and cultural issues constitute a challenge to Arabic translators who need to deal with: 1) the limitations on screen such as space, time, lip and character synchronizations; 2) the issue of rendering English dialects into Modern Standard Arabic (MSA) and 3) the problem of culture which restricts them when they want to translate taboo expressions. This results in a loss (partial or complete) of the source film’s message. Each of the audiovisual works mentioned above was considered as a case study that was analysed using both qualitative and quantitative methods. Interviews, experiments and a questionnaire were conducted in this respect to find answers to the research questions. The interviews aimed to gather evidence of how professionals translate, what problems they face and what possible solutions they may suggest for them. The experiments and the questionnaire, on the other hand, were audience-focused tools in the sense that sample audiences watched and judged the ability of a translation both in subtitled and dubbed forms to deliver the message of a movie to them, and therefore, provided evidence on the relative effectiveness of different translation procedures. Based on this, solutions were both suggested and tested in terms of their viability to overcome the barriers that emerge during the subtitling and dubbing of dialect, swear words and humour into Arabic. The findings show that translators have significant scope for improving the quality of their output, especially by adopting a more functional translation approach that can help them successfully deal with the difficulties inherent in this type of translation and make the translated dialogue have a similar effect on the target audience as that which the source text has on its audience.

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Trindade, Elaine Alves. "A legendagem da televisão por assinatura do Brasil." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-13092012-114245/.

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O objetivo deste trabalho é analisar como é feita a legendagem utilizada pelos canais de televisão por assinatura no Brasil e verificar se é possível identificar um padrão comum a todos eles. A utilização da proposta de padrão de legendagem para a Europa apresentada por Fotios Karamitroglou e a minha experiência na área como tradutora de legendas para TV serviram como base para realizar as análises. O estudo utiliza corpora em língua inglesa, as falas originais dos filmes, e em língua portuguesa, a transcrição das legendas de filmes exibidos pelos canais. A escolha dos canais considerou a relevância que a legendagem tem em sua programação diária. A análise foi feita por meio de comparações entre o corpus da transcrição do original e o das legendas e foram considerados tanto os aspectos técnicos da legendagem quanto os textuais e tradutórios. Os resultados foram compilados e podem servir de base para analisar outros aspectos da tradução para legendas.
This research aims to analyze the Brazilian Cable Channels Subtitling in order to verify if it is possible to identify a standard for subtitling. \"A Proposed Set for Subtitling Standard in Europe\" by Fotios Karamitroglou, and my experience as a translator are the basis for doing the analysis. The study uses an English corpus, the original lines from the movies, and a Portuguese corpus, the subtitle transcription from the movies broadcasted by the channels. The channels selection took account of the relevance that subtitling has in their daily schedule. The analysis was done by comparing both corpora, and technical, textual and translation aspects, and the final results was compiled and can be used as a base for analyze another subtitling aspects.

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Parra, López Guillermo. "Disorderly speech in audiovisual fiction and its translation : portrayals of characters under the influence of alcohol and drugs." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/668236.

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Анотація:

Much research has been conducted on language variation and marked speech in its various forms, such as dialects, registers, and styles. There is one variety, however, which seems to have been broadly overlooked in translation studies to date, and which I call disorderly speech. The concept arises from the need to account for a very particular, and unexplored, phenomenon which is widespread in audiovisual fiction: the effect of drugs or alcohol consumption on a character’s linguistic output. This thesis focuses on the analysis of English-language films and their dubbed and subtitled versions into Spanish. It uses a descriptive approach to identify and compare markers of disorderly speech at all linguistic levels in both the source texts and their translations. Since there is no specific theory for this phenomenon, it is addressed by combining different perspectives, such as fictional orality, language variation, style, and L3 and multilingualism.
Mucho se ha dicho sobre el lenguaje marcado en sus múltiples formas, como dialectos, registros o estilos, pero hay una variedad que se ha pasado por alto hasta ahora en los estudios de traducción, a la que denomino lenguaje alterado. Este concepto surge de la necesidad de explicar un fenómeno muy extendido en la ficción audiovisual: el efecto del consumo de drogas o alcohol en la producción lingüística de los personajes. Esta tesis se centra en el análisis de películas de habla inglesa y de sus versiones dobladas y subtituladas al español. Se sigue un enfoque descriptivo para identificar y comparar los marcadores del lenguaje alterado a todos los niveles lingüísticos, tanto en los textos de partida como en las traducciones. Dado que no existe una teoría específica para este fenómeno, se aborda combinando diferentes perspectivas, como la oralidad fingida, la variación lingüística, el estilo y la L3 y el multilingüismo.
Molt s’ha dit sobre el llenguatge marcat en les seves múltiples formes, com dialectes, registres o estils, però hi ha una varietat que s’ha passat per alt fins ara en els estudis de traducció, la qual denomino llenguatge alterat. Aquest concepte sorgeix de la necessitat d’explicar un fenomen molt estès en la ficció audiovisual: l’efecte del consum de drogues o alcohol en la producció lingüística dels personatges. Aquesta tesi se centra en l’anàlisi de pel·lícules de parla anglesa i de les seves versions doblades i subtitulades a l’espanyol. Se segueix un enfocament descriptiu per identificar i comparar els marcadors del llenguatge alterat a tots els nivells lingüístics, tant en els textos de partida com en les traduccions. Atès que no existeix una teoria específica per a aquest fenomen, s’aborda combinant diferent perspectives, com l’oralitat fingida, la variació lingüística, l’estil i l’L3 i el multilingüisme.

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Wang, Liyun. "Le sous-titrage du cinéma français en Chine : enjeux, traduction du sens, contraintes." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA054/document.

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L’objectif de cette thèse consiste à cerner les enjeux, les contraintes et les normes qui régissent le sous-titrage cinématographique en tant qu’opération traduisante. Cette recherche se fonde sur un corpus constitué de films français, dont des comédies (romantiques) particulièrement, qui ont été tout récemment distribués dans les salles chinoises. Dans un premier temps, nous essayons de mettre en évidence, suivant l’évolution des échanges cinématographiques entre la Chine et d’autres pays, plus spécifiquement la France, les enjeux qu’un pays avec sa politique, son idéologie propre, son économie, sa société et son peuple pose à l’introduction des films étrangers ainsi qu’à leur transfert linguistique en général et à leur sous-titrage en particulier. Dans un second temps, nous tentons de démontrer, à la lumière de la théorie interprétative, qu’à l’instar de toute opération traduisante, le sous-titrage est soumis aux mêmes étapes, à savoir la compréhension du sens original, sa déverbalisation, sa réexpression dans la langue-cible, et l’analyse justificative de la solution retenue. En même temps, nous ne tardons pas à signaler les contraintes auxquelles devrait obéir le sous-titrage, qualifié de traduction contrainte ainsi que leur impact sur l’équivalence du sens. N’étant qu’une introduction à d’autres travaux de recherche sur le sous-titrage, qui reste jusque-là plutôt une activité empirique, cette étude vise à susciter plus d’intérêts de la part de la communauté scientifique, qui pourrait sortir de la marginalisation cet immense champ transdisciplinaire
The purpose of this thesis is to identify the challenges, constraints and norms that govern film captioning as a translating operation. This research is based on a corpus of French films, including (romantic) comedies, which have recently been distributed in Chinese cinemas. At first, we try to highlight, following the evolution of the cinematographic exchanges between China and other countries, more specifically France, the challenges that a country with its politics, its own ideology, its economy, his society and his people, sets for the introduction of foreign films as well as their linguistic transfer in general and their subtitling in particular. Secondly, we try to demonstrate, in the light of the interpretative theory, that, like any translating operation, subtitling is subjected to the same stages, namely the understanding of the original meaning, its deverbalisation, its re-expression in the target language, and the justifying analysis of the chosen solution. Meanwhile, we will point out the constraints to which subtitling should be subjected, described as constrained translation, as well as their impact on the equivalence of meaning.As an introduction to other research on subtitling, which until now has been mostly an empirical activity, this study aims to generate more interest from the scientific community, which could change the marginal status of this immense transdisciplinary field

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Monteiro, Marcela Rossi. "A tradução de marcadores culturais do filme O Auto da Compadecida nas legendas em inglês: uma proposta de análise." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-16042018-111046/.

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Анотація:

A tradução para legendas compreende, além de fatores culturais e linguísticos, questões técnicas específicas, as quais exercem grande influência no momento de fazer as escolhas tradutórias. É frequente a sensação, para os conhecedores da língua fonte, de que a legenda não compreende tudo o que está sendo dito na tela. Entretanto, o conhecimento das restrições técnicas, bem como a análise de fatores extratextuais envolvidos no material, permitem ao espectador discernir as possíveis intenções do legendador. Nesta pesquisa, analisamos o script do filme O auto da Compadecida, de Guel Arraes (2000), a fim de identificarmos marcadores culturais e quais os tratamentos dispensados a eles nas traduções para as legendas disponíveis no DVD oficial do filme, a partir do conceito de modalidades tradutórias de Aubert (2006). Após o levantamento dos marcadores e as análises das traduções, observamos as relações estabelecidas entre a tradução textual, as restrições técnicas da legendagem e os elementos extratextuais presentes no filme, conforme Titford (1982), e o quanto essas relações favorecem a compreensão da natureza dos marcadores por parte dos espectadores estrangeiros. Como resultado, apresentamos quatro tipologias de legendas combinadas com as modalidades, com o propósito de favorecer futuros estudos que versarão sobre a tradução de marcadores culturais e tradução para legendagem.
Translation into subtitles includes, in addition to cultural and linguistic factors, specific technical concerns, which exert great influence in the moment of making translation choices. It is often felt by those who have a solid knowledge of the source language, that the subtitle does not consist of everything that is displayed on the screen. However, the knowledge of specific technical constraints, as well as the analysis of extratextual factors involved in the material, allow the viewer to discern the possible intentions of the subtitler. In this research, we analyzed the movie script of O auto da Compadecida (A dogs will) by Guel Arraes (2000) in order to identify cultural markers and what treatments were given to them in the official subtitles which are available in the DVD, based on the concept of translation modalities by Aubert (2006). After selecting the cultural markers and having analyzed the translations, we observed the relations established between the textual translation, the technical constraints and the extratextual elements present in the movie, according to Titford (1982), as well as how these relations allow the comprehension of the nature of the markers by the foreign viewers. As a result, we present four typologies of subtitles united with the modalities, with the purpose of providing support for future studies that deal with translation of cultural markers and translation for subtitling.

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Sousa, A?da Carla Rangel de. "A interculturalidade no cinema: um estudo da legendagem e da dublagem brasileiras em um filme franc?s contempor?neo." Universidade Federal do Rio Grande do Norte, 2008. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16139.

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Анотація:

Made available in DSpace on 2014-12-17T15:06:42Z (GMT). No. of bitstreams: 1 AidaCRS.pdf: 186343 bytes, checksum: 50a84ecd73306d77c0bdd56a9c0bc4aa (MD5) Previous issue date: 2008-06-13
Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico
In this research we present a study of cultural aspects in dubbed and subtitled films. As a case study, we chose to compare the original French version of "Le fabuleux destin d'Amelie Poulain" with both the subtitled and the dubbed versions in Portuguese, with focus on the interaction between the French and the Brazilian cultures. First we considered that (i) the translation process interferes on the perception of cultural relationships; and that (ii) dubbing and subtitling are two methods of translation that result in distinct perceptions from the spectator. Then, we adopted the translation interpretative theory (Seleskovicth; Lederer, 2001; Deslile, 1980) as the general theoretical framework, since it emphasizes the extralinguistic equivalence on the translation process. Furthermore, we based this research on three analytical procedures, which are: the four-step translating operation, the contrastive perception and a translation's typology based on Vinay and Dalbernet's linguistic procedures (Srpov?, 1991, 1995, 2004). We extracted forty-six culture-related elements from the film and identified those belonging to the French ethno-universe. Then, the elements were classified with respect to a theoretical typology, based on concepts found in the Ethnography of Communication and a general typology, based on five general thematic groups, defined by the corpus. The results showed that both Brazilian versions tend to preserve those culture-related elements by using lexical loan and literal translation. The visual context, in its association with the linguistic procedures in both Brazilian versions, was also observed as an important element to the comprehension of the culture-related elements as they are considered in the French culture. As a general observation, the perception of culture-related elements in the film seems effectively be oriented by the translation methods
Este ? um estudo de caso, no qual realizamos uma an?lise descritiva e interpretativista da vers?o original do filme franc?s O fabuloso destino de Am?lie Poulain (2001), em contraste com as vers?es de legendagem e de dublagem brasileiras, com o intuito de explicitar a intera??o entre as culturas francesa e brasileira. Partimos dos pressupostos de que (i) o ato tradut?rio interfere na percep??o intercultural e (ii) a especificidade de cada modalidade de tradu??o resulta em implica??es distintas para a percep??o. Por privilegiar a equival?ncia extraling??stica na opera??o tradut?ria, adotamos a teoria interpretativa da tradu??o (Seleskovicth; Lederer, 2001; Deslile, 1980) como quadro te?rico geral. Na metodologia, Srpov? (1991, 1995, 2004) nos fornece tr?s recursos anal?ticos, quais sejam: a opera??o tradut?ria em quatro etapas, a tipologia das tradu??es -que se trata de uma reformula??o dos procedimentos ling??sticos propostos por Vinay e Dalbernet (1958) - e a percep??o contrastiva. A partir de um corpus constitu?do de quarenta e seis fragmentos do filme, identificamos os elementos culturais pertencentes ao etno-universo franc?s representado no filme e os classificamos conforme duas tipologias: uma de natureza te?rica, cujas no??es tomamos emprestadas, sobretudo, da Etnografia da Comunica??o; a outra, correspondente a cinco eixos tem?ticos, definidos pela natureza do pr?prio corpus. Os resultados indicam que ambas as tradu??es brasileiras tendem a conservar essas especificidades por empr?stimo lexical e tradu??o literal. Foi constatada, tamb?m, a import?ncia da associa??o dos procedimentos ling??sticos utilizados com o contexto visual, para uma melhor compreens?o do sentido das especificidades culturais francesas, conforme o etno-universo de partida. De maneira geral, a percep??o desses elementos culturais parece ser orientada pelas modalidades de tradu??o adotadas na pesquisa

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Utida, Yasmin Cobaiachi. "Tradução e memória: a legendagem de um filme-testemunho sobre a Rosa Branca." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-03042017-115923/.

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A presente pesquisa visa descrever o gênero filme-testemunho (GUTFREIND, 2010, p. 200) marcado, simultaneamente, pelas dimensões histórica e subjetiva como um objeto cultural de memória (ACHARD et al., 2007) a partir da legendagem do documentário Os resistentes: testemunhas da Rosa Branca [Die Widerständigen: Zeugen der Weißen Rose], de Katrin Seybold (2008). O filme que constitui o corpus reúne entrevistas com 14 testemunhas de época do grupo de resistência pacífico e estudantil contra o nacional-socialismo alemão conhecido como A Rosa Branca e foi produzido 65 anos após a execução da sentença de morte proferida contra os principais membros do grupo. Trata-se, assim, de um material relevante para a difusão e preservação da memória da resistência alemã. Partindo desse pressuposto, o trabalho tem como base a intersecção entre conceitos e métodos dos Estudos da Tradução, sobretudo das abordagens funcionalistas e da tradução audiovisual (TAV), e dos Estudos da Memória. A partir do Modelo de Análise Textual de Christiane Nord (2005, 2016) e do arcabouço teórico interdisciplinar sobre testemunho (SELIGMANN-SILVA 2013, RICOEUR 2014, SARLO 2007, entre outros), transcrevemos, traduzimos e produzimos as legendas de Os resistentes: testemunhas da Rosa Branca documentário inédito no Brasil. Para a produção das legendas, optou-se por uma tradução-instrumento, visto que essa modalidade de TAV apresenta restrições de tempo e de espaço que demandam procedimentos de condensação, retextualização e omissão. A opção por não omitir na legenda algumas marcas de subjetividade e do trauma na linguagem, fatores intrínsecos à narrativa testemunhal, motivaram decisões tradutórias que transgridem normas técnicas e algumas das convenções concernentes à legendagem, a fim de oferecer uma tradução leal ao seu escopo (NORD, 2005, p.33). Dessa forma, temos a expectativa de preencher parcialmente a lacuna que existe sobre procedimentos de tradução de filmes de caráter documental e de difundir e preservar a memória da Rosa Branca no Brasil, onde o tema da resistência alemã ainda é pouco conhecido e estudado.
This research aims to describe the testimonial-movie genre (GUTFREIND, 2010, p. 200) simultaneously designated by historic and subjective dimensions as a cultural topic of memory (ACHARD et al., 2007) from Die Widerständigen: Zeugen der Weißen Rose (Those who resisted: Witnesses of the White Rose) subtitling, a documentary by Katrin Seybold (2008). This film encloses 14 interviews with witnesses of the non-violent student activists resistance group known as the White Rose, that rose against the German national socialist movement. The movie has been produced 65 years after capital punishment executions against the major members of the group. Therefore, this movie is extremely meaningful to the dissemination and the preservation of the German resistance memories. Under this assumption, this work is based on the intersection between concepts and methods of Translation Studies, mainly functionalist perspectives and audiovisual translation (AVT), as well as Memory Studies. Considering Christiane Nords Model for Textual Analysis (2005, 2016) and the interdisciplinary theoretical framework about witnessing (SELIGMANN-SILVA 2013, RICOEUR 2014, SARLO 2007, among others), we have transcribed, translated and developed subtitles for The dissidents: White Rose witnesses, an unreleased documentary in Brazil. For the subtitling process, an instrumental translation was chosen, since this AVT model shows time and space restrictions which require condensation, retextualization and omission procedures. The choice of not omitting traces of subjectivity and trauma in speech, inherent elements to the testimonial narrative, led us to translational decisions that go beyond technical standards and conventions concerning subtitling in order to afford a translation that is true to its scope (NORD, 2005, p.33). Thus, we expect to narrow the gap in matters of translation procedures in documental movies, as well to spread and preserve the memory of White Rose in Brazil, a country where the subject of the German resistance is still little known and studied.

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Cacheiro, Quintas Laura. "Diseño de un programa de subtitulación de vídeos pedagógicos." Doctoral thesis, Universitat Jaume I, 2019. http://hdl.handle.net/10803/668558.

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Анотація:

Esta tesis doctoral trata el proceso de desarrollo de un programa de subtitulación adaptado al contexto de la enseñanza superior. Comienza con una revisión de los fundamentos teóricos de la Traducción Audiovisual y de la subtitulación para definir las características lingüísticas y semióticas del texto audiovisual y de su traducción. Continúa con el estudio de las normas extratextuales explícitas y con la identificación de las funcionalidades que posibilitan su aplicación. También aborda el aspecto profesional de esta modalidad mediante el estudio del impacto que los avances tecnológicos tienen en esta práctica. Asimismo, presenta el uso de material audiovisual subtitulado en la enseñanza superior a través de un entorno de enseñanza a distancia multilingüe y multicultural. Este análisis concluye con el diseño de Miro Translate, una plataforma híbrida en la nube. Por último, se estudia la calidad de esta herramienta a través de una prueba de usabilidad.
This doctoral thesis addresses the process of developing a subtitling software adapted to the context of higher education. First, it reviews the theoretical foundations of Audiovisual Translation and subtitling with the aim of defining the linguistic and semiotic characteristics of the audiovisual text and its translation. Second, it studies the explicit extratextual norms and identifies the functionalities required for their implementation. In addition, this work deals with the professional aspect of this practice, analysing the impact that technological advances have on the subtitling process and on the tools available to translators. It also presents the use of subtitled audiovisual material in higher education environments through the specific case of a multilingual and multicultural distance-learning environment. This analysis of subtitling concludes with the creation of Miro Translate, a hybrid cloud platform. Finally, the quality of this tool is studied through a usability test that measures users' perceived satisfaction, efficiency and effectiveness.

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Hsieh, Yi-Chin, and 謝宜瑾. "Translation Methods for Humor in Film Subtitling." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/57754475269168597436.

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碩士
國立高雄第一科技大學
應用英語所
98
Due to economic globalization and internationalization, films, as a kind of commercial product, are required to increase the speed of film circulation and expand the international market. Hence, films are subtitled or dubbed so that they can be accepted by the target audience. In Taiwan, subtitles serve as a primary bridge between foreign films and the viewers, so it is essential to probe into this field. Among all genres of film, comedy is one of the most challenging to subtitle, and it is chosen as the research subject. This research is intended to explore efficient translation methods in translating humor by comparing subtitles of DVD released in Taiwan and China. I adopt Venuti’s concept of domestication and foreignization as the theoretical basis in data analysis and Schmitz’s classification of jokes, namely cultural, universal and linguistic jokes to classify the data. Based on the humorous elements picked out in the three comedy films, I attempt to find out which translation method is used in the two versions of the subtitle and go deeper into what strategies are used in translating humor. Then the effect of humor in subtitle is examined in order to find out which translation method is more efficient in producing humor. There are three findings in this study. First, in simplified-Chinese subtitles, the frequency of using domestication is higher than that of foreignization, which shows that domestication is favored. By contrast, foreingization are used more often in traditional-Chinese subtitles. That is, foreignization is favored in the subtitle of DVD released in Taiwan. Second, in translating cultural and linguistic jokes, domestication is a better translation method, because it is better able to reproduce humor in subtitles. However, both methods can be used to translate universal jokes, because this type of joke is easier to understand. Third, the selection of translation methods may be influenced by the social and cultural background in Taiwan and China.

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30

Martins, Cláudia. "The nature of fixed language in the subtitling of a documentary film." Master's thesis, 2007. http://hdl.handle.net/10198/3768.

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This research is based on the assumption that audiovisual translation (AVT ) performs a social and cultural function over its viewers, thus still justifying studies that focus on linguistic issues. This is particularly striking for the reading literacy in countries such as Portugal, that are traditionally subtitling countries, even if dubbing and voice-over are also occasionally used, particularly in the case of documentaries. The purpose for this research is to analyze the examples of restricted lexical occurrence, i.e. set phrases or semantic phrasemes (Mel’čuk 1995), depending on the terminology chosen, within the two versions of the AVT – subtitling and voice-over – of a documentary film called “The Real Da Vinci Code”. In order to achieve this purpose, we chose to follow a case study methodology that allowed us to center our attention on and single out a specific feature of language – set phrases – used in this type of audiovisual texts – documentary films.

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31

Cheng, Yu-Jie. "Chinese subtitles of English-language feature films in Taiwan: A systematic investigation of solution-types." Phd thesis, 2014. http://hdl.handle.net/1885/11789.

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Subtitling differs from the traditional idea of translation – from a written source text to a written target text. The transference is from a source text which consists of verbal information and non-verbal information from audio and visual channels, to a written target text which is constrained by the limited time and space on the screen. Subtitling involves not only transfer across languages but also a change of mode, from the spoken mode to the written mode and sometimes from the mode of moving images or sound effect to the written mode. Given the multimodal nature of film text, subtitling are expected to utilise different filmic signs and produce subtitles that fit into the montage of the film, taking into consideration the technical constraints and target viewers‟ processing effort. With the prevalence of translated audiovisual products, subtitling has drawn a considerable amount of scholarly attention. However, most of the research in this field focuses on the European scene and the language pairs studied are closely related. Given the lack of research into Chinese subtitles and the fact that the Chinese language and culture are very different from the English language and culture, the present study has aimed to investigate the way verbal elements in English-language feature films are translated into Mandarin subtitles in Taiwan. It looks at subtitling in general, subtitling extralinguistic cultural references and subtitling humour. Being descriptive in nature, it describes current translation practice by comparing the source text segment with its corresponding target text one and explores different types of solutions applied. By quantifying the frequency of each solution-type, some trends of subtitling are also generalised. The results show that subtitles of English-language feature films in Taiwan are source- text-oriented, as most of the source-text segments are closely rendered to the target text by source-language-oriented solutions, in which the source-text item undergoes minimum changes. Target-language-oriented solutions are seldom applied and extreme target-language-oriented ones are rarely found. The high percentage of source-language-oriented solutions indicates that Taiwanese subtitlers are reluctant to alter the source text; subtitling, as the preferred method of film translation in Taiwan, is seen as a means to bring the exotic experience to target viewers. It also suggests that most of the source-text elements can be transferred directly as the need to employ content-changing solutions is low. This study also compares its findings with those of other studies which are based on similar methods but focus on Scandinavian subtitling. Contrary to what might be expected, since the linguistic and cultural relatedness and the target audience‟s proficiency in the source language are different in these studies, the results are very similar. The trend towards source orientation in subtitling is observed in recent years across different languages, and it is largely due to globalisation, the influence of US popular culture and information boom that break cultural and linguistic boundaries. It appears that cultural influence is a more important factor than cultural affinity in determining a subtitles choice of solutions.

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32

Jacobsohn, Bianca. "In the car with Oliver Schmitz's Hijack stories (2000): The journey of a South African film in translation." Thesis, 2008. http://hdl.handle.net/10539/4667.

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ABSTRACT: This research report follows the journey of the South African film Hijack Stories (2000) in translation, looking at the various processes – state, institutional and individual - which led to the film’s existence. The context of the South African film industry (institution) during the country’s (state) apartheid past and democratic present have influenced those involved (the individuals) in the film-making process as well as their subjectivities. It is revealed that Hijack Stories (2000) is a film targeted at foreign audiences and that these audiences ascribe value to South African content. This value is acquired on the basis of the historical and social circumstances of South Africa, which has long sustained the interest of the outside world. Hijack Stories (2000) emerges as a cultural commodity, packaged and marketed according to the imaginings that the world has of South Africa. Translation then takes place at the junction of these processes and their related social, financial, political and historical factors, thereby facilitating the international circulation of Hijack Stories (2000) within the greater context of globalisation.

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Chang, Ya-Chiu, and 張雅秋. "A Comparison of Subtitling Strategies between Traditional and Simplified Chinese Versions of the Film Toy Story 3." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/6cv492.

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Анотація:

碩士
國立彰化師範大學
英語學系
105
With the advent of multimedia and invention of the DVDs, subtitles play an important role in cultural exchange; hence, the research on subtitles becomes important. The study aims to discover the difference of subtitling strategies between Simplified (SC) and Traditional Chinese subtitles (TC) in order to provide a reference for those who would like to be subtitlers. In the animation Toy Story 3, there are 1183 sets of subtitles in English, SC and TC. Each of them represents a main subtitling strategy in SC and TC. The researcher compared the frequencies of SC and TC by adopting Henrik Gottlieb’s ten subtitling strategies: Expansion, Paraphrase, Transfer, Imitation, Transcription, Dislocation, Condensation, Decimation, Deletion, and Resignation. The results indicate that the most frequently used strategy is Transfer while the least one is carried over in SC and Transcription in TC. The researcher also finds that cultural substitution is missing in analyzing subtitles. In addition, the longer translation in SC is due to the fact that SC uses more Expansion Strategy.

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34

Kašparová, Martina. "Amatérská versus profesionální tvorba titulků ke švédským filmům." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-348574.

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This master thesis deals with audiovisual translation with an emphasis on subtitles. In particular, it concentrates on the widespread phenomenon of amateur interlingual subtitling (fansubbing) using the Swedish feature movie Let the Right One In (Låt den rätte komma in) as material. In the theoretical part, the specifics of film subtitling are addressed: the most frequently used subtitling strategies and proceedings and the differences between professional and amateur subtitling in the single stages of the subtitling process - production, distribution and reception of subtitles and also translators' motivation and working conditions. In the empirical part, an analysis of Swedish audiovisual material is carried out, followed by an analysis of the respective professional and amateur-produced subtitles. The focus is on applied subtitling strategies, transfer of culture-specific items and marked speech, but also formal features of both subtitle types are discussed. In the course of the analysis, the current subtitling norms are taken into consideration, as well as the different socio-cultural context and distinctions between the Czech and the Swedish language. In the conclusion, the quality of the researched subtitles is assessed.

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35

Zajícová, Eliška. "Jazyková a kulturní specifičnost české filmové produkce v titulkovaném exportu." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-323441.

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This thesis focuses on the transfer of Czech linguistic and cultural characteristics through English subtitles. Using four Oscar-nominated Czech films, it endeavours to explain to what extent English subtitles can influence and assist the understanding and artistic values of a Czech feature film when screened to a foreign audience. The paper is of a theoretical- empirical nature. Firstly, the parameters of audiovisual translation are described, together with the technical and linguistic features of subtitling, followed by a definition of culture-bound references categories. As part of the research, Western understanding and appreciation of Czech artistic heritage is summarised. The empirical part presents an analysis of culture- bound references transfer. Excerpts are taken from the Czech films The Wild Bees (Divoké včely), Up and Down (Horem pádem), Divided We Fall (Musíme si pomáhat) and I Served the King of England (Obsluhoval jsem anglického krále). The results of the analysis are contrasted with a survey on the reception of The Wild Bees film conducted with native speakers of English. Keywords audiovisual translation (AVT), subtitling, ideological and aesthetic reception, culture-bound references, Oscar, Czech feature film

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36

Галкова, Н. Е., та N. Y. Galkova. "Особенности перевода документальных фильмов (на материале: «The Hero», «Один день» и «ALMA – A Window into the Mysteries of the Universe») : магистерская диссертация". Master's thesis, 2016. http://hdl.handle.net/10995/43986.

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Данная научная работа выполнена в рамках транслятологического анализа документальных, или неигровых кинофильмов и их заголовков с английского языка на русский и с русского языка на английский. Цель исследования заключается в определении и изучении основных переводческих стратегий и приёмов при пеpеводе документального кинo. Основной метод, используемый в работе, -- сопоставительный, на базе которого подготовлена практическая часть магистерской диссертации. В научном исследовании уделяется внимание переводу при помощи субтитров как одному из самых востребованных способов перевода. Также в работе освещается вопрос о прагматической адаптации перевода кинофильмов и выборе правильных переводческих стратегий: эквивалентный перевод, различные виды переводческих трансформаций. Поскольку основу практической части магистерской диссертации составляет подборка неигровых научно-популярных фильмов с содержанием узко специализированной терминологии, необходимо знание, понимание и владение терминами по соответствующей теме. В настоящей работе изучены и подготовлен перевод документальных фильмов, относящихся к военной тематике («The Hero»), к социально- политической («Один день») и к естественно-научной («ALMA – A Window into the Mysteries of the Universe»). Так, основная сложность выявлена в переводе на лексическом уровне, неразрывно связанным со стилистикой текста, а также и на уровне грамматики в силу различного строения русского и английского языков.
The master’s thesis is aimed at analyzing the specific features and characteristics of the translation of documentaries along with their titles from English into Russian and vice versa. The primary purpose of this study is to determine the main translation strategies which are used in the translation of non-fiction films. Data for this research were obtained from the real present-day film projects: «The Hero», (2013); «Один день», (2012); and «ALMA – A Window into the Mysteries of the Universe», (2014). The research consists of three theoretical chapters and three practical ones. The comparative and contrastive methods are the key approaches in the thesis, and the practical part of the study is prepared in accordance with them. Moreover, the research focuses on the subtitling translation as one of the most popular techniques. The thesis accent falls on the pragmatic adaptation as well. The results show that for popular science films that are devoted in this case to various themes ranging from the military service and soldiering to natural and scientific projects contain plenty of terms. Consequently, these documentaries demand from a translator special knowledge and deep comprehension. Thus, the most obvious conclusions of the research are the difficulty in the documentary translation on the lexical level that is closely connected with the stylistics of the film text and also on the level of the grammar that is attributed to the differences between the Russian and English languages.

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Zhou, Rong-Chen, and 周鎔晨. "Comparative Analysis of Southern Min Subtitling Practices in Contemporary Singaporean and Taiwanese Films." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/86012777481767925205.

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Анотація:

碩士
國立臺灣大學
翻譯碩士學位學程
105
Chinese language movies from Singapore and Taiwan often feature dialogue in their respective Southern Min ‘dialects,’ Hokkien and Taigi, in addition to spoken Mandarin, on which Modern Standard Chinese is based. The vocabularies of Southern Min and Mandarin differ significantly, despite the fact that both are classified as Chinese languages. Many Southern Min words do not have corresponding words in Mandarin; and some words do not have written characters. As a result, subtitlers translating Southern Min dialogue into Modern Standard Chinese face a range of challenges. These challenges include culture-specific references, humour and register. Some scholars in translation studies state that the norm for translating non-standard, oral or low-register forms of language, including dialectal particularities, is to adopt a standardising strategy by replacing these non-standard forms in the source language with standard forms typical of the written language. This is termed the ‘homogenising convention.’ However, the linguistic contexts of Southern Min are different in Singapore and Taiwan, therefore subtitlers from these two countries may or may not adopt the ‘homogenising convention.’ The subtitlers of the Singaporean movie It’s a Great Great World adopted it much more than their counterparts for the Taiwanese movie Twa-Tiu-Tiann. It’s a Great Great World used mainly Modern Standard Chinese terms, in line with the homogenising norm, while the subtitles in Twa-Tiu-Tiann took a more liberal approach in using non-standard forms. The two different approaches can be attributed to the fact that Southern Min is a living topolect that plays a significant role in the lives of Taiwanese people - and matters to Taiwanese identity - while it has declined in status in Singapore over the decades, and where it is not as widely-spoken, let alone read. The subtitles of Twa-Tiu-Tiann were targeted at a local audience relatively proficient in spoken and written Taigi, while the subtitles of It’s a Great Great World take into account audiences who may have grown unfamiliar with Hokkien by avoiding Hokkien lexicon in the written subtitles. The subtitles of 6 other movies from Singapore and Taiwan were briefly analysed to see if my findings can be generalised. Some exceptions were found, but the general trend can still be observed in the other movies.

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38

Medeiros, Ana Maria Fernandes. "Legendagem Interlinguística para Surdos do filme de Animação Brave - Indomável de Mark Andrews (2012)." Master's thesis, 2013. http://hdl.handle.net/10316/35960.

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39

Liao, How-Wei, and 廖浩緯. "Use of Buzzwords in English-Chinese Film Subtitleing: A Case of the Animated Series "Madagascar"." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/yz5bfe.

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Анотація:

碩士
中原大學
應用外國語文研究所
105
This study focused on the use of buzzwords in the English-Chinese film subtitle translation. The purposes of the study are: (1) To investigate the usage of buzzwords as applied to subtitles translation in animated film series “Madagascar”. (2) To analyze what categories of buzzwords are applied in the film subtitling of “Madagascar”. The research mainly focused on the buzzwords that were being used to translate the subtitles of “Madagascar” in the Taiwan official versions and the Chinese fansubbing versions. This study employed comparative analysis, with six buzzword categories “Multiplicity”, “Colloquialism”, “Homonym”, “Dialect”, “Keyword”, and “Mixture of Chinese and English” for the analysis of the subtitles. The present study found that (1) In the Taiwan versions, buzzwords were more frequently used in animated film series “Madagascar” than in the China. (2) In the Taiwan versions, five categories of buzzwords were used to translate the subtitle of the film “Madagascar”, among which, the categories “Dialect” and “Colloquialism” were the most frequently used buzzwords. In comparison, in the China versions, four buzzword categories were used in the “Madagascar” subtitle translation. (3) According to the findings, a new buzzword category “Imported Words” was found in both the Taiwan and China versions of the films series “Madagascar”.

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40

HSU, MIN-CHUN, and 許閔鈞. "A Study on Subtitling Strategies for Local Films in Taiwan: A Case Study of Seven Days in Heaven." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/73ww9k.

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碩士
國立高雄科技大學
應用英語系
107
Subtitling for local films in Taiwan builds an invisible bridge connecting different cultures. Taiwanese films inevitably contain local cultural elements, however, which are challenges for English viewers to understand the films. Moreover, the conversations of the films in Taiwan are often composed by Taiwanese and Mandarin, which also produce difficulties for subtitle translation. Therefore, this thesis aims at establishing a model of subtitles strategies to investigate how to translate Taiwanese/Mandarin into English subtitles of films, especially those related to Taiwanese culture. This thesis incorporates Pedersen’s taxonomies (2011) and Gottlieb’s taxonomies (1992) to establish a model of ten strategies, including transfer, transcription, imitation, condensation, generalization, expansion, paraphrase, substitution, dislocation and deletion. This model is applied to examine the strategies used in a local film in Taiwan - Seven Days in Heaven. Based on the data analysis shows that paraphrase, combination and imitation are three most frequently-used strategies, while transcription and dislocation are the least-used ones. Moreover, the model should include two more strategies – modulation and combination, due to linguistic and cultural differences between Taiwanese/Mandarin and English. Therefore, the model proposed for subtitling local films in Taiwan should contain twelve strategies.

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41

Cori, Riccardo Di. ""L'arte della felicità" - Tradução e legendagem do filme de Alessando Rak." Master's thesis, 2019. http://hdl.handle.net/10316/93331.

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Trabalho de Projeto do Mestrado em Tradução apresentado à Faculdade de Letras
Este trabalho é um projeto que propõe a tradução e a legendagem para a língua portuguesa dos diálogos, transcritos anteriormente, do filme de animação italiano intitulado L’arte della felicità, longa-metragem de 2013 realizada pelo ilustrador, animador e realizador napolitano Alessandro Rak, na sua estreia no cinema. Além de elaborar a tradução dos diálogos do filme de italiano para português, este trabalho propõe uma análise das dificuldades e dos desafios da tradução audiovisual, da legendagem para cinema, assim como das problemáticas que aparecem na tradução de um texto em que os diálogos apresentam uma linguagem maioritariamente coloquial, e na tradução do qual se tenta preservar, quando possível, a identidade duma realidade cultural tanto nacional (italiana) como regional (napolitana). Serão apresentados e estudados desafios da tradução, tanto de forma geral, analisando as dificuldades da tradução audiovisual e as rigorosas exigências que contempla a prática da legendagem, como de forma mais específica, examinando a complexidade da tradução de músicas, neste caso de originais, e de uma linguagem coloquial com tons frequentemente regionais, que compreende calão, expressões idiomáticas, frases feitas, metáforas e comparações, imprecações e palavrões. Apresentar-se-ão exemplos específicos de dificuldades deste género com as respetivs propostas de tradução.A vontade de preservar a profunda identidade cultural que língua, linguagem, pronúncias e dialetos refletem, dando-a a conhecer a um público-alvo diferente, neste caso o português, torna ainda mais complicados o papel e a tarefa do tradutor. No caso da tradução de italiano para português, bem como para outras línguas românicas como o espanhol ou o francês, a relativa proximidade linguística pode dar a impressão de que as dificuldades são menores. Todavia, a proximidade entre estas duas línguas não facilita de maneira alguma o desafio da tradução, especialmente no que tem a ver com a linguagem coloquial, sobretudo porque, relativamente ao português, a língua italiana, apresenta grande variação diatópicas, particularmente no discurso oral, que contempla uma grande quantidade de dialetos e sotaques. Esta diversidade linguística mantém-se, hoje em dia, ainda muito presente na língua italiana. No caso específico desta longa-metragem, esta identidade reflete a realidade da cidade de Nápoles no nosso tempo, assim como, às vezes, o seu dialeto e sotaque.Nem sempre é possível, obviamente, preservar o que idealmente se quereria transmitir, todas as nuances, todas as facetas e todos os mundos que podem esconder-se por detrás de uma palavra ou de uma frase. Infelizmente, uma das ingratas tarefas de um tradutor é, às vezes, transmitir o sentido de uma frase, esquecendo a forma como esta foi originariamente redigida.
This project focuses on the translation and subtitling from Italian to Portuguese of the dialogues in the Italian animation movie L’arte della felicità (The art of happiness), a 2013 movie directed by Neapolitan cartoonist, animator and director Alessandro Rak, in his filmmaking debut. In addition to the translation of the dialogues from the movie, this project will provide an analysis of the problems and the challenges of audiovisual translation, and subtitling for the cinema, as well as the complexities that appear in the translation of a text in which the dialogues are mainly in colloquial language, trying to preserve, whenever it is possible, the identity of a national (Italian) and regional (Neapolitan) cultural reality. Translation challenges will be presented and studied not only in a generic way, analysing the difficulties of audiovisual translation and the strict subtitling requirements, but also in a more specific way, examining the problems of translating songs and colloquial and regional language, including dialect, idiomatic expressions, catchphrases, metaphors, similes and swearwords. Specific examples of these kinds of problems and the respective translation suggestions will be presented.The will to preserve the deep cultural identity that language, pronunciation and dialects have, showing it to a different public, in this case portuguese, makes the role and the job of the translator even more complex. The proximity of the two languages could seem to make the job easier, however, this sometimes makes the translation even harder. The task of a translator is to transmit the meaning of a sentence, sometimes, unluckily, having to forget the original form.

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42

Carvalho, Filipe de Vasconcelos Correia Alfaia de. "Legendagem do filme "A Girl from the Golden West"." Master's thesis, 2016. http://hdl.handle.net/10400.14/20334.

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O presente Relatório de Projeto de Mestrado, centrado na área de Tradução, tem como objetivo a legendagem do filme The Girl of the Golden West. Assente em fundamentos teóricos, o trabalho pretende, por um lado, expor e analisar as dificuldades sentidas no decorrer da legendagem, bem como a resolução das mesmas, e, por outro, fazer uma contextualização da Tradução Audiovisual (TAV) enquanto área de estudo. O relatório fundamenta-se em conceitos teóricos e históricos. Partindo da contextualização do objeto de estudo em si e da época em que foi produzido, segue-se uma reflexão da ética da tradução, antes de abordar a história da TAV desde a sua conceção até à atualidade, primeiramente a uma escala global, referindo-se depois o caso de Portugal. O trabalho aprofundará a metodologia da tradução, abordando as normas técnicas e também a importância do papel desempenhado pelos tradutores, salientando a influência que as diferenças entre a cultura de partida e a cultura de chegada neles exercem. A etapa final do trabalho centrar-se-á na legendagem do filme em análise, listando primeiramente as várias etapas de uma legendagem, desde a produção do respetivo filme até entrega da versão legendada, estabelecendo depois um paralelo com a minha experiência neste projeto. Seguir-se-ão a tradução e um relato de alguns dos principais problemas enfrentados no desenvolvimento da mesma, tanto ao nível da língua de partida como da língua de chegada. Finalmente, reservar-se-ão os últimos capítulos para a organização das legendas no ANIM e apresentação das conclusões finais do relatório.
The present, Translation focused, Master’s Project Report has, as a primary objective, the subtitling of the film The Girl of the Golden West. Built on theoretical foundations, it is the aim of this paper to, on the one hand, expose and analyze the difficulties felt throughout the subtitling process, as well as the solution of said difficulties, and, on the other, to contextualize Audiovisual Translation (AVT) as a field of study. The report is based on theoretical and historic concepts. Having the contextualization of the research subject and the time in which it was produced as a starting point, what follows is a consideration of the ethics of translation, before touching on the history of AVT from its conception until current day, firstly on a global scale then narrowing towards Portugal’s boarders. This paper will go into the methodology of translation, touching on the technical norms and also the importance of the role played by translators, emphasizing the influence the source culture and the target culture exert on them. The final portion of this report will center on the subtitling of the film in question, firstly listing the several stages in a subtitling in general, from the production of a given film to the delivery of the subtitled version, establishing a parallel with my personal experience with this project. This will be followed by the translation and account of some of the main problems faced during its development, both on the source and target side of the spectrum. Lastly, the final chapters shall be dedicated towards the adaptation of the translation into subtitles at ANIM and the presentation of final thoughts on the report as a whole.

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Yen-peng, Su, and 蘇艷鵬. "A Study on Subtitling Strategies for Coarse Languages in Action Films: With Special Reference to The Fast and The Furious 8." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/4y94ua.

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碩士
國立高雄科技大學
應用英語系
107
Coarse language is more commonly seen in action films than with any other genre because in some intense scenes, characters are likely to use more emotional language. This thesis aims at discussing the translation of English to Chinese in terms of coarse language subtitle strategies used specifically in action films. This thesis applies Gottlieb’s categories (1992), which include the strategies of expansion, paraphrasing, transfer, imitation, transcription, dislocation, condensation, decimation, deletion, and resignation to examine both Taiwan and China’s versions of subtitle translation. The analysis shows that transcription is the most frequently used strategy to deal with coarse language in the Taiwanese subtitles, while transfer is the most commonly used strategy in the Chinese version. According to the findings, the Taiwanese subtitles are mostly rendered into local dialects, i.e. Taiwanese, and trendy words. The subtitles are expressed in a way which is closer to the daily life of the audience, thus enhancing the entertainment value of the action film. However, the Chinese versions of the subtitles were more likely to use direct translation, with little local dialects or trendy words being used. On the other hand, the translation strategies of imitation and resignation were not used to render the coarse language in both Taiwan and China’s versions of the subtitles. The reason for this is because imitation is used to render identical expressions or proper nouns and resignation is used in untranslatable elements. This study is aimed to analyzing coarse language, wherein most words already have fixed translations or are rendered into local dialects, so imitation and resignation are not used to render the source texts.

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Jalali, Minou. "Frequent translation strategies used by Iranian translators in subtitles to translate metaphors." Thèse, 2015. http://hdl.handle.net/1866/13678.

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En tant que moyen de communication qui détermine les structures de base des langues, la métaphore se classe parmi les enjeux les plus importants du domaine de la traductologie, d’où la complexité de la rendre traduisible. La nature indirecte de la métaphore étant problématique, celle-ci exige une étude approfondie, surtout vis-à-vis le transfert de la culture d’une langue à une autre. Un survol de la littérature académique traitant des théories et des approches différentes en traductologie révèle une façon de rendre possible la traduction de la métaphore. Cette étude traite de la traduction des métaphores du perse aux sous-titres anglais. Elle indique également les approches et les stratégies appliquées à la traduction des expressions linguistiques métaphoriques telles que proposées par Newmark (1988). En se fondant sur des exemples authentiques tirés des textes sources (deux films perses bien connus) et leurs traductions anglaises, cette étude démontre la façon dont certains traducteurs iraniens traduisent des expressions métaphoriques en se servant d’une des sept stratégies proposées par Newmark. Elle explique également comment certains éléments (par ex. les difficultés de la traduction) ont été influents sur leurs conclusions, tout en soutenant l’hypothèse que la reproduction d’une même image d’une langue source dans une langue cible ainsi que l’effacement sont respectivement la plus fréquente et la moins fréquente des stratégies employées par les sous-titreurs iraniens.
Metaphor, as a means of communication that determines the basic structures of language, is currently one of the most important issues in the field of translation studies, especially its translatability. In fact, the indirect nature of metaphors is a problem that needs to be addressed in respect to the transfer of culture from one language to another one. An overview of the literature that explores different theories and approaches in the field of Translation Studies proposes a way to make metaphor translation possible. This study examines the translation of metaphors from Persian to English subtitles. It also highlights approaches and strategies for the translation of linguistic metaphorical expressions as proposed by Newmark (1988). By using authentic examples from two source texts (two well known Persian films) along with their English translations, this study illustrates how Iranian translators translate metaphorical expressions using Newmark’s seven proposed strategies. It also shows how certain elements (i.e. translation difficulties) have influenced their decisions and supports the hypotheses in which reproducing the same SL image in the target language and deletion, respectively, are the most frequent and the least frequent strategies used by Iranian subtitlers.

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