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1
Gamal, Muhammad Y. "Subtitling Naguib Mahfouz." Translation and Translanguaging in Multilingual Contexts 1, no. 2 (August 20, 2015): 182–201. http://dx.doi.org/10.1075/ttmc.1.2.03gam.
Повний текст джерелаАнотація:
Naguib Mahfouz, Egypt’s literary icon, wrote a large number of novels that were turned into films. As the DVD industry in Egypt enters its second decade, the number of these films appearing on DVD and subtitled into English is also increasing. Despite this trend, academic institutions in Egypt, and elsewhere in the Arab world, remain largely oblivious to the new specialization of audiovisual translation. So far, academic research into audiovisual translation, particularly subtitling Arabic-language films into English, has been minuscule. This paper examines the complex task of subtitling one of Mahfouz’s most popular films, Midaq Alley. It argues that subtitling a classic film is a lot more than just translating the film dialogue and the subtitler needs more resources than just the dialogue list and the video of the film.
2
Ni Made Sila Ulati, Mirsa Umiyati, and Agus Darma Yoga Pratama. "Subtitling Translation Strategy and Semiotic Approach on Titanic Film." RETORIKA: Jurnal Ilmu Bahasa 8, no. 1 (April 1, 2022): 57–64. http://dx.doi.org/10.55637/jr.8.1.4658.57-64.
Повний текст джерелаАнотація:
This research is entitled “Subtitling Translation Strategy and Semiotic Approach on Titanic Film”. This research aims to identify and analyze the subtitling translation strategies in the Titanic film. This research also analyzes the meaning in Titanic film delivered through non-verbal signs. This research contributes to fill some gaps in the field of film subtitling from English into Indonesian and utilizes the multimodal transcription to deliver the meaning of Titanic film. This research refers to the theory of subtitling strategy by Gottlieb (1992) and the theory of Multimodal Transcription by (Forceville, 2007). The methodology applied in this research is descriptive qualitative due to the analysis in the form of elaboration. This research shows the subtitling translation strategy found in the Titanic film are eight strategies which cover expansion strategy, paraphrase, transfer, imitation, transcription, condensation, decimation, and deletion strategy. The meaning delivered through nonverbal signs in the Titanic film is sadness, the happiness of love, and an unforgettable dreadful tragedy. This meaning is delivered along with the visual images and the soundtrack.
3
Baihaqi, Tiffani Rizki Putri, and Agus Subiyanto. "English-Indonesian Subtitling Strategies of Lara Jean’s Utterances in “To All the Boys: Always and Forever” Movie on Netflix." E-Structural 4, no. 02 (November 29, 2021): 80–98. http://dx.doi.org/10.33633/es.v4i02.5112.
Повний текст джерелаАнотація:
Abstract. Streaming platforms, such as Netflix, gained their popularity significantly during the pandemic prominently since people avoid watching films in theatres. Thus, the study of translation, specifically subtitling, is necessary since there will be more films with different languages to be produced and streamed by people from different countries. This research aims to study and interpret the subtitling strategies used on Netflix, specifically in “To All the Boys: Always and Forever” movie. Employing a qualitative library research method and document analysis for the data collecting technique, this research unveils the subtitling strategies as well as the subtitle quality of Lara Jean’s utterances in “To All the Boys: Always and Forever” film on Netflix. The data source is chosen since the film is considered popular as it is the adaptation of the best-selling novel “Always and Forever, Lara Jean.” From the 428 utterances, it is discovered that there are seven strategies applied; respectively paraphrase, transfer, condensation, deletion, expansion, imitation, and transcription. Meanwhile, three strategies that are not found are decimation, dislocation, and resignation. Paraphrase is the most frequently applied strategy since many utterances require localization and alteration to become clearer for the Indonesian audience. On the other hand, decimation, dislocation, and resignation are not used respectively due to the rate of the film, translatable utterances, and soundtracks that are not translated.Keywords: film; netflix; subtitling strategies; subtitling quality; translationAbstrak. Layanan streaming, seperti Netflix, meraih popularitas secara signifikan selama pandemi karena masyarakat menghindari menonton film langsung di bioskop. Oleh karena itu, penelitian mengenai terjemahan, khususnya subtitling, diperlukan karena film dalam bahasa asing akan semakin banyak diproduksi dan ditonton oleh orang-orang dari berbagai negara. Penelitian ini bertujuan untuk mengkaji dan memaknai strategi subtitling yang digunakan oleh Netflix, khususnya pada film “To All the Boys: Always and Forever.” Penelitian ini menggunakan metode deskriptif kualitatif dan mengungkap strategi serta kualitas subtitling dari ucapan Lara Jean dalam trilogi “To All the Boys: Always and Forever” di Netflix. Sumber data tersebut dipilih karena film yang dianggap populer ini merupakan adaptasi dari novel “Always and Forever, Lara Jean.” Dari 428 ujaran, terdapat tujuh strategi yang diterapkan, yaitu parafrase, transfer, pemampatan, penghapusan, penambahan, imitasi, dan transkripsi. Sedangkan tiga strategi yang tidak diterapkan yaitu desimasi, dislokasi, dan angkat tangan. Parafrase merupakan strategi yang paling banyak ditemukan karena terdapat banyak ujaran yang disesuaikan dengan konteks lokal dan diubah agar menjadi lebih jelas bagi penonton Indonesia. Sementara itu, desimasi, dislokasi, dan angkat tangan tidak digunakan karena kategori film, ujaran yang dapat diterjemahkan, dan lagu yang tidak diterjemahkan.Kata kunci: film; kualitas subtitling; netflix; strategi subtitling; terjemahan
4
Plewa, Elżbieta. "Napisy na ekranach kin II Rzeczypospolitej." Przekładaniec, no. 41 (2020): 214–53. http://dx.doi.org/10.4467/16891864pc.21.012.13594.
Повний текст джерелаАнотація:
Polish Subtitling in the 1930s This article presents the results of an archival study on Polish subtitling of pre-WWII films (until 1939). The main focus will be on the technical aspects of subtitling in Poland in the 1930s, such as the number of lines, number of characters per line, and subtitle display times. We will show the development of Polish film translation in its initial phase. In our article, we will present previously unpublished pictures of early film subtitles, which come from original archival research. Contrary to some previous claims, film translation did not start with the introduction of sound in films – which occurred in Poland in the 1929/30 cinema season. Prior to that, in the silent cinema period, intertitles were a tested way of delivering content to the viewer. And these silent movies’ intertitles were translated. Copies of various foreign films have even been preserved with Polish intertitle translation rather than the original intertitles. Imitating intertitles in silent films, subtitles began to appear in films with sound and dialogue. These were “inserted subtitles” – between scene edits. Only later were subtitles burnt into the image, which began modern film subtitling.
5
Haikuo, Yu. "Film translation in China." Babel. Revue internationale de la traduction / International Journal of Translation 61, no. 4 (December 31, 2015): 493–510. http://dx.doi.org/10.1075/babel.61.4.03hai.
Повний текст джерелаАнотація:
Film translation in China began as early as 1949 and has been developing very fast. This article aims at providing an overview of the current situation of film translation in China and explores the two major types of English-Chinese film translation: dubbing and subtitling. Therefore, it can be roughly divided into two parts. The first part constitutes a general background for the study of film translation. The author of this article first discusses film’s origin and nature, the features of film language and the classification of film translation. Of the four categories of film translation (subtitling, lip-sync dubbing, narration, and free-commentary), dubbing and subtitling are the main forms used in China. Then the differences between the two types and social preference for them are analyzed. The author also presents a summary of film translation’s development and current studies on this topic. The second part probes into the details of dubbing and subtitling. This article investigates the features and technical constraints of dubbing and subtitling. The main techniques adopted in practice are illustrated through specific examples. Both forms have their relative advantages and disadvantages. In subtitling, standardization and simplification are its two important techniques. Standardization is concerned with the transfer of text mode – from spoken text to written text, while simplification is related to the technical constraints in subtitling, namely spatial and temporal constraints. In dubbing, the translator should make his translation fit into the pictures and synchronize the lines and the pictures, so lip synchronization, gestures and pauses are the major constraints in dubbing. As the two main forms of film translation in China, dubbing and subtitling coexist and compete with each other in the market.
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Al-Kharabsheh, Aladdin, and Omar Yassin. "Translation of Colloquialisms in the Arabic-into-English Subtitled Film, The Dupes." International Journal of Comparative Literature and Translation Studies 5, no. 3 (July 31, 2017): 18. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.3p.18.
Повний текст джерелаАнотація:
This study attempts to investigate the difficulties and problems that subtitlers may encounter in subtitling colloquial expressions from Arabic into English. To achieve the main objectives of the study, some authentic examples have been obtained from the subtitled film The Dupes and analyzed linguistically and translationally in order to identify the subtitling inaccuracies, to highlight the subtitling strategies used by the film's subtitler, and to draw other workable subtitling solutions for dealing with colloquialisms or slang language. Analysis isolates three major problems relevant to subtitling Arabic colloquial expressions into English: (1) some colloquialisms, especially those reflecting religious overtones, have been missubtitled, (2) some colloquialisms have been totally dropped out from subtitling (i.e. zero-subtitling), (3) and in subtitling certain colloquialisms, a considerable subtitling loss has occurred. Finally, to resolve such recalcitrant problems and difficulties, the study, in its concluding part, suggests some other practical subtitling mechanisms, other than the ones that have been adopted by the film's subtitler.
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McKenzie, Rory. "A subtitling stalemate." Translation and Translanguaging in Multilingual Contexts 6, no. 3 (July 15, 2020): 230–52. http://dx.doi.org/10.1075/ttmc.00056.mck.
Повний текст джерелаАнотація:
Abstract The Dark Horse (2014) is a highly successful New Zealand film that exemplifies a strong multilingual and multicultural landscape where the Māori language and cultural concepts, as well as specific examples of New Zealand English co-exist within the one film. This linguistic and cultural complexity is a key part to the film, therefore retaining this in a translation becomes a challenging responsibility for the subtitler. This article first introduces the restrictions and intricacies of subtitling in general, and then analyses specific scenes from the commercial Italian subtitled version of The Dark Horse, highlighting the translation choices made by the subtitler when confronted with challenges pertaining to scenes involving multilingualism (in the form of English and Māori), culturally specific terminology (the use of New Zealand English idioms), as well as the representation of register for children from low socio-economic backgrounds. Alternative subtitles are proposed that seek to better represent the richness of the source text’s language and cultural references.
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Labarta Postigo, María. "A metaphorical map of subtitling." Babel. Revue internationale de la traduction / International Journal of Translation 66, no. 1 (February 18, 2020): 46–69. http://dx.doi.org/10.1075/babel.00141.pos.
Повний текст джерелаАнотація:
Abstract This study explores the metaphorical dimension of idioms in original filmic texts and their translations in subtitles, in order to shed light on strategies used in the translation process. The research focuses on a corpus of 20 films from the Library of Foreign Language Film Clips (LFLFC), at the Berkeley Language Center of the University of California, Berkeley. More specifically, I analyze films in German and Spanish with English subtitles from a cognitive and contrastive perspective. My goal is to explore how translation can affect understanding and reception by an audience with limited or no skills in the original language. Results of the analysis show a tendency towards reduction of metaphorical expressions in translated English subtitles, these varying according to the original language of the film. Contrastive analysis demonstrates that in translation from Spanish, the explicit meaning strategy is far more frequent than in translation from German. The findings of this study can be applied in foreign language teaching as a means of developing learners’ cultural awareness and language comprehension, as well as in the field of audiovisual subtitling translation.
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Moghaddam, Masumeh Yazdani, Sommayeh Shahraki Deh Sukhteh, and Mansureh Delarami Far. "Explicitation in Translation: A Case of Screen Translation." Journal of Language Teaching and Research 8, no. 1 (January 1, 2017): 75. http://dx.doi.org/10.17507/jltr.0801.09.
Повний текст джерелаАнотація:
Explicitation is a method of clarifying into the TT what is implicit in the ST. Blum-Kluka (1986) formulated explicitation hypothesis and regarded explicitation as a translation universal, i.e. a feature that is mainly existed in the translated texts. So, the present study considers expliciation in screen/film translation, and tries to investigate the most frequent explicitation type and subtitling strategies used by the Persian subtitlers. To achieve the goals of the study, the three original English films subtitled into Persian language were selected and the first 20 minutes of them was studied and compared with their Persian equivalents through sentence-by-sentence comparison. The subtitling strategies were identified and their percentage was calculated. The findings indicated that translation-inherent explicitation was used mostly in subtitling, and expansion was the most frequent subtitling strategy employed by the Persian subtitlers in subtitling English original films into Persian.
10
Yu, Haikuo. "English-Chinese Film Translation in China." Journal of Translation 9, no. 2 (2013): 55–65. http://dx.doi.org/10.54395/jot-3fcfh.
Повний текст джерелаАнотація:
Film translation in China has developed quickly. This article discusses the origin and nature of film, the features of film language, and the two main forms of film translation in China: dubbing and subtitling. The article then gives an overview of the history of film translation, and finally it investigates the main techniques used in English-Chinese dubbing and subtitling.
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BISSON, MARIE-JOSÉE, WALTER J. B. VAN HEUVEN, KATHY CONKLIN, and RICHARD J. TUNNEY. "Processing of native and foreign language subtitles in films: An eye tracking study." Applied Psycholinguistics 35, no. 2 (October 23, 2012): 399–418. http://dx.doi.org/10.1017/s0142716412000434.
Повний текст джерелаАнотація:
ABSTRACTForeign language (FL) films with subtitles are becoming increasingly popular, and many European countries use subtitling as a cheaper alternative to dubbing. However, the extent to which people process subtitles under different subtitling conditions remains unclear. In this study, participants watched part of a film under standard (FL soundtrack and native language subtitles), reversed (native language soundtrack and FL subtitles), or intralingual (FL soundtrack and FL subtitles) subtitling conditions while their eye movements were recorded. The results revealed that participants read the subtitles irrespective of the subtitling condition. However, participants exhibited more regular reading of the subtitles when the film soundtrack was in an unknown FL. To investigate the incidental acquisition of FL vocabulary, participants also completed an unexpected auditory vocabulary test. Because the results showed no vocabulary acquisition, the need for more sensitive measures of vocabulary acquisition are discussed. Finally, the reading of the subtitles is discussed in relation to the saliency of subtitles and automatic reading behavior.
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Perego, Elisa, Fabio Del Missier, and Marta Stragà. "Dubbing vs. subtitling." Target. International Journal of Translation Studies 30, no. 1 (February 5, 2018): 137–57. http://dx.doi.org/10.1075/target.16083.per.
Повний текст джерелаАнотація:
Abstract Despite the claims regarding the potential disruptiveness of subtitling for audiovisual processing, existing empirical evidence supports the idea that subtitle processing is semi-automatic and cognitively effective, and that, in moderately complex viewing scenarios, dubbing does not necessarily help viewers. In this paper we appraise whether the complexity of the translated audiovisual material matters for the cognitive and evaluative reception of subtitled vs. dubbed audiovisual material. To this aim, we present the results of two studies on the viewers’ reception of film translation (dubbing vs. subtitling), in which we investigate the cognitive and evaluative consequences of audiovisual complexity. In Study 1, the results show that a moderately complex film is processed effectively and is enjoyed irrespective of the translation method. In Study 2, the subtitling (vs. dubbing) of a more complex film leads to more effortful processing and lower cognitive performance, but not to a lessened appreciation. These results expose the boundaries of subtitle processing, which are reached only when the audiovisual material to be processed is complex, and they encourage scholars and practitioners to reconsider old standards as well as to invest more effort in crafting diverse types of audiovisual translations tailored both to the degree of complexity of the source product and to the individual differences of the target viewers.
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Lubis, Hanim Masniari. "TERJEMAHAN SLANG DALAM SUBTITLE BAHASA INDONESIA PADA FILM FASTER." Basastra 7, no. 1 (March 28, 2018): 69. http://dx.doi.org/10.24114/bss.v7i1.9391.
Повний текст джерелаАнотація:
Penelitian ini bertujuan untuk mengetahui bentuk dan tipe slang yang terdapat dalam subtitle film Faster, mengetahui strategi subtitling yang digunakan oleh penerjemah dalam menerjemahkan slang pada film “Faster” dan mengetahui tingkat keberterimaan terjemahan slang yang terdapat dalam film tersebut. Metode yang digunakan adalah deskriptif kualitatif dengan bentuk content analysis. Sumber data adalah ucapan karakter berupa kata dan frasa yang menyampaikan kata slang dalam film “Faster” dan terjemahannya dalam subtitle bahasa Indonesia. Data yang digunakan dalam penelitian ini berupa data objektif dan afektif. Data objektif dalam penelitian ini berupa bentuk slang dalam film Faster baik dalam BSu maupun terjemahannya dalam BSa. Sedangkan data afektif diambil dari penilaian pengamat ahli. Teori yang digunakan adalah Chapman (1988) menegenai tipe dan bentuk slang, Gottlieb (1998) mengenai strategi subtitling serta Nababan dengan modifikasi (2012) mengenai tingkat keberterimaan slang dalam film tersebut. Kata slang, damn diikuti kata bro, dan gotta adalah beberapa kata yang banyak ditemukan dalam naskah film “Faster” dengan persentase slang primer 60% dan slang sekunder 40% dari 92 data. Frekuensi terbanyak dalam strategi subtitling film Faster adalah strategi transfer sebanyak 54% dengan perolehan 51 data. Sedangkan strategi parafrase adalah 23% diikuti oleh kondensasi 10%, pengurangan 9%, penghapusan/deletion 2%, transkripsi sebanyak 1% serta strategi imitasi sebanyak 1%. Tingkat keberterimaan terjemahan slang dalam film Faster dapat dikatakan diterima oleh penikmat film dengan tingkatan 72% dan tingkatan kurang berterima dengan persentase 28%. Penelitian ini diharapkan dapat memperkaya temuan di bidang subtitling film, khususnya strategi subtitling untuk menerjemahkan kata slang dalam film.
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Plewa, Elżbieta. "Polskie tłumaczenie napisowe w 1930 roku." Między Oryginałem a Przekładem 25, no. 44 (June 15, 2019): 59–72. http://dx.doi.org/10.12797/moap.25.2019.44.03.
Повний текст джерелаАнотація:
Polish Subtitling in 1930
Film subtitle translation, contrary to frequently quoted opinions, did not start with the introduction of sound in films, which occurred in Poland in the 1929/30 cinema season. Prior to that, in the silent cinema period, captions were a tried and tested way of delivering content to the viewer. And these silent movie captions were translated. Copies of various foreign films with Polish subtitles have even been preserved instead of the ones with the original wording. Imitating subtitles for silent films, another form of film translation began to appear in films with sound and dialogue. These were the so-called intertitles. The next way of presenting foreign content was a subtitle, which began modern film subtitling. This article concerns film subtitle translation typical of films in Poland in 1930. It endeavours to show the development of Polish film subtitle translation in its initial phase. The article contains previously unpublished pictures of film subtitles from the discussed period, which come from original archival research.
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Fukushima, Tatsuya, and David L. Major. "Translation Course in Film Subtitling." Translation Review 64, no. 1 (September 2002): 59–77. http://dx.doi.org/10.1080/07374836.2002.10523828.
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Matamala, Anna, Elisa Perego, and Sara Bottiroli. "Dubbing versus subtitling yet again?" Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 3 (November 3, 2017): 423–41. http://dx.doi.org/10.1075/babel.63.3.07mat.
Повний текст джерелаАнотація:
Abstract The dubbing versus subtitling debate has been a recurrent topic in the audiovisual translation literature, but empirical research into the reception of both modes is still lacking. This article presents the results of an experiment that aimed to investigate to what extent comprehension, memory, and enjoyment of a film differ in a dubbed and a subtitled version in a country that traditionally uses dubbing, like Spain. Fifty-one young Spanish adults participated in the study, which measured general comprehension, dialogue recognition, face-name association and visual scene recognition, as well as evaluative measures including film appreciation, self-reported effort related to film viewing, and metacognitive judgments of memory.
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Rohmawati, Rohmawati. "Subtitling Strategies of Swear Words in Deadpool One & Deadpool Two Film." Indonesian Journal of EFL and Linguistics 6, no. 1 (May 19, 2021): 217. http://dx.doi.org/10.21462/ijefl.v6i1.360.
Повний текст джерелаАнотація:
Subtitles has always been seen as a savior by a lot of people because it breaks all language barriers and made various films and series to be more understandable and watchable. However, the act of subtitling is not as easy as other people think. There are so many restraints in subtitling. One of those restrains is cultural differences in translating swear words. This research aims to obtain data concerning the subtitling strategies of swear words that are found in the subtitles of Deadpool One and Deadpool Two films. The descriptive qualitative method is employed because this research relies on the data obtained from subtitles, which are non-numerical data, and the data analysis will be served descriptively. The results of this research show that according to Gottlieb's (1992) theory, the subtitlers for Deadpool One and Deadpool Two used six different subtitling strategies in each film. The subtitler in Deadpool One tends to use the paraphrase and deletion strategies, followed by condensation, decimation, and transfer, with expansion being the least employed. The subtitler in Deadpool Two, on the other hand, employs deletion as the most used strategy. The subtitler's next most used strategies are paraphrase, condensation, decimation, and transfer; the least commonly employed strategy is expansion.
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Taivalkoski-Shilov, Kristiina. "Subtitling 8 Mile in three languages." Target. International Journal of Translation Studies 20, no. 2 (November 3, 2008): 249–74. http://dx.doi.org/10.1075/target.20.2.04tai.
Повний текст джерелаАнотація:
This article argues that when striving for quality in subtitling, special attention should be paid to the requirements of competence not only when recruiting translators, but also when recruiting local managers and subtitling co-ordinators. The findings are based on a stylistic comparison of the Finnish, French and Russian subtitled versions of 8 Mile, a film that tells about Eminem’s early breakthrough as a rap artist (UIP, 2002). The rap sections of the film present many ‘text-specific translation problems’ (Nord), which become even more troublesome in the context of subtitling, as the translator has space for less text. The worldwide subtitling and dubbing of 8 Mile was an especially well-supervised procedure. The translators were given a lot of material support (e.g., a detailed ‘dialogue list’) but their work was also strictly controlled and limited. According to this study, the severe policy of some local UIP offices may have hindered the quality of subtitling in some countries.
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Sulistijani, Endang, and Friza Youlinda Parwis. "Strategi Penerjemahan Subtitling dalam Film "Ender’s Game"." DEIKSIS 11, no. 03 (September 29, 2019): 210. http://dx.doi.org/10.30998/deiksis.v11i03.4111.
Повний текст джерелаАнотація:
<p><span style="font-family: Times New Roman; font-size: medium;">Terjemahan sangat penting bagi perkembangan ilmu pengetahuan di segala bidang. Penelitian ini mengambil objek terjemahan pada <em>subtitling</em> film “Ender’s Game”. Tujuan penelitian ini adalah untuk mengidentifikasi strategi penerjemahan apa saja yang terdapat dalam <em>subtitling</em> film “Ender’s Game”. Strategi apa yang paling dominan dan ketepatan makna serta kesesuaian dengan durasi waktu film tersebut. Penelitian ini merupakan penelitian deskriptif kualitatif dengan teknik <em>purposive sampling</em>. Dari penelitian ini dapat diketahui bahwa strategi terjemahan yang digunakan dalam film “Ender’s Game” adalah strategi penambahan, <em>paraphrase</em>, transfer, imitasi, pemampatan, desimasi, penghapusan, dan penjinakan. Dalam film “Ender’s Game”, strategi pemampatan paling sering digunakan. Hal ini disebabkan oleh keterbatasan durasi ruang dan waktu dalam film sehingga <em>subtitling</em> harus hemat kata-kata. Namun, hal ini tidak mengurangi kesesuaian dengan makna bahasa sumber dan tetap memperhatikan budaya sasaran. Untuk kata-kata yang kurang sesuai dengan budaya sasaran dapat digunakan strategi penjinakan (<em>taming</em>)</span><span style="font-family: Times New Roman; font-size: medium;"> </span></p><p><strong>Kata Kunci:</strong> terjemahan, <em>subtitling</em>, film “Ender’s Game”, strategi terjemahan</p>
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Chaume, Frederic. "The turn of audiovisual translation." Translation Spaces 2 (November 15, 2013): 105–23. http://dx.doi.org/10.1075/ts.2.06cha.
Повний текст джерелаАнотація:
Audiovisual translation is an academic term that covers both well-established and new ground-breaking linguistic and semiotic transfers like dubbing, subtitling, surtitling, respeaking, audiosubtitling, voice-over, simultaneous interpreting at film festivals, free-commentary and goblin translation, subtitling for the deaf and the hard of hearing, audiodescription, fansubbing and fandubbing. This article presents a classification of audiovisual translation modes or types, and discusses some interesting developments in the audiovisual translation market at the beginning of this new century. Dubbing countries are moving towards subtitling, subtitling countries are beginning to dub, voice-over countries are shifting towards dubbing and subtitling, while voice-over is moving into dubbing and subtitling countries and gaining ground with younger audiences.
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Remael, Aline. "Mainstream Narrative Film Dialogue and Subtitling." Translator 9, no. 2 (November 2003): 225–47. http://dx.doi.org/10.1080/13556509.2003.10799155.
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Ardi, Havid. "PENERJEMAHAN REGISTER MILITER PADA SUBTITLING FILM ”THE GREAT RAID”." Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa 7, no. 1 (April 10, 2017): 29. http://dx.doi.org/10.24036/ld.v7i1.3530.
Повний текст джерелаАнотація:
Subtitling is a kind of audiovisual translation/AVT. Translating oral dialogue into text (subtitling) has various aspects that must be considered, such as time exposure, space limitation. Related to sociolinguistic aspect, it is also known that language user and usage determined by various factor such as age, sex, and profession. One of the objects in sociolinguistics is register, a language variation, that exist in any social group. This research is aimed at discovering the ways of subtitler translating military register as the character of a social group. The tentative finding shows that military register tends to be translated in general term. Keyword: subtitling, military register, audiovisual translation
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Rebrina, Larisa, and Ekatherina Chukina. "Transfer of Evaluative Contexts When Subtitling Film Translation (in German and Russian Languages)." SHS Web of Conferences 50 (2018): 01143. http://dx.doi.org/10.1051/shsconf/20185001143.
Повний текст джерелаАнотація:
The article presents the results of studying the patterns of evaluative meanings transfer when translating and subtitling films of various genres from German to Russian. Material for the study serves the original version and the translation of a military drama, a melodrama, a comedy, and a detective. The authors used the descriptive, comparative method, the methods of contextual, definitional analysis, quantitative calculations. The object of study includes the fragments of film dialogues in the source (German) language and the language of translation (Russian). The specificity of subtitling depends on the need of strict regarding the spatial and temporal parameters of the film text. Evaluation is interpreted as a semantic-pragmatic category (the impact involving appropriate semantization which is consistent with elocution through selecting the semantically relevant language). It is determined that the verbal component in the studied film text is highly informative, providing low complementarity of verbal and non-verbal components; the positive and negative evaluations are realized at the same frequency which is associated with a variety of topics and genres of films; the most frequent translational transformations, used in transferring evaluative meanings when subtitling, are synonymous substitutions, modulation technique, literal translation and specification; the most relevant methods of text compression, in this case, are a generalization and simplification. The authors verified the hypothesis of relevance for transferring the evaluative meaning through subtitling such elements of the valuation structure and the parameters of its verbalization as a type of evaluativity, object, basis, nature, degree, level of language expressions of evaluation, which detect differences between the source text and the text of translation. There are also stated the parameters which characterize the transfer of evaluative meanings and are the most resistant/stable to transformation and the most sensitive to transformation.
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Wang, Kenny, and Chong Han. "Cinematic Equivalence in Subtitling: A Case Study of the Biographical Drama Forever Enthralled." Studies in Linguistics and Literature 4, no. 2 (March 16, 2020): p1. http://dx.doi.org/10.22158/sll.v4n2p1.
Повний текст джерелаАнотація:
We propose in this paper a conceptual model of how equivalence may be achieved in subtitling to allow the target language viewers the opportunity to enjoy a comparable cinematic experience as that enjoyed by the source language viewers. We follow Brock’s (2015) adaptation of Goffman’s (1981) participation framework in communication and take Nida’s (1964) Dynamic Equivalence as the point of departure to propose Cinematic Equivalence as the conceptual model as well as the aim of film subtitling. This model is illustrated by examining the English subtitles of a Chinese biographical film called Forever Enthralled (?????). Based on our conceptual model, we make suggestions for subtitling training and practice.
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Castelló-Mayo, Enrique, Margarita Ledo-Andión, Antía López-Gómez, and Silvia Roca Baamonde. "Key Challenges and Recommendations to Provide Europe With a Film-Subtitling Protocol in the Digital Era Through Three Case Studies." Comunicação e Sociedade 40 (December 20, 2021): 225–45. http://dx.doi.org/10.17231/comsoc.40(2021).3513.
Повний текст джерелаАнотація:
By analysing European cultural policies and paradigmatic case studies, this article highlights the close link between the normalisation of minority languages in Europe and film subtitling. Film subtitling is an activity that urgently needs to be protocolised insofar as it guarantees both the preservation of the cultural originality of the audiovisual work and its value as tangible and intangible European cultural heritage. To do so, we will analyse the legal divide between the all-encompassing European Union declarations and their implementation by state and local administrations, which often occur in erratic, random, contingent packages of measures that lead to a systemic absence of results. Finally, we will propose some key challenges and recommendations to provide Europe with a film subtitling protocol to promote cultural diversity and normalise non-hegemonic languages.
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Russo, Mariachiara. "Simultaneous film interpreting and users’ feedback." Interpreting. International Journal of Research and Practice in Interpreting 7, no. 1 (June 1, 2005): 1–26. http://dx.doi.org/10.1075/intp.7.1.02rus.
Повний текст джерелаАнотація:
Simultaneous film interpreting is a mode of screen language transfer often required of professional interpreters in Italy for international film festivals. The paper briefly discusses similarities and dissimilarities between film interpreting and conference interpreting, subtitling and dubbing. It focuses on interpreting quality evaluation, discussing results of questionnaires distributed to users watching films interpreted by professionals and students. Comparisons are drawn with the results of published surveys on users’ preferences for television and conference interpreting.
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Thawabteh, Mohammad Ahmad. "Censorship in English-Arabic subtitling." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 4 (November 20, 2017): 556–79. http://dx.doi.org/10.1075/babel.63.4.05tha.
Повний текст джерелаАнотація:
This article draws on three American movies to illustrate censorship in English-Arabic subtitling. The paper argues that in translating languages of little cultural affinity, censorship serves as a remedy that can narrow the potential cultural gap. However, the paper shows that the films have been exposed to excessive censorship in the Arabic subtitles, although not in the original film. Therefore, the subtitles, usually viewed as a verbal-visual channel, work to restrict the flow of communication, depriving the target audience of much information existing in the Source Language (SL) dialogue. The fact that the shots help us understand what is being said is not fully taken into consideration by the satellite channels. The study finally reveals that two major strategies are employed in the translation, namely the omission of obscene utterances in the SL and the rendition of the SL obscenity into a less offensive equivalent in the Target Language (TL).
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Freire, Rafael De Luna. "The introduction of film subtitling in Brazil." Matrizes 9, no. 1 (June 23, 2015): 187. http://dx.doi.org/10.11606/issn.1982-8160.v9i1p187-211.
Повний текст джерелаАнотація:
The conversion to sound cinema in Brazil beginning in the late 1920’s can be best defined as the systematic adoption of mechanic and synchronized sound film projection as the standard practice in the national theatrical exhibition circuit. This process was not short nor simple, but long and complex, resulting also in changes in the way imported film copies were distributed and exhibited in Brazil. The paper analyzes, through research in the contemporary press, as film subtitling was introduced and consolidated amid numerous procedures that were tried to present in an understandable and appealing way to the Brazilian public movies originally spoken in English.
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Kostopoulou, Loukia. "Humor and intersemiosis in films: Subtitling Asterix and Obelix." Punctum. International Journal of Semiotics 06, no. 01 (October 16, 2020): 185–202. http://dx.doi.org/10.18680/hss.2020.0009.
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Humor has long been the subject of research by scholars coming from different disciplines and fields. Raskin (1985) classified humor theories into three main categories: the incongruity theories, the hostility theories, and the release theories. This paper, drawing on the theory of incongruity, aims to investigate the interplay of verbal and nonverbal humor in audiovisual contexts. The research involves examining selected humorous scenes from the French film, Astérix aux Jeux Olympiques (2008), and its subtitled version in Greek. Humor in the Asterix and Obelix films is multifaceted. As in the case of the initial comic series, the film reproduces instances of double-layered humor; humor seems to work on two levels. On the surface level, it targets a broad audience, including children and adolescents. On a deeper level, it is constructed to imply a hidden innuendo or secondary layer intended for a more culturally embedded audience (Gavriilidou and Tsakona 2004-2005). Gavriilidou and Tsakona (2004-2005) note that “the extraordinary and unconventional portrayal of characters and their settings as well as the deviation from a balanced and canonical use of two semiotic codes, language and image, creates humor.” This same trait is reproduced in the film. The analysis will be based on semiotic systems’ synergy and multimodal film analysis of selected scenes from the original.
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Kabara, Tom. "What is Gained in Subtitling: How Film Subtitles Can Expand the Source Text." TranscUlturAl: A Journal of Translation and Cultural Studies 7, no. 1 (June 15, 2015): 166. http://dx.doi.org/10.21992/t90p86.
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The problem of translation and loss is a cardinal concern in translation studies. Conventional wisdom tells us that translation must necessarily entail loss. However, some translation studies scholars have argued that translation can yield significant originality in the target text. Christiane Nord, for one, argues that literary translators can claim authorial presence by actually causing the source text to “grow” in a way that is quantitative and qualitative. Although Nord’s idea applies mainly to literary translation, it raises questions about how this could apply to translations of other types of creative source texts, such as audio/visual translation. The format of interlingual subtitling between two disparate languages, such as English and Japanese, burdens translation with severe constraints and considerable loss text is taken for granted. But what is lost? Meaning? Nuance? This paper argues that these need not be lost in subtitling. In fact, by applying Nord’s model of source text growth to subtitling, we can see how subtitling produces new value to the source text. Through a close analysis of the Japanese subtitles of the 2007 film, There Will Be Blood, this paper will demonstrate that despite the severe constraints placed on the translation found in film subtitling, subtitles can promote “qualitative growth” by transferring the poetic function of the source text into new configurations in the target text, prompting target text viewers to interpret content in new ways.
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Parini, Ilaria. "To translate or not to translate dialects in subtitling? The case of Pif’s La mafia uccide solo d’estate." Altre Modernità, no. 28 (November 30, 2022): 385–403. http://dx.doi.org/10.54103/2035-7680/19186.
Повний текст джерелаАнотація:
The difficulty of translating dialects has been extensively studied over the years, firstly by scholars who focused on the (un)translatability of dialects in literature, and more recently by an increasing number of academics who have been investigating the issue within the field of audiovisual translation, both in dubbing and in subtitling. This study aims to analyse the strategies used in subtitling to translate into English the Sicilian dialect spoken in the Italian film La mafia uccide solo d’estate, directed by Pif in 2013. In this film, the use of dialect is not simply a tool to indicate the geographical origins of the characters, but it is exploited to construe their identity. Indeed, language variation is a device used purposefully to distinguish the ‘good’ characters from the ‘bad’ ones, and, as such, it is a means of identification. The results of the analysis will also be compared to those of previous studies conducted in this research area. Finally, the paper will attempt to provide some potential solutions that might be adopted in the subtitling of similar products, based on previous studies performed by the author on the original dialogues of some Hollywood films.
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Ibbi, Andrew Ali. "Subtitling in the Nigerian Film Industry, Informative or Misleading?" CINEJ Cinema Journal 4, no. 1 (July 13, 2015): 47–61. http://dx.doi.org/10.5195/cinej.2014.100.
Повний текст джерелаАнотація:
Subtitles are captions displayed at the bottom of a cinema or television screen that translate or transcribe the dialogue or narrative. Nigeria and indeed Africa should be a major beneficiary of the subtitles considering the number of ethnic groups in the continent. The emergence of different film industries in countries around Africa has helped in showcasing Africa to the international community. Hence, subtitles came in handy, considering the fact that most viewers cannot understand the language with which the movies were produced. This paper explores the battle for meaning by English subtitles to movies produced in African languages especially the Nigerian film industry. The paper will look at the Hermaneutic Theory of Mass Communication to buttress the relevance of deriving meaning out of movie subtitles. The Hausa and the Yoruba film industries are the subjects of this study because of the large viewership they enjoy by people even outside Nigeria. The research came up as a result of the persistent errors which I have noticed while watching Yoruba and Hausa films with subtitles. Subtitles convey a summary of the dialogues taking place in a movie. Viewers who cannot understand the language used for the dialogue rely on the subtitles to make meaning out of the movie. If they are unable to make meaning out of the subtitles because of some inadequacies as a result of carelessness in the process of production, the aim of having the subtitles is defeated.
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Wan, Nan. "Subtitling and its Acceptability in the Film Farewell, My Concubine: A Multimodal Approach." Advances in Language and Literary Studies 10, no. 6 (December 31, 2019): 94. http://dx.doi.org/10.7575/aiac.alls.v.10n.6p.94.
Повний текст джерелаАнотація:
Subtitling is intersemiotic translation that can bridge differences between two languages and should consider semiotic modes as subtitling is not merely determined by the source text but also by the constraints of time and space. The rapid development of audiovisual translation from the perspective of multimodality facilitates the development of translation. However, few studies focus on the rationality of subtitling methods. Farewell, My Concubine is a famous Chinese film with its subtitles translated by Linda Jaivin, an Australian audiovisual translator. Her subtitles contribute to the award of the Golden Palm Award at the 1993 Cannes Film Festival. Under spatial-temporal constraints, multimodal transcription provides a basis for meaning choices to discuss how to choose proper translation methods guided by semiotic modes. The translation methods adopted in Farewell, My Concubine can be explicated such as adaptation, amplification, non-translation, and deduction including condensation, reductive paraphrasing and deletion. The acceptability of Jaivin’s translation methods can be explored from ideational intersemiotic complementarity that centers on multimodal consonance between verbal and visual modes to see how semiotic modes complement each other especially when Jaivin has altered the source text. The applicability of intersemiotic complementarity creatively finds a new way to discuss the relations between frames and subtitles. Meanwhile, the multimodal approach indicates now the interdisciplinary study on subtitling is a must and a trend to explore both the translation methods and their acceptability. It is also found that there are still complementary relations between non-verbal modes and translated subtitles. These findings prove the subtitling methods acceptable and the role of multimodality in subtitling essential. Translation cannot entirely replicate the original text, and different translators may adopt the same translation methods while they will produce varied translated text. In this respect, the analysis of translation methods and their rationality is of universality. Furthermore, the study on subtitles will promote the film itself and the culture of the country.
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Modarresi, Ghasem, Kaveh Jalilzadeh, and Raheleh Zolfaghary. "Interpretation Strategies and Interpretation Performance in Interlingual and Bilingual Subtitling: A Case of Iranian BA Translation Students." REiLA : Journal of Research and Innovation in Language 2, no. 3 (December 27, 2020): 109–20. http://dx.doi.org/10.31849/reila.v2i3.5589.
Повний текст джерелаАнотація:
The researchers in Interpreting Studies have underrated the importance of interpretation strategies in interpretation courses at the university level in the Iranian context. As a mixed-method study, the present study mainly aimed at discovering the subtitling strategies used in interlingual subtitling and bilingual subtitling by translation students. The researchers selected 30 homogeneous students majoring in Translation Studies which were divided into two experimental groups. During the treatment phase, the researchers worked with each group's students on subtitling strategies on a comedy film, following Peterson's (2005) strategies. The results of the post-tests confirmed that there was a significant difference for interlingual subtitling since the students’ scores increased significantly from the mean score of 24.53 to the mean score of 27.66 as well as for bilingual subtitling since the students’ scores increased significantly from the mean score of 22.80 to the mean score of 27.13. However, the results revealed no significant difference in students' interpretation scores for interlingual and bilingual subjects. The results of the interviews also supported the effectiveness of audio-visual activities on oral translation. Translation students should pay attention to how they foster their interpreting competence and find the type of subtitling that is more beneficial.
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Bekmuratov, Aibek, Mukhan Issakhan, Sakhipzhamal Uzakpayeva, Saule Zholdasbekova, and Zhanna Ospanova. "Innovations in audiovisual translation – thematic analysis of national art texts." XLinguae 15, no. 2 (April 2022): 156–63. http://dx.doi.org/10.18355/xl.2022.15.02.12.
Повний текст джерелаАнотація:
The article discussed innovations in audiovisual translation: from reproduction to perception of music or film texts. Cinematography is an integral part of world art, representing a universal way of interaction between different cultures. Audiovisual translation is currently a popular type of translation activity since foreign films form the basis of film distribution in the country. Today, over 50% of the cross-cultural exchange of information is carried out through films, television programs, shows, and video games. Audiovisual translation requires special skills and abilities from translators since the actions they perform are radically different from their usual experience of working only with a verbal (text/speech) series. Recipients of an audio-visual work process message are received simultaneously through several information channels. This imposes a special responsibility on audio-visual translation. The work aims to identify the main features of audiovisual translation as a particular type of translation activity. The object of the research is the process of audiovisual translation as a special type of translation activity. The subject of the study is the features of subtitling as a type of audiovisual translation. The research is based on the method of linguistic translation analysis, which includes such components as observation, description, generalization, comparison, and systematization. In addition, the methods of contextual and interpretative analysis, discourse analysis, and comparative analysis of film discourses were used. The practical results of the research are the systematization, generalization, and application of existing methodological recommendations for working on an audiovisual translation (in particular, over-subtitling), the linguistic translation analysis of the film "Searching for Sugar Man,” as well as the creation of the text of the translation of this film into Russian using subtitling. The choice of the material is due to its novelty and the diversity of social, historical, and cultural realities and the song component, which are of interest from the point of view of linguistic translation analysis.
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سامي حول, زينب. "Strategies of Subtitling Swear words in The Wolf of Wall Street Movie." لارك 3, no. 34 (July 16, 2019): 423–32. http://dx.doi.org/10.31185/lark.vol3.iss34.1101.
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Abstract
Audiovisual translation ( AVT ), including subtitling, constitutes a fundamental part of Translation Theories and Translation Studies; however, it has been neglected till recent years. Gradually, a number of studies begun to appear especially those attributed to the European Association for Studies in Screen Translation. As these studies continually increase, new technologies and media forms became in a glare of publicity. These technologies and forms ,i.e. international and intercultural communications led to the emergence of new forms of translation. The most efficacious and widely-spread form is cinematography. The translation of cinematography works is called AVT. Scholars state ten kinds of AVT which can be united and classified into two main groups, i.e. subtitling and revoicing.
The present study concerns subtitling which generally means producing a dialogue translation in a film or an animated film in the form of titles usually appear at the bottom of the image or the screen . It attempts to shed light on subtitling( and in particular of swear words ) from English into Arabic in Terence Winter's The Wolf of Wall Street movie. It aims at investigating how the subtitler of this movie has dealt with these words in the original dialogue with the existence of the constraints imposed upon him. A quantitative analysis of the strategies used in subtitling the words and the number of those, the words, which have been changed through rendering , have been set to answer such a question.
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Mártinez-Tejerina, Anjana. "Subtitling for Film Festivals: process, techniques and challenges." TRANS. Revista de Traductología 18 (December 1, 2014): 215–25. http://dx.doi.org/10.24310/trans.2014.v0i18.3254.
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박윤철. "Politeness, Ellipsis, and Visual Codes in Film Subtitling." Journal of Translation Studies 9, no. 1 (March 2008): 145–66. http://dx.doi.org/10.15749/jts.2008.9.1.006.
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Meilasari, Priska. "Linguistic and Cultural Problems in Javanese-English Subtitle of CAPCIPTOP! Short Movie." Jurnal Lingua Idea 13, no. 1 (June 30, 2022): 50. http://dx.doi.org/10.20884/1.jli.2022.13.1.5794.
Повний текст джерелаАнотація:
The presented paper is focusing on the Javanese-English subtitle. The data involve a culture-bound short movie entitled “CAPCIPTOP!” uploaded on Youtube by Ravacana Film. The samples of this study are fifteen students joining subtitling class in the even semester of the academic year 2020/2021 at Widya Mandala Catholic University. The research findings show that students are facing two common problems namely linguistic and cultural problems in subtitling Javanese to English. Those problems are crucial as they are closely related to how a translator transfers messages from Javanese to English completely and minimize the misunderstanding among the viewers. This study is concluded with some suggestions for students in dealing with the problems in Javanese-English subtitling.
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Kerevičienė, Jurgita, and Greta Češumskaitė. "GRAMMATICAL COMPRESSION IN FILM TRANSLATION." Vertimo studijos 4, no. 4 (April 6, 2017): 71. http://dx.doi.org/10.15388/vertstud.2011.4.10574.
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Nowadays translators employ various translation strategies in order to produce an adequate translation and further establish international communication. This paper deals with one translation strategy called compression which involves leaving out the target text elements present in the source text to retain the content of the words rather than preserve the structural adequacy of the text format. The degree of compression is constantly increasing in contemporary translations, due to an intensive lifestyle, the necessity to convey informational content as quickly as possible arises. Compression is widely employed in subtitling because of both the requirement to provide a very short target text by employing a restricted number of symbols allowed per one subtitle, and the necessity to express only the main idea of the utterances. Taking linguistic aspects into account, the translation strategy comprises of either grammatical or lexical ways to shorten the text without destroying its meaning. This paper presents the grammatical means of compression observed in film subtitling by shifting the primary focus on grammatical alternations found in different film genres.
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Kanellopoulou, Kermanidis, and Giannakoulopoulos. "The Dual-Coding and Multimedia Learning Theories: Film Subtitles as a Vocabulary Teaching Tool." Education Sciences 9, no. 3 (August 8, 2019): 210. http://dx.doi.org/10.3390/educsci9030210.
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The use of multimedia has often been suggested as a teaching tool in foreign language teaching and learning. In foreign language education, exciting new multimedia applications have appeared over the last years, especially for young learners, but many of these do not seem to produce the desired effect in language development. This article looks into the theories of dual-coding (DCT) and multimedia learning (CTML) as the theoretical basis for the development of more effective digital tools with the use of films and subtitling. Bilingual dual-coding is also presented as a means of indirect access from one language to another and the different types of subtitling are explored regarding their effectiveness, especially in the field of short-term and long-term vocabulary recall and development. Finally, the article looks into some new alternative audiovisual tools that actively engage learners with films and subtitling, tailored towards vocabulary learning.
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Ramos Pinto, Sara, and Aishah Mubaraki. "Multimodal corpus analysis of subtitling." Target. International Journal of Translation Studies 32, no. 3 (February 20, 2020): 389–419. http://dx.doi.org/10.1075/target.18085.ram.
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Abstract This article proposes a new methodology for multimodal corpus analysis. It does so by particularly focusing on the issue of the translation of non-standard language varieties. This new methodology, which is significantly influenced by the work of Iedema (2003), Jimenez Hurtado and Soler Gallego (2013), Pastra (2008) and Ramos Pinto (2018), is capable of identifying the modes and resources at play and the relations identified between them, as well as how such relations participate in the construction of the non-standard varieties’ communicative meaning. It also accounts for the impact of the introduction of subtitles on preserving, cancelling or modifying the intermodal relations identified in the source text and, consequently, the diegetic functions they support; that is, the function they assume in the fictional world of the film. In this regard, the methodology assumes a clear translational perspective.
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Parfentyeva, Yelizaveta N. "Lost in Translation: Songs in Foreign Films." Journal of Flm Arts and Film Studies 8, no. 1 (March 15, 2016): 32–42. http://dx.doi.org/10.17816/vgik8132-42.
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The article discusses the necessity to translate songs when adapting the film for international release. While dubbing or subtitling, film supervisors and translators seldom pay attention to the translation of the songs thus depriving the audience of perceiving the directors concept and dramatic structure to the full.
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Pak, Kamilla M. "영화 자막에서의 언어적 (비)공손성을 통한 성격 묘사". Interpretation and Translation 21, № 1 (10 квітня 2019): 159–84. http://dx.doi.org/10.20305/it201901159184.
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Ajtony, Zsuzsanna. "Chuchotage – Intermediary Spaces in (Screen) Translation." Acta Universitatis Sapientiae, Philologica 11, no. 3 (December 1, 2019): 69–84. http://dx.doi.org/10.2478/ausp-2019-0026.
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AbstractThe present paper is devoted to the translation theoretical, linguistic-textual comparison of the Hungarian film dialogues and their English subtitles of the short dramedy entitled Susotázs [Chuchotage, 2018] and directed by Barnabás Tóth, winner of several film festivals and shortlisted for Academy Awards in 2019. Subtitling is considered to be a form of rewriting, requiring text reduction through condensation, reformulation, and omission at word and/or sentence level (Díaz Cintas–Remael 2007). Following the theoretical considerations regarding the linguistic aspects of subtitling and its strategies, the paper discusses several aspects of rendering the Hungarian dialogue in the form of English subtitles, such as forms of address, informal expressions, and culture-specific elements. Finally, the analysis aims to highlight the possibilities of making Hungarian humour available in English.
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Adinusa, Hiroka Putra, and Rahmanti Asmarani. "Subtitling Strategies of Po’s Utterances in Kung Fu Panda Movie." E-Structural 1, no. 01 (July 6, 2018): 70–87. http://dx.doi.org/10.33633/es.v1i01.1825.
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Abstract. This research is entitled “Subtitling Strategies of Po’s Utterances in Kung Fu Panda Movie”. The aim of this research is to find out the subtitling strategies of Po’s Utterances in Kung Fu Panda Movie. This research used descriptive qualitative method to describe then analyze the subtitling strategies of Po’s utterances in Kung Fu Panda movie. The steps of analyzing data are: collecting the data, identifying the data, classifying the data, analyzing the data, and the last step is drawing the conclusion. Transfer strategy has the most frequency in Po’s utterances in Kung Fu Panda movie, the percentage reaching 53,91% over half of Po’s utterances. Transfer strategy is translated more easily because this strategy translating the source language completely and accurately into the target language. So it is easy to make the audience understand from the source language to the target language with the original meaning from this movie. Meanwhile, transcription has the least frequency in Po’s utterances, the percentage is 2,90%. Transcription strategy is found rarely because this strategy is used to translate a language when there exist unusual term in the source language (SL), like nonsense language and third language. So it is difficult to find out transcription strategy in Kung Fu Panda movie.Keywords: Subtitling Strategies, Transcription, Transfer, UtterancesAbstrak. Penelitian ini berjudul “Strategi Penerjemahan pada Ujaran Po sebagai tokoh utama di Film “Kung Fu Panda” dengan tujuan untuk mengetahui strategi penerjemahan ujaran Po di film Kung Fu Panda. Penelitian ini menggunakan metode deskriptif kualitatif untuk menjelaskan dan menganalisis strategi penerjemahan ujaran Po di film “Kung Fu Panda”. Tahapan-tahapan analisis adalah : mengumpulkan data, mengidentifikasi data, mengelompokkan data, menganalisis data, dan tahap terakhir adalah mengambil kesimpulan. Strategi transfer memiliki frekuensi paling tinggi dalam ujaran Po di film Kung Fu Panda, dengan persentase mencapai 53,91% lebih dari setengah ujaran Po. Strategi transfer merupakan strategi yang lebih mudah digunakan karena strategi ini menerjemahkan bahasa sumber secara lengkap dan akurat ke dalam bahasa sasaran. Jadi lebih mudah untuk membuat penonton mengerti bahasa sumber ke bahasa target melalui makna asli dari film tersebut. Sementara, transkripsi memiliki frekuensi terendah dalam ujaran Po, persentasenya 2,90%. Strategi transkripsi jarang ditemukan karena strategi ini digunakan untuk menerjemahkan bahasa ketika ada istilah yang tidak biasa dalam bahasa sumber (BS), seperti kata-kata yang tidak bermakna atau bahasa lain. Dengan demikian strategi transkripsi tidak banyak ditemukan dalam film “Kung Fu Panda” ini.Kata kunci: strategi penerjemahan, transkripsi, transfer, ujaran
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Astuti, Purwani Indri, Nunun Tri Widarwati, Ratih Wijayava, and Muamaroh Muamaroh. "Dubbing Translation Technique in the Animated Film of Frozen: Party is Over." Script Journal: Journal of Linguistics and English Teaching 7, no. 01 (August 31, 2022): 130–39. http://dx.doi.org/10.24903/sj.v7i01.1075.
Повний текст джерелаАнотація:
Background:
Dubbing is an interesting translation for movie viewers because viewers do not need to be constrained by reading the subtitling on the monitor. However, with all its limitations dubbing is a challenge for a translator. Frozen: Party is over is an intriguing film to investigate.
Methodology:
All utterances of the characters in the film are becoming the research data. The numbers of data were 62 for words, phrases and sentences and analyzed using Molina & Albir's translation theory. The interactive model of Miles and Huberman analyzed all the data.
Findings:
The result of the research is that the translation techniques used by the translator were modulation, established equivalent and literal. The most dominant technique used by the translator was literal. This is because children consume the film, so most of the sentences are simple sentences.
Conclusion:
The translation techniques used by the translator were modulation, established equivalent and literal.
Originality:
This research focused on the dubbing translation technique for the animated film Frozen: Party is over. In comparison, other research with the same object discussed topics such as deixis, language styles, illocutionary act and subtitling.
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Ziyazova, Irina. "Typographical devices in subtitling (a case study of English and Russian subtitles)." Anuari de Filologia Lleng�es i Literatures Modernes - LLM, no. 6 (January 12, 2017): 27–35. http://dx.doi.org/10.1344/aflm2016.6.3.
Повний текст джерелаАнотація:
The paper examines the role of typographical devices in subtitling practices. As subtitling is significantly determined by its temporal and spatial constraints, the verbal part of a subtitle may be rather condensed and incomplete for perception, which requires additional means to modify meaning-making processes and add up information. The research gives a systematic account of typographical devices and their functions in a subtitled filmic text. The common graphical devices featured are typefaces, colour, punctuation marks, and numeric signs. The performed analysis showed that typographical devices do not only assist in dealing with technical considerations, but they may also serve as means of intersemiotic cohesion linking subtitles with visual or acoustic-or both-components of a film and enabling their functional cooperation. The drawn conclusions allow to state that graphical devices in subtitling possess such functions as they contribute to intersemiotic texture of a subtitled filmic text; help to manoeuvre in spatial and temporal circumstances; enhance reading and comprehending.
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Taiwo, Victor ‘Túnjí. "Translation services in Tunde Kelani’s film medium of ‘Thunderbolt-Mágùn’ production as evince of cultural credences." Journal of Languages, Linguistics and Literary Studies 2, no. 3 (September 23, 2022): 109–18. http://dx.doi.org/10.57040/jllls.v2i3.282.
Повний текст джерелаАнотація:
Translation refers to the process of rendering of words or text from one language to another as a means of communication that gives meaning to a linguistics discourse from source to target languages for comprehension. Film as a mode of communication is used by individuals to express their thoughts based on representations by creating the illusions through moving images. Hence, in projecting the culture of the people, translation becomes inevitable channel of communication for comprehension of cultural ideas from source to target languages. The paper aims to examine the culture of translation services in films in consonance with the considerable modes of translations: subtitling, simultaneous, documentary and source to target language translations. The study employed qualitative research that uses content analysis design with the use of textual, verbal content analysis in film. A video-film of Tunde Kelani with Yoruba cultural elements has been purposively selected for translation discourse and meanings: Thunderbolt-Mágùn. The study is hinged on Error Analysis theory as appropriately employed for cultural translation discourses. Findings revealed that wrongly used words in describing situations in the process of translation by subtitling, simultaneous type of translations are crucial aspect of filmic interactions. Also, the Yoruba cultural beliefs and traditions are significantly reflected in songs, and also serve as means of expressing the people’s emotions and opinions. These form important aspects of the filmic interactions through which the audience comprehend the messages.
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Aristiawan, Danul. "PEMBERIAN MOTIVASI BELAJAR BAHASA INGGRIS METODE DUBBING DAN SUBTITLING PADA MAHASISWA STIKES YARSI MATARAM." BERNAS: Jurnal Pengabdian Kepada Masyarakat 2, no. 3 (August 4, 2021): 689–94. http://dx.doi.org/10.31949/jb.v2i3.1125.
Повний текст джерелаАнотація:
As a solution to motivating students to learn and communicate with English is by providing attractive teaching media and effective learning methods. One of the interesting teaching media is the use of film media. In the film, an interesting story is presented in the form of illustrated animation and is equipped with an audio voice so that it can engage students to be interested in learning English. In addition, effective learning methods can also help students understand the information being taught. One of the learning methods that can be applied to motivate students to communicate in English is by using dubbing and subtitling methods. Dubbing is a method of imitating the voice of an actor who plays a role in a film. This can make students interested in communicating in English because they are playing a film dialogue scene played by the actor in the film. Meanwhile, subtitling is a method of transcribing film dialogue that is usually displayed at the bottom of the screen. In other words, teaching media and learning methods are two important things that cannot be separated and support each other as a means for students to understand the information provided. Effective and efficient media and methods can help students engage in learning English and at the same time be motivated to communicate in English