Introduction to Audiovisual Translation

Size: px

Start display at page:

Download "Introduction to Audiovisual Translation"

Cynthia McDowell
6 years ago
Views:

1 Welcome to our webinar Introduction to Audiovisual Translation with Lindsay Bywood 12 March,

2 How to interact with us

3 Lindsay Bywood Studied German Social work Translator Subtitler Worked in languages for 16 years Director of Business Development PhD/Lecturer LINDSAY BYWOOD 2013

4 Roadmap Modes of AVT Translation in AVT Workflows and the role of the translator Accessibility Getting a job LINDSAY BYWOOD 2013

5 Audiovisual Translation Traditional misunderstanding Medium and not genre AVT importance Easy reception & vast array of genres 5

6 AVT modes Subtitling Surtitling Dubbing Voiceover/lectoring (clip available) 6

7 Accessibility Accessibility Subtitling for the Deaf and the Hard-of-Hearing -SDH Interlingual & intralingual Audio Description for the Blind and the Partially Sighted - AD (clip available) Audio Subtitling Sign Language 7

8 Poll number one. Poll number two.

9 Dubbing Subtitling Austria Belgium (Wallonia) Brazil China Czech Republic France Germany Hungary Italy Japan Korea Slovakia Spain Turkey Belgium (Flanders) Bulgaria Denmark Finland Greece Iceland Netherlands Norway Portugal Romania Slovenia Sweden 9

10 Voiceover/lectoring Russia Estonia Latvia Lithuania Poland Ukraine 10

Dubbing Subtitling Expensive Slow Loss of original dialogue Pretence to be domestic Better for (semi)illiterate, children Less reduction of text More

11 Dubbing Subtitling Expensive Slow Loss of original dialogue Pretence to be domestic Better for (semi)illiterate, children Less reduction of text More manipulation of original Cheap Fast Respect of original dialogue Promotes foreign languages Better for deaf and immigrants More reduction of text Difficult to manipulate 11

12 Dubbing Subtitling Allows overlapping of voices Repetitive voices of dubbing actors Respect of original images Viewer can concentrate on images Promotes cinematic illusion Viewer can follow plot without watching Lip-sync Oral > Oral Does not allow overlapping Original voices maintained Pollution of images Distracts from images Can detract from cinema illusion Viewer needs to watch Space and time synchrony Oral > Written 12

13 LINDSAY BYWOOD 2013

14 Origins Why? Illiteracy Political repression Economic factors Custom and habit Artistic and aesthetic value Times are changing Subtitling = Fast and cheap 14

15 Poll number three

16 Subtitling

17 Mainly, but not exclusively, used in smaller language communities and communities with less money to spend on AVT. Used extensively on the internet.

18 General characteristics Reduction Delivery of original Reading speed Change of medium Oral to written

19 Temporal considerations Spotting, cueing, timing, originating Synchronisation Frames per second Timecodes (TCR) 6 second rule Words per minute (wpm) Characters per second (cps) Shot changes Gapbetweensubtitlessothattheycanberead

20 Linguistic considerations Subtitles ought to be semantically self-contained, when possible Line breaks ought to consider syntax Punctuation must be consistent throughout Follow original order as close as possible

21 Technical considerations Maximum exposure time: 6 Minimum exposure time: 1 Gap between subtitles: 2 frames Maximum number of lines = 2 lines Maximum line length = 39 characters

22 Wincaps demo Other software: Swift Eztitles FAB Spot Free software Subtitle Workshop LINDSAY BYWOOD 2013

23 Dubbing

24 General characteristics No reduction Delivery of original No change of medium Oral to oral

25 Dubbing process PM logs & distributes schedule & material Team selected Creation of translation & adaptation Recording & mixing Technical QC PM logs delivered files Delivery of end format

26 Translation process in more detail: Translator translates, taking into account length and phrasing. Lip-sync adaptor, not necessarily same person, adapts for lip sync. Different territories have different standards for lip sync.

27 Dubbing process

28 Voice-over

29 Two types of voice-over Corporate/training/information/documentary Voice-over for broadcast in specific territories

30 Translator s role Translate Adapt for length Read back with video Spoken language is not the same as written language!

31 Accessibility Subtitling for the Deaf and the Hard-of-Hearing -SDH Interlingual & intralingual Audio Description for the Blind and the Partially Sighted - AD Audio Subtitling Sign Language

labels Sound effects and music Still often created by

32 Main differences between translation subtitling and subtitling for the Deaf and hard-of-hearing Usually same language Speaker labels Sound effects and music Still often created by translators/subtitlers (but often respoken) More than two lines acceptable

33 SDH speakers

34 SDH speakers

35 SDH noises

36 SDH music

37 Audio description For the blind and partially sighted Also used in museums and other locations Available on DVDs and in the cinema The negative of subtitling Audio describers write their scripts and record them

38 Sign language

39 Working in AVT Subtitling Dubbing Voice-over SDH subtitling Audio description Sign language

40 Courses in the UK Webinar: Introduction to subtitling Short courses: UCL, University of Roehampton, other universities who offer AVT Masters courses Conference workshops: Media for All Languages & The Media ITI and CIOL training

41 Two basic resources Chaume, F (2012). Audiovisual Translation: Dubbing. Manchester: St Jerome. Díaz Cintas, J and Remael, A (2007). Audiovisual Translation: Subtitling. Manchester: St. Jerome.

42 Thank you! Any questions?

PARALLELISM AND THE LEGITIMACY GAP 1. Appendix A. Country Information

PARALLELISM AND THE LEGITIMACY GAP 1 Appendix A Country Information PARALLELISM AND THE LEGITIMACY GAP 2 Table A.1 Sample size by country 2006 2008 2010 Austria 2405 2255 0 Belgium 1798 1760 1704 Bulgaria