Film Translation

The research project aims to investigate a form of language variation (as represented in fiction) defined here as 'disorderly speech' (DIS). It refers to the representation of linguistic output of a character supposedly temporarily affected by a number of factors, such as drug or alcohol consumption, lack of sleep, or psychological instability. To this end, I analyse examples of fictional drug-affected speech drawn from the film "Fear and Loathing in Las Vegas" (1998, Gilliam), and its translation into Spanish. The phenomenon is approached considering Mayoral’s thesis on the translation of language variation (1999), Bleichenbacher’s analysis of multilingualism (2008), and Corrius and Zabalbeascoa’s L3 model (2011). The methodology involves identifying linguistic phenomena used in the film to portray a character’s condition that would give rise to some sort of DIS, comparing them with the solutions chosen in the dubbed version as well as the subtitles of the DVD edition to render it, and proposing translation solutions of my own. The results of the study show a partial loss of the disorderly speech effect in the official translations, which could be avoided by transcending the current conventions of the industry and applying the models and strategies proposed by the author.

Diese Abschlussarbeit zur Erlangung des BA-Grades setzt sich mit dem  komplexen Thema der Übersetzung von Humor im Film auseinander und bedient sich exemplarisch an Pedro Almodóvars Film "Frauen am Rande eines Nervenzusammenbruchs". Dabei wird analysiert, wie und warum der jeweilige Witze vom Spanischen ins Deutsche übersetzt wurde und ob die erfolgreiche Übersetzung anhand bestimmter Parameter gemessen werden kann oder nicht.

- SPANISH - (English follows)
El objetivo de este trabajo es recopilar las técnicas traductológicas más usuales que se utilizan a la hora de enfrentarse a las características y dificultades propias de la traducción para el doblaje. Para ello, hemos analizado la traducción al español de España de la película de Disney, Hércules (1997), comparándola con su original en inglés. Con este propósito, nos hemos guiado por algunos autores de referencia, como Martínez (2008), Chaume (2004) o Agost (1999). Así, nuestro análisis se compone de un breve marco teórico, seguido de una exposición de los principales problemas de traducción audiovisual y las estrategias tomadas por la traductora para cada uno de ellos a través de algunos ejemplos comentados.

- ENGLISH -
This paper aims to serve as a compilation of the most commonly used translation strategies in dubbing, which presents particular characteristics and difficulties. For this purpose, we have analysed the translation of the Disney film Hercules (1997) into Spanish from Spain, comparing it with the original English version. Bearing this in mind, we have based our article on the theoretical frame provided by some reference authors, such as Martínez (2008), Chaume (2004) or Agost (1999). Thus, our analysis comprises a brief presentation of the above mentioned theoretical frame, an enumeration of the main audiovisual translation problems and the strategies chosen by the translator in each case illustrated by some explained examples.

Film çevirisi, görsel-işitsel olması nedeniyle diğer tüm çeviri türlerinden ayrılmaktadır. Çalışmanın bütüncesi, orijinal dili Fransızca olan "Il ne faut jurer de rien" filminin Türkçe altyazı çevirisidir. Çeviribilim kapsamında incelenebilecek filmin çevirisinde izlenen süreçler ayrıntılı bir şekilde ele alınmıştır. Bu çalışmada, altyazı çevirisinde çevirmen tarafından geliştirilen stratejiler, çeviribilim çerçevesinde betimleyici bir yaklaşımla irdelenmeye çalışılacaktır.

4 5 ACKNOWLEDGEMENTS Now I have written this thesis, I am convinced that it would not have been possible without the support and kindness of people around me. They have allowed me to grow into the researcher-apprentice I have been for the past three years.

Academic paper aims at presenting the concept of  “more than words” as complementary to “other words” in film translation noting that the latter seems to be a bit limited to only “words”.  In truth, the concept of  “more than words” has always been present in film translation process.  It has allowed the process of dubbing, subtitling and voice-over be better undertaken and understood.  “More than words” includes all the representational audio-visual elements in films.  While the “in other words” concept generally concerns itself  with the semantic construction of the film translation process, “more than words” offer the additional possibility of focussing on the semiotic structure of the same.  Gottlieb (2007) has long hinted a similar distinction correlating it to the dimensions of time and space in translation: "Any kind of translation is a multi-faceted entity – with at least two dimensions: (1) time, including the semantics and temporal progression of the translational process and (2) space, including the semiotics and texture, or composition, of the translational product".

Translation of songs used in films comprises a unique phenomenon since it supposes to take into account an interdependence of two multimodal systems and their components. The challenges associated with the translation of songs in films manifest themselves both on the level of an internal system of a song (interconnection of lyrics and music on prosodic, poetic and semantic levels) and external relations of a song and a film it is immersed into (visual, audial and semantic levels of interaction). The article attempts to consider translation of songs in films within the frameworks of the functional approach and states that the pragmatic function and communicative purpose of a song in a film are translation dominants. The paper suggests and discusses five levels of correspondence between the source song and target song in film translation, i.e., pragmatic, semantic, stylistic, cinematic, and aesthetic. It determines a correlation between translation technique used in the recreation of ...

У статті розглядаються особливості відтворення пейоративних одиниць у перекладі, а також різні способи їхнього відтворення. Особливу увагу зосереджено на способах, які застосовуються для адекватного відтворення окремих груп пейоративної лексики.
Ключові слова: пейоратив, абсолютний пейоратив, релятивний пейоратив,сема, переклад, способи перекладу.

Тhe peculiarities of rendering of pejoratives in translation of subtitles to German films

The article investigates the peculiarities of rendering pejoratives in translation and also describes different strategies of their rendering. Special attention is paid to methods, essential for the appropriate translation of separate groups of pejoratives.
Keywords: pejorative, absolute pejorative, relative pejorative, seme, translation, translation strategies, translation methods.