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Audiovisual Translation in Close-Up

Practical and Theoretical Approaches

Edited By Adriana Serban, Anna Matamala and Jean Marc Lavaur

How are audiovisual translations made and received? This is just one of the questions this book offers answers to. Bringing together research on various forms of audiovisual translation, the range of issues treated is wide: How are discourse features translated in dubbed and subtitled programmes? Does subtitling enhance foreign language learning? Can the quality of audiovisual translation be assessed in a relevant way? What should we know about the audience? How should we audio describe? Audiovisual Translation in Close-up addresses these issues from a variety of perspectives: from discourse analysis and pragmatics to cognitive science, second language acquisition, actor-network theory and speech recognition, amongst others.
Most contributions to this volume originate from the international bilingual conference «Audiovisual Translation: Multidisciplinary Approaches/La traduction audiovisuelle : Approches pluridisciplinaires» held in Montpellier, France, in 2008.
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Audiovisual translation and discourse analysis


Formulae across languages: English greetings, leave-takings and good wishes in dubbed Italian VERONICA BONSIGNORI, SILVIA BRUTI and SILVIA MASI1 University of Pisa, Italy 1. Introduction The aim of this paper is to investigate the use of greetings, leave-takings and good wishes in English film dialogue and in Italian dubbed language. We first intend to ascertain how much space such speech acts are granted in film language and dubbing. Although these conversational routines (in the sense of Firth 1972 and Coulmas 1981) are scarcely informative, they play in fact a paramount role in establishing a relational function within interpersonal interactions. Also, we expect possible discrepancies to emerge in the cross-linguistic mapping (cf., for instance, Verschueren 1981), due to asymmetry in the respective repertoires of formulae (e. g. the English leave-taking formula cheers or the Italian greeting salve) and to asymmetry in the identification of relevant time spans (cf. good forms in English and their Italian counterparts). Our analysis focuses on a small corpus of nine recent American and British films dubbed into Italian and fully transcribed orthographically (see Section 4 of this chapter). In these films, language varies on different dimensions: diatopically (British, American, Australian and Irish accents, as well as London accents), diachronically (contemporary films, romantic comedies, dramatic films and costume dramas) and diastratically (from upper to lower social classes). We also make reference to three Italian films, in order to compare original Italian film language with dubbed Italian. 1 The research was carried out by all authors together. Paragraphs...

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