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Film translation from East to West

Dubbing, subtitling and didactic practice

Edited By Claudia Buffagni and Beatrice Garzelli

Observing filmic product translation from multiple perspectives is the challenging subject of this volume, which opens up new ways of reading and sustaining dialogue on both theoretical and didactic levels. Its central focus is an observation of European and Oriental languages, gathering together reflections on English, French, Spanish, German, Portuguese, Russian, Arabic, Chinese and Japanese, as well as specific languages for hearing-impaired Italians, also analysed in their relation to Italian language and culture.
The work focuses on audiovisual language, investigated in the linguistic and cultural dimensions and includes different genres: from election campaign commercials to short films, from animation films produced in the U.S. to Japanese anime, from classic musicals to television series, and finally European and extra European art-house films. Moreover, the volume assembles contributions concentrating both on the oral aspects dedicated to the study of the socio-cultural dimension (e.g. essays on diachronic and diastratic variations in Spanish films, also analysing specific dubbing problems) and on the written dimension represented by interlinguistic subtitles examined in their relationship with the original spoken text (e.g. German films).


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– I – FILM TRANSLATION AND THEORETICAL PERSPECTIVES SERGIO PATOU-PATUCCHI The viewer/learner of audiovisual language 1. Premise It is my intention in this paper to try and illustrate: a) the documentary function currently carried out by audiovisual language and the role that language will presumably play in the immediate and near future; b) how and under what conditions the end users (whether they are aware or not of this, or in any case not always willingly) change roles, from that of viewers to that of learners; c) how the AV-A has become an essential teaching tool, as well as excellent means of spreading “other” cultures. 2. The audiovisual text The Audiovisual Artefact (AV-A), intended both as work and as a product, can only be achieved through the conscious use of Audiovis- ual Language (AV). It would also be well to reconsider ex-novo the writing system language, in addition to communication, in the light of the capillary diffusion of modern technologies and in particular digital technology. Pen and pencil have been replaced by the keyboard, or more accu- rately “keyboards”, and screen, monitor, mobile, tablet, in their vari- ous, conditioning sizes, have replaced paper as the conventional writ- ing surface. In fact, we photograph signs, rather than copy them, that inform us about visiting hours and/or attendance numbers allowed; we document daily events in video that occasionally even end up in the Sergio Patou-Patucchi 22 international news or we sign on a small screen to confirm credit card transactions. We set the landscape...

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