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Film translation from East to West

Dubbing, subtitling and didactic practice

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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II – DUBBING AND SUBTITLING: A LOOK BEHIND THE SCENES

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MARCO CIPOLLONI “Y que el silencio se convierta en carnaval”. Digital tricksters with a Latin accent in 6 contemporary digimation movies 1. “Y que el silencio se convierta en carnaval” is a line from the song “Carnaval toda la vida”, originally performed by the Argentinean rockabilly band Los Fabulosos Cadillac and covered (by the voice actor Roly Serrano) for the soundtrack of the 2006 animation movie Pérez/Hairy Tooth Fairy. Silence and Carnival, Sleep and the Fiesta, Darkness and Light, Dreaming and Dance, Peace and Adventure, Secret Life and Imitation of life. How can the first item of each pair be converted into the re- spective other? This paper is about how contemporary digimations (digital ani- mation movies) made such a conversion possible worldwide, looking at the folk figure of the trickster as a possible key for a successful mediation between political correctness (the clean and polite way mainstream culture, global market and infotainment would like to perceive their own verbal respect for otherness) and radical perspec- tive (the dirty way marginal cultures and subcultures locally experi- ence the global market mainstream). The representations of Latin ac- cents and attitudes traditionally offered by analogue cartoons (through popular Latin American odd friends like Joe Carioca, Pancho Pistoles, Speedy Gonzales or the corn-chip mascot Frito Bandito), considered politically incorrect during the last decade of the 20th century, have been recently rescued and updated in terms of Latin pride. If you tar- get multicultural and international market, mediation and accents are no longer...

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