The book also features course models on voice-over which can be used as a source of inspiration by trainers willing to include this transfer mode in their courses. A global survey on voice-over in which both practitioners and academics express their opinions and a commented bibliography on voice-over complete this study. Each chapter includes exercises which both lecturers and students can find useful.
2. Voice-over for postproduction (I): Typology and working conditions 45
45 2. Voice-over for postproduction (I): Typology and working conditions Voice-over, as we have seen in the previous chapter, is an elusive audiovisual translation mode. It has defied classification – hence a possible explanation for the lack of studies – and it is by nature a complex process which requires detailed analysis in order to provide a possible description with some level of reliability and accuracy. It can be described and classified from the field of Translation Studies, taking into consideration many of its characteristic features. It has been traditionally classified by the genre, relating it to non- fictional genres, see for example Kilborn (1993), Franco (2000a, 2000b), Matamala (2009) and Díaz Cintas and Orero (2005), by its feature of being an easy translation mode for translation (Orero 2004a), and even by its lack of synchronicity (Luyken et al. 1991, Delabastita and Lambert 1996, Chaume 2004, Orero 2006a). It could also be classified taking into account the various media in which it is used. It has, for example, been popularly classified as a screen translation modality because it is more patent in motion pictures or on television, but it is also still used quite frequently in radio programmes, as can be heard, for instance, on the BBC World Service. No extensive study up to date has looked at voice-over by the number of occurrences, that is, the number of times the audiovisual translation on a screen or on the radio is voice-over versus subtitling or dubbing. Given the fact that in...
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