Show Less

Voice-over Translation

An Overview- Second Edition

Eliana P.C. Franco, Anna Matamala and Pilar Orero

This book presents the first study of voice-over from a wide approach, including not only academic issues but also a description of the practice of voice-over around the globe. The authors define the concept of voice-over in Film Studies and Translation Studies and clarify the relationship between voice-over and other audiovisual transfer modes. They also describe the translation process in voice-over both for production and postproduction, for fiction and non-fiction.
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.


Show Summary Details
Restricted access

3. Voice-over for postproduction (II): The translation process 73


3. Voice-over for postproduction (II): The translation process In the previous chapter we established a dichotomy between fictional and non-fictional products as far as voice-over is concerned and, after giving a few general ideas on each genre, we focused on the latter. We presented the variety of scripts and transcripts that a translator can receive when work- ing for postproduction and we described the characteristics of the source text in terms of structure. In this chapter, we would like to focus on the translator who has received a documentary and is eager to start translating it. Non-fictional products such as the ones described in Chapter 2 can be transferred using various modes such as voice-over, subtitling or dubbing, to name the best known, but it will be the client – influenced by the country’s traditions – who will decide which one to choose. For example, on Catalan television (Televisió de Catalunya) the narration soundtrack is usually substituted with the target language version, using the transfer mode called off-screen dubbing in this book. Interviewees, dialogues and other interventions are voiced-over, except for those dialogues delivered in a language different from the language of the programme. These dialogues are subtitled. Finally, when archive footage or scenes from a film are in- cluded, subtitling is also used. This is the case with documentaries on the French-speaking channels Arte, RTBF, TF1 and France3, where interviews are often voiced-over in French and archive footage may be subtitled in the same language or in other languages. This combination...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.