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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.


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7. A commented bibliography on voice-over 189


7. A commented bibliography on voice-over This chapter presents the first commented monographic bibliography on voice-over. For the second edition, references of the first publication were updated but new works were not added. The bibliography includes only those publications, in print and digital form, which deal with voice-over, and those which comprise or contain discussions of individual works or authors commenting on voice-over. Works which are mainly bibliographical references and which have been used in previous chapters have not been added but are listed in the References section. We did include unpublished PhDs and substantial research work such as term papers. Consequently, this selection is fairly complete. The annotations are subjective. AGOST, Rosa (1999) Traducción y doblaje: Palabras, voces e imágenes. Barcelona: Ariel. The objective of this introductory book is to discuss dubbing in Spain. Before doing so, the author describes four modes of audiovisual transla- tion: dubbing, subtitling, voice-over and simultaneous interpreting. With regard to voice-over, or voces superpuestas, the book defines this mode as a transfer mode characterized by the simultaneous broadcast of the original and the translated tracks. The translated version (which the author calls the “dubbed version”) begins after a few words from the original sound- track have been heard. Agost considers the creation of a translation that can be easily read to be the most difficult issue, since synchrony is not as strict as in lip synch dubbing. The author highlights that voice-over is the transfer mode used in documentaries in Spain. Most...

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