Voix, images et mots / Voices, Images and Texts
The first section of this volume features a variety of essays on writing for children, ranging from studies of classic authors to an analysis of the role of pictures in children’s books, to an examination of comics and theatre for the young.
Subjects addressed in the second section include the intersemiotic nature of translating for children, the question of the translator’s voice, the theoretical principles that best aid translators in the field of children’s literature, as well as chapters exploring the idea of national literatures for the young. The third and final section offers insights into audiovisual translation for children. These contributions focus on theories and models for this kind of translational activity, as well as addressing a number of real-life cases and their reception.
The volume features contributions in three languages: French, English and Italian.
“It’s green! It’s cool! It’s Shrek!” Italian children, laughter and subtitles Delia Chiaro & Roberta Piferi 283
283 “It’s green! It’s cool! It’s Shrek!” Italian children, laughter and subtitles Delia CHIARO & Roberta PIFERI Università di Bologna & Freelance audiovisual translator I. Introduction As far as audiovisual translation is concerned, together with Austria, France, Germany and Spain, Italy is part of Europe’s so called “Dubbing Block” of countries which, for different reasons, have a strong tradition of dubbing for both big and small screen products. Nevertheless, the recent massive influx of DVD products onto the Italian market, coupled with numerous cable and satellite TV channels, have been responsible for the rapid and widespread growth of subtitling too. Although studies clearly show that young, highly educated Italians would actually prefer to have wider access to subtitling on mainstream cinema and TV (Chiaro, 2005) with dubbing being such an important industry providing work to hundreds of operators, a total switch in the direction of subti- tling would be neither politically nor economically viable (Chiaro, 2008). Furthermore, as the preferred mode of screen translation tends to be the one with which viewers are most accustomed (Ivvarson, 1992) it would be, to say the least, unfair, to impose subtitling upon certain sectors of the population such as the elderly, whose main experience of foreign screen products has been mediated via dubbing. However, as elsewhere, subtitles are becoming more and more pervasive in Italy mainly because the process is both cheaper and quicker than dubbing. As elsewhere in the EU, Italian cinema is dominated by products im- ported from the USA and this includes...
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