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Mapping the Dubbing Scene

Audiovisual Translation in Basque Television


Josu Barambones Zubiria

This book addresses a gap in the study of audiovisual translation (AVT) carried out in minority languages by exploring the role played by translations appearing on the Basque Public Broadcasting Service in the promotion and development of the Basque language. Using the framework provided by descriptive translation studies, the author illustrates the socio-cultural context of AVT in the Basque Country, focusing on the dubbing from English to Basque of television animation for children.
The most innovative aspect of the book lies in its cultural and descriptive approach. Following a corpus-based descriptive methodology, the study establishes a set of criteria for a contextual and linguistic analysis that embraces both the cultural and linguistic dimensions of translation and allows source texts to be compared with their translated versions at the macro- and micro-structural levels. The book uniquely offers a broad overview of the cultural context as well as a detailed analysis of the linguistic properties of the dubbed texts.


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Chapter 4 - Characterisation and Translation of Animated Cartoons 79


Chapter 4 Characterisation and Translation of Animated Cartoons The previous chapter described the process of making a selection of audio- visual texts that would then be the object of a descriptive–comparative analysis. As the selected corpus focuses on animated TV series aimed at children and younger viewers, this chapter shall concentrate on the nature and particular characteristics of audiovisual texts in general and especially those pertaining to the genre of animation. This approach will be useful to gain an adequate understanding of the grammar of film language and a correct interpretation of the phenomena of the translation of audio- visual texts. The characteristics of cinematographic discourse are for the most part shared by both feature films, with real-life actors and filmed in real scenarios, and by animated feature films, where the actors are replaced by illustrations, animated figures or graphic shots and filmed shot-by-shot until a sense of movement is achieved. Additionally, the grammar of the visual narrative inherent to film is applicable to animated feature films, as they are composed of actions and reactions as well as emotions and stimuli. As a cultural phenomenon, cinematographic discourse can be approached from a semiotic point of view as a communication process, which is ‘verified only when there is a code’ (Eco 1988: 31). The code is a system of meaning or a system of rules known to the recipient by means of which a correspondence is established between what one entity repre- sents and what is represented. In the case...

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