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Dubbing, Film and Performance

Uncanny Encounters


Charlotte Bosseaux

Research on dubbing in audiovisual productions has been prolific in the past few decades, which has helped to expand our understanding of the history and impact of dubbing worldwide. Much of this work, however, has been concerned with the linguistic aspects of audiovisual productions, whereas studies emphasizing the importance of visual and acoustic dimensions are few and far between.
Against this background, Dubbing, Film and Performance attempts to fill a gap in Audiovisual Translation (AVT) research by investigating dubbing from the point of view of film and sound studies. The author argues that dubbing ought to be viewed and analysed holistically in terms of its visual, acoustic and linguistic composition. The ultimate goal is to raise further awareness of the changes dubbing brings about by showing its impact on characterization. To this end, a tripartite model has been devised to investigate how visual, aural and linguistic elements combine to construct characters and their performance in the original productions and how these are deconstructed and reconstructed in translation through dubbing. To test the model, the author analyses extracts of the US television series Buffy the Vampire Slayer and its French dubbed version.
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← vi | vii →Acknowledgements


This book is the fruit of many years of research and I would not have been able to write it without the input of a great many people.

I would like to thank my Translation Studies colleagues and friends, particularly my ‘AVT chums’, Jorge Díaz-Cintas, Frederic Chaume and Pablo Romero-Fresco, who have provided feedback, guidance, ideas and support along the way. I would also like to thank my Edinburgh colleagues Sebnem Susam-Saraeva and Hephzibah Israel for their continuing support.

I am also thankful to my Film Studies and Music Studies colleagues and friends, especially Martine Beugnet, Mark Cousins, Helen Julia Minors and Sarah Artt, for giving me advice when I did not know where to start when embarking on this journey and for providing feedback at various points of my research.

I also would like to thank everyone who had something to say about my topic when it was developing in mysterious ways: friends, students, Translation Studies and Film Studies conference-goers, editors, reviewers and random people I met on the train, bus, boat or plane who did not know what they were letting themselves in for when they asked me what my job was!

Thanks also to the staff at Peter Lang and the anonymous reader for her or his positive response and constructive feedback.

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