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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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Chapter 6 Uncanny encounters: A multimodal analysis


← 154 | 155 →CHAPTER 6

Uncanny encounters: A multimodal analysis

6.1 Introduction

The aim of this chapter is to put into practice the multimodal model I have created for analysing audiovisual material, taking into consideration the acoustic and visual elements that comprise a filmic performance. This analytical model has been designed to help to identify aspects of characterization in audiovisual texts as well as in their translations to see if there are any shifts between the way characters are created and presented in the source and target audiovisual texts. Furthermore, one of my main goals is to bring more attention to the challenges involved in reading and translating original AV products.

The analysis considers pure dialogue as well as music-specific dialogue, as songs, like dialogue, can function as ‘narrational device(s)’ (Garwood, 2006: 93); that is, as narrative elements just like characters, objects, settings, shot composition and editing, and therefore contribute to characterization and plot development. I will be considering spoken and sung dialogue in the US television series Buffy the Vampire Slayer and its French dubbed version.

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