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Translating Audiovisuals in a Kaleidoscope of Languages

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Edited By Montse Corrius, Eva Espasa and Patrick Zabalbeascoa

Translating Audiovisuals in a Kaleidoscope of Languages addresses the challenges involved in translating multilingualism in film and TV fiction. It shows the complexity of fictional characters "speaking in tongues" in different genres and for different audiences. It includes individual contributions and team project work on a range of audiovisual translation modes, such as dubbing, subtitling and audio description. The types of products analyzed go from musicals to detective stories, including comedy, adventure and drama. The methodologies embrace case studies, corpus studies and reception studies. This book also allows the profession to let its voice be heard, through interviews and discussions with film-makers, producers, actors and translators working with audiovisual multilingualism.

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Multilingualism in Stage and Film Musicals: Varying Choices in Various Translation Modes and Contexts

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Abstract: Multilingualism may adopt various forms and be used for different purposes in creative works. The presence of a foreign character speaking their own language in a piece of fiction written in another tongue, or the use of accents and linguistic varieties diverging from the standard one, have a long history in literary works and audiovisual products—and they are markedly on the increase, reflecting the mixture and coexistence of languages that more and more characterise today’s societies. Musicals can be counted among these works featuring heteroglossia, instances of which can be found both in stage and film works of the genre. This chapter will examine two successful American musicals intended for different types of audience, Chicago and Beauty and the Beast, which serve as good examples of the diverse forms and functions multilingualism may show. The fact that the musical numbers of the film versions of these two works were translated into Spanish (and many other languages) through different audiovisual translation modalities—subtitling and dubbing, respectively—, and that both works not only have a cinema version but also a stage one which has been conveyed through sung translation in both cases (in Spain and other countries), make them particularly suitable for the analysis of translation strategies from a functional-descriptive point of view. Attention will here focus on the translation of multilingualism from the English originals into the corresponding Spanish versions, observing whether its communicative value is conveyed to the target receptor of musicals (and if so, how)...

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