Show Less
Restricted access

Translating Audiovisuals in a Kaleidoscope of Languages

Series:

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.

Show Summary Details
Restricted access

‘Montalbano Here!’ Subtitling Dialects and Regionalisms from Italian into English

Extract



Abstract: Multilingualism is more and more present nowadays in films and TV series. Its translation is a challenge for subtitlers as the presence of a third language (or languages) (L3, following terminology by Corrius 2008, Zabalbeascoa and Corrius 2012 and de Higes Andino 2014) enriches the traditional process of translation. What happens with L3 during the translation process? Subtitles in particular stand out as a text representing the ‘in-between’, a written code that tries to retain and transmit elements of the spoken mode. The dialogue found in Il Commissario Montalbano (an Italian television series produced and broadcast by RAI since 1999, based on the detective novels of Andrea Camilleri) is rich in register variation, from the ‘macaronic language’ of police officer Catarella, with its linguistic jokes and grammatical errors, to the use of the local dialect (adopted by peasants and lower classes), to Montalbano’s mixed interlanguage used with a phatic function, to Livia’s perfectly sounding Italian. The code-switching and code-mixing used by Camilleri represent a great challenge for the translator, who has to make specific choices in order to render the translation intelligible to the target audience The core question is well expressed by Díaz Cintas and Remael (2007) when they underline that ‘subtitling, being a hybrid language form with its own limitations, is therefore faced with a formidable challenge; how does one translate the sophistication of spoken language variants into a regimented written form?’ Moving from this question, the aim of the chapter is to...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.