Toward a Contrastive Cognitive Semantic Model
Chapter 2 Subtitling – a mode of Audiovisual Translation
2.1. “Audiovisual Translation”� To discuss the status of Audiovisual Translation (AVT), it first has to be noted that the very name of the field has not been uniformly applied. In her overview Orero (2004: VI) brings up notions like Traducción subordinada or Constrained Translation (Titford 1982: 113, Mayoral et al. 1988: 97, 1993, Rabadán 1991: 172, Díaz-Cintas 1998, Lorenzo and Pereira 2000 and 2001), Film Translation (Snell-Hornby 1988), Film and TV Translation (Delabastita 1989), Screen Translation (Mason 1989), Media Translation (Eguiluz 1994), Film Communication (Lecuona 1994), Traducción Fílmica (Díaz-Cintas 1997), Audiovisual Translation (Luyken 1991, Dries 1995, Shuttleworth and Cowie 1997, Baker 1998), or (Multi)Media Translation (Gambier and Gottlieb 2001). Gambier (2003: 171-172) mentions another term – audiovisual versioning – which appears intended to mark the division between this type of transfer and translation in a more traditional sense. The term that seems to have been winning popularity is “Audiovisual Translation” as it successfully covers the many forms of translation activity such as translation for individuals with disabilities (cf. Section 2.6.), also in the theatrical and radio contexts. The least controversial Polish term – “przekład audiowizualny” (cf. Tomaszkiewicz 2006, Szarkowska 2008: 9-10) – literally renders “audiovisual translation”. While the term is rather broad, I will use it to refer primarily to film translation since examples from filmic material will be the subject of investigation herein. 2.2. The field of Audiovisual Translation� What could be referred to as AVT has been practised in Europe since early 1930s as...
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