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Curso FS-10 AUDIOVISUAL LANGUAGES. SUBTITLING AND DUBBING Objectives The goal of this course is to offer our students in-put on the peculiarities and differences between translating for dubbing and for subtitling. Spain, along with France, Italy and Germany, are “dubbing” countries. The choice of dubbing as a means for linguistic adaptation of audiovisual works was due to a number of economic, historical and social reasons. However, the current trend seems to be that subtitling is becoming increasingly important as those social and economic reasons have changed dramatically. We, therefore, want to give students an in-depth view of the different techniques used for the translation of film and television scripts for dubbing and subtitling purposes. Methodology The course will be eminently practical. We will use real materials previously translated by the course professors and students will learn the different protocols and guidelines used by four or five of the most important subtitling and production companies in the world: Fox, Sony, Warner Bros... For this level, we will use materials in English which are to be translated into Spanish following some very specific guidelines. This will expose students to colloquial terms and expressions that are seldom present in an academic environment. We will start by giving a short description of the history of dubbing and subtitling in Spain. We will then analyze and compare these two modalities. For this, each student will take a film of his/her choice and will look into the differences between the original version (in English) and the subtitled and dubbed versions (in Spanish). Then, we will proceed to the practical part of the course. Students will learn all the restrictions that affect both modalities of Audiovisual Translation (AVT): Character number limitations, content reduction, adaptation to reading speeds, lip movement synchronization, etc… As there are no universal protocols, we will apply different guidelines to each project. Syllabus

1- History of dubbing and subtitling in Spain. 2- Guidelines and protocols used in Audiovisual Translation. 3- Subtitling and Dubbing: ! Translation for subtitling of an episode of an animated series for

children: Scooby-Doo ! Translation for subtitling of an episode of a fiction series: Taken ! Translation for subtitling of an episode of an animated series for

non-children: The Simpsons

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! Translation for subtitling of an episode of a sit com: Modern Family

! Translation for subtitling of bonus material for DVD: Star Wars ! Translation for dubbing of an episode of a series for children: The

Hoobs ! Translation for dubbing of an episode of an animated series:

Dragon Ball ! Translation for dubbing of an episode of a sit com: How I Met

Your Mother ! Translation for dubbing of a documentary: Killer-Whales. National

Geographic ! Translation for dubbing of a feature film: The last time I saw Paris

Bibliography AGOST, Rosa. “Horizontes cercanos. La consolidación académica de la traducción audiovisual”. En: Frederic Chaume y Rosa Agost, eds. La traducción en los medios audiovisuales. Castellón: Universitat Jaume I, 2001. ALCALÁ VELASCO, Juan Carlos y CARRILLO DARANCET, Juan Marcos. Aldonaza Lorenzo: Su protagonismo en la TAV o la lucha entre imagen y palabra. Madrid: CES Felipe II, 2008. BERNAL MERINO, Miguel Ángel. La traducción audiovisual: análisis práctico de la traducción para los medios audiovisuales e introducción a la teoría de la traducción filológica. Alicante: Universidad de Alicante, 2001. CHAVES, Mª José. La traducción cinematográfica: el doblaje. Sevilla: Universidad de Sevilla, 1996 (tesis doctoral). DÍAZ CINTAS, Jorge. Teoría y práctica de la subtitulación. Inglés-Español. Barcelona: Ariel Cine, 2003. FAWCETT, Peter. Translation modes and constraints. Londres: The incorporated Linguist 22, 1983.. FODOR, István. Film Dubbing: Phonetic, Semiotic, Esthetic and Psychological Aspects. Hamburgo, 1976. FRANCO, Eliana. Revoicing the Alien in Documentaries. Cultural agency, norms and the translation of audiovisual. Lovaina: Universidad Católica de Lovaina, 2000 (tesis doctoral). -----. “Voiced-over television documentaries. Terminological and conceptual issues for their research". In: Target 13:2 (2001) LUYKEN, Georg-Michael. Overcoming Language Barriers in Television: Dubbing and Subtitling for the European Audience. Manchester: The European Institute for the Media, 1991. MAYORAL, Roberto. “El espectador y la traducción audiovisual”. En: Frederic Chaume y Rosa Agost, eds. La traducción en los medios audiovisuales. Castellón: Universitat Jaume I, 2001. ORERO, Pilar. “La traducción de entrevistas para voice-over”. In: Patrick Zabalbeascoa, Laura Santamaría & Frederic Chaume (Eds.) La traducción audiovisual. Investigación, enseñanza y profesión. Granada, 2005. SHUTTLEWORTH, Mark y COWIE, Moira. Dictionary of Translation Studies. Manchester: St. Jerome, 1997.

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VALDÉS RODRÍGUEZ, Cristina. “Extranjerización y adaptación en la traducción de espots publicitarios". In: Frederic Chaume y Rosa Agost, eds. La traducción en los medios audiovisuales. Castellón: Universitat Jaume I, 2001. WHITMAN-LINSEN,Candace. Through the dubbing glass. Frankfurt am main; Nueva York: P.Lang, 1992. ZABALBEASCOA, Patrick. “El texto audiovisual: factores semióticos y traducción”. In: John D. Sanderson (ed.). ¡Doble o nada! Actas de las I y II Jornadas de doblaje y subtitulación. Alicante: Universidad de Alicante, 2001. Assessment Class attendance and participation: 40 % Individual translation of a 20-minute episode: 30% Final practical exercise: Individual translation of a 5-minute clip to be completed in two hours: 30%