Subtitling in the Multimodal Subtitling in the Multimodal Context of Translated FilmContext of Translated Film

Chris TaylorChris Taylor

University of TriesteUniversity of Trieste

Kristiansand 21 October 2005Kristiansand 21 October 2005

SUBTITLESSUBTITLES

The basic premise of this talk is that The basic premise of this talk is that subtitles, as a semiotic resource, ADD to subtitles, as a semiotic resource, ADD to the meaning-making potential of a the meaning-making potential of a multimodal text such as a TV ad. or a film.multimodal text such as a TV ad. or a film.

If they are done well (a huge provviso) If they are done well (a huge provviso) they ADD to the pleasure, interest, they ADD to the pleasure, interest, emotion or other cognitive process emotion or other cognitive process experienced by the viewer.experienced by the viewer.

They ADD to and do not detract from the They ADD to and do not detract from the hermeneutic process as a whole.hermeneutic process as a whole.

TRANSLATED FILMTRANSLATED FILM

Film has been translated since its earliest Film has been translated since its earliest beginnings in the silent era.beginnings in the silent era.

And in the beginning… there were And in the beginning… there were subtitles subtitles

intertitlesintertitlesEg ‘The Clash of Eg ‘The Clash of

Wlolves’Wlolves’

multimodal text within a multimodal multimodal text within a multimodal texttext

Modern subtitles also perform this Modern subtitles also perform this function in a more subtle way.function in a more subtle way.

For example Kubrick’s ‘Barry For example Kubrick’s ‘Barry Lyndon’, a film in any case much Lyndon’, a film in any case much given to the visual verbal channel – given to the visual verbal channel – information, comments, letters, information, comments, letters, dicuments, etc. dicuments, etc.

Barry LyndonBarry Lyndon

The seduction scene between Barry The seduction scene between Barry and Lady Lyndon is based exclusively and Lady Lyndon is based exclusively on a long series of knowing glances. on a long series of knowing glances. Schubert and the ‘Faites vos jeux’ of Schubert and the ‘Faites vos jeux’ of the gaming tables provide the the gaming tables provide the background.background.

There is only one utterance, on the There is only one utterance, on the part of Lady lyndon: “Samuel, I’m part of Lady lyndon: “Samuel, I’m going outside for a breath of fresh air”going outside for a breath of fresh air”

Barry Lyndon subtitledBarry Lyndon subtitled

A subtly placed, clear to read subtitle hereA subtly placed, clear to read subtitle here

Samuel,Samuel, e esco a prendere un po’ d’ariasco a prendere un po’ d’aria

accompanying the lady as she moves out accompanying the lady as she moves out to the veranda and also Barry’s self-to the veranda and also Barry’s self-congratulatory expression, adds to the congratulatory expression, adds to the complicity and avoids the intrusion of an complicity and avoids the intrusion of an alien voice where the enunciation is alien voice where the enunciation is brimming with covert intent.brimming with covert intent.

but with talkies…but with talkies…

… …came the advent of dubbing came the advent of dubbing especially in those countries with especially in those countries with strict laws governing the intrusion of strict laws governing the intrusion of foreign languages (and cultures).foreign languages (and cultures).

… … and the larger European countries and the larger European countries have continued along this path, have continued along this path, achieving excellent results.achieving excellent results.

but led Sergio Viaggio to saybut led Sergio Viaggio to say

““Film dubbing is the least studied of Film dubbing is the least studied of all the branches of translation”all the branches of translation”

……. and subtitling?. and subtitling?

The subtitling vs. dubbing debateThe subtitling vs. dubbing debate

Views differ considerably, but a recently Views differ considerably, but a recently published work in Italy lays the battle published work in Italy lays the battle ground in no uncertain terms.ground in no uncertain terms.

‘‘Tradurre per il doppiaggio’ Paolinelli and Tradurre per il doppiaggio’ Paolinelli and Di Fortunato.Di Fortunato.

After a detailed consideration of the After a detailed consideration of the financial aspects, the authors list the financial aspects, the authors list the drawbacks of subtitling…drawbacks of subtitling…

DrawbacksDrawbacks

1. Reduction of text (eg. ‘Natural Born 1. Reduction of text (eg. ‘Natural Born Killers’ 9,758 words to 12,737);Killers’ 9,758 words to 12,737);

2. Invasion of screen;2. Invasion of screen;

3. Reading takes up half length of film!3. Reading takes up half length of film!

4. Continuous jumping from centre to 4. Continuous jumping from centre to bottom of screen;bottom of screen;

5. No pedagogic value in context of 5. No pedagogic value in context of cinema;cinema;

ANDAND

The main drawback?The main drawback?

6. Subtitles, given the preponderance 6. Subtitles, given the preponderance of audiovisual material of foreign of audiovisual material of foreign origin, give more ‘nobility’ to the origin, give more ‘nobility’ to the source text than the target text, and source text than the target text, and are therefore an instrument of are therefore an instrument of creeping linguistic and cultural creeping linguistic and cultural colonialism.colonialism.

… … there’s worse to comethere’s worse to come

““I sottotitoli, quindi, si riducono a un I sottotitoli, quindi, si riducono a un semplice ausilio alla comprensione della semplice ausilio alla comprensione della trama, ma non possono, per ragioni trama, ma non possono, per ragioni strutturali, svolgere nessuna funzione di strutturali, svolgere nessuna funzione di trasposizione linguistica.”trasposizione linguistica.”

Subtitles are a mere guide to Subtitles are a mere guide to understanding but for structural reasons understanding but for structural reasons unable to fulfil any language transposition unable to fulfil any language transposition function.function.

… … and moreand more

““Laddove poi – ci riferiamo in particolare ai Laddove poi – ci riferiamo in particolare ai film comici – il dialogo si fonda su giochi o film comici – il dialogo si fonda su giochi o ripetizioni di parole, il sottotitolo è ripetizioni di parole, il sottotitolo è costretto a distruggere la coerenza del costretto a distruggere la coerenza del discorso, e con esso l’espressione comica”.discorso, e con esso l’espressione comica”.

Where there are plays on words or Where there are plays on words or repetition subtitles necessarily ruin the repetition subtitles necessarily ruin the coherence of the discourse and any comic coherence of the discourse and any comic element gets lost.element gets lost.

other typical shortcomingsother typical shortcomings

all seeming redundancy is eliminated;all seeming redundancy is eliminated;

translation is limited to an understanding translation is limited to an understanding of the plot;of the plot;

the ideational function of language is the ideational function of language is favoured at the expense of the favoured at the expense of the interpersonal and the textualinterpersonal and the textual

how?how?

Typical interpersonal markers of a Typical interpersonal markers of a verbal nature (discourse markers, verbal nature (discourse markers, phatic devices, hedges, etc.) are phatic devices, hedges, etc.) are omitted.omitted.

The textual function is mostly present The textual function is mostly present in the other semiotic modalities – a in the other semiotic modalities – a mere list of subtitles lacks many mere list of subtitles lacks many cohesive and structural components.cohesive and structural components.

but in favour of subtitling…but in favour of subtitling…

HofstadterHofstadter““In America we tend not to dub movies, to my personalIn America we tend not to dub movies, to my personalrelief, so that we can experience the original voices and relief, so that we can experience the original voices and

thethealien phonemes of a foreign film. …alien phonemes of a foreign film. …Subtitles are not a replacement of anything, but anSubtitles are not a replacement of anything, but anaddition to a film – they form an overlay, so that one has addition to a film – they form an overlay, so that one has

aakind of simultaneous bicultural interpretation of what iskind of simultaneous bicultural interpretation of what isgoing on.”going on.”

Multimodality in the service of intercultural Multimodality in the service of intercultural communication.communication.

IvarssonIvarsson

““People want to hear the languages of thePeople want to hear the languages of the

rest of the world, but they want to be surerest of the world, but they want to be sure

they have understood them in their ownthey have understood them in their own

tongue too….tongue too….

… … SUBTITLES SEEM TO BE THE ANSWER”SUBTITLES SEEM TO BE THE ANSWER”

But where do subtitles fit in the But where do subtitles fit in the wider translation picture?wider translation picture?

““The qualities of a good translator are notThe qualities of a good translator are notfew”few”Martin LutherMartin Luther

““We are bound in two ways: to our motherWe are bound in two ways: to our mothertongue and to the mother tongue of the tongue and to the mother tongue of the

texttextwe are translating”we are translating”Martin HeideggerMartin Heidegger

Delisle and WoodsworthDelisle and Woodsworth

““Translators (are) importers of foreignTranslators (are) importers of foreign

cultural values and key players at cultural values and key players at some ofsome of

the greatest moments in history…the greatest moments in history…

…….. (they) have played a determining .. (they) have played a determining role inrole in

the development of their societies.the development of their societies.

VoltaireVoltaire

““Woe to the makers of literal Woe to the makers of literal translations, who by rendering every translations, who by rendering every word weaken the meaning!”word weaken the meaning!”

……but none of these people were but none of these people were thinking about subtitles…thinking about subtitles…

…and we are dealing with a …and we are dealing with a recognisable variation on the general recognisable variation on the general

themetheme

Dolet (1540)Dolet (1540)

1.1. The translator must fully understand the The translator must fully understand the sense and meaning of the original, sense and meaning of the original, although he is at liberty to clarify although he is at liberty to clarify obscurities;obscurities;

2.2. The translator should have a perfect The translator should have a perfect knowledge of both SL and TL;knowledge of both SL and TL;

3.3. The translator should avoid ‘word for word’ The translator should avoid ‘word for word’ renderings;renderings;

4.4. The translator should use forms of speech The translator should use forms of speech in common use;in common use;

5.5. The translator should choose and order The translator should choose and order words appropriately to produce the correct words appropriately to produce the correct tone.tone.

Ivarsson and Carroll’s ‘good Ivarsson and Carroll’s ‘good practice’practice’

1. Subtitlers must always work with a copy 1. Subtitlers must always work with a copy of the production, a copy of the dialogue of the production, a copy of the dialogue list and a glossary…list and a glossary…

2. It is the subtitler’s job to spot the 2. It is the subtitler’s job to spot the production and translate and write the production and translate and write the subtitles in the language required.subtitles in the language required.

3. Translation quality must be high with 3. Translation quality must be high with due consideration of all idiomatic and due consideration of all idiomatic and cultural nuances.cultural nuances.

4……….. 25 + 7.4……….. 25 + 7.

so what are subtitles?so what are subtitles?

““an independent stratum midway an independent stratum midway between speech and writing”between speech and writing”KovacicKovacic

or a subcategory of either?or a subcategory of either?

(Answers please)(Answers please)

but now let’s move to… but now let’s move to… MULTIMODAL TEXTSMULTIMODAL TEXTS

““Multimodality refers to the diverse Multimodality refers to the diverse ways in which a number of distinct ways in which a number of distinct semiotic resource systems are both semiotic resource systems are both co-deployed and co-contextualised in co-deployed and co-contextualised in the making of a text-specific the making of a text-specific meaning”.meaning”.

Paul ThibaultPaul Thibault

Column 3: The visual imageColumn 3: The visual image

Application of multimodal Application of multimodal transcription to film translationtranscription to film translation

BYBY- simplifying the descriptions- simplifying the descriptions- doubling up some columns- doubling up some columns

- eliminating other columns- eliminating other columns- adding a translation column- adding a translation column

the MT proved useful in deciding the MT proved useful in deciding translation strategies for subtitling translation strategies for subtitling film.film.

Insert video Insert video CitroenCitroen

VISUAL FRAME VI + kinesic action SOUNDTRACK SUBTITLE

1

Black & white atmosphere Close-up - head bobbing. Eyes lowered -slightly menacing expression; sweating SKY logo

Ba dum Ba dum

2

Head moving sideways. Hair wet from exertion. Concentration. (Could be a …)

idem

3

Sparse boxer’s training room. Light visible in centre. In boxer’s gear. Full back view. Central position. Knees flexing in typical boxer style

Wind-like sound – a little eerie

4

Drumming begins

5

Half back view Muscles. We glimpse a television.

Comment 1Comment 1

Full meaning comes from various Full meaning comes from various sources, both overt and covert -sources, both overt and covert -

gloomy atmosphere;gloomy atmosphere;

sparse facilities;sparse facilities;

evocation of areas such as East evocation of areas such as East End End of London;of London;

air of mystery (what’s it about?)air of mystery (what’s it about?)

6

Horizontal perspective, Side view Crouching in boxer pose. TV clearly relevant.

“The best way to stay outta trouble (cockney accent)

MAX: Il miglior modo… MIN Se non vuoi guai

7

Frontal view. Fighting pose. Word SPADE on shorts – suggests professional boxer.

is to ( wailing type song)

8

Dodging Ducking Fending

avoid it. MAX è di evitare… MIN non cercarli

9

Half hidden

10

Face comes into view with typical towel slung round neck. Citroen website address appears

Comment 2Comment 2

It’s a boxer, doing typical boxer It’s a boxer, doing typical boxer things.things.

Voice – cockney accent! – it is the Voice – cockney accent! – it is the East End of London.East End of London.

Comment 3 - translationComment 3 - translation

MAX subtitles – eg. education purposesMAX subtitles – eg. education purposes

DUBBING – risk of making him eg DUBBING – risk of making him eg NeapolitanNeapolitan

MIN subtitles – give him same ‘tough’, MIN subtitles – give him same ‘tough’, taut talk.taut talk.

11

Typical outfit of boxer – towel & robe. Presumably flanked by his second. Dark atmosphere continues

12

Long shot of another boxer and his team – confrontation situation. Play of dark and light

13

Close-up of battered face – looks ugly.

Be tough Sii duro (più furbo?, più veloce?) Statti accorto

14

Close-up of unblemished face. Good-looking guy.

and keep your looks.

E mantieni la tua bellezza

15

Disdainful stare. This is a winner!

Comment 4Comment 4

These are not intrusive titles and can These are not intrusive titles and can blend in perfectly with the holistic blend in perfectly with the holistic original product.original product.

Comment 5Comment 5

““In definitiva, i sottotitoli dovranno In definitiva, i sottotitoli dovranno risultare parte del film e la loro risultare parte del film e la loro integrazione con l’originale sarà tale che integrazione con l’originale sarà tale che essi diventeranno, pardossalmente, essi diventeranno, pardossalmente, invisibili.”invisibili.”

NironiNironi (Subtitles must be part of the film and (Subtitles must be part of the film and

their integration with the original must be their integration with the original must be such that they become, paradoxically, such that they become, paradoxically, invisible)invisible)

in terms of … good practicein terms of … good practice

Good Practice 26Good Practice 26

The subtitler should be aware that The subtitler should be aware that the translated title forms part of a the translated title forms part of a multimodal whole and seek the best multimodal whole and seek the best way to integrate it with the other way to integrate it with the other semiotic modalities present.semiotic modalities present.

Subtitles – distinguishing featuresSubtitles – distinguishing features

Gottliebian thoughtsGottliebian thoughts

The fact that subtitles are The fact that subtitles are additiveadditive leads us to compute them into our leads us to compute them into our multimodal scheme, and the fact multimodal scheme, and the fact that they are that they are synchronoussynchronous makes makes their function as an integrated their function as an integrated element clear.element clear.

And of course Gottlieb tells us that And of course Gottlieb tells us that they are polymedial.they are polymedial.

Gottlieb in TriesteGottlieb in Trieste

HG laid great emphasis on the HG laid great emphasis on the aesthetic appearance of the titles aesthetic appearance of the titles (clarity, non intrusiveness, perfct (clarity, non intrusiveness, perfct synchronisation, acccessability) as synchronisation, acccessability) as well as their meaning-making role.well as their meaning-making role.

so now in answer to Mario so now in answer to Mario PaolinelliPaolinelli

Comparing the dubbed and subtitled Comparing the dubbed and subtitled versions of the Marx Brothers’ versions of the Marx Brothers’ ‘Animal Crackers’, and considering ‘Animal Crackers’, and considering the following scene, the authors the following scene, the authors criticise the subtitled version…criticise the subtitled version…

Example from ‘Animal Crackers’Example from ‘Animal Crackers’

Ex- pres:Ex- pres: President Wagstaff, now that President Wagstaff, now that you you have stepped into my shoes…have stepped into my shoes…

Wagstaff:Wagstaff: Oh, is that what I stepped in? I Oh, is that what I stepped in? I wondered… If these are your wondered… If these are your

shoes, the least you could shoes, the least you could do was do was have them cleaned.have them cleaned.

(Groucho looks down with a look of (Groucho looks down with a look of disgust)disgust)

SubtitlesSubtitles

Ex- pres:Ex- pres: Ora che lei è nei miei panni…Ora che lei è nei miei panni…

Wagstaff:Wagstaff: Mi chiedevo di chi erano! Poteva Mi chiedevo di chi erano! Poteva farli lavare.farli lavare.

(literal translation)(literal translation)Ex- pres:Ex- pres: Now that you are in my Now that you are in my

clothes…clothes…

Wagstaff:Wagstaff: I wondered whose they were. I wondered whose they were. You You could have had them washed.could have had them washed.

DubbingDubbingEx- pres:Ex- pres: Professor Wagstaff, ora che si è Professor Wagstaff, ora che si è

messo nei miei piedi…messo nei miei piedi…

Wagstaff:Wagstaff: Ah, lì mi sono messo. Ecco da Ah, lì mi sono messo. Ecco da dove esala. Se questi sono i suoi, dove esala. Se questi sono i suoi,

li mandi in lavanderia!li mandi in lavanderia!

(literal translation)(literal translation)Ex- pres:Ex- pres: Now that you have put yourself in Now that you have put yourself in

my my feet…feet…Wagstaff:Wagstaff: Oh, there I put myself. That’s Oh, there I put myself. That’s

where where the smell comes from. If the smell comes from. If these are these are yours,send them to the yours,send them to the laundry.laundry.

Well…Well…

1.1. The dubbed version uses an expression that The dubbed version uses an expression that does not exist in Italian (or English).does not exist in Italian (or English).

2.2. The subtitled version uses the equivalent The subtitled version uses the equivalent colloquial expression in Italian and is nice and colloquial expression in Italian and is nice and succinct.succinct.

3.3. The visual element (Groucho looking down at The visual element (Groucho looking down at his feet and wrinkling his nose) is not his feet and wrinkling his nose) is not misleading.misleading.

4.4. THE WHOLE POINT IS THAT IN A MULTIMODAL THE WHOLE POINT IS THAT IN A MULTIMODAL TEXT THE MEANING COMES FROM ALL SIDES TEXT THE MEANING COMES FROM ALL SIDES AND THESE SUBTITLES FIT IN WELL WITH THE AND THESE SUBTITLES FIT IN WELL WITH THE REST OF THE SEMIOTIC BATTERY.REST OF THE SEMIOTIC BATTERY.

Natural Born KillersNatural Born Killers

The main objection to the subtitling of NBK was that The main objection to the subtitling of NBK was that the translation of the constant background of radio the translation of the constant background of radio and television noise was sacrificed because of the and television noise was sacrificed because of the ‘inevitable’ condensation requirement.‘inevitable’ condensation requirement.

But the meaning conveyed by this component was But the meaning conveyed by this component was the evil influence of irresponsible (American) media the evil influence of irresponsible (American) media and this proved clear from the general context of and this proved clear from the general context of the film, particularly as heard in the original the film, particularly as heard in the original language.language.

This is the beauty of the multimodal This is the beauty of the multimodal text.text.

Shortcomings revisitedShortcomings revisited

regarding the ‘inevitable’ condensationregarding the ‘inevitable’ condensation

all seeming redundancy is eliminated;all seeming redundancy is eliminated;

translation is limited to an translation is limited to an understanding of the plot.understanding of the plot.

The Gottlieb StrategiesThe Gottlieb Strategies

TRANSFERTRANSFEREXPANSION EXPANSION CONDENSATIONCONDENSATIONDECIMATIONDECIMATIONDELETIONDELETIONPARAPHRASEPARAPHRASEIMITATION IMITATION TRANSCRIPTION TRANSCRIPTION DISLOCATIONDISLOCATIONRESIGNATIONRESIGNATION

Caro DiarioCaro Diario

Annalisa Sandrelli subjected Nanni Annalisa Sandrelli subjected Nanni Moretti’s ‘Caro Diario’ to a thorough Moretti’s ‘Caro Diario’ to a thorough Gottliebian investigation by Gottliebian investigation by analysing the English and Spanish analysing the English and Spanish subtitled versions.subtitled versions.

ENGLISHENGLISH No.subtitleNo.subtitless

%%

transfertransfer 661661 66.3%66.3%

condensationcondensation 165165 16.5%16.5%

decimationdecimation 4545 4.5%4.5%

paraphraseparaphrase 3535 3.5%3.5%

deletiondeletion 3535 3.5%3.5%

imitationimitation 3333 3.3%3.3%

transcriptiontranscription 1111 1.1%1.1%

expansionexpansion 99 0.9%0.9%

resignationresignation 33 0.3%0.3%

dislocationdislocation 11 0.1%0.1%

TOTALTOTAL 997997 100%100%

SPANISHSPANISH No. No. subtitlessubtitles

%%

transfertransfer 950950 80.780.7

condensaticondensationon

9696 8.28.2

imitationimitation 4040 3.43.4

decimationdecimation 2727 2.32.3

paraphraseparaphrase 2323 22

transcriptiotranscriptionn

1515 2.32.3

deletiondeletion 1313 1.11.1

expansionexpansion 55 0.40.4

More objectionsMore objections

Paolinelli agrees that subtitlers need Paolinelli agrees that subtitlers need to possess “ottime qualità di analisi to possess “ottime qualità di analisi linguistica” as well as “grande linguistica” as well as “grande familiarità con i meccanismi narrativi familiarità con i meccanismi narrativi cinematografici”, but suggests that cinematografici”, but suggests that few practitioners possess these few practitioners possess these qualities.qualities.

So let’s take a look at some subtitling So let’s take a look at some subtitling from a multimodal point of view. from a multimodal point of view.

Insert video Insert video Ae Fond KissAe Fond Kiss

Ae Fond KissAe Fond Kiss

This multimodal text is pregnant with This multimodal text is pregnant with explicit and covert meaning:explicit and covert meaning:

1.1. The tradition of the school in the The tradition of the school in the private singing lessons cf. rough private singing lessons cf. rough Glasgow background.Glasgow background.

2.2. The enthusiasm of the teacher The enthusiasm of the teacher towards the girl who can’t sing;towards the girl who can’t sing;

3.3. The Scots accents of the (middle The Scots accents of the (middle class) Pakistanis.class) Pakistanis.

Ae Fond Kiss 2Ae Fond Kiss 2

This text cries out for subtitles:This text cries out for subtitles:1 to hear the different accents (Irish, Scots 1 to hear the different accents (Irish, Scots

Scots, Pakistani Scots) - dubbing Scots, Pakistani Scots) - dubbing neutralises this aspect;neutralises this aspect;

2. The words of the song are in any case 2. The words of the song are in any case unintelligible and would be farcical dubbed unintelligible and would be farcical dubbed into another language;into another language;

3. The overlapping chat in the garden (which 3. The overlapping chat in the garden (which gives the scene such texture) does not gives the scene such texture) does not require explicitation – dubbing would have require explicitation – dubbing would have to be selective and would remove this to be selective and would remove this important component completely.important component completely.

Ae Fond Kiss subtitlesAe Fond Kiss subtitles

00:06:54:02 00:06:55:2000:06:54:02 00:06:55:20 Ci sei? Bene.Ci sei? Bene.

00:07:02:22 00:07:09:0100:07:02:22 00:07:09:01 Un tenero bacio,Un tenero bacio, e poi ci separeremoe poi ci separeremo

Subtitles 2Subtitles 200:07:39:16 00:07:41:1800:07:39:16 00:07:41:18

cosi' ti puoi farecosi' ti puoi fare un'idea di come sara'.un'idea di come sara'.

00:07:41:18 00:07:44:1200:07:41:18 00:07:44:12 Okay, aOkay, allllora facciamo una prova!ora facciamo una prova! Aspetta un attimo.Aspetta un attimo.

00:07:44:18 00:07:46:2100:07:44:18 00:07:46:21 - Guarda un po'... Vado?- Guarda un po'... Vado? - Si', certo, vai.- Si', certo, vai.

Ae Fond Kiss - commentaryAe Fond Kiss - commentary

Within the multimodal text the subtitles leaveWithin the multimodal text the subtitles leaveuntouched the other semiotic modalities untouched the other semiotic modalities - the perspective in the various shots;the perspective in the various shots;- the colours in the garden;the colours in the garden;- the gaze vectors of the characters;the gaze vectors of the characters;- the embarrassed body language of the girl;the embarrassed body language of the girl;- the clumsy movement of the father, the clumsy movement of the father, AND PARTICULARLYAND PARTICULARLY- the suprasegmental elements –the accents of the - the suprasegmental elements –the accents of the

characters and the spontaneous nature of the characters and the spontaneous nature of the exchanges.exchanges.

Film LanguageFilm Language

Recalling the lack of interpersonal Recalling the lack of interpersonal markers in subtitles, it must be markers in subtitles, it must be pointed out that film language itself pointed out that film language itself has been shown to be lacking in this has been shown to be lacking in this respect.respect.

Comparison realistic/corpusComparison realistic/corpus

0

1000

2000

3000

4000

5000

realistic corpus

now

well

right

yes

OK

so

From script to screenFrom script to screen

Comparisons between the original Comparisons between the original script of a film and a transcription of script of a film and a transcription of the actual dialogues practically the actual dialogues practically always show discrepancies in favour always show discrepancies in favour of a more spoken language of a more spoken language approach.approach.

Philadelphia scriptPhiladelphia script

CHANDRACHANDRA (O.S.) (O.S.)You want to apply theYou want to apply the foundationfoundation as evenly as you can, as evenly as you can, Andy. YouAndy. You don't want to look like don't want to look like you'veyou've thrown it on with a spoon. thrown it on with a spoon. 

• ANDREWANDREW (O.S.) (O.S.)• Uh huh. Uh huh. CHANDRACHANDRA

• Okay.Okay. You try. You try.

Insert video Insert video PhiladelphiaPhiladelphia

Philadelphia transcriptionPhiladelphia transcription

Chandra:Chandra: Okay, now,Okay, now, you gonna wanna you gonna wanna apply the foundation as evenly apply the foundation as evenly as you can Andy, as you can Andy, okay?okay? ‘Cos you ‘Cos you don’t want to look like you’ve don’t want to look like you’ve thrown it on with a spoon, thrown it on with a spoon, okay? So, okay,okay? So, okay, you try it. you try it.

Philadelphia - dubbingPhiladelphia - dubbing

Il fondotinta va applicato il Il fondotinta va applicato il più uniformemente possibile. più uniformemente possibile. Perché non sembri che te lo sei Perché non sembri che te lo sei spalmato con un cucchiaio.spalmato con un cucchiaio.

neutralisationneutralisation

The risk of neutralising is ever The risk of neutralising is ever present in film translation, but as the present in film translation, but as the example shows, it is as present in example shows, it is as present in dubbing as it is in subtitling. But at dubbing as it is in subtitling. But at least in subtitling the original least in subtitling the original ‘spoken’ language can be heard.‘spoken’ language can be heard.

Furthermore, as Kovacic exhorts, Furthermore, as Kovacic exhorts, there is no reason why subtitles there is no reason why subtitles should not capture elements of should not capture elements of ‘interpersonal’ language use.‘interpersonal’ language use.

An example from TV An example from TV Six Feet UnderSix Feet Under

The American TV programme ‘SIx Feet The American TV programme ‘SIx Feet Under’, set in a funeral home, exploits Under’, set in a funeral home, exploits black humour and taboo language. black humour and taboo language. For the Italian audience both dubbed and For the Italian audience both dubbed and subtitled versions were produced.subtitled versions were produced.A study has shown that reactions to the A study has shown that reactions to the programme were different depending on programme were different depending on the translation mode adopted.the translation mode adopted.(Bucaria, University of Bologna)(Bucaria, University of Bologna)

Six Feet Under 2Six Feet Under 2

Trials were carried out on sample Trials were carried out on sample groups selected according to age, sex, groups selected according to age, sex, education, geographical location, etc.education, geographical location, etc.

As was expected, reactions to the As was expected, reactions to the programme differed between, for programme differed between, for example, old ladies in traditional example, old ladies in traditional country villages and urban student country villages and urban student populations. populations.

Six Feet Under 3Six Feet Under 3

But interestingly the dubbed version But interestingly the dubbed version produced less disapproval among the produced less disapproval among the ‘traditional’ viewers than the subtitled ‘traditional’ viewers than the subtitled version.version.

The reason, it emerged from The reason, it emerged from questionnaires, was that the dubbing questionnaires, was that the dubbing attenuated many of the taboo expressions attenuated many of the taboo expressions and tempered the elements of black (sick) and tempered the elements of black (sick) humour.humour.

Six Feet Under 4Six Feet Under 4

This finding explodes the myth that This finding explodes the myth that written texts tend to neutralise creative written texts tend to neutralise creative spoken language. The ‘return to the spoken language. The ‘return to the written’ can prove a powerful integrating written’ can prove a powerful integrating forceforce

In the case of SFU, the subtitles ADD spice In the case of SFU, the subtitles ADD spice to the show in written form integrating to the show in written form integrating with (1) the verbal force that can be heard with (1) the verbal force that can be heard in voice prosody and (2) the facial in voice prosody and (2) the facial gestures that accompany ribald talk.gestures that accompany ribald talk.

a drawback of dubbinga drawback of dubbing

The most obvious drawback of The most obvious drawback of dubbing, which emerges clearly from dubbing, which emerges clearly from this example, is that it can cheat. this example, is that it can cheat. Particularly in TV productions, the Particularly in TV productions, the dubbed version can stray from the dubbed version can stray from the original way beyond what can be original way beyond what can be accepted as ‘equivalent effect’.accepted as ‘equivalent effect’.

eg. Friendseg. Friends

Impact on studentsImpact on students

In general they favour subtitles, and In general they favour subtitles, and many have attempted to make their many have attempted to make their own subtitled versions of films, own subtitled versions of films, encouraged to use (not always encouraged to use (not always successfully) the strategies they successfully) the strategies they have learned in creating a more have learned in creating a more complete MULTIMODAL TEXT.complete MULTIMODAL TEXT.

An example - OccidentAn example - Occident

The work of a (Rumanian) student who The work of a (Rumanian) student who wished to show the inaccuracy of the wished to show the inaccuracy of the English subtitled version and produce a English subtitled version and produce a more accurate Italian version of her own.more accurate Italian version of her own.She succeeds despite the amateur attempt She succeeds despite the amateur attempt at synchrony.at synchrony.The interesting thing is the text works The interesting thing is the text works even with two sets of titles ‘cluttering up’ even with two sets of titles ‘cluttering up’ the screen.the screen.It is It is anotheranother multimodal text. multimodal text.

Insert video Insert video OccidentOccident

Insert video Insert video The Shining dubbedThe Shining dubbed

InsertInsert video The Shining subtitled video The Shining subtitled

I rest my caseI rest my case..

Thank you very muchThank you very much