Презентация на тему AVT. Audiovisual Translation

and images

media – cinema, television, VHS – in which there

is
a transfer from a source to a target language, which involves some form of
interaction with sound and images.

for the opera and the theatre
subtitling for the deaf

and the hard-of-hearing (SDH)
audio description for the blind and the partially sighted (AD)

a written text, generally on the lower part of

the screen, that endeavours to recount the original dialogue of the speakers, as well as the discursive elements that appear in the image (letters, inserts, graffiti, inscriptions, placards, and the like), and the information that is contained on the soundtrack (songs, voices off).

parameters
methods of projection
distribution format

performed in a foreign language, surtitles are a translation

or summary of the words, which appear on a screen above the stage.
Surtitle образовано с помощью приставки sur (= above — над) и слова title (заголовок, титр), так же как и слово subtitle (субтитр), в котором приставка sub = below (под). К концу 1980-х гг. слово surtitle укоренилось в Англии и стало использоваться как в связи с постановкой пьес на иностранных языках, так и в связи с постановкой опер. В американском варианте surtitle = supertitle .

can be considered their oldest relatives, the first experiments

with intertitles having taken place in the early 20th century. They are also known as ‘title cards’ and can be defined as a piece of filmed, printed text that appears between scenes. They were a mainstay of silent films and consisted of short sentences written against a dark background, usually white on black. Their main functions were to convey character dialogue and descriptive narrative material related to the images. Although communicative in essence, some directors also used them as an artistic and expressive device.
The arrival of the soundtrack largely eliminated their usefulness, and when they are used in contemporary films they tend to be called inserts.

1980s, when it emerged as an attempt to popularize

the Japanese cartoons known as manga and anime.
American and European fans wanted to watch their favourite programmes but were faced with two main problems: on the one hand, the linguistic barrier and on the other, the scant distribution of these series in their respective countries. The alternative option was to subtitle these programmes themselves.

of these programmes and then posted on the Internet

so that anyone who is interested may watch them. This new form of subtitling ‘by fans for fans’ lies at the margins of market imperatives and is far less dogmatic and more creative and individualistic than what has traditionally been done. Some of its defining features are the use of colours to identify speakers, the incorporation of explicative glosses and metalinguistic notes in the subtitles themselves or on the top of the screen, and the use of cumulative subtitles. In fact, some aficionados prefer to use the term subbing, instead of subtitling, in order to emphasize the peculiar nature of the activity.

VERIFICATION
– of master and dialogue list
3.

PRODUCTION
– of a time-coded working copy
4. SPOTTING
– marking the time of the beginning and the end of an utterance
5. RAW TRANSLATION
– the dialogue list is rewritten in TL with no or only minimal reference to lip movements

of the translation, paying attention to the lip movement,

intonation, gestures and mimics 7. CASTING – of the actors, who will perform in the dubbed version 8. RECORDING 9. PRELIMINARY MIX AND EDIT – of the soundtrack 10. FINAL MIX 11. APPROVAL 12. TRANSMISSION – admission to distribution

subtitler – is responsible for the technical task of

deciding the in and out times of the subtitles, and increasingly for creating templates and master titles with relevant annotations for the translators.

charge of the language transfer, should have an excellent

command of the source and the target languages and cultures, and know the intricacies of moving from speech to written texts.

constrain subtitling and are familiar with condensation and reduction

strategies in the target language. Their role is to fit the rough translation into the subtitle lines, searching for shorter synonyms and altering syntactical structures without sacrificing the meaning of the original, although in some cases they might have no knowledge of the source language.

artistic and
technical exercise which consciously erases the original dialogue

track and substitutes it for another track in which target language (TL) dialogue exchanges are
recorded. Contrary to voice-over, for example, emphasis is placed on matching the translation with the soundless mouths of original actors. The result is that
viewers watch and hear foreign actors speaking in their own domestic language, a paradox which has been naturally accepted in all dubbing countries.

of reality

articulatory and body movements of the screen actors, as

well as matching the utterances and pauses
In the translation with those of the ST.

adapting the translation to the articulatory movements of the

on-screen characters, especially in close-ups and big or extreme close-ups.

making the meaning of kinesic signs explicit, either because

understanding them is essential (a functional need),or because missing them would result in waking up from the cinematographic dream consciously agreed between the film and the viewer.
Sometimes, kinesic signs are accompanied by (redundant) words which make their meaning explicit. Some other times they appear alone, with no spoken word, caption, sound or some other icon that explains them.

kinds of synchronisation: isochrony and lip-sync proper. In dubbing,

isochrony means equal duration of utterances, i.e. the translated dialogue must fit exactly in the time between the instant screen actors open their mouth – to utter the ST dialogue exchanges – and the instant in which they close their mouth.