Keywords
film translation
dubbing
relations between words and image
How to Cite
Abstract
The audiovisual text constitutes an inherent and obvious whole, the components of which, being linked to each other and entering into different types of relations and interactions, contribute to the construction of its meaning. This article presents a study of cases where visual information influences decisions made by the translator and ultimately sometimes changes the translation of dubbed dialogues. In the analysis, the following examples are distinguished:
– those in which, under the influence of the image, the translator modifies the source text (compared to the original version) by adapting it to the visual contents of the audiovisual document, or by adding information to the target text;
– one in which, under the influence of the image, both the author of the original version and the translator modify one of the elements of a given idiomatic expression.
In this regard, contemporary computer-animated films (such as « Shrek 2 », « Madagascar » and « Monsters, Inc. »), aimed at all types of audiences and translated for dubbing, where the visual component plays a prominent role, represent interesting cases.
References
Amzallag, Y. (2010). Dans les coulisses de la transparence : Circuit. Le doublage, l’art de l’illusion, 107, 3.
Boillat, A., Cordonier, L. (2013). La traduction audiovisuelle : contraintes (et) pratiques – Entretien avec Isabelle Audinot et Sylvestre Meininger. Décadrages. Cinéma, à travers champs. Le doublage, 23-24. Disponible sur : https://doi.org/10.4000/decadrages.695. DOI : 10.40000/decadrages.695.
Borowczyk, P. (2008). Les techniques adaptatrices utilisées par les traducteurs audiovisuels dans les versions doublées (française, polonaise et allemande) du film américain Shrek. In J. Lis, T. Tomaszkiewicz (eds.), Francophonie et interculturalité (pp. 13-22). Łask : Oficyna Wydawnicza LEKSEM.
Brisset, F. (2018). L’auteur de doublage, adaptateur du texte filmique : un traducteur-dialoguiste au service de la multimodalité. Studia Romanica Posnaniensia, 45/4, 23-45.
Brisset, F. (2017). Le doublage, à la frontière entre traduction et adaptation ? TranscUlturAl, 9.2. Disponible sur https://journals.library.ualberta.ca/tc/index.php/TC/article/view/29339/21424.
Chaume, F. (2012). Audiovisual Translation : Dubbing. Manchester, UK & Kinderhook (NY), USA : St. Jerome Publishing.
Ducrot, O., Schaeffer, J.-M. (1995). Nouveau dictionnaire encyclopédique des sciences du langage. Paris : Éditions du Seuil.
Guidère, M. (2010). Introduction à la traductologie. Penser la traduction : hier, aujourd’hui, demain. Bruxelles : De Boeck.
Joly, M. (2004). Introduction à l’analyse de l’image. Paris : Nathan/Sejer.
Lambert, J. & Delabastita, D. (1996). La traduction de textes audiovisuels : modes et enjeux culturels. In Y. Gambier (ed.), Les transferts linguistiques dans les médias audiovisuels (pp. 33-58). Villeneuve d’Ascq (Nord) : Presses Universitaires du Septentrion.
Le Nouvel, T. (2007). Le doublage. Paris : Eyrolles.
Nord, Ch. (2008). La traduction : une activité ciblée. Introduction aux approches fonctionnalistes. Arras : Artois Presses Université.
Paquin, R. (2010). Le doublage synchrone ou entendre ce qu’on voit : Circuit. Le doublage, l’art de l’illusion, 107, 6-7.
Pettit, Z. (2008). Le sous-titrage: le rôle de l’image dans la traduction d’un texte multimodal. In J.-M. Lavaur, A. Şerban (eds.), La traduction audiovisuelle. Approche interdisciplinaire du sous-titrage (pp. 101-111). Bruxelles : De Boeck.
Plewa, E. (2015). Układy translacji audiowizualnych. In S. Grucza (ed.), Studia Naukowe 28. Warszawa : Wydawnictwo Naukowe Instytutu Komunikacji Specjalistycznej i Interkulturowej.
Sikora, I. (2013). Dubbing filmów animowanych. Strategie translatorskie w polskim dubbingu anglojęzycznych filmów animowanych. Nysa : Oficyna Wydawnicza PWSZ.
Tomaszkiewicz, T. (1999). Texte et image dans les communications aux masses. Poznań : Wydawnictwo Naukowe UAM.
FILMOGRAPHIE
Anderson, D.K. (prod.) & Docter, P., Unkrich, L., Silverman, D. (dir.) (2001). Monsters, Inc. USA : Pixar Animation Studios.
Lipman, D., Williams, J.H., Warner, A. (prod.).& Adamson, A., Vernon, C., Asbury, K. (dir.) (2004). Shrek 2. USA : DreamWorks.
Soria, M., Cheng, T. (prod.) & Darnell, E., McGrath, T. (dir.) (2005). Madagascar. USA : DreamWorks
License
Copyright (c) 2021 Paulina Borowczyk
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
- The Author hereby warrants that he/she is the owner of all the copyright and other intellectual property rights in the Work and that, within the scope of the present Agreement, the paper does not infringe the legal rights of another person.The owner of the copyright work also warrants that he/she is the sole and original creator thereof and that is not bound by any legal constraints in regard to the use or sale of the work.
- The Author grants the Purchaser non-exclusive and free of charge license to unlimited use worldwide over an unspecified period of time in the following areas of exploitation:
2.1. production of multiple copies of the Work produced according to the specific application of a given technology, including printing, reproduction of graphics through mechanical or electrical means (reprography) and digital technology;
2.2. marketing authorisation, loan or lease of the original or copies thereof;
2.3. public performance, public performance in the broadcast, video screening, media enhancements as well as broadcasting and rebroadcasting, made available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them;
2.4. inclusion of the Work into a collective work (i.e. with a number of contributions);
2.5. inclusion of the Work in the electronic version to be offered on an electronic platform, or any other conceivable introduction of the Work in its electronic version to the Internet;
2.6. dissemination of electronic versions of the Work in its electronic version online, in a collective work or independently;
2.7. making the Work in the electronic version available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, in particular by making it accessible via the Internet, Intranet, Extranet;
2.8. making the Work available according to appropriate license pattern Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) as well as another language version of this license or any later version published by Creative Commons. - The Author grants the Adam Mickiewicz University in Poznan permission to:
3.1. reproduce a single copy (print or download) and royalty-free use and disposal of rights to compilations of the Work and these compilations.
3.2. send metadata files related to the Work, including to commercial and non-commercial journal-indexing databases. - The Author declares that, on the basis of the license granted in the present Agreement, the Purchaser is entitled and obliged to allow third parties to obtain further licenses (sublicenses) to the Work and to other materials, including derivatives thereof or compilations made based on or including the Work, whereas the provisions of such sub-licenses will be the same as with the attributed license pattern Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)or another language version of this license, or any later version of this license published by Creative Commons. Thereby, the Author entitles all interested parties to use the work, for non-commercial purposes only, under the following conditions:
4.1. acknowledgment of authorship, i.e. observing the obligation to provide, along with the distributed work, information about the author, title, source (link to the original Work, DOI) and of the license itself.
4.2. the derivatives of the Work are subject to the same conditions, i.e. they may be published only based on a licence which would be identical to the one granting access to the original Work. - The University of Adam Mickiewicz in Poznań is obliged to
5.1. make the Work available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, without any technological constraints;
5.2. appropriately inform members of the public to whom the Work is to be made available about sublicenses in such a way as to ensure that all parties are properly informed (appropriate informing messages).
Other provisions
- The University of Adam Mickiewicz in Poznań hereby preserves the copyright to the journal as a whole (layout/stylesheet, graphics, cover design, logo etc.)