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Journal articles on the topic 'Dubbing movies'
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ROUSSINOVA, ELENA Anatol'evna. "About dubbing foreign ilms." Journal of Flm Arts and Film Studies 1, no. 1 (November 15, 2009): 134–42. http://dx.doi.org/10.17816/vgik11134-142.
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In overwhelming majority of cases the most part of distributed foreign movies are dubbed for Russian Federation. However the audience has the expirience of watching dubbed screen versions, while professionals and small part of cinema-goes criticize the quality of dubbing for modern foreign movies. One of the negative reason is baneful influence, destruction of director idea and crippling the film. The aim of dubbing companies is searching for the shit of meaning from one cultural language to another, i.e. realization of the process at intercultural level. By now this phenomenon has been used for leading the consciousness of audience
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Wissmath, Bartholomäus, David Weibel, and Rudolf Groner. "Dubbing or Subtitling?" Journal of Media Psychology 21, no. 3 (January 2009): 114–25. http://dx.doi.org/10.1027/1864-1105.21.3.114.
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Dubbing and subtitling are the two most common methods of translating television broadcasts or movies. Both dubbing and subtitling may present specific advantages and disadvantages. In this study, the effects of these two methods on presence, transportation, flow, and enjoyment were investigated in an experimental approach. Participants (N = 154) watched a 30-min segment of a movie. Between-subject factors were translation method (dubbing without subtitles, dubbing with subtitles in a foreign language, and original language with subtitles) and genre (drama, comedy, and thriller). Findings indicate that subtitles in a foreign language decrease feelings of spatial presence, transportation, and flow. However, the difference between dubbing and subtitling failed to reach significance. No effect of translation method on enjoyment was found. The pattern of results is equal for all genres. Further analyses showed spatial presence, transportation, and flow to be related. In addition, transportation is more strongly related to enjoyment than flow and spatial presence.
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Ross, Nigel J. "Dubbing American in Italy." English Today 11, no. 1 (January 1995): 45–48. http://dx.doi.org/10.1017/s0266078400008087.
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Ameri, Saeed, and Masood Khoshsaligheh. "Exploring the Attitudes and Expectations of Iranian Audiences in Terms of Professional Dubbing into Persian." HERMES - Journal of Language and Communication in Business, no. 57 (June 11, 2018): 175. http://dx.doi.org/10.7146/hjlcb.v0i57.106206.
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For more than seven decades, dubbing has been the dominant professional modality for overcoming language barriers in foreign movies and TV series in Iran and has been revered as a national art. Although limited, some recent work has explored Persian dubbing reception and to continue this endeavor, this study attempts to offer further insights into how the Iranian viewers perceive dubbing, translation for dubbing and what they expect from dubbing. More precisely, the study aims at examining how the Iranian audiences view dubbing and particularly its agents and translation. To these ends, a questionnaire including open and closed items was designed. The overall results revealed that translation quality was considered considerably less important than the technical issues related to the dubbing production, such as voice-acting and synchronization. The findings also suggested that the performance of dubbing actors and dubbing directors was regarded more important than the contribution of translators. Overall, these findings seemed to indicate that the Iranian viewers’ appreciation of a dubbed program is mainly guided by non-translation issues including the performance of the dubbing actors and the accuracy of the relevant synchronizations.
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Park, Ju-Yeoun, Hyung-Deok Shin, and Kyoung-Min Kwon. "Effect of Dubbing on the Ticket Power of Animation Movies." Journal of the Korea Academia-Industrial cooperation Society 15, no. 10 (October 31, 2014): 5988–94. http://dx.doi.org/10.5762/kais.2014.15.10.5988.
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Haji Ibrahim, Majdi, and Fudzla Suraiyya Abdul Raup. "الإضافة والحذف في دبلجة مسلسل الرسوم المتحركة (أوبين وإيبين) من الملايوية إلى العربية[ADDITION AND OMISSION IN THE DUBBING OF ANIMATED SERIES (UPIN DAN IPIN) FROM MALAY TO ARABIC]." Journal of Nusantara Studies (JONUS) 3, no. 1 (June 27, 2018): 127. http://dx.doi.org/10.24200/jonus.vol3iss1pp127-142.
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This paper demonstrates the concept of dubbing in translating movies. Dubbing basically is to substitute the original language used in a movie for another language by imitating the original voice. Dubbing is truly significant as it can overcome the language barrier. It also helps the audience who cannot understand the original language to enjoy the movie. Dubbing relies on the concept of timing synchronization as the translated dialogue has to be fully synchronized with lip movements of the original actors; in which dubbers must start and finish their dialogues within the time frame taken by the original actors. Employing comparative and analytical methods, this study examined the dubbing of animated series (Upin dan Ipin) from Malay to Arabic. It aims to compare the original dialogue and its translation in order to explain addition and omission approaches in the dubbing process. The findings reveal that addition and omission approaches are frequently used in the dubbing. To produce a high quality dubbing which exactly looks like the original, the translators have no option but to apply addition and omission approaches in order to explain difficult phrases and omit what cannot be translated.Keywords: Dubbing, translation, addition and omission, animation, animated series Upin dan IpinCite as: Haji Ibrahim, M. & Abdul Raup, F.S. (2018). Addition and omission in the dubbing of animated series (Upin dan Ipin) from Malay to Arabic. Journal of Nusantara Studies, 3(1), 127-142. http://dx.doi.org/10.24200/jonus.vol3iss1pp127-142الملخصيهدف البحث إلى بيان مفهوم دبلجة الأفلام السينمائية التي يقصد منها تغيير لغة الفيلم إلى لغة أُخرى بطريقة تحاكي الأصوات الأصلية، وتكمن أهمية الدبلجة في أنها تستطيع كسر حاجز إعاقة اللغة لفهم الأفلام الأجنبية، وتمكين المشاهد الذي لا يعرف لغة الفيلم من متعة متابعته والانفعال مع أحداثه. وتقوم الدبلجة على مبدأ التزامن وتناسُب النص والحوار المترجم مع حركة أفواه الممثِّلين، إذ لا بُدَّ أن يبدأ المدبلج كلامه وينهيه في التوقيت الذي يبدأ الممثل الأصلي كلامه وينهيه. ويأتي هذا البحث بالاستعانة بالمنهج التحليلي المقارن لدراسة مسلسل الرسوم المتحركة (أوبين وإيبين) المدبلج من الملايوية إلى العربية، ومقارنة النسخة المدبلجة بالنسخة الملايوية الأصلية لتأصيل أهم مبادئ الدبلجة، وبيان أوجه الحذف والإضافة في الترجمة المدبلجة. وتوصلت الدراسة إلى أن ظاهرة الإضافة والحذف ظاهرة طبيعية لا تكاد يخلو فيلم مبدلج منها، ففي سبيل الحصول على نسخة مدبلجة متقنة الصنع تبدو وكأنها أصيلة وليست مترجمة، تلجأ الدبلجة في كثير من الأحيان إلى الإضافة والحذف، فتشرح العبارات الغريبة، وتحذف ما لا يُمكن ترجمته.الكلمات المفتاحية: الدبلجة، الترجمة، الإضافة والحذف، الرسوم المتحركة، مسلسل أوبين وإيبين.
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Qiang, Niu, Teng Hai, and Martin Wolff. "China EFL: Teaching with movies." English Today 23, no. 2 (April 2007): 39–46. http://dx.doi.org/10.1017/s0266078407002076.
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ABSTRACTSome observations on using motion pictures to teach Business English. THE USE of motion pictures or other captioned films as part of teaching English as a foreign language has markedly increased in recent years in China. Because of this, we undertook a four-year experiment to determine how effective the use of English-language movies has been in the teaching of business. From this experiment it became clear that a cavalier use of movies in effect misused them. The appropriate and effective use of motion pictures requires a range of elements: (1) movies that are at one and the same time educational, informative, and entertaining; (2) a workbook linked to such movies that enables students to get ready beforehand; (3) most importantly, a range of classroom activities to induce and elicit timely and optimal output from the students, so as to make talking and writing about communication easier and more effective. Activities such as dubbing, story retelling, acting, discussing, debating, and role playing are only a few of the effective techniques a teacher can employ to engage the students.
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Huber, Loreta, and Airidas Kairys. "Culture Specific Items in Audiovisual Translation: Issues of Synchrony and Cultural Equivalence in the Lithuanian Dub of “Shrek the Third”." Studies about Languages 1, no. 38 (July 13, 2021): 5–16. http://dx.doi.org/10.5755/j01.sal.1.38.24743.
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Audiovisual translation encompasses a number of dissimilar areas. To quote Frederic Valera Chaume, AVT “covers both well-established and new ground-breaking linguistic and semiotic transfers like dubbing, subtitling, surtitling, respeaking, audiosubtitling, voice-over, simultaneous interpreting at film festivals, free-commentary and goblin translation, subtitling for the deaf and the hard of hearing, audiodescription, fansubbing and fandubbing” (2013, p. 105). This paper analyses the importance of culture-specific elements in audiovisual products and strategies of their transfer to the target culture. Practical investigation is based on a case study of an animated film “Shrek the Third” and its Lithuanian dub. The choice for the case study was determined by the fact that the history of dubbing animated movies in independent Lithuania started with “Shrek,” the first Hollywood film dubbed into Lithuanian, which has achieved unprecedented success and become an example for further dub localizations. The aim of the research was to determine the relationship between types of synchrony that should be maintained in dubbing and culture-specific items that should be localized in the target text. The study is complemented with a research survey that questions the importance of different types of synchronies in translation. As there is no consensus about the importance of lip synchrony in dubbing, and some scholars (Doane, 1980; Chaume, 2012) claim that it plays a dominant role in dubbing, whereas others (Herbst, 1994; Jüngst, 2010) declare its overestimation, the survey research attempts to answer this debatable question.
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Khakshour Forutan, Moein, and Ghasem Modarresi. "Translation of Cultural Taboos in Hollywood Movies in Professional Dubbing and Non-professional Subtitling." Journal of Intercultural Communication Research 47, no. 6 (June 12, 2018): 454–73. http://dx.doi.org/10.1080/17475759.2018.1480516.
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Imre, Attila. "Rendering Science Fiction, Culture, and Language While Translating Ready Player One." Acta Universitatis Sapientiae, Philologica 12, no. 3 (November 1, 2020): 70–87. http://dx.doi.org/10.2478/ausp-2020-0024.
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AbstractThe amazing science fiction setting and plot depicted by Ernest Cline in his Ready Player One may constitute a real challenge to translators and subtitlers alike as his book was also turned into a movie by Steven Spielberg. We have collected hundreds of terms from the original book (2011), its Hungarian translation (2012), the Hungarian dubbed version (March 2018), the most popular Hungarian fansub (2018), and the professional subtitle (July 2018, from the same person who translated the script for the dubbing). Having classified the collected terms into various categories, we have managed to identify successful Hungarian renditions of cultural allusions from the 1980s (movies, books, videogames, shows, songs, characters, objects, vehicles, etc.).
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Abramska, Magdalena. "Z zagadnień przekładu audiowizualnego: tłumaczenie piosenek w pełnometrażowych filmach animowanych na przykładzie polskiego i rosyjskiego dubbingu do Sing." Acta Polono-Ruthenica 1, no. XXIII (October 9, 2018): 95–102. http://dx.doi.org/10.31648/apr.1513.
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The article focuses on the problem of translating songs in animated movies. Using Russian and Polish dubbing as examples, the following issues will be discussed: the place and role of the song, the translation strategy adopted, and the consequences and possible impact on reception of the translation strategy. An excellent example that will allow the problem to be fully discussed is Sing the latest animation from the Illumination Entertainment studio – a 2016 American 3D computer-animated comedy.
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Samusenko, Oksana. "ANIMATED MOVIES IN TEACHING FOREIGN LANGUAGES." Research Bulletin Series Philological Sciences 1, no. 193 (April 2021): 432–39. http://dx.doi.org/10.36550/2522-4077-2021-1-193-432-439.
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This paper deals with the methodology of teaching foreign languages, in particular Russian as a foreign one. The article presents an analysis of animated movies as one of the ways to motivate students to increase their speech activity and to form their communicative competence. The author learns an animation as an educational material in foreign languages teaching practice. As well the paper focuses on a linguo-methodological potential of animation and on variants of motivational exercises based on the animated movies material. The animated movies value in foreign languages teaching practice lies in the fact that the material is authentic and not made for educational goals initially; combines visual and auditory information; is a source for familiarity with culturally specific vocabulary; provides a wide range of opportunities for mastering grammatical constructions, different intentions and communicative strategies; develops listening and speaking, as well as reading and writing skills through the use of motivational exercises. Effectiveness of using such animated materials in teaching foreign languages and achievement of learning results, first of all, depends on coherent compliance of the principles selection. The main requirements are conformity of the proposed material to the level of language proficiency, a possibility to develop communicative skills, socio-cultural context. Precedence, ethical value and humorous component of a text are important as well. Based on the material of animations the author suggests such motivational tasks: predicting from a name or a picture, animated movie dubbing, staging of separate episodes, imagining life of characters, interviewing characters, retelling on behalf of each character, story-telling based on the pictures or screenshots of the animated movies, creating memes, blogging on behalf of a character, making a local map and giving a tour, making a quote book, quest based on an animated movie, various discussions and other role plays.
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Srinivas, S. V., V. H. C. V. Megha Shyam, Raghav Nanduri, Vasundhara Singhal, and Vishnu Dath R. "From Single Screen to YouTube: Tracking the Regional Blockbuster." BioScope: South Asian Screen Studies 9, no. 2 (December 2018): 233–50. http://dx.doi.org/10.1177/0974927619841205.
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Recent developments related to production, distribution and viewing of movies point to the need for research projects that examine multiples sites and formats simultaneously. This article outlines an ongoing project whose primary objective is to track the migration of movies across geographical spaces as well as screens. Our starting point—the pretext rather—is the ‘regional blockbuster’ that is the name we have given to big budget productions made by Chennai- and Hyderabad-based film industries. The regional blockbuster, being an all-India form that circulates in multiple language versions, offers opportunities for comparisons across regions in India and also between theatrical and other spaces of movie consumption. In the current phase, the focus of our project is the transformation of single screen cinema halls on the one hand and dubbing on the other. These, we suggest are among the necessary conditions for the emergence of the blockbuster. We present here the initial findings of fieldwork carried out by us simultaneously in Kerala, Andhra Pradesh, Telangana and Delhi.
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Sepielak, Katarzyna, and Anna Matamala. "Synchrony in the voice-over of Polish fiction genres." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 2 (December 31, 2014): 145–63. http://dx.doi.org/10.1075/babel.60.2.02sep.
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The increasing popularity of audiovisual translation in recent years has contributed to a better understanding of the audiovisual world. Nevertheless, some modalities such as voice-over have not received thorough attention. In Poland, where voice-over is the prevailing audiovisual, one voice talent reads out the entire dialogue list in a monotonous way. The translated version is subject to time and space restrictions, and both the original and the translated soundtracks are audible at the same time, making it interesting to analyze a key aspect of voice-over: the process of synchronization. Departing from a categorization which originated within the field of dubbing, and which was later extended and applied to the voice-over of non-fictional products by Franco, Matamala and Orero, this article aims to assess whether voice-over isochrony, literal synchrony, kinetic synchrony and action synchrony are maintained in the voice-over of fiction genres in Poland, and if so, what strategies are used to achieve this. The corpus is made up of four 15-minutes samples from movies belonging to four different genres: a comedy (Whatever Works, directed by Woody Allen 2009), a drama (Marvin’s Room, directed by Jerry Zaks 1996), an action movie (Spy Game, directed by Tony Scott 2001), and a musical (Nine, directed by Rob Marshall 2009). The study highlights the specificities of synchrony in fictional movies and opens the door for future research into this previously underestimated audiovisual transfer mode.
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Tade, Oludayo, and Okoro Paul Mmahi. "Movie Piracy Networks at Alaba International Market, Lagos, Nigeria." International Journal of Offender Therapy and Comparative Criminology 62, no. 1 (February 15, 2017): 274–85. http://dx.doi.org/10.1177/0306624x17692208.
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This study examined the veiled chain of film piracy, a major crime in the Nigeria entertainment industry. Studies on film piracy in Nigeria have focused on its economic implications, both on the copyright owners and on the Nigerian economy. The organization of the activities of the film pirates has, however, been neglected. Narratives were extracted through in-depth interviews with pirates, “marketers,” and “producers.” Data indicated that pirates were insiders in the film marketing industry and included importers of foreign movies, registered and nonregistered retailers of Nigerian films, as well as marketers appointed by copyright owners to distribute their films. With the connivance of sales girls working with the copyright owners and dubbing companies, original copies of films (white face) are “procured.” Pirates distributed pirated copies, also secretly known as “green face,” without issuing receipts or putting the logo of the company on it. For security reasons, pirated films are sold only to buyers introduced by a member in the piracy network. Efforts aimed at fighting piracy must take into account this veiled network to effectively combat intellectual theft via aggressive ban on the public sale of such products.
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Des Rochers, Arianne. "Lorsque la traduction sert de frontière entre deux cultures : une analyse traductologique de la voix-over dans la version anglaise de Léolo." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (March 25, 2014): 181. http://dx.doi.org/10.21992/t90s53.
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La traduction de films peut en dire long sur les relations entre deux cultures, ce qui en fait un sujet d'étude des plus fascinants. En tant qu'espace de pratique discursive, les films et autres produits audiovisuels et leur traduction jouent effectivement un rôle important dans l'articulation de concepts culturels, comme, par exemple, la féminité, la masculinité et l'altérité (Díaz Cintas 281). Un cas de figure intéressant en traduction audiovisuelle est le film québécois Léolo, qui constitue l'un des rares exemples où un produit cinématographique est adapté vers l'anglais - donc, d'une communauté périphérique vers une culture dominante. Cet article analyse le rôle de la voix-over dans Léolo et son doublage en version anglaise et propose une interprétation idéologique de l'adaptation en tenant compte de son contexte sociopolitique.
La notion de voix-over telle que conceptualisée en études cinématographiques ainsi que quelques précisions terminologiques sur cette même notion en traductologie mènent ainsi à une analyse idéologique et culturelle de l'accent en traduction audiovisuelle. Cet article suggère que la traduction, au lieu de construire des ponts entre les cultures, sert parfois de frontière entre celles-ci. En effet, un contexte sociopolitique donné a d'importants impacts, directs ou indirects, sur les choix et stratégies de traduction de produits culturels. Dans le cas précis de Léolo, cet article conclue que la traduction joue un rôle dans la construction d'identités distinctes et dans la formation d'une frontière entre ces dernières.
Translated movies can say a lot about the relationships between two cultures, which makes audiovisual translation a fascinating area of research in Translation Studies. As Jorge Díaz Cintas puts it, «[a]s a site of discursive practice, audiovisual media and its translation play a special role in the articulation of cultural concepts such as femeninity, masculinity and Otherness, among others.» (Díaz Cintas 281) One interesting case study is the movie Léolo, from Québec, which is one of the few movies that was translated into English - that is, from a peripheral community to a dominant culture. This paper analyses the role of voice-over in Léolo as well as its dubbing in English, and suggests an ideological interpretation of its adaptation, considering its sociopolitical context.
The notion of voice-over, as studied in Film Studies, as well as some clarification about the terminological vagueness surrounding that same notion in Translation Studies bring us to a cultural and ideological analysis of the accent in audiovisual translation. This article argues that instead of building bridges between cultures, translation can sometimes serve as a boundary between them. A given sociopolitical context certainly has important repercussions, direct or indirect, on the choices and decisions made in the process of translating cultural products such as movies. In the case of Léolo, this paper highlights the role of translation in the articulation of separate identities and in the construction of a boundary between them.
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Chaume, Frederic. "The turn of audiovisual translation." Translation Spaces 2 (November 15, 2013): 105–23. http://dx.doi.org/10.1075/ts.2.06cha.
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Audiovisual translation is an academic term that covers both well-established and new ground-breaking linguistic and semiotic transfers like dubbing, subtitling, surtitling, respeaking, audiosubtitling, voice-over, simultaneous interpreting at film festivals, free-commentary and goblin translation, subtitling for the deaf and the hard of hearing, audiodescription, fansubbing and fandubbing. This article presents a classification of audiovisual translation modes or types, and discusses some interesting developments in the audiovisual translation market at the beginning of this new century. Dubbing countries are moving towards subtitling, subtitling countries are beginning to dub, voice-over countries are shifting towards dubbing and subtitling, while voice-over is moving into dubbing and subtitling countries and gaining ground with younger audiences.
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Anggororeni, Pramesty, Riyadi Santosa, and Tri Wiratno. "ANALISIS TERJEMAHAN MAKNA INTERPERSONAL DALAM DUBBING FILM THOMAS AND FRIENDS: BLUE MOUNTAIN MYSTERY." LINGUA: Journal of Language, Literature and Teaching 15, no. 1 (February 27, 2018): 7. http://dx.doi.org/10.30957/lingua.v15i1.419.
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This reasearch aims to describe translation qualities of proposal clause, explain the effect of translation techniques to the translation qualities and the impact of proposal translations to the children as target viewer on dubbing interpersonal-transacsional: proposal “Thomas and Friends: Blue Mountain Mystery” the movie. This descriptive-qualitative research applies purposive sampling techniques. The main resource is dubbing “Thomas and Friends: Blue Mountain Mystery” the movie and its indonesian version. Data were collected using: (1) document analysis to obtain the clause of interpersonal-transacsional: proposal, (2) questionnaire and interview to obtain translation quality data which covers accuracy, acceptability and readability. The result of the study shows that movie dubbing used narrative genre and its text structure is devided into orientation, complication and resolution. Each structure consists of declarative clause, interogative and imperative. The translation shifts occured in the forms of declarative clause and imperative clause. The shift types are in the clause type, proposal meaning or social function, and in both clause type and meaning.
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Anggororeni, Pramesty, Riyadi Santosa, and Tri Wiratno. "ANALISIS TERJEMAHAN MAKNA INTERPERSONAL DALAM DUBBING FILM THOMAS AND FRIENDS: BLUE MOUNTAIN MYSTERY." LINGUA: Journal of Language, Literature and Teaching 15, no. 1 (March 21, 2018): 7. http://dx.doi.org/10.30957/lingua.v15i1.426.
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This reasearch aims to describe translation qualities of proposal clause, explain the effect of translation techniques to the translation qualities and the impact of proposal translations to the children as target viewer on dubbing interpersonal-transacsional: proposal “Thomas and Friends: Blue Mountain Mystery” the movie. This descriptive-qualitative research applies purposive sampling techniques. The main resource is dubbing “Thomas and Friends: Blue Mountain Mystery” the movie and its indonesian version. Data were collected using: (1) document analysis to obtain the clause of interpersonal-transacsional: proposal, (2) questionnaire and interview to obtain translation quality data which covers accuracy, acceptability and readability. The result of the study shows that movie dubbing used narrative genre and its text structure is devided into orientation, complication and resolution. Each structure consists of declarative clause, interogative and imperative. The translation shifts occured in the forms of declarative clause and imperative clause. The shift types are in the clause type, proposal meaning or social function, and in both clause type and meaning.
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Supardi, Moh, and Dea Amanda Putri. "Audio-Visual Translation Techniques: Subtitling and Dubbing of Movie Soundtrack in Frozen: Let it Go." Buletin Al-Turas 24, no. 2 (October 30, 2018): 399–414. http://dx.doi.org/10.15408/bat.v24i2.8621.
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This article is aimed at finding out the technique of subtitle and dubbing translation in OST Frozen: Let it Go. The article analyzes the lyrics of the song as the corpus. The data are analyzed qualitatively by using the subtitle translation techniques. The data collection is conducted through reading source language and target language, selecting and comparing the translation techniques done by the translator/dubber, marking, classifying and analyzing them based on the theories of translation technique proposed by Molina and Albir. The result shows that subtitle techniques done by the translator consist of eleven techniques. Based on the analysis of translation process translated from the lyrics into the subtitled version, the translator seems to use most of the technique. While the dubber only uses nine techniques in translating the lyrics into the dubbed version. In general, the translator’s technique applied in the subtitled version is mostly literal translation; While the dubbed version’s most common techniques are modulation and reduction.---Artikel ini bertujuan untuk mengetahui tentang teknik penerjemahan subtitle dan dubbing dalam OST Frozen: Let It Go sebagai korpusnya. Data dianalisis secara kualitatif dengan menggunakan teknik terjemahan subtitle. Pengumpulan data dilakukan melalui proses membaca bahasa sumber dan bahasa target, memilih dan membandingkan teknik penerjemahan yang dilakukan oleh penerjemah / dubber, menandai, mengklasifikasi dan menganalisisnya berdasarkan teknik penerjemahan yang diajukan oleh Molina dan Albir. Hasilnya menunjukkan bahwa teknik subtitle yang dilakukan oleh penerjemah terdiri dari sebelas teknik. Berdasarkan analisis proses terjemahan yang diterjemahkan dari lirik ke dalam versi subtitle, penerjemah tampaknya menggunakan sebagian besar teknik. Sedangkan dubber hanya menggunakan sembilan teknik dalam menerjemahkan lirik ke dalam versi yang dijuluki. Secara umum, teknik penerjemah yang diterapkan dalam versi subtitle sebagian besar adalah terjemahan harfiah; Sementara teknik yang paling umum dijuluki versi adalah modulasi dan reduksi.
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Bagheri, Marzieh, and Azadeh Nemati. "On the Translation Strategies of Movie Dubbing and Subtitling: A Frequency Analysison Explicitation in Translation." Linguistics and Literature Studies 2, no. 3 (March 2014): 86–91. http://dx.doi.org/10.13189/lls.2014.020303.
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Krämer, Mathias, and Eva Duran Eppler. "The Deliberate Non-Subtitling of L3s in Breaking Bad: A Reception Study." Meta 63, no. 2 (December 18, 2018): 365–91. http://dx.doi.org/10.7202/1055144ar.
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This paper presents the results of the first empirical reception study on the deliberate non-subtitling of L3s in the multilingual TV series Breaking Bad. Multilingual films and TV series are on the increase both in terms of success and penetrating wider audiences in a global market. This puts the focus on how multilingualism is conveyed to the audience and how audiences respond to it. While the translation strategies used in multilingual productions have received some attention, audiences’ reactions to them have only been investigated through an analysis of comments posted on an online movie message board. This study presents the results of a survey on the perception of and response to non-translation of L3 segments in a multilingual prestige TV series among hearing viewers. It shows that audiences are not only acutely aware of deliberate non-translation but also actively seek to identify motivations for it, which are context-sensitive and largely coincide with the filmmakers’ motivations for this practice. On the translation-theoretical side, this paper suggests that Corrius and Zabalbeascoa’s (2011) framework for the translation of L3s in dubbing would benefit from a supplement for other translation modes. On the applied side, the findings of this empirical reception study can inform agents in the international film and TV industry about audiences’ viewing preferences and potentially change AVT practices.
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Regar, Ahmad Rokhi. "MOTION GRAPHIC ADVERTISING FOR LIL HAJJ WAL UMROH PROMOTION." Arty: Jurnal Seni Rupa 9, no. 2 (August 18, 2020): 123–27. http://dx.doi.org/10.15294/arty.v9i2.40327.
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Dewangga Lil Hajj Wal Umroh in the face of market competition, requires a promotional media with a high level of appeal for its target segmentation, and is able to represent the theme of the pilgrimage properly. Therefore we need a promotional media in the form of Motion Graphic ads. The design of this promotional media advertisement aims to create a promotional media in the form of Motion Graphic advertisement for Dewangga Lil Hajj Wal Umroh, with a persuasive message to increase Dewangga Lil Hajj Wal Umro's customers. The method of making the work of this study project includes five stages: (1) Preparatory / Prelimenary (Research of the Client, Determination of the target audience, and placement of the media); (2) Funding (Material, production, display); (3) Pre Production (Selection of production equipment, making concep art, making storyboards); (4) Production (Creating character assets and environments, moving objects / animatting, dubbing and sound effects, audio and video editing); (5) Post-production (DVD burning, exhibition). The results of this study project were two Dewangga Lil Hajj Wal Umroh Motion Graphic Ads. Work I has a duration of 1 minute 10 seconds with 9 scenes. Work II is 43 seconds long and has 10 scenes. Both of these advertisements have 1280 x 720 px video format.
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Bloom, Kathleen, and Nobuo Masataka. "Japanese and Canadian Impressions of Vocalising Infants." International Journal of Behavioral Development 19, no. 1 (March 1996): 89–99. http://dx.doi.org/10.1177/016502549601900108.
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Canadian adults use cues that are part of adult speech (voice quality and mouth movements) to create perceptions of prelinguistic, 3-month-old infants as communicative partners. To what degree do cultural differences modulate social attributions of infants? It is thought that Japanese pay less attention to the visual cues that accompany speech, and so we hypothesised that, compared with Canadians, Japanese adults would be less likely to use mouth movement cues, but equally likely to use voice cues, in forming social perceptions of infants. To test this hypothesis, a video tape of 3-month-old, vocalising infants was presented to three (n = 25) groups of adults in Japan and in Canada. The tape was constructed with dubbing so that all combinations of acoustic (syllabic/vocalic) and visual (mouth moving/not moving) conditions were represented. The conditions of tape presentation differed for the three groups in each nation: Audio/Video, Audio-only, Video-only. Infants were rated on characteristics of social favourability and communicative intent. In the absence of audio cues (Video-only group), adult ratings were influenced by the infant's mouth movements and by the adult's culture. Although both Canadians and Japanese gave higher ratings of social favourability and communicative intent to infants whose mouths moved, the preference for mouth movement was significantly weaker for Japanese. The fact that Japanese paid less attention to features of the mouth of the infant is consistent with past cross-cultural research and with the minor role of facial cues in Japanese Sign Language. Our research demonstrated that adults apply cultural rules of adult conversation when responding to preverbal infants.
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Ternova, A., and D. Shvetsov. "ОЗВУЧУВАННЯ В ТЕЛЕВІЗІЙНОМУ ВИРОБНИЦТВІ: ТЕОРЕТИЧНИЙ АСПЕКТ." State and Regions. Series: Social Communications, no. 2(42) (March 18, 2020): 127. http://dx.doi.org/10.32840/cpu2219-8741/2020.2(42).19.
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<p><em>This article discusses the basic approaches of translating foreign content on television as voice. The peculiarities of the professional approach to the case are analyzed, as well as the basic terms used in everyday work with different types of audiovisual translation are classified. Factors such as lip-sync, voyce-over, extralinguistics, and others have been widely used in practicing voice acting and play an important role in almost any translation process. The scientific works of such specialists as V. Gorshkova, S. Kuzmichov, M. Savko, T. Chernyayeva and others were analyzed, which revealed the main stages of the voice work process. Other types of translation are also analyzed, such as subtitling, dubbing, simultaneous translation and voiceover. The main differences in translation for subtitling and translation for duplication have been identified, as well as the main examples of adaptation of translation for a country with distinct cultural features, such as translation of audiovisual content. The basic competences required for translation are revealed: ability to perceive foreign vocabulary by ear, ability to separate the main from the minor, knowledge of system equivalents and ability to extract them, having an arsenal of situational idioms, proper pronunciation and speaker’s skills. The opinions of different scholars were combined and the basic concept of «duplication of audiovisual content» was deduced. Namely, it is a multilingual transmission of content that is one of the most common types of translation for film, video and television products. This term also means a special recording technique that allows you to replace the soundtrack of a movie with the recording of the original dialogue soundtrack with the recording of the dialogue in the language of translation.</em></p><p><strong><em>Key words:</em></strong> <em>voicing, re-voicing, subtitration, simultaneous translation,</em> <em>audio description, duplication of audiovisual content.</em></p>
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Thies, Justus. "Face2Face: Real-time facial reenactment." it - Information Technology 61, no. 2-3 (April 24, 2019): 143–46. http://dx.doi.org/10.1515/itit-2019-0006.
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Abstract This article summarizes the dissertation “Face2Face: Realtime Facial Reenactment” by Justus Thies (Eurographics Graphics Dissertation Online, 2017). It shows advances in the field of 3D reconstruction of human faces using commodity hardware. Besides the reconstruction of the facial geometry and texture, real-time face tracking is demonstrated. The developed algorithms are based on the principle of analysis-by-synthesis. To apply this principle, a mathematical model that represents a face virtually is defined. Utilizing this model to synthesize facial imagery, the model parameters are adjusted, such that the synthesized image fits the input image as good as possible. Thus, in reverse, this process transfers the input image to a virtual representation of the face. The achieved quality allows many new applications that require a good reconstruction of the face. One of these applications is the so-called “Facial Reenactment”. Our developed methods show that such an application does not need any special hardware. The generated results are nearly photo-realistic videos that show the transfer of the expressions of one person to another person. These techniques can for example be used to bring movie dubbing to a new level. Instead of adapting the audio to the video, which might also include changes of the text, the video can be post-processed to match the mouth movements of the dubber. Since the approaches that are shown in the dissertation run in real-time, one can also think of a live dubber in a video teleconferencing system that simultaneously translates the speech of a person to another language. The published videos of the projects in this dissertation led to a broad discussion in the media. On the one hand this is due to the fact that our methods are designed such that they run in real-time and on the other hand that we reduced the hardware requirements to a minimum while improving the resulting quality. In fact, after some preprocessing, we are able to edit ordinary videos from the Internet in real-time. Amongst others, we impose a different mimic to faces of prominent persons like former presidents of the United States of America. This led inevitably to a discussion about trustworthiness of video material, especially from unknown source. Most people did not expect that such manipulations are possible, neglecting existing methods that are already able to edit videos (e. g. special effects in movie productions). Thus, besides the advances in real-time face tracking, our projects raised the awareness of video manipulation.
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Scolari, Paolo. "Corpi e ragioni. Nietzsche e la complessità dell’umano / Bodies and reasons. Nietzsche and the human complexity." Medicina e Morale 66, no. 3 (July 3, 2017): 305–23. http://dx.doi.org/10.4081/mem.2017.494.
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Le molteplici osservazioni di Nietzsche intorno al corpo rappresentano senza dubbio uno snodo ermeneutico fondamentale nell’ambito della riflessione morale sul tema della corporeità. Al tempo stesso, la ricostruzione del suo pensiero su questo delicato argomento va a costituire un banco di prova decisivo per ripensare criticamente la ragione, provando a rivedere la sua posizione all’interno del mondo dell’umano. Il leitmotiv del corpo lega ben salde fra loro le aspre critiche che Nietzsche rivolge alla civiltà occidentale, la quale, da Socrate in poi, ha visto il predominio di una razionalità astratta e calcolante ai danni di una ragione incarnata e più umana. Dagli scritti giovanili a quelli della maturità, dallo Zarathustra agli ultimi pamphlet polemici, passando per la miriade dei frammenti postumi. Disseminato in quasi tutte le sue opere e spalmato su un arco temporale di quasi vent’anni, il suo interesse per la dimensione corporea dell’umano non perde mai di tensione. ---------- Nietzsche’s various observations about the body represent without a doubt a fundamental hermeneutic crossroad in the area of the moral reflection on the topic of corporeity. At the same time, the reconstruction of his thought on this delicate subject constitutes a decisive test bed to critically re-think reason, seeking to review its position within the world of the humane. The leitmotif of the body firmly binds to one another the harsh critiques which Nietzsche moves to the Western civilisation, which, from Socrates onward, saw the dominance of an abstract and calculating form of rationality, to the detriment of an incarnated and more humane reason. From the early writings to the mature ones, from the Zarathustra to the late polemical pamphlets, through the myriad posthumous fragments. Scattered around almost all of his works and stretching over almost twenty years, Nietzsche’s interest in the corporeal dimension of the humane never drops tension.
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Graham, Lorie M., and Stephen M. McJohn. "Intellectual Property's First Sale Doctrine and the Policy Against Restraints on Alienation." Texas A&M Law Review 7, no. 3 (May 2020): 497–541. http://dx.doi.org/10.37419/lr.v7.i3.1.
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The first sale doctrine decouples intellectual property and physical property. Suppose, at an auction at Sotheby’s, someone bought a contemporary painting by Chuck Close. The buyer now owns the physical painting, but the copyright to the painting remains with the owner of the copyright—the painter Chuck Close or whomever Close may have transferred the copyright to. Absent the first sale doctrine, if the buyer either sold the painting or displayed it to the public, the buyer would potentially infringe the copyright in the painting. The copyright owner has the exclusive right to display copies (including the original, the first copy) of the painting to the public and to distribute copies to the public. However, the first sale doctrine provides that the owner of an authorized copy may display or distribute that particular copy without infringing. The distribution right and display right no longer apply; these rights are “exhausted.” Permission from the copyright owner is not required to resell copyrighted works or to display them. First sale permits a broad swath of activity. Used bookstores, libraries, swap fests, eBay, students reselling casebooks, and many more may rely on first sale to protect their distribution of copyrighted works. Museums, galleries, archives, bookstores, and more can likewise display their copies of copyrighted works without infringing under first sale. First sale (more commonly called “exhaustion” in patent law) also applies to patented products. Someone who buys a patented product (such as a pharmaceutical, computing device, or printer cartridge) can use or resell that product without infringing the patent, even though the patent owner has the rights to exclude others from using or selling the invention. First sale enables markets for resale or lease of patent products, from printer cartridges to airplanes. First sale has its limits. In copyright, it applies only to the rights to distribute and to display the work. The copyright owner also has the exclusive right to make copies, to adapt the work, and to perform the work publicly, which are not subject to first sale. The painting buyer would potentially infringe if the buyer made a copy of the painting or adapted it into another artwork, but the buyer could not infringe the performance right, because one cannot perform a painting. The owner of a copy of a musical work may infringe if she performs it in public, which is why bars need licenses to play copyrighted music, even using copies they have purchased. The owner of a copy of a movie may infringe if she adapted the movie, such as making a sequel—or even dubbing the movie in another language. In patent, first sale likewise would not authorize the purchaser of a product to make additional copies. Similarly, first sale in patent would authorize the buyer of a patented item to use it or resell it, but not to make another one. First sale is long-established, by statute in copyright and by judicial interpretation in patent. The underlying policy of first sale, however, has been unsettled. First sale can be seen to rest on either of two rationales. The first is a contract-based, gap-filler approach. If someone sells a painting, one would expect an implicit agreement that the buyer could display the painting or resell it, as both actions are customary with artworks. To simplify transactions, the rights to resell and display are automatically included in the transaction. The other justification is the policy against restraints on alienation, borrowed from the law of real property. Someone who sells property may not impose unreasonable restraints on the buyer’s ability to resell the property. As transplanted to intellectual property law, once a party voluntarily parts with a copy, she should no longer be able to control what the buyer does with it. Hence, her rights are “exhausted” in that particular copy. The underlying rationale is important for determining the extent of the first sale doctrine. If first sale is a gap-filler, then the parties could contract around it, agreeing that the property sold would not be subject to first-sale rights. If first sale is a policy-based bar against unreasonable restraints on alienation, then first sale is mandatory—it is not subject to the agreement of the parties but rather is the opposite: a limit on the enforceability of their agreement. Both strains can be seen in the case law. Two recent Supreme Court cases, however, decisively rested first sale on the restraints-against- alienation rationale, expressly rejecting the proposition that parties can contract around first sale. This Article explores the implications of those cases for the boundaries of first sale, focusing on two issues. First, California’s resale royalty law required that artists receive 5% of the proceeds on resale of their work. The Ninth Circuit held that the California statute was preempted by the first sale doctrine of federal copyright law. We conclude that, if first sale serves to prevent unreasonable restraints on alienation, such resale royalty statutes should be valid. Rather than an unreasonable restraint on alienation, they permit resale, imposing a modest burden for a purpose entirely consonant with copyright law: rewarding authors. Second, software sellers have long avoided first sale by characterizing software sales as mere licenses, while formally retaining ownership of the software after delivery to the buyer. Courts have enforced transactions according to the parties’ contract. We conclude, however, that such transactions, which are intended to prevent resale of software, should be characterized as sales in substance, triggering first-sale rights to resell the software, overriding the contractual restraint on alienation.
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Ebrahimzadeh Poustchi, Mahtab, and Zahra Amirian. "Strategies used in dubbing multilingual movies into Persian." Journal of Multilingual and Multicultural Development, December 23, 2019, 1–14. http://dx.doi.org/10.1080/01434632.2019.1702991.
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Golchinnezhad, Maryam, and Zahra Amirian. "Dubbing multilingual movies into Persian: a case of invented languages as the third language." Perspectives, September 16, 2021, 1–15. http://dx.doi.org/10.1080/0907676x.2021.1974063.
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Sáenz-Herrero, Ángela, and Juan Pedro Rica-Peromingo. "La evolución del español a través del doblaje en España." AVANCA | CINEMA, February 26, 2021. http://dx.doi.org/10.37390/avancacinema.2020.a155.
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In this text, we propose an overview of the evolution of the Spanish language through the dubbed versions of foreign films in Spain along the twentieth century.We cover from the early stages of cinema and silent movies and the use of intertitles –as iliteracy was high in large cities and the rate was even higher among women and in rural areas (Gubern, 1993)– so these title cards were something problematic to deal with, for this reason the film lecturer (Sánchez Salas, 2011), the commentator (Fuentes Luque, 2019) or the “explicador” film explainer proved key as a link between the audience and the movies (Fuentes Luque, 2019). After the talkies appeared, different varieties of Spanish could be heard in multilingual movies. Franco’s regime influenced the result of many films exhibited in Spanish movie theatres not only in the images, but also in the political ideologies, the religious aspects, the indecorous language, and sexual or improper activities, portrayed in Hollywood movies (Díaz Cintas, 2019). A “neutral” Spanish was created during the sixties to achieve a greater Hispanic audience. This practice was used on TV series, cartoons, and in Walt Disney’s movies. During the 70s, and with the boom of the 80s’ blockbusters, a greater number of American films were translated and consumed into Spanish. The immense impact of these movies influenced Spanish language and the traditional audiovisual translation mode –dubbing– (Rica Peromingo 2019), adapting and domesticating cultural references, filtering calques and false friends (Rica Peromingo, 2016).
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Tahseen Musleh, Maysa’ Musleh. "Translatability of Metaphors in the Dubbing of Animation Songs from English into the Egyptian Dialect." Global Journal of Human-Social Science, December 1, 2020, 1–11. http://dx.doi.org/10.34257/gjhssgvol20is12pg1.
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This research paper examined the ways how translators translated metaphors in the dubbing of animation songs and measured the degree of loss occurred in rendering metaphors from English into Arabic; these two languages are culturally and linguistically distinct languages. This study employed descriptive qualitative methods. The data used in this research were metaphors of songs from three animated musical movies: Beauty and the Beast, Tangled, and Pocahontas. This paper analyzed the translation of metaphors depending on the cognitive theory proposed by Mandelblit (1995). The results proved that even though translating metaphors in animation songs was a laborious process, they did not always cause a problem of untranslatability; on the contrary, translators can render metaphors from English onto Arabic without a significant loss in terms of meaning and sound patterns. Compensation in kind and compensation in place helped to achieve the translatability of metaphors in cartoon films’ songs. The analysis of source and target metaphors revealed that there were three translation procedures used to translate metaphors in animation songs, namely: replacing the source metaphor with a target metaphor (substitution), translating the metaphor into sense (paraphrasing), and using literal translation.
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"Translation of the Comic in the Films of Wes Anderson (based on English and Ukrainian)." Journal of V. N. Karazin Kharkiv National University Series: Foreign Philology. Methods of Foreign Language Teaching, no. 91 (2020). http://dx.doi.org/10.26565/2227-8877-2020-91-15.
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The article is dedicated to defining the specific features of the expression of the comic in the auteur film “The Grand Budapest Hotel” by the American director and screenwriter Wes Anderson, as well as to the analysis of the translation of the comic on the material of the authentic movie dialogue, its dubbing and subtitling in Ukrainian. The relevance of our research is determined by the increased interest in the auteur films, especially in the genre of comedy and comedy drama, as well as by insufficient research on the representation of the functional types of the comic in Ukrainian translations for authentic films. The article provides definitions of the comic types and describes common difficulties in translating functional types of the comic and difficulties caused by the peculiarities of audiovisual translation. Common linguistic translation difficulties include translating the comic expressed by culturally-labeled lexical units or allusions to little-known phenomena. Typical and common for dubbing and subtitling extralinguistic difficulties include the need for keeping to the timeline. Dubbing also implies the achievement of phonetic synchronization, while subtitling presupposes the observance of the readable length of the subtitle. The article presents five principles with the help of which Wes Anderson achieves comic effect in the original movie dialogue. In general, these principles are a careful selection of time and place of the events and disruption of the characters in unusual situations. The article argues that in order to create a humorous effect, Wes Anderson uses both non-verbal humor expressed by elements of non-verbal communication, e.g. movements, glances, facial expressions, gestures, and verbally expressed comic, i.e. humor, irony, satire, and sarcasm. Each of the principles for achieving the comic effect was illustrated by the examples from the original movie dialogue and the analysis of their dubbing and subtitling in Ukrainian.