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Relevant bibliographies by topics / Dubbing of television programs

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Journal articles

Academic literature on the topic 'Dubbing of television programs'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Dubbing of television programs"

1

Xue, Qianwen. "Exploring the Causes of "Mother Tongue Shame" When Watching Mandarin Dubbing of Non-Native Language Films and TV Programs." Journal of Education, Humanities and Social Sciences 13 (May 11, 2023): 152–57. http://dx.doi.org/10.54097/ehss.v13i.7886.

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Cross-cultural communication has become easier and easier with the deepening of informationization, and film and TV dramas have been integrated into people's daily life as a medium and carrier of cross-cultural communication. However, people often feel "shame" and discomfort when watching the dubbing of non-native language dramas in their native language, that is, "mother tongue shame". This phenomenon is especially evident among the post-1990s and post-1990s generations. In this paper, the author used questionnaires and interviews to collect data from Mandarin university students and analyzed the causes of this phenomenon from the perspectives of psycholinguistics and cognitive linguistics. Inductive reasoning was used to analyze the data. Research shows that the reasons why people feel uncomfortable with Mandarin dubbing include both objective and subjective aspects. The objective aspects include the quality of Mandarin dubbing, the mismatch between Mandarin and the cultural environment portrayed in non-native film and television productions, and the differences in idiomatic expressions between Mandarin and other languages. The subjective aspect is mainly the audience's emotional reaction to the native language and the cognitive process of the non-native language.

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2

Leon, Crina. "Dialects in Norway – between tolerance and standardization." Romanian Journal for Baltic and Nordic Studies 6, no. 1 (2014): 107–21. http://dx.doi.org/10.53604/rjbns.v6i1_6.

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Norwegian is peculiar not only with a view to the written language, which has two official standards, but also regarding the spoken language, which lacks a standardized form. In fact, Norway is one of the most dialect-speaking countries in Europe. The use of a regional dialect in all fields of one’s life is rather perceived as part of one’s identity, and a sign of democracy and decentralization. Although theoretically there are four main dialects, in practice the variety of dialects differing in grammar, vocabulary or pronunciation is much wider, and depends on the part of the country or even on a specific town. The present paper is mainly focused on analyzing how the issue of diatopic variation in the Norwegian spoken language has been depicted in recent years (2008-2012) in Norway’s largest daily newspaper, Aftenposten. Even if dialects are accepted in everyday life, one of the recurrent debates in the newspaper is however related to using a standard form at least in the news programs from the largest Norwegian television and radio company, NRK, where the language ought to be considered a point of reference. Another topic of interest is related to the dialects used in dubbing in children’s television series.

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3

Zabalbeascoa, Patrick. "Factors in dubbing television comedy." Perspectives 2, no. 1 (1994): 89–99. http://dx.doi.org/10.1080/0907676x.1994.9961226.

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4

O’Connell, Eithne. "What Dubbers of Children’s Television Programmes Can Learn from Translators of Children’s Books?" Meta 48, no. 1-2 (2003): 222–32. http://dx.doi.org/10.7202/006969ar.

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Abstract Technical difficulties associated with dubbing, together with the collaborative nature of the dubbing process, explain why traditionally the linguistic challenges of dubbing translation for specific audiences such as children have not been studied very closely. As new developments in sound recording improve the technical quality of dubbing, it is time for the remaining textual translation issues to be addressed in more detail. Due to the many common characteristics of different text types aimed at children, dubbers of children’s audiovisual material can learn a considerable amount from the translators of other texts, such as books and comics aimed at children, about the particular challenges posed by this target audience.

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5

Matamala, Anna. "Dealing with Paratextual Elements in Dubbing: A Pioneering Perspective from Catalonia." Meta 56, no. 4 (2012): 915–27. http://dx.doi.org/10.7202/1011260ar.

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This article focuses on paratextuality in the realm of dubbing drawing on the author’s professional experience as an audiovisual translator in Catalonia. After a brief discussion of the theoretical approach to paratextuality and the notion of audiovisual text, the article lists the main paratextual components in dubbing and describes how they are dealt with by audiovisual translators. The article focuses on fiction films, cartoons and television series, be they for cinema, television, Internet or DVD, and considers paratexts at two levels: in the audiovisual text itself and in the written synchronised translation.

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6

Wissmath, Bartholomäus, David Weibel, and Rudolf Groner. "Dubbing or Subtitling?" Journal of Media Psychology 21, no. 3 (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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7

Agung, I. Gusti Ayu Mahatma. "Subtitling and Dubbing of Idiomatic Expressions in the American TV Series WandaVision." Lingua Cultura 16, no. 1 (2022): 43–49. http://dx.doi.org/10.21512/lc.v16i1.7806.

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The research aimed to find out the translation strategies applied in the subtitling and the dubbing of idiomatic expressions in the television series WandaVision (2021). Moreover, the research also aimed to reveal whether the subtitling and the dubbing of the idiomatic expressions are source language-oriented or target languageoriented. The descriptive qualitative approach was applied in the research. The data were analyzed using the taxonomy for rendering extralinguistic cultural references in subtitling proposed by Pedersen. The taxonomy was used to analyze the data since it was specifically designed for subtitling and audiovisual translation. The results show that there are various strategies applied in subtitling and dubbing. In subtitling, the translation strategies applied are substitution, direct translation, generalization, and the combination of substitution and omission. The translation strategies applied in the subtitling are related to spatial and temporal constraints. As a comparison, the translation strategies applied in dubbing are substitution, direct translation, generalization, and the combination of substitution and specification. The strategies are applied based on the consideration that spoken language features should be included in the dubbing. Based on the translation strategies applied, it can be concluded that both the subtitling and the dubbing are target language-oriented.

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8

Rossato, Linda. "Reality television and unnatural dialogues: Trends in the Italian audio-visual translation of factual programming." Journal of Popular Television 8, no. 3 (2020): 277–83. http://dx.doi.org/10.1386/jptv_00026_1.

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Since the early 1990s, an exponential increase in the demand for foreign TV content has occurred to fill the ever-growing libraries of new speciality channels (and later digital platforms). This process has boosted demand for the translation and adaptation of reality TV series, thus paving the way in Italy, traditionally a dubbing country, for the rise of a new hybrid form of audio-visual translation (AVT), ‘simil-sync’, deemed more cost-effective than dubbing and more user-friendly than subtitling for the local audience. Factual programming has become one of the most successful components of many themed channels, reshaping both Italian television and the national AVT scenario.

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9

Kilborn, Richard. "`Speak my language': current attitudes to television subtitling and dubbing." Media, Culture & Society 15, no. 4 (1993): 641–60. http://dx.doi.org/10.1177/016344393015004007.

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10

Pedersen, Jan. "Translating culture specific references on television: the case of dubbing." Perspectives 24, no. 4 (2016): 682–84. http://dx.doi.org/10.1080/0907676x.2016.1165370.

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