Relevant bibliographies by topics / Russian dubbing

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  1. Journal articles

Academic literature on the topic 'Russian dubbing'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Russian dubbing"

1

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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2

Sherouse, Perry. "Russian Presence in Georgian Film Dubbing: Scales of Inferiority." Journal of Linguistic Anthropology 25, no. 2 (August 2015): 215–29. http://dx.doi.org/10.1111/jola.12090.

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3

Bliudneva, Aleksandra A. "Discourse Marker well and Functional Approach to its Translation into Russian in Film Subtitling and Dubbing." Polylinguality and Transcultural Practices 16, no. 4 (December 15, 2019): 504–14. http://dx.doi.org/10.22363/2618-897x-2019-16-4-504-514.

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The article is concerned with pragmatic functions of the discourse marker well in film dialogues and the means of its functional translation into Russian in subtitles and dubbing. A number of linguistic and extralinguistic parameters are used for a thorough contextual analysis of each occurrence of well in 11 feature films made between 1997 and 2017. The analysis results in identifying the following textual: floor-gaining, arranging topic shifts, indicating dialogue frames, contraposition, justification, clarification, repair and quotation - and interpersonal functions of well: prompting, hesitation, evasion, emphasis and humility. The article continues with a qualitative and quantitative account of translation decisions for the discourse marker well in subtitles and dubbing. For every textual and interpersonal function of well, we establish functional equivalents and assess the proportion of marker omission and the proportion of functional losses. Finally, the subtitled and dubbed versions are compared in terms of the proportion of marker omission and the proportion of functional losses. The conclusion is drawn on the apparent correlation between the degree of functional equivalence achieved in translation of well, on the one hand, and technical and textual constraints of both subtitling and dubbing, on the other.
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4

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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Glushneva, Iuliia. "Translation (Dis)Junctions, or Postsocialist Connectivity." A Peer-Reviewed Journal About 9, no. 1 (August 4, 2020): 94–107. http://dx.doi.org/10.7146/aprja.v9i1.121492.

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This article focuses on language transfer as a fundamental factor in the construction of postsocialist network technosociality. By looking at the early days of the Internet in Russia and the current landscape of the Russian-language cyberspace, it demonstrates that excessive translation activity becomes an essential tool of postsocialist integration with global network economies and cultures. At the center of this activity is voice-over, a form of “half dubbing” and a dominant screen translation practice on the Runet. While this article explores the histories and defining features of performance and labor of this practice, it argues that the voice-over translation is a mode of connectivity that exposes the centrality of asynchrony and distortion to postsocialist networking as well as to the network as such.
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Satkauskaitė, Danguolė, and Alina Kuzmickienė. "Conveying Frenchness in the Dubbing of Animated Film Ratatouille." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 205–26. http://dx.doi.org/10.2478/sm-2020-0010.

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SummaryDue to globalization, migration, tourism and other reasons multiculturalism and multilingualism have become the rule rather than the exception. In this context films, on the one hand, serve as a reflection of multilingual and multicultural reality, on the other hand, multilingualism inevitably occurs by translating films for different audiences since (interlingual) translation involves at least two languages. Films, in which characters belong to different cultures and languages, pose a considerable challenge to translators. Such a case is the American animated film “Ratatouille” (2007), which action takes place in France and most of its characters are French. However, by adapting the film for the main target audience – the children – the character identity is revealed not using complete foreign language dialogues but creatively combining various modes: verbal acoustic (dialogues and lyrics), verbal visual (written texts), nonverbal visual (images) and nonverbal acoustic (nondiegetic music). The same modes are applied to render culture-specific items, especially food and drink names. Since verbal mode varies depending on the target audience, American English source language as well as Lithuanian, Russian and French dubbed versions of the film “Ratatouille” will be compared in order to determine semiotic modes, which convey Frenchness. Additionally, by comparing selected dubbed versions of the film, amusing translations, resulting exactly from the encounter of cultures and languages, will be presented as well. For the research methodological approaches of audiovisual translation, multimodality and comparative method will be applied.
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7

Bliudneva, Aleksandra A. "Discourse Marker you know and Functional Approach to Its Translation into Russian in Film Subtitling and Dubbing." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 19, no. 3 (2019): 298–304. http://dx.doi.org/10.18500/1817-7115-2019-19-3-298-304.

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8

Timirova, A. M. "Cognitively adapted multimedia educational instructions for teaching information technologies in a multilingual university environment." Informatics and education, no. 4 (June 27, 2021): 47–53. http://dx.doi.org/10.32517/0234-0453-2021-36-4-47-53.

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Students studying at Russian universities in a non-native language in mixed language groups experience a significant cognitive load in the process of completing practical tasks in the disciplines of the information direction using traditional teaching materials. The article analyzes important aspects of cognitive and multimedia learning theories in the context of developing learning instructions, as well as specific problems of pedagogical design of multimedia materials for the use in mixed language groups in teaching computer science. As a result of the study, generalized recommendations were formulated for the development of educational multimedia materials on a cognitive basis for teaching in a non-native language, related to the semantic-contextual formalization of the structure (formulation of SMART goals; logical and semantic text structuring; presentation of content at several levels of collapse; organization of educational material in sequence from declarative to procedural knowledge; systematization and generalization of significant information at intermediate stages of reasoning; providing support for individual educational needs) and cognitive-semantic adaptation of multimedia content (consistent presentation of meaning; presentation of samples of assignments; graphical presentation of significant relevant information; video / audio dubbing of difficult to understand fragments of educational material through dynamic graphics; audio dubbing of difficult to understand fragments of educational material in the intermediate language; design of educational material using thoughtful sets of styles, pictograms, colors). The results of the study are of high practical importance: the development of multimedia educational materials adapted for teaching in a foreign language in a multilingual educational environment based on a cognitive approach can significantly reduce cognitive load, improve understanding and memorization of material, and facilitate language and academic adaptation.
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9

Taivalkoski-Shilov, Kristiina. "Subtitling 8 Mile in three languages." Target. International Journal of Translation Studies 20, no. 2 (November 3, 2008): 249–74. http://dx.doi.org/10.1075/target.20.2.04tai.

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This article argues that when striving for quality in subtitling, special attention should be paid to the requirements of competence not only when recruiting translators, but also when recruiting local managers and subtitling co-ordinators. The findings are based on a stylistic comparison of the Finnish, French and Russian subtitled versions of 8 Mile, a film that tells about Eminem’s early breakthrough as a rap artist (UIP, 2002). The rap sections of the film present many ‘text-specific translation problems’ (Nord), which become even more troublesome in the context of subtitling, as the translator has space for less text. The worldwide subtitling and dubbing of 8 Mile was an especially well-supervised procedure. The translators were given a lot of material support (e.g., a detailed ‘dialogue list’) but their work was also strictly controlled and limited. According to this study, the severe policy of some local UIP offices may have hindered the quality of subtitling in some countries.
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10

Kirilin, A., and E. Konotopova. "LEGAL ASPECTS OF CLASSIFICATION OF INTANGIBLE ASSETS IN MERGER AND ACQUISITION DEALS IN THE TELECOMMUNICATIONS SECTOR." East European Scientific Journal 1, no. 12(76) (January 25, 2022): 51–55. http://dx.doi.org/10.31618/essa.2782-1994.2021.1.76.192.

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The article is dedicated to legal aspects of classifying and describing intangible assets in merger and acquisition deals for telecom companies. The absence of proper legal coverage of the issue in Russia leads to considerable discounts on asset value in such deals, which is especially evident because Russia is the leader in their volume among Eastern European countries. An important part of these deals is classification of acquired tangible and intangible assets, intellectual property, including authors’ rights, patents, other components of business model innovations, and their further reclassification. But today many aspects of digital product creation do not have a detailed and clear description in the Russian legislation, however, they should be clarified and included in the legal documentation for these deals so as to make the most of the deal closing. The starting point of the research in this article is the practical experience of developing professional standards for the creation of intangible assets in content production. Nowadays, the focus in developing professional standards is on the product created, not on the description of the processes involved. When developing the professional standard for audiovisual translation, the product creation process was analyzed from the point of the activity, which helped to increase the legal protection of created products. The stages of audiovisual product creation and localization were identified and their legal aspects were described. The legal description of stages of intangible asset production also resulted in defining frameworks for many new professions including game translators, dubbing editors and audiovisual translators.
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