Translation and subtitling has always been a complicated dimension of the motion picture industry for years. The problem of dealing with linguistic elements in films and conveying them to audiences of different languages across the globe encompasses many difficulties regarding forms and structures of other languages. One of the more highly researched topics in French linguistic studies has been the use of address pronouns and a range of aspects related to their use and interpretation. Many studies have been conducted over the last sixty years in order to determine and understand these variables. An analysis of several of these studies reveals the many complexities involved in second-person pronoun choice in the French language and the development of the idea of pronoun choice as an act of social identity. The focus of this study is to provide an analysis of the use of formal and informal address pronoun use in the French subtitling and dubbing of an American film, Maid in Manhattan, in order to add, on a broader level, a way to differentially examine perceived norms in a variety of contexts within this medium.

Esta investigación es el primer estudio de caso sobre el proceso de doblaje en Perú. Sobre la base de los modelos de proceso de doblaje de Chaume (2004) y Taylor (2015), y las pautas para elaborar un guion para el doblaje descritas por Cerezo et al. (2016) a partir de Toury (1995), se analizó el proceso de doblaje implementado por la empresa peruana Torre A en dos películas, mediante entrevistas a los agentes de ambos proyectos y el análisis de documentos de la empresa. Los resultados sugieren que, si bien la ejecución de los proyectos de Torre A coincide en gran medida con los modelos teóricos sobre la estructura procesual del doblaje, ambos procesos fueron determinados por el encargo de cada cliente, principalmente con respecto al carácter de negociación comercial, los aspectos técnicos y la traducción y adaptación. Los resultados muestran, además, la versatilidad de los agentes y una menor compartimentalización de sus funciones, ya que participaron en más de una fase del proceso. Finalmente, para evaluar la calidad de ambos procesos de doblaje, Torre A prestó atención a aspectos textuales, artísticos y técnicos según los criterios del cliente y los agentes. Así, la calidad del proceso se vio influenciada por el nivel de involucramiento de cada cliente y el tiempo del encargo, que condicionó la actividad de los agentes. La investigación aporta a la discusión sobre la calidad del doblaje en función al encargo y contribuye a cubrir el vacío teórico sobre los procesos de doblaje en América Latina. / This research is the first case study on the dubbing process in Peru. Based on the dubbing process models by Chaume (2004) and Taylor (2016), and the guidelines to prepare a dubbing script described by Cerezo et al. (2016) built on Toury (1995), the dubbing process for two films implemented by the Peruvian company Torre A was analyzed. This was carried out through interviews with the agents from both projects and the analysis of the company’s documents. The results suggest that project execution in Torre A is largely similar to the theoretical models concerning the dubbing process structure. However, both processes were determined by each client’s order, which mainly influenced the commercial negotiation nature, technical aspects, as well as the translation and dialogue writing phases. Furthermore, the results show agents’ multitasking and less role compartmentalization due to their participation in more than one phase during the process. Finally, in order to assess quality in both dubbing processes, Torre A considered textual, artistic and technical aspects according to the clients’ and agents’ criteria. That way, process quality was influenced by the level of involvement of each client and deadlines, which conditioned the agents’ activities. This research contributes to the discussion on dubbing quality in terms of client orders and helps filling the theoretical gap about dubbing processes in Latin America. / Trabajo de investigación

A research report submitted before the Faculty of Arts at the University of the Witwatersrand for partial fulfilment of the degree of Master of Arts in Translation / The factors which ought to be taken into account in screen translation are considered, in terms of describing the constraints and norms governing one particular translation. The German company ZDF has commissioned a South African studio to dub the television programme, "SOKO 5113: Wenn der Tod zweimal klingelt", into English for various overseas markets. The translation of this programme is analysed, in terms of both those elements which make dubbing the same as 'ordinary' translation, and those which distinguish the two. These include such things as extratextual factors, context, synchronisation and shifts in meaning. The analysis of the translation is based on Descriotive Translation Studies, in that the reasons for certain decisions made during the translation process are considered, as opposed to criticising the final translation product. The analysis is preceded by an introduction to the context of this translation, with a brief discussion of the different types of screen translation and television dubbing in South Africa. The ultimate conclusion is that dubbing does present slightly different challenges to the translator, but it should not be excluded as a branch of the field of translation. / Andrew Chakane 2018

D.Litt et Phil. / This thesis constitutes an investigation into the specific nature of translation for the screen and television. To this end, three films, dubbed into Afrikaans from English, French and German respectively, are studied. The language dubbing translator is faced with specific challenges such as extra-linguistic and paralinguistic factors, the most important of which is the synchronization of target language solutions with the visible lip movements of characters. These constraints compel the translator to employ various translation strategies, such as insertion, deletion and substitution. The study argues that, in view of the number of deviations from the source text, the term equivalence cannot be used to describe the relationship between the source and target text. Since the task of the dubbing translator is to create dialogue that has to be spoken by dubbing actors, the study further argues that playability can be the only true test for the success of a dubbing translation. No single definition exists for the term playability. Whereas most actors and directors can distinguish a playable text or translation from one that is not, owing to their drama training, only some dubbing translators have an instinctive feel for it. As drama training for dubbing translators is not an option, the study takes the most salient aspect of playability, namely character dialogue, as starting point and sets as its main objective the development of an instrument that would enable translators, without the above-mentioned intuitive unconscious competence, to create playable character dialogue for individual characters. Using Bateson's theory of Logical Types and Dilts's theory of Logical Levels, a congruence model is developed. Adding insights from various disciplines, such as Visual Communication and Semiotics, the model is expanded to consist of three components: visual, paralinguistic and linguistic. The model is tested next by being used for the analysis of the corpus of films. The study finds that by analysing the visual, paralinguistic and linguistic components, and their relations to one another, according to focus areas such as Environment, Behaviour, Skills and Capabilities, Values and Beliefs, and Identity, not only are the intentions of characters clearly established, but the intention of the original sender is also revealed. This enables the dubbing translator to create character dialogue that achieves congruence among all the different levels. The study argues in conclusion that the model can also be used for the analysis and translation of other text types. Whereas the objective of the study is to make a contribution to the field of Translation Theory, the various applications suggest that the thesis also contributes to the following fields of study: Applied Linguistics, Literary Theory and Communication Studies

M.A. (Linguistics) / The objective of language dubbing is to allow a target language audience access to the world of meaning of a film in a foreign language - in such a way that the impression is created, the film was originally made in the target language. It is the task of the dubbing translator to try and evoke a similar response from the target language audience as the original evokes from a source language audience. This study seeks to offer a model for the assessment of equivalence with regard to dubbing translation. The necessity for a special criticism model for dubbing translation stems from the fact that extra-linguistic factors limit and often dominate the language component to such an extent that most evaluation models are inadequate. In this study the extra-linguistic components of communication are incorporated in the model once equivalence with regard to dubbing translation has been clearly defined. In the last part of the study the model is tested on excerpts from dubbed programmes and it is shown how the model can be used as a check list for analysing a source language text with a view to establishing a suitable niveau de langue for creating character dialogue.

Iu, Yiu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 163-173). / Abstracts in English and Chinese ; questionnaires also in Chinese. / Abstracts --- p.i / Acknowledgements --- p.iii / Table of Contents --- p.iv / Introduction --- p.1 / Chapter A. --- Objectives and Significance --- p.1 / Chapter B. --- Academic Issues and Literature Review --- p.4 / Chapter C. --- Theories and Methodologies --- p.18 / Chapter D. --- Structure of the Thesis --- p.20 / Chapter Part I: --- The Making of a Seiyu Culture in Japan / Chapter Chapter 1: --- What is Seiyu? --- p.24 / Chapter 1.1 --- Definition of Seiyu --- p.24 / Chapter 1.2 --- Scope of Works --- p.27 / Chapter 1.3 --- Training Institutions and Agencies --- p.32 / Chapter Chapter 2: --- The Historical Development of the Seiyu Profession in Japan --- p.38 / Chapter Part II: --- Cultural and Social Significance of Seiyu Culture / Chapter Chapter 3: --- Seiyu as Art and Industry --- p.56 / Chapter 3.1 --- Internal Factors --- p.58 / Chapter 3.2 --- External Factors --- p.64 / Chapter Chapter 4: --- Cultural and Social Impact of the Seiyu Culture --- p.78 / Chapter 4.1 --- Cultural Impact --- p.78 / Chapter 4.2 --- Social Impact --- p.92 / Chapter Part III: --- Comparative Study on Japanese Seiyu and Hong Kong Voice Artists / Chapter Chapter 5: --- The Popularization of the Japanese Seiyu and Local Voice Artists in Hong Kong --- p.101 / Chapter 5.1 --- Japanese Seiyu Steal the Limelight in Hong Kong --- p.102 / Chapter 5.2 --- Hong Kong Voice Artists Move out from the Backstage --- p.112 / Chapter 5.3 --- The Comparison of the Reception of Japanese Seiyu with That of Local Voice Artists in Hong Kong --- p.117 / Chapter Chapter 6: --- Comparison of the Dubbing Profession between Japan and Hong Kong --- p.123 / Chapter 6.1 --- Structural Differences in Dubbing Profession --- p.126 / Chapter 6.2 --- The Role of Voice Dubbing in Popular Culture --- p.135 / Concluding Analysis --- p.147 / References --- p.163 / Appendix --- p.174 / Chapter I) --- Questionnaire of Seiyu Culture in Hong Kong --- p.174 / Chapter II) --- Sample Interview Questions for Seiyu Fans --- p.177 / Chapter III) --- Sample Interview Questions for Voice Artists --- p.178

ABSTRACT: This research report follows the journey of the South African film Hijack Stories (2000) in translation, looking at the various processes – state, institutional and individual - which led to the film’s existence. The context of the South African film industry (institution) during the country’s (state) apartheid past and democratic present have influenced those involved (the individuals) in the film-making process as well as their subjectivities. It is revealed that Hijack Stories (2000) is a film targeted at foreign audiences and that these audiences ascribe value to South African content. This value is acquired on the basis of the historical and social circumstances of South Africa, which has long sustained the interest of the outside world. Hijack Stories (2000) emerges as a cultural commodity, packaged and marketed according to the imaginings that the world has of South Africa. Translation then takes place at the junction of these processes and their related social, financial, political and historical factors, thereby facilitating the international circulation of Hijack Stories (2000) within the greater context of globalisation.

盧慧欣. / "2001年8月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves 142-152) / 附中英文摘要. / "2001 nian 8 yue" / Lu Huixin. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 142-152) / Fu Zhong Ying wen zhai yao. / 引言 --- p.1 / Chapter 第一章： --- 翻譯的透明度 / Chapter 1.1 --- 「透明度」釋義 --- p.9 / Chapter 1.2 --- 讀者與翻譯的透明度 --- p.13 / Chapter 1.3 --- 文努迪與赫曼斯論翻譯的「透明度」 --- p.19 / Chapter 1.3.1 --- 隱形的譯者´ؤ´ؤ文努迪 --- p.19 / Chapter 1.3.2 --- 不透明的翻譯行爲´ؤ´ؤ赫曼斯 --- p.22 / Chapter 第二章： --- 字幕翻譯的透明度 / Chapter 2.1 --- 電影翻譯的形式 --- p.24 / Chapter 2.2 --- 字幕與配音的出現 --- p.25 / Chapter 2.3 --- 字幕翻譯的透明度 --- p.28 / Chapter 2.3.1 --- 配音的透明度 --- p.34 / Chapter 2.4 --- 香港的電影翻譯發展由「解話佬」到字幕翻譯 --- p.38 / Chapter 第三章： --- 漢語書面語字幕的透明度 / Chapter 3.1 --- 詞義闡釋 --- p.42 / Chapter 3.2 --- 粤語與規範漢語的分歧一香港口語與書面語的割裂 --- p.44 / Chapter 3.3 --- 漢語書面語字幕的透明度 --- p.46 / Chapter 3.3.1 --- 口語訊息的歪曲 --- p.46 / Chapter 3.3.2 --- 人物形象及語言特色的劃一 --- p.51 / Chapter 3.3.3 --- 語域的限制 --- p.58 / Chapter 第四章： --- 粤語字幕的透明度 / Chapter 4.1 --- 粤語書寫語的應用 --- p.62 / Chapter 4.2 --- 外語電影的粤語字幕翻譯 --- p.72 / Chapter 4.2.1 --- 發展槪況 --- p.72 / Chapter 4.2.2 --- 分類 --- p.82 / Chapter 4.2.3 --- 應用特點 --- p.86 / Chapter 4.3 --- 《玩謝麥高維治》的粤語字幕 --- p.96 / Chapter 4.3.1 --- 粤語字幕與電影人物的話語特徵 --- p.97 / Chapter 4.3.2 --- 粤語語音與電影對白的聲音效果 --- p.111 / Chapter 第五章： --- 香港觀眾與粤語字幕的透明度 / Chapter 5.1 --- 電影討論區的觀眾意見 --- p.117 / Chapter 5.2 --- 觀眾意向問卷調查 --- p.123 / Chapter 5.3 --- 商業系統中的觀眾因素 --- p.128 / 總結 / 粤語字幕的透明度 --- p.131 / 粤語字幕的限制與發展空間 --- p.132 / 附錄一：電影討論區觀眾意見表列 --- p.137 / 附錄二 ：字幕翻譯問卷調查受訪者資料 --- p.141 / 參考書目 --- p.142

The days of English as the hegemonic language of cinema are slowly disappearing. Nowadays, filmmakers from different film industries are gradually embracing a multilingual shoot where languages coexist and play a key role within a film’s diegesis. This polyglot reality has brought up interesting questions and issues for the discipline of Translation Studies, where translation has been traditionally understood more in terms of going from one source language into one target language. Within the field of Audiovisual Translation (AVT), studies have concentrated on films where the presence of foreign languages is either sporadic or secondary and, as such, foreign languages have been mostly relegated to purely linguistic approaches. Interestingly, films in which foreign languages constantly reoccur or have a primary function have been hitherto widely disregarded, despite presenting the most complex scenario. Similarly, although researchers increasingly stress the relevance of film language on translational solutions, multimodal approaches to multilingualism in films remain scant. In light of this, this thesis designs a descriptive and multimodal methodology to investigate the issue of multilingualism at every stage of the dubbing process and to explore the effect of dubbing on both the plot and characterisation of polyglot films. This methodology is further complemented by para-textual information and semi-structured interviews to obtain a global perspective of the translation of the multilingual aspect. To this end, this thesis examines four polyglot films in which it is difficult to determine a predominant language. By investigating those with recurring use of languages, this project accounts for the most complex films in terms of language quantity and interplay to transcend textual restrictions and incorporate further issues surrounding translation as both process and product. This examination of original polyglot films brings to light the relevance of intermediate translations for the dubbing process as these are the foundations of the ‘rough’ translation on which the whole process relies. In turn, the macrostructure analysis unveils the use of a plethora of AVT modalities when dealing with foreign languages. Similarly, it suggests that decisions at this level depend on a complex interplay of factors of diverse natures such as filmmakers’ requests, screening habits, financial means, and film features. At the micro-textual level, a thorough list of translation techniques is compiled and their application is measured in relation to the influence of signifying codes. Additionally, a close linguistic examination of dialogue reveals a tendency towards standardisation, although certain nuances are sometimes enforced by character synchrony or added optionally to minor characters. Throughout these analyses, it becomes evident that all dubbing agents manipulate some aspects of multilingualism. Ultimately, this study suggests that dubbing affects polyglot films by hiding certain linguistic connotations and by providing different information to domestic and target audiences.

La presente investigación es un estudio de caso que analiza la representación de personajes pertenecientes a comunidades “otras” en la traducción inglés-español (doblaje y subtitulación) de la serie Glow (Flahive & Mensch, 2017). Glow es una producción de Netflix que supone una relectura de los estereotipos de la sociedad estadounidense de los años ochenta. Se caracteriza la traducción de esta serie como un medio difusor de ideologías, ya que mediante el lenguaje empleado por los personajes se trasmiten estereotipos propios de un contexto cultural distinto al de la audiencia meta. El estudio asume un enfoque cualitativo para analizar de manera inductiva los diálogos en los que el lenguaje se utiliza como medio de representación de la alteridad de los personajes. De este modo, se realizará un análisis contrastivo de las representaciones obtenidas a partir del texto fuente con los diálogos doblados y subtitulados del inglés al español por la industria Netflix. / This article is a case study analyzing the characters representation belonging to “other” communities in the English-Spanish translation (dubbing and subtitling) of the Glow series (Flahive & Mensch, 2017). Glow is a Netflix production that re-reads the stereotypes of American society in the 1980s. The translation of this series is characterised as a means of disseminating ideologies, since the characters’ language is used to transmit the typical stereotypes belonging to a different cultural context of the target audience. This study adopts a qualitative approach to analyze inductively the characters dialogues in which language is used as a means of representing their alterity. In this sense, the representations obtained from the source text will be compared with the dialogues dubbed and subtitled from English to Spanish by the Netflix industry. / Trabajo de investigación