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.

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

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

Thesis (Ph. D.)--Stockholm University, 2006. / Distributed in print by Almqvist & Wiksell International, Sweden. Title from title screen. Includes bibliographical references (leaves 193-212).

M.A. (Applied Linguistics and Literary Theory) / Fan subtitling, or fansubbing, has become a new form of subtitling, in which fans, often with little to no training, subtitle a film or series they enjoy, and then release the subtitles or a subtitled version of the film on the internet for free download, often by other fans, who often have an interest in the source language and culture and who may have an interest in using subtitles as a language-learning device. Subtitles produced for this fan audience can differ substantially from those created in a professional environment. For this reason, fansubs could be seen as a new genre of subtitling, employing strategies that would be unacceptable in a professional subtitled product aimed at general consumption. Professional subtitlers and translators are encouraged to follow the norms or ‘best practice’ of their industry in order to produce subtitles that are consistent, of a high quality and that have been made easy to process through methods such as length reduction and domestication. Fansubbers have no such imperatives imposed on their subtitles, being mostly self-taught and often judged by their peers and viewers on the ‘authenticity’ of their translations, rather than by other professionals and their standards. This creates an environment in which more creative translation strategies and presentation become possible, in order to create a translation that will be approved of by fans with a special interest in linguistic and cultural content. This need for the appearance of faithfulness or authenticity seems to result in a more source-oriented and complete translation approach, and a corpus-based investigation of French fansubs appears to confirm this. This dissertation attempts to explore the differences found in the two genres by analysing and comparing a translational corpus of professionally-produced and fanproduced English subtitles of French films. The average length of the subtitles and instances of discourse markers in the two sets of subtitles are compared in order to determine the degree of reduction found in each type of subtitle, and from the source to target culture. The translation strategies used in the two types of subtitling differ, with the fansub opting for a more complete rendering of the source text dialogue and a more source-oriented approach, which retains elements of spoken language found in the film dialogue. It appears that the differences between the target texts may be influenced by very different contexts in which they are produced, and possibly the differing needs and expectations of the audiences of the two genres.