The mediation of foreign films for Swahili audiences is an established cultural and linguistic practice in Tanzania that combines translation with commentary and story-telling. It helps audiences make sense of films whose original language and cultural background are unfamiliar to them. Today, an industry has grown around translated foreign films of all genres and from all regions. The practice also makes genres accessible that are still under-represented in Tanzanian film production, such as science fiction. The genre’s depiction of a futuristic, technically advanced and strange world presents a challenge to commentators. Through the analysis of a particular episode of the Star Wars saga, I show how the commentator acts as an ethnodramaturg, who through translation, re-narration and intertextual reference explains and re-enacts the strange cultural universe of the source film and brings it closer to the audience.

El camp talk es una forma de expresión construida mediante el habla que forma parte de la representación de la identidad de la comunidad LGTB+. Esta forma de expresión se ha visto representada en diversas producciones tanto cinematográficas como en novelas u obras de teatro, por lo que se han traducido del inglés a otros idiomas. Si bien existen investigaciones sobre la traducción del camp talk, estos estudios son limitados, sobre todo en el contexto de los años 90. En esta década, recién se construían equivalentes en español para el vocabulario utilizado por la comunidad LGTB+ a través de las primeras traducciones de productos de consumo masivo como películas o series. Se considera la traducción del camp talk como un problema ya que, para mantener la identidad de la comunidad en cuestión, el texto meta debe cumplir con la función comunicativa del texto fuente y considerar los equivalentes del vocabulario empleado por la comunidad LGTB+. Por esta ra, la presente investigación se centra en dos películas LGTB+ de los años 90, The Birdcage y To Wong Foo, Thanks for Everything! Julie Newmar, con la finalidad de analizar la función del camp talk y las técnicas utilizadas para su traducción. Para obtener los resultados, se utilizarán dos técnicas: el análisis de contenido para analizar las funciones del camp talk en la versión original en inglés, y el análisis textual contrastivo para analizar la traducción al español latinoamericano del camp talk e identificar las técnicas de traducción utilizadas. / Camp talk is a form of expression constructed through speech, and this represents the identity of a community, as is the case of the identity of the LGTB+ community. This form of expression has been represented in several film productions, as well as in novels and theatre plays, and has been translated from English into other languages. Although there is research about camp talk translation, these studies are limited, especially those in the 90s. At that decade, spanish equivalents for the vocabulary used by the LGTB+ community were just being constructed through the first translations of mass consumer products such as movies or series. The translation of camp talk is considered a problem since, in order to maintain the identity of the LGTB+ community, the target text must fulfill the communicative function of the source text and consider the equivalents of the vocabulary used by the LGTB+ community. Therefore, the present research focuses on two LGTB+ films from the 90s, The Birdcage and To Wong Foo, Thanks for Everything! Julie Newmar, to analyze the function of camp talk and the techniques used for its translation. To obtain the results, two techniques will be used: content analysis, to analyze the functions of camp talk in the original English version and contrastive textual analysis to analyze the Latin American Spanish translation of camp talk and to identify the translation techniques used. / Trabajo de investigación

Les traductions ne servent pas tout simplement à un transfert d’informations. Les traductions construisent des ponts entre mondes, entre cultures, entre êtres humains. Mais tout ceci ne peut réussir que quand le traducteur comprend les informations essentielles, les dénotations, les connotations, les associations d’un texte de départ. Dans ce monde globalisé, le cinéma apparaît lui aussi comme un support central. Plus que tout autre domaine, il implique un transfert de culture où se reflètent directement et indirectement modes de vie, modes de pensée et pratiques linguistiques d’un espace culturel donné. Certes, la diffusion et la production de films ne se limitent plus aux frontières nationales. Mais aujourd’hui comme hier, il s’agit de faire découvrir et comprendre la langue et la culture d’un pays d’origine aux spectateurs d’un pays cible. Ce processus passe notamment par l’utilisation de versions synchronisées et de versions sous-titrées. Mais est-il vraiment possible de transcrire de façon juste et équivalente des phénomènes culturels et linguistiques ou du moins de les faire comprendre, ou bien existent-ils des spécificités culturelles qui ne passent pas les frontières de leurs propres pays ? Cette question constituera le premier point de la thèse. La recherche s’appuie sur deux films : BIENVENUE CHEZ LES CH’TIS de Dany Boon (2008) et BENVENUTI AL SUD de Luca Miniero (2010). Ces deux films représentent deux aspects différents de la culture française et italienne. Ils traitent de la division Nord-Sud ou bien des préjugés nationaux entre ces régions. Il est frappant de constater que le scénario et les dialogues du film français ont été repris pratiquement à l’identique dans la version italienne. Il nous faudra définir dans quelle mesure l’écart entre le Sud de la France et la région Nord-Pas-de-Calais peut être appliqué à l’opposition Nord-Sud en Italie qui y revêt un tout autre sens sur le plan politique. / Translation is not just about the transmission of information; no, translations build bridges between worlds, between cultures, and between people. However, all this can only be done successfully if the translator understands the essential information of a source text and succeeds in translating it into another language. The medium of film is taking centre stage in the happenings of our globalized world. It directly and indirectly reflects ways of life, mentalities and language habits of a specific cultural region. Although the diffusion and production of movies is no longer bound by national borders, the problem remains that the audience of the recipient country must be given an understanding of the language and culture of each country of origin. In an effort to solve this problem, subtitling and synchronization are used. But is it even possible to transfer cultural and linguistic phenomena adequately and equivalently, to at least make them understandable, or are there cultural specifics that do not transcend their country's borders? This question is the central issue of the dissertation. The study focuses on BIENVENUE CHEZ LES CH’TIS (Dany Boon, 2008) and BENVENUTI AL SUD (Luca Miniero, 2010). These two movies represent different fragments of French and Italian culture. They address the north-south divide or domestic prejudice between different regions. It remains to be explored to what extent these can be transmitted and made clear to a foreign-language audience. From a linguistic point of view, the reproduction of dialect along with its connotation is notable, especially as misunderstandings arising from the dialect often serve as the basis of the movies' humorous sequences.