Audiovisual Translation

El mercado de los productos audiovisuales resulta fluido y mudable y la traducción audiovisual se presenta como disciplina en continua evolución, con exigencias que se modifican rápidamente respondiendo a la demanda de los nuevos consumidores y a las actuales estrate-gias de marketing. El objetivo del libro es analizar un corpus de cuatro obras de autor, dos filmes y dos cortos (españoles y argentinos), investigando sobre la dificultad de trasladar al italiano imágenes y modismos, en especial expresiones coloquiales pertenecientes al habla soez o fruto del humo-rismo, reflexionando al mismo tiempo sobre los vínculos espacio-temporales del doblaje y la subtitulación. El volumen pretende demostrar que el análisis lingüístico y traductológico de estos textos resulta de gran interés y altamente rentable en el ámbito científico, tanto en la observación del proceso traductor, como en la del producto final.

Untertitel für Gehörlose und Hörgeschädigte; Traducción audiovisual; Accesibilidad; Cine accesible.
“Untertitel für Gehörlose vs. Subtitled for Deaf People: The Challenge of making visible the unaudible”
The present study aims to understand the treatment that has been given to the Subtitling for the Deaf and Hard-of-Hearing in the German language (Untertitel für Gehörlose und Hörgeschädigte, UGH) and in Spanish (SPS) throughout the last decades. To do so, we analyze the modality of audiovisual translation in several films produced between 1981 and 2018, focusing on the parameters most characteristic of
this type of subtitling. From the diachronic point of view, the analysis will allow us to see the evolution that Subtitling for Deaf and Hard-of-Hearing people has undergone in each of the languages over these years. On the other hand, we will observe the behavior of this variant of subtitling from a diatopic perspective throughout these decades in Germany and Spain, two countries that traditionally practice dubbing instead of subtitling.
Keywords: Subtitling for the Deaf and Hard-of-Hearing; Untertitel für Gehörlose und Hörgeschädigte; Audiovisual translation; Accessibility; Accessible cinema.

Resumen El presente estudio tiene como objetivo conocer el tratamiento dado al subtitulado para personas sordas y personas con discapacidad auditiva en lengua alemana (Unter-titel für Gehörlose und Hörgeschädigte, UGH) y en español (SPS) a lo largo de las últimas décadas. Para ello se analizará esta modalidad de traducción audiovisual en varias películas producidas entre 1981 y 2018, centrándonos en aquellos parámetros más característicos de este tipo de subtitulado. Desde el punto de vista diacrónico, el análisis nos permitirá ver la evolución que el subtitulado para personas sordas y personas con discapacidad auditiva ha experimentado a lo largo de estos años en cada una de las lenguas. Por otra parte, desde la perspectiva diatópica, observaremos también el comportamiento de esta variante de subtitulado a lo largo de estas décadas en Alemania y España, dos países de tradición dobladora.
Palabras clave: Subtitulado para sordos y personas con discapacidad auditiva;

'Bullet in the Brain' (2001) adapts the key rhetorical figure of apophasis from Tobias Wolff's short story into a remarkable interrelation between sound and picture: an 'audiovisual apophasis', in which a series of memories negated by voice-over narration finds visual expression-and further accentuation-as a result of that very negation.

We are currently soliciting unpublished, quality research articles/case studies in the fields of ELT, Linguistics, Literature, Discourse and Translation Studies for Volume: 08, Issue: 02 [April-June, 2020 Issue] of IJ-ELTS. 
The papers can address issues in/related to the following research disciplines-
1. English Language Teaching [ELT]
2. Teaching English for Specific Purposes/ Academic Purposes
3. Language Assessment and Testing
4. Studies in Language, Linguistics and Discourse Studies
5. Issues in Translation and Interpretation Studies
6. Theoretical reflections on Translation
7. Translation in a globalized world (media, communication, culture and conflict)
8. Issues and Studies in Machine Translation
9. Issues and Studies in Legal and Economic Translation
10. Interpreting studies
11. Audiovisual Translation
12. Corpus Linguistics and Translation Studies
13. Translation and Literature
14. Literary Translation
15. Postcolonial Translation Studies
16. Translation and Ideology
17. Translation Criticism
18. Cultural Translation
19. Corpus-Based Translation Studies
20. Translation Quality Assessment
21. Translation of Medical Texts
22. Sociological Models of Translation and Interpreting
23. Specialised Translation
24. Screen Translation
25. Translator and Interpreter Training

Submission is free and open for all. You can submit your manuscript to submissions@eltsjournal.org and a copy to ijelts@gmail.com .
For more information, visit For Authors webpage of IJ-ELTS- http://www.eltsjournal.org/for%20authors.html

In the mid-1930s Joy Ridderhof, a Quaker missionary, returned from her missionary work in Honduras a physically broken woman. In the process of recovering from malaria and the other illnesses that had not allowed her to remain on the mission field she began a new project that would transform how the gospel message was disseminated around the world. Ridderhof imagined the possibilities associated with proclaiming the message of Jesus through the use of phonograph records for Spanish listeners. The benefit of making sound recordings was quickly recognized by missionaries who were trying to reach largely illiterate and, in some cases, preliterate populations. Ridderhof was soon asked to expand from her initial foray into Spanish language records to make recordings in other North American indigenous languages and, eventually, languages from around the world. This article analyses how Ridderhof managed this endeavour while embracing new media technologies to bring the sound of the gospel to the people of the world in their native tongue.

The translation of the pun is one of the most challenging issues for translators and interpreters. Sometimes, puns, especially those containing realia, are considered to be untranslatable. Most translation strategies and procedures offered in previous findings for the translation of realia-based puns are not appropriate for audiovisual translations of animated films, for either dubbing or subtitling, because of the specificity of the target audience, and the genre. The problem of choosing the most relevant strategy and procedures for realia-based puns is underexplored. To narrow the gap, metamodern and semiotic approaches are applied to the translation of puns. In accordance with the semiotic approach, a pun is considered as a type of language game based on the use of the asymmetry of the form, and the content of the sign. The "Quasi-translation" strategy discussed in this paper reflects the metamodern attitude towards the game, whereby "game change" is one of the basic postulates. "Quasi-translation" involves three types of translation procedures: quasi-localisation, quasi-globalisation, and quasi-glocalisation. The term "quasi-glocalisation" is also used to denote the general strategy for the translation of audiovisual works containing realia-based puns, which involves: 1) oscillation between the need to adapt the translation to the target culture, and the need to preserve the culturally-marked components of the original; and 2) the reproduction of "atmosphere" (the common reality of the perceiver and the perceived). This insight can be used by audiovisual translator-practitioners, and university teachers in the course of translation theory and practice.

The article addresses a phenomenon that is often referred to either as a "gap in translation," or as an element that is "lost in translation." The argument is that rather than a hurdle or a "loss" to be circumvented, bridged, covered and smoothed over, the gap in translation often represents the most valuable part in the act of translation. It is further argued that the tendency to bridge the gap of translation is the result of the cultural tradition of a horror-vacui (a fear of empty space) that is both gender-based and in the service of a dominant narrative that uses the notions of harmony and consistency to stifle alternative voices. It is for this reason that the gap of translation often contains the most critical information for understanding the cultural context in which translation is performed. The article discusses the gap of translation as a vehicle for cultural communication (and miscommunication); in relation (and opposition) to equivalences; in Media and New Media; in the relationship between Gender and Translation; and in relation to Gender.

Em tempos de um número crescente de textos multimodais, seja em websites, redes sociais ou meios audiovisuais, o tema da multimodalidade é mais relevante do que nunca. O filme Jenseits der Stille (lançado em português do Brasil sob o título A música e o silêncio), tendo em conta que os protagonistas usam tanto a linguagem gestual quanto verbal, apresenta uma situação de multilinguismo que se torna ainda mais complexa na versão legendada para o público estrangeiro. Este artigo propõe um modelo descritivo que leva em conta o multilinguismo, a multimodalidade e a legendagem e que pode eventualmente ser estendido a outros tipos de textos multimodais. PALAVRAS-CHAVE: Tradução Audiovisual, Legendagem, Multimodalidade, Multilinguismo, Modelos de Descrição Multimodal 1. Introdução Um dos primeiros teóricos que se ocupou de fenómenos de multimodalidade na tradução foi Roman Jakobson (1959), utilizando conceitos dos estudos semióticos. Assim definiu tradução intersemiótica em oposição à tradução intralinguística ou interlinguística: "Intersemiotic translation or transmutation is an interpretation of verbal signs by means of signs of nonverbal sign systems" (Jakobson, 1959, p. 233). No meio fílmico, coexistem signos verbais e não verbais, e a informação é transmitida pelo canal auditivo e pelo canal visual. O texto verbal é interpretado ou acompanhado por imagens e vice-versa. Portanto, na tradução audiovisual e, mais explicitamente, na legendagem, vários sistemas de signos têm impacto na tradução. Hoje em dia, os textos audiovisuais são consumidos em múltiplos contextos, muitas vezes legendados, tais como em canais televisivos internacionais, nas salas de espera de consultórios médicos, nos meios sociais, na publicidade onipresente na internet etc. Os estudos de multimodalidade ocupam-se da análise e descrição deste tipo de texto. Existem esquemas de transcrição para textos multimodais: uns descrevem o texto multimodal em si, outros incluem a tradução classificando-a como intra-e interlinguística ou intersemiótica. Estes modelos deram passos importantes para uma descrição multimodal de textos fílmicos legendados, mas não oferecem um modelo abrangente o suficiente para os casos discutidos neste artigo. Nas páginas seguintes, será lançado um olhar sobre aspetos teóricos da legendagem, do multilinguismo e da tradução multimodal. Serão discutidas várias abordagens de estudo de textos multimodais e, com base nestas abordagens, será apresentado um novo modelo

By analysing the context of censorship, fascism under the Estado Novo in Portugal and the institutionalised processes a film was subjected to before reaching the audience, some historical events, which resulted in a tightening of the censors' reigns, will be explored. The Guerra Colonial [Colonial War] was one of the life-changing events that had a direct impact on the censorship of war films. Three films from different eras, the censorship measures − cuts, omitted subtitles and manipulation of the text − and their contents will be examined. The extent to which censorship was able to change the substance of a film will become apparent.

Censorship under the Portuguese Estado Novo (1933-1974) exerted influence on foreign films from the initial translation stage through to the final approval or rejection of a film for the cinema. The Estado Novo was an authoritarian State whose prudish morality and fear of uncontrolled ideas cast a wary eye on eroticism and sexuality. Scenes of kissing or nudity were cut before foreign films reached Portuguese cinemas. Sexual allusions, erotic dialogues or comments were omitted or overwritten in a more neutral tone. Helga – vom Werden des menschlichen Lebens, directed by Erich F. Bender in 1967, a sex-education film, was the only one of its kind shown in Portugal during the dictatorship.

With the ever-increasing entertainment value of feature films and the enormous profit film industry generates, the need to transfer them to other countries and, therefore, other languages arises. Audiovisual Translation (AVT) as a practice, thus, becomes the main medium to do so, and feature films as acts of communication are being translated in tremendous numbers. The theoretical framework of audiovisual translation, however, is only beginning to shape. Subtitling is virtually the most unique type of audiovisual translation since the message is represented in written form on screen leaving the original soundtrack/dialogue undisturbed, yet imposing time and space constraints on the written representation of the dialogue. Audiovisual translation in general and subtitling in particular are in nature semiotic processes, i.e. films (as any other audiovisual material) involve two semiotic channels-verbal and nonverbal. On the basis of this, subtitling is the only type of audiovisual translation that is intrasemiotic in nature yet involves two verbal channels different in nature, i.e. spoken and written. This implies that communication has to undergo inevitable change and reduction due to the different nature of the two verbal semiotic channels, which means that there are principles that operate in this communicative process.

Desde Diciembre de 2019 se ha informado de una serie de casos de neumonía inexplicables en Wuhan, China. El 12 de Enero de 2020, la Organización Mundial de la Salud (OMS) denominó de forma temporal a este nuevo virus como el coronavirus novel de 2019 (2019‐nCoV). El 11 de Febrero del 2020 la OMS oficialmente bautizó la enfermedad causada por el 2019‐nCoV como enfermedad de coronavirus (COVID‐19). La epidemia COVID‐19 se está propagando por todo el mundo, especialmente en China. Basándonos en las pruebas publicadas, analizamos sistemáticamente las características de la enfermedad COVID‐19 con la esperanza de proporcionar un referente para futuros estudios y ayudar a la prevención y control de la epidemia COVID‐19.

Concerning graphic codes, there are currently three methods for their rendition in dubbing: audio-rendition of the target graphic codes (TGC) with an actor’s voice-off and adding the voice-off when the close shot is on the original graphic code (OGC); subtitling the OGC; and editing and inserting new TGCs replacing the OGCs in the film. The purpose of the current mixed-methods study was comparing the efficiency of voice-off versus insertion, two methods of rendition of graphic codes in dubbing, in terms of viewers’ comprehension and information processing. To this end, the Persian dubbed versions of Sherlock TV series broadcast on BBC Persian, using insertion method, and on Iranian official television, using voice-off, were selected. The findings of the experiment revealed that the participants experienced better information recall and comprehension of the content of the graphic codes when they were translated using the insertion method. In the qualitative phase, the retrospective interview data involved issues in terms of the genre of audiovisual material, dialogue interaction, types of graphic codes, target language cultural references, literacy and viewing ability of the audience as relevant variables in the preference of each of the two methods.