Multimedia translation

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Multimedia translation, also sometimes referred to as Audiovisual translation, is a specialized branch of translation which deals with the transfer of multimodal and multimedial texts into another language and/or culture. [1] and which implies the use of a multimedia electronic system in the translation or in the transmission process.

Contents

Application

Multimedia translation can be applied to various fields, including cinema, television, theatre, advertisement, audiovisual and mobile device communication.

Audiovisual text can be labeled as multimodal when produced and interpreted by applying a variety of semiotic resources or ‘modes’. [2] When various modes, such as language, image, music, colour and perspective are combined in different forms of media, with the major role attributed to the screen, audiovisual text can be described as multimedial. [3]

An example of this, called multimodal transcription, is used in cinema. [4] A film is broken down into frames, shots or phases. [4] Every frame, shot or phase is analyzed, looking for all the semiotic modalities operating within each one. [4]

Academic study of multimedia translation

The translation of multimedia creative works is a subject of academic research, a subtopic of translation studies. [5] This interdisciplinary field draws from a wide range of theories, such as globalisation and post-globalisation theories, reception studies, relevance theory, social science and cultural studies, social psychology and deaf studies. [6]

Modes of translation

This kind of translation is strongly influenced, both in the form and in the substance of its creative process, by the process and type of device employed. Specific limits are imposed by digital graphics, and by timing and mode of use.

Dubbing

Dubbing, sometimes known as "lip-synchrony", involves both the translation and its synchronisation as well as dubbing the actors' and actresses' performance. [7] Once considered the most comprehensive form of translation, dubbing follows the "timing, phrasing and lip movement of the original dialogue" as closely as possible. [8] Although this mode is usually interlingual, there are some cases of intralingual dubbing, but it is not very common. [7]

Subtitling

The most extensively studied mode of multimedia translation, subtitling is the linguistic practice showing written text on a screen that conveys "a target language version of the source speech." [8] Consisting of many sub-types, the one most commonly used is interlinguistic subtitling, which is usually displayed in open captions. [7] In places where several languages are spoken, bilingual subtitles are used to show two different language versions of the source text at the same time. [8]

Voice over

Voice over involves the original soundtrack and the translation being broadcast simultaneously. [7] At the beginning, only the original can be heard, but the volume is lowered while the translated version becomes more noticeable until the end. [8] This mode of multimedia translation gives a realistic effect, so it is usually used in documentaries or interviews. [7] Voice over is considered a "cheap alternative to dubbing" so it is the first choice for translating films in former Communist states and some countries in the Middle East and Asia. [8]

Interpreting

Interpreting is "the oral translation of an audiovisual product by only one speaker." [7] Interpreting consists of many different types, such as simultaneous, live, consecutive or prerecorded. [7] This mode is usually used in live interviews and news broadcasts. [7]

Surtitling

Surtitling is similar to subtitling, however it consists of one continuous line displayed with no interruption. [7] Becoming more frequent in theatres and operahouses, the translation is displayed either above the stage or on the backs of seats. [7] Despite being shown in real time, the translations are prepared in advance. [7]

Free commentary

Free commentary is the variation of an audiovisual source to an entirely new audience and the cultural factors or new goals involved. [7] It is delivered with a spontaneous tone, so the end product is completely different from the original. [8] There is generally no attempt to stay faithful to it, resulting in a translation that usually provides either more details or omissions. [7] This mode of multimedia translation is generally used when literacy is not the main goal, such as in children's television shows, documentaries, humorous videos, film parodies and corporate videos. [7]

Partial dubbing

Also known as "half-dubbing" or "concise synchronisation", consists of adding a prerecorded spoken text to the original soundtrack. [7] While not being a full translation, it provides the necessary information in the target language. [7]

Narration

Narration consists of preparing, translating and condensing a text in advance which is then read by dubbing actors and actresses. [7] The goal is to provide a faithful, scripted summary of the original speech. [8] It can be pre-recorded or performed live. [8] The difference between narration and dubbing is that the text is being read, not performed. [7] Narration is also similar to voice over, but is different in that the final product is more condensed and is not always completely faithful to the original's style. [7]

Simultaneous translation

Also known as "sight translation", simultaneous translation is done on the spot from a prepared script in the target language. [7] It is different from interpretation in that "it takes this second foreign language as a pivot language". [7] It is used when more elaborate methods of audiovisual translation are not an option, due to time or funding constraints. [8] As a result, it is only used in film festivals and film archives. [7]

Live subtitling

Also known as "real-time subtitling", it differs from regular subtitling in that the subtitles are not prerecorded and are instead inserted on the spot. [7] This mode of multimedia of translation is used for live broadcasts for those who are hard of hearing. [7] A "respeaker" takes the original sound and dialogue of a live program or event and "respeaks" it into a speech recognition software. [8] This new version includes punctuation marks and specific features for this audience, which is then turned into subtitles with as little delay as possible. [8]

Subtitling for the Deaf and Hard of Hearing (SDH)

SDH is meant for those who have difficulty hearing the dialogue on a film or television show by helping them to "see" the sound. [7] Although similar to subtitling, SDH adds additional information to complement the verbal dimension. [7] Originally, these subtitles were only available for films and pre-recorded broadcasts. [8] However, the "growing number of legislative and regulatory provisions has set minimum quota requirements" for broadcasters and subtitling companies. [8]

Audio description (AD)

AD is meant for those who are blind, visually-impaired or partially-sighted and assists by providing a narration concerning the visual aspects of a film or television show, for example. [7] The AD track does not interfere with the original dialogue since it is inserted during silent parts. [7] The reader, known as an "audio describer", makes sure to balance what is necessary to the plot while not overwhelming the audience with excessive information. [8] These particular descriptions would be recorded, but they can also be done live, (though still prepared in advance) such as in theatres. [7] This mode of multimedia translation has become important in "ensuring the accessibility of audiovisual products to the visually impaired." [8]

Animation

Animation involves translation as well as script writing. [7] The translator takes silent images, such as cartoons, and creates a script from scratch. [7] Although similar to free commentary, it is different in that there is no previous script written in animation. [7]

Double version

Double versions are products that involve two or more languages in which each actor and actress plays their role in their own language. [7] The final product is then dubbed and synchronised so that there is only one language. [7]

Remake

Remakes contextualise a film so that they are in accordance with the target audience and its culture. [7] These translations focus on values and ideology, so the linguistic aspect of the product is less of a priority. [7] This mode of multimedia translation is mostly used for European films remade for American audiences. [7]

Teaching

Since the late 1990s, multimedia translation has found a role in education. B.A and M.A. classes on this subject have been established at several universities across Europe and the United States (Boston, Dallas, Forlì, Genova, Leeds, Londra, Pisa, Pittsburgh, Torino, Udine, Barcelona, Vigo, Winterthur).

Related Research Articles

<span class="mw-page-title-main">Documentary film</span> Nonfictional motion picture

A documentary film or documentary is a non-fictional motion-picture intended to "document reality, primarily for the purposes of instruction, education or maintaining a historical record". Bill Nichols has characterized the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries".

<span class="mw-page-title-main">Dubbing</span> Post-production process used in filmmaking and video production

Dubbing is a post-production process used in filmmaking and video production, often in concert with sound design, in which additional or supplementary recordings (doubles) are lip-synced and "mixed" with original production sound to create the finished soundtrack.

<span class="mw-page-title-main">Voice-over</span> Piece of narration that is not accompanied by an image of the speaker

Voice-over is a production technique where a voice—that is not part of the narrative (non-diegetic)—is used in a radio, television production, filmmaking, theatre, or other presentations. The voice-over is read from a script and may be spoken by someone who appears elsewhere in the production or by a specialist voice actor. Synchronous dialogue, where the voice-over is narrating the action that is taking place at the same time, remains the most common technique in voice-overs. Asynchronous, however, is also used in cinema. It is usually prerecorded and placed over the top of a film or video and commonly used in documentaries or news reports to explain information.

<span class="mw-page-title-main">Closed captioning</span> Process of displaying interpretive texts to screens

Closed captioning (CC) and subtitling are both processes of displaying text on a television, video screen, or other visual display to provide additional or interpretive information. Both are typically used as a transcription of the audio portion of a program as it occurs, sometimes including descriptions of non-speech elements. Other uses have included providing a textual alternative language translation of a presentation's primary audio language that is usually burned-in to the video and unselectable.

<span class="mw-page-title-main">Voice acting</span> Performing voice-overs to represent a character or provide information

Voice acting is the art of performing voice-overs to present a character or provide information to an audience. Performers are called voice actors/actresses, voice artists, dubbing artists, voice talent, voice-over artists, or voice-over talent. Voice acting is recognised as a specialized dramatic profession in the United Kingdom, primarily due to BBC broadcasts of radio drama production.

<span class="mw-page-title-main">Fansub</span> Practice of fans adding translation subtitles to media that has none

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<span class="mw-page-title-main">Horizontal and vertical writing in East Asian scripts</span> Writing conventions of eastern Asian countries

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Voice-over translation is an audiovisual translation technique in which, unlike in dubbing, actor voices are recorded over the original audio track which can be heard in the background.

<span class="mw-page-title-main">Subtitles</span> Textual representation of events and speech in motion imagery

Subtitles are text representing the contents of the audio in a film, television show, opera or other audiovisual media. Subtitles might provide a transcription or translation of spoken dialogue. Although naming conventions can vary, captions are subtitles that include written descriptions of other elements of the audio like music or sound effects. Captions are thus especially helpful to people who are deaf or hard-of-hearing. Other times, subtitles add information not present in the audio. Localizing subtitles provide cultural context to viewers, for example by explaining to an unfamiliar American audience that sake is a type of Japanese wine. Lastly, subtitles are sometimes used for humor, like in Annie Hall where subtitles show the characters' inner thoughts, which contradict what they were actually saying in the audio.

Video game localization, or video game localisation, is the process of preparing a video game for a market outside of where it was originally published. The game's name, art assets, packaging, manuals, and cultural and legal differences are typically altered.

Fan translation refers to the unofficial translation of various forms of written or multimedia products made by fans, often into a language in which an official translated version is not yet available. Generally, fans do not have formal training as translators but they volunteer to participate in translation projects based on interest in a specific audiovisual genre, TV series, movie, etc.

<span class="mw-page-title-main">Aegisub</span> Open-source subtitling program

Aegisub is a subtitle editing application. It is the main tool of fansubbing, the practice of creating or translating unofficial subtitles for visual media by fans. It is the successor of the original SubStation Alpha and Sabbu.

A subtitle editor is a type of software used to create and edit subtitles to be superimposed over, and synchronized with, video. Such editors usually provide video preview, easy entering/editing of text, start, and end times, and control over text formatting and positioning. Subtitle editors are available as standalone applications, as components of many video editing software suites, and as web applications.

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George Roubicek is an Austrian actor, and a dialogue director and script adaptor for English-language versions of foreign films and television shows. Born in Austria, Roubicek appeared in a number of small roles throughout the 1950s, '60s and '70s, including the films The Bedford Incident, Billion Dollar Brain and The Dirty Dozen. In 1967, he appeared in The Tomb of the Cybermen, a four-part Doctor Who serial. He played the part of Semenkin in The Champions. Roubicek had a small role in A New Hope, the first Star Wars film, as the Imperial Commander Praji. He also appeared in two James Bond films, You Only Live Twice and The Spy Who Loved Me.

<span class="mw-page-title-main">Surtitles</span> Dialogue presented above a stage or screen

Surtitles, also known as supertitles, SurCaps, OpTrans, are translated or transcribed lyrics/dialogue projected above a stage or displayed on a screen, commonly used in opera, theatre or other musical performances. The word "surtitle" comes from the French language "sur", meaning "over" or "on", and the English language word "title", formed in a similar way to the related and similarly-named subtitle. The word Surtitle is a trademark of the Canadian Opera Company.

<span class="mw-page-title-main">Multimodality</span> Phenomenon of human communication having different forms that combine

Multimodality is the application of multiple literacies within one medium. Multiple literacies or "modes" contribute to an audience's understanding of a composition. Everything from the placement of images to the organization of the content to the method of delivery creates meaning. This is the result of a shift from isolated text being relied on as the primary source of communication, to the image being utilized more frequently in the digital age. Multimodality describes communication practices in terms of the textual, aural, linguistic, spatial, and visual resources used to compose messages.

<span class="mw-page-title-main">Emotion recognition</span> Process of visually interpreting emotions

Emotion recognition is the process of identifying human emotion. People vary widely in their accuracy at recognizing the emotions of others. Use of technology to help people with emotion recognition is a relatively nascent research area. Generally, the technology works best if it uses multiple modalities in context. To date, the most work has been conducted on automating the recognition of facial expressions from video, spoken expressions from audio, written expressions from text, and physiology as measured by wearables.

The European Association for Studies in Screen Translation (ESIST) is an international association in the field of audiovisual translation. According to ESIST, screen translation includes all forms of language transfer in the media, including subtitling, dubbing, voice-over, interpreting for the media, surtitling, subtitling for viewers who are deaf or hard of hearing, and audio description for blind and partially sighted audiences.

References

  1. González, Luis Pérez. "Audiovisual Translation", in Baker, Mona and Gabriela Saldanha (eds.), Routledge Encyclopedia of Translation Studies, London, 2009, p. 13.
  2. Baldry, Anthony and Paul J. Thibault. Multimodal Transcription and Text Analysis, London & Oakville: Equinox, 2006.
  3. Negroponte, Nicholas. Multimedia [Interview]. Hightech (August 1991): 68.
  4. 1 2 3 Taylor, Christopher J. (2003). "Multimodal Transcription in the Analysis, Translation and Subtitling of Italian Films". The Translator. 9 (2): 191–205. doi:10.1080/13556509.2003.10799153. S2CID   145071190.
  5. Diaz Cintas, Jorge. New Trends in Audiovisual Translation. Bristol/Buffalo/Toronto: Multilingual Matters. 2009. ISBN   978-1-84769-154-5.
  6. Pavlović, Nataša (2004). "Addressing Power and Solidarity in TV Subtitling". Across Languages and Cultures. 5 (2): 211–232. doi:10.1556/Acr.5.2004.2.4.
  7. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 Isabel, Ana; Bartolomé, Hernández; Cabrera, Gustavo Mendiluce (2005). "New Trends in Audiovisual Translation: The Latest Challenging Modes" (PDF). Miscelánea. 31: 89–104. Archived from the original (PDF) on 2016-12-20.
  8. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Pérez-Gonzalez, Luis (2014). Audiovisual Translation Theories, Methods And Issues. New York: Routledge.