2.

Audiovisual translation

Films can be an extremely important and exceptionally influential vehicle for transferring
ideas, thoughts and information. Numerous customs are presented not only in words but
also visually and aurally, “as film is a polysemiotic medium that transfers meaning through
several channels, such as picture, dialogue and music.” (Szarkowska, 2009-04-13) Things
which used to be culture-explicit have a tendency to extend and encroach upon other
societies.
According to Dąmbska-Prokop (2000: 247), during the process of translation the
translator has to translate only dialogs or inscriptions on the screen, when all other sources
stay unchanged; however, the final text has to unite all other sources without modification
of the sense.

2.1 Types of audiovisual translation

Each country promotes a different custom of translating movies and subscribes to one of
the two main types: subtitling and dubbing as far as movie translation is concerned, or
minor, voice-off in TV translation; however, “each of them interferes with the original text
to a different extent” (Szarkowska, 2009-04-13). The choice as to which movie translation
type to select is by no means arbitrary and depends on some reasons, such as historical
status, customs, the method to which the viewers are familiarised, the cost, as well as on
the location of both the target and the source societies in an global perspective.
Firstly, it is possible to distinguish source-language nations, which in the existing world
describes English-speaking nations, where barely any movies are imported. The foreign are
inclined to be subtitled rather than dubbed.
Secondly, there are the dubbing nations. This group includes mostly French-, Italian-
German-, and Spanish-speaking nations. In these countries the vast majority of movies go
through the process of dubbing. This is mainly due to historical motivation since "in the
1930s dubbing became the preferred mode of film translation in the world's big-market
speech communities" (Gottlieb 1997: 310).
 Thirdly, subtitling nations, characterised by a high proportion of imported movies;
consequently, with a steady insist for translation. “Subtitling is preferred to dubbing in
countries such as the Netherlands, Norway, Sweden, Denmark, Greece, Slovenia, Croatia,
Portugal and some non-European countries” (Szarkowska, 2009-04-13).
Poland is described as a voice-off country, whereas it predominantly uses subtitling in the
cinemas, apart from some dubbed movies for children.
Szarkowska (2009-04-13) states that there is no widespread and good-for-all method of
translating movies. As it was mentioned, the techniques depend on different factors, like
history, custom of movie translation in a particular country, a variety of audience-related
factors, the category of the movie to be delivered, as well as accessible economic capital.
Also quite important aspect concerns mutual relationship among the source and target
societies, as it may strongly influence the translation practice.
What is more, the two main translation types, i.e. dubbing and subtitling, may be said
to occupy the two contradictory ends of the domestication-foreignisation continuum.

2.1.1 Dubbing

“Dubbing can best be described as the technique of covering the original voice in an
audiovisual production by another voice.(…) Additionally, dubbing can also mean
revoicing in the same language as the original, also called ‘looping’ or ‘post-
synchronisation’.” (Dries, 1995:9). In terms of truthfulness, supposing that strictly
linguistic reflection should not verify the general value of a translation it may be described
as the ideal translation. According to Pieńkos (1993: 131), in dubbing, the translator has to
be loyal not only in the theatrical sense but in terms of phonological synchronisation as
well.
Dąmbska-Prokop (2000: 249-250) emphasises that the main criteria that determines the
form of dubbing is the phonetic criteria and its two elements: the time between opening and
closing lips and the shape of the lips while speaking. The appropriate synchronisation
correlates also with the facial movements and gestures for the reason that each society has
its own specific gesticulation equal to particular essence.
 Szarkowska (2009-04-13) notices that dubbing is recognised to be the technique that
transforms the source text to a large degree and therefore it becomes recognisable to the
target viewers throughout domestication. Domestication is understood as translating in a
clear and smooth style in order to reduce the foreignness of the target text. The
consequence is that all outside elements are incorporated into the main target culture, hence
leaving the target viewers without essential features of the source culture. It “is the
approach that favours and privileges the target culture over the source culture, moving the
author/creator towards the reader/audience.” (Szarkowska 2009-04-13). It is the technique
in which the dialogue in foreign language is accustomed to the movement of the artists’ lips
in the movie and its aim is to make the viewers believe that they are listening to the artists
talking in the target language. That alteration of voice makes dubbing the one that
interferes the most in the structure of the original.

2.1.2 Subtitling

Szarkowska (2009-04-13) defines subtitling as a translation of the verbal SL dialogue into

the TL in the shape of synchronised descriptions, usually underneath the image, the form
that modifies the source text to the least acceptable degree and allows the target viewers to
experience foreignness all the time. Among the main techniques of translating films,
subtitling includes the slightest interference with the original; consequently, it is the most
neutral technique. This is mostly because the original soundtrack and dialogues are not
interfered, as is the situation in dubbing. Following Halliday and Ruqaiya (1976: 21), the
set of inter-connected elements such as soundtrack, musical score, effects, body language,
distance and angles and montage makes its own role to the filmic discourse. Only the lexis
of the dialogue is transformed in the act of subtitling, as the other elements stay almost
untouched in the final product.
Subtitling is a more reliable type than dubbing. The viewers are not allowed to overlook
the foreignness of a translated movie and are persistently reminded of its authenticity
hearing the original dialogues during the movie. Foreignness is strictly correlated with
foreignisation, an attitude towards translation which can be defined as moving the reader
to another country. “It is a method which assumes that the translated text does not 'pretend'
to be an original (…) and where the foreign identity of the source text is highlighted—
which makes the ideological dominance of the target culture impossible. Foreignisation
privileges the source culture, and it evokes a sense of 'otherness,' emphasising the foreign
nature of a film.” (Szarkowska 2009-04-13). Whilst fulfilling audience demand and
curiosity regarding other societies, it certifies the originality and consequently the
foreignness of movies. In the meantime, contrasting to dubbing, it permits the original
soundtrack to be reserved as well as the integrity of a holistic performance.
The evident drawback of subtitling is the massive shortcuts committed in the translation.
The interpreter not only translates but also decides which phrases to skip, which of them
are unrelated, and which are essential to the target viewers. Even though there are
noteworthy cuts in the duration of the dialogues caused by the natural character of
subtitling, much of what is gone can be rewarded for while hearing the original. In an
attempt to express the heart of the screenplay, interpreters frequently overlook that it is not
only the dialogues from the script that represent the essence of a movie. Other factors, such
as a range of dialects, idiolects, register or expressions of good manners, which normally
are declined, can be similarly essential in the full understanding of a particular work.
According to Hajmohammadi (2009-04-13) we may state that film audience deal at the
same time with four different modes of signs:

• Verbal acoustic signs (dialogue)

• Non-verbal acoustic signs (music, sound effects)
• Verbal visual signs (written signs in the image)
• Non-verbal visual signs (what is otherwise seen in the image)

Due to the fact that the first two modes of signs depend on hearing, subtitles therefore
have slight effect on the understanding process. Consequently, the second two modes of
signs are dependent on sight, and subtitles interfere with the awareness of the non-verbal
visual signs, making double difficulty for the audience who have to separate visual
concentration between subtitles and image, as it is impossible to keep full track of both.
A rule generally functional in Europe is that subtitles ought to consist at most of two lines
of 35 characters each, with audience required to read the text in a limited time straight
linked to the length of dialogues. Hajmohammadi (2009-04-13) recalls that standard TV
audience needed 5-6 seconds to read a two-liner of some 60-70 characters; however,
reading speed may differ according to the linguistic difficulty of the subtitles concerning
semantics and syntax. Thus, subtitles should be designed to provide audience the essence of
dialogues and let them get throughout the reading fast to turn their concentration to the
image. Schwarz (2009-04-13) lists some more general guiding principles which most
subtitlers follow.

Subtitles are conventionally placed at the bottom of the screen (for translations into Roman script)
either left-aligned or centred. Sub-titles must not stay on the screen across a picture edit as this
disturbs the visual experience too much.(…) To ensure good legibility on any type of background,
a simple font in white or yellow with a dark drop-shadow is used or the titles appear on a dark and
usually transparent bar. (Schwarz, 2009-04-13)

Schwarz (2009-04-13) states, that the position of the subtitle and the time it remains on
screen, are dependent on the dialogue and action on the screen. Subtitles should stay as
unobtrusive as possible and not impede with edit points in the movie. The vocabulary used
in the translation should also intend to reveal delivery and approach of the SL dialogue.
It seems to be obvious that subtitles are made for viewers who could not understand the
movie. Their major focus must be clearness and easiness of reading. At the same time
though, the overlaid text must be exposed as discreetly as possible, so as not to impede the
action too much.
According to Schwarz (2009-04-13) the subtitlier has to create subtitles which read
spontaneously are logical as a unit. This has to be done along with keeping with the same
manner and temper as the SL movie. This requires a great and rich language of synonyms
and a capacity to adjust and re-write for complicated situations and probably a large
number of characters. Subtitliers must also figure out the author's approach towards his
viewers within his own cultural setting. He shares some information with the audience and
can consequently put down some information implied in the dialogue or the visual part of
the movie. Subtitliers must distinguish this presupposed information and choose whether it
needs to be made clear, as the prevailing goal of good quality subtitles must be their
minimalism, clearness and sufficiency. To attain rationality of the narrative for the viewers,
a more pragmatic style is required. Subtitles have to be read and acquired in the few
seconds they are evident on the display. They must not turn into the prime focus for the
audience. Their purpose is to aid the viewers with the understanding and satisfaction of the
film. Good quality subtitles must stay minor to the rest of the visual and oral stimuli.
The dialogue is filled with non-verbal hints in the way it is brought (dialects, accent,
register of speech etc.) with supplementary facial expressions, hand gesticulation and body
 language. The subtitlier must know all these diverse features and be able to translate them.
Katan (1999) states, that the translator should be aware of the geographical features,
existing social and political history as well as be acquainted with heroes and individuals
from popular culture. What is more, he must be aware of his own cultural character and be
conscious of the way it may influence his translation.

2.2 Strategies for subtitling

In order to come up with good quality subtitling, subtitlier constantly has to decide how to
match the required standards. It is commonly said that when converting the spoken
expression to its equivalent in written form of subtitles, the volume is typically reduced. To
attain this drop, interpreters go through a decision-making process where they decide what
has to be translated and what can be left out. According to Schwarz (2009-04-13) this
judgment is influenced by three reasons, the kind of programme, the target viewers and the
artistic characteristic of the language.
The first reason is the kind of programme. This may vary from frivolous comedy or
cartoon from exploratory documentaries or education. Consequently different importance is
reflected in the vocabulary. While insight is the main concern of documentaries, the aim of
a comedy is to transmit humour. The kind of programme as a result verifies the focus and
characteristics of the translation.
The second reflection is the target viewer. The purpose of the subtitles is to make the
story rational to the audience. When the language is improper for the intended audience
subtitles may fail to serve the purpose, even when the translation is very good. If the
production is directed at a more educated viewer, subtitles can be denser with a wider
terminology and more complex sentence structure. The same viewer will have background
acquaintance at their disposal and may even be familiar with body of work. This may
influence the interpreter in his verdict to leave some understood information without
supplementary explanation
The last issue is the decision concerning the significance of stylistic character of the
language. While the story can be captured in simple language, tranlator must be aware of
the artistic value of the SL text. If the language of the ST is rich in poetic expressions and
uses elements such as alliteration, metaphors or rhyme, the interpretation should try to
translate that. It is essential that subtitles express at least some of these stylistic
characteristics of the ST in addition to the mere facts of the narrative line.