34th ISFC 2007 Systemic Functional Linguistics in Use Odense 16th -20th July Dubbing into English – an alternative translation strategy Chris Taylor University.

34th ISFC 200734th ISFC 2007Systemic Functional Linguistics in Systemic Functional Linguistics in

UseUseOdense 16th -20th JulyOdense 16th -20th July

““Dubbing into English – an alternative Dubbing into English – an alternative translation strategy”translation strategy”

Chris TaylorChris TaylorUniversity of TriesteUniversity of Trieste

Talking PointsTalking Points

1.1. Spoken LanguageSpoken Language

2.2. Film LanguageFilm Language

3.3. Translation into EnglishTranslation into English1.1. SubtitlingSubtitling

2.2. DubbingDubbing

Spoken languageSpoken language

In 1987 Michael Halliday wrote thatIn 1987 Michael Halliday wrote that

“ “ one of the most productive areas of one of the most productive areas of discussion between linguists and discussion between linguists and educators in the past quarter century educators in the past quarter century has been that of speech and the has been that of speech and the spoken language”….spoken language”….

……

““spoken language in its natural form,spoken language in its natural form,

spontaneous and unselfconscious, was spontaneous and unselfconscious, was notnot

taken seriously as a medium oftaken seriously as a medium of

learning …… among linguists, by learning …… among linguists, by contrast,contrast,

the spoken language had pride of the spoken language had pride of place.”place.”

……

““the linguists’ professional the linguists’ professional commitment tocommitment to

the primacy of speech did not, the primacy of speech did not, however,however,

arise from or carry with it an arise from or carry with it an awareness ofawareness of

the properties of spoken discourse.”the properties of spoken discourse.”

……

• scriptwriters of films and TV series scriptwriters of films and TV series were (and are) presumably even less were (and are) presumably even less aware of ‘the properties of spoken aware of ‘the properties of spoken discourse’. Hence the existence of discourse’. Hence the existence of what is variously called what is variously called thethe language language of film, filmese,of film, filmese, etc. etc.

Complexity of spoken Complexity of spoken languagelanguageAA We’re looking forward to bonfire night at We’re looking forward to bonfire night at

least least the the children are do you indulge in thischildren are do you indulge in thisBB oh in in Sussex we did I’ve in fact I went to oh in in Sussex we did I’ve in fact I went to

one last one last week but it wasweek but it wasAA that was a bit early wasn’t it?that was a bit early wasn’t it?BB all the all the joys were joy was taken out of all the all the joys were joy was taken out of

it for it for me because it was a huge bonfire in a me because it was a huge bonfire in a garden the garden the size of this room with big houses size of this room with big houses all all around and the around and the bonfire was right under a big bonfire was right under a big tree with its leaves all tree with its leaves all drydry

(Crystal and Davy)(Crystal and Davy)

just the last turnjust the last turn

all the all the joys were joy was taken all the all the joys were joy was taken out of it for out of it for me because it was a me because it was a huge bonfire in a garden the size of huge bonfire in a garden the size of this room with big houses all around this room with big houses all around and the bonfire was right under a big and the bonfire was right under a big tree with its leaves all drytree with its leaves all dry

Lexical density & grammatical Lexical density & grammatical intricacyintricacy

• Lexical wordsLexical words 15 15

• Total wordsTotal words 4747

• RatioRatio 1:3.11:3.1

• No. of clausesNo. of clauses 33

• RatioRatio 5:15:1

Written versionWritten version

• The fact that it was a huge bonfire The fact that it was a huge bonfire under a big tree with dry leaves, in a under a big tree with dry leaves, in a huge garden surrounded by houses, huge garden surrounded by houses, spoiled it for me.spoiled it for me.

Lexical density & grammatical Lexical density & grammatical intricacyintricacy

• Lexical wordsLexical words 1212





Film LanguageFilm Language

The thesis that film language, as part The thesis that film language, as part of a semiotic whole, differs of a semiotic whole, differs appreciably from ordinary, everyday, appreciably from ordinary, everyday, spontaneous language has been spontaneous language has been recognised, and little criticised, since recognised, and little criticised, since the beginnings of the cinema.the beginnings of the cinema.

APSAPS

The language (and grammar) of film The language (and grammar) of film is a scripted construct created by is a scripted construct created by writers, altered by directors and writers, altered by directors and actors, in the creation of an actors, in the creation of an “artificially produced situation” (APS)“artificially produced situation” (APS)

Robin Hood 1938Robin Hood 1938

Friar Tuck: Friar Tuck: Robber and thief! Give me Robber and thief! Give me back my mutton joint!... I’m back my mutton joint!... I’m

a girdled friar and a girdled friar and vowed to vowed to poverty.poverty.

Robin Hood:Robin Hood:If this is poverty, I’ll be glad If this is poverty, I’ll be glad to share it with you.to share it with you.

Friar Tuck:Friar Tuck: Give me back my mutton Give me back my mutton joint!...joint!...

Robin Hood:Robin Hood:Not so close, my thunderous Not so close, my thunderous one!one!

Lexical densityLexical density




Cf. previous written textCf. previous written text

‘‘Dawson’s Creek’Dawson’s Creek’

• Creator Kevin Williamson makes it Creator Kevin Williamson makes it clear that he does not strive for clear that he does not strive for authentic dialogue.authentic dialogue.

• In fact his cast of teenagers talk like In fact his cast of teenagers talk like thirty-somethings.thirty-somethings.

‘‘Dawson’s Creek’Dawson’s Creek’

Screw pity. I love you. I love you Jack. Screw pity. I love you. I love you Jack. I love that you’re the bravest person I love that you’re the bravest person I know… the kindest. I love that no I know… the kindest. I love that no matter what you do, your life is matter what you do, your life is gonna stand out. I want to stand out gonna stand out. I want to stand out with you… and your daughter.with you… and your daughter.

Lexical DensityLexical Density



• RatioRatio 1:3c1:3c

Cf. Robin HoodCf. Robin Hood

Who writes a film?Who writes a film?

A film is a team effort, with a A film is a team effort, with a consequent downplaying of its consequent downplaying of its paternity. The ‘authors’ of a film (and paternity. The ‘authors’ of a film (and its translated version) consist of: its translated version) consist of: screenplay writers, directors, screenplay writers, directors, cameramen, editors, actors, cameramen, editors, actors, translator/adaptors, dubbing directors, translator/adaptors, dubbing directors, dubbing actors, subtitlers, producers... dubbing actors, subtitlers, producers...

And so…And so…

• there is a co-existence of there is a co-existence of

• written language features (complete written language features (complete sentences, no hesitation, no repetition, high sentences, no hesitation, no repetition, high lexical density, lower grammatical intricacy) lexical density, lower grammatical intricacy) andand

• spoken discourse (eg. self-correction, spoken discourse (eg. self-correction, frequent use of linkage items such as frequent use of linkage items such as discourse markers, overlapping speech, low discourse markers, overlapping speech, low lexical density, higher grammatical intricacy). lexical density, higher grammatical intricacy).

Comparison of written, oral Comparison of written, oral and film language modes.and film language modes.

Rossi (2003) compared the three Rossi (2003) compared the three modes, appying a series of relevant modes, appying a series of relevant parameters, to show the specificity of parameters, to show the specificity of film language.film language.

Language Written Oral Film dialogue

Uniformity of pragmatic

and textual units(turns, clauses,

utterances)

- - +

Tendency tomonologism

+ - +/-

Extension of the units (turns,

clauses, utterances)

+ - +

Overlapping, fuzziness and

other dialogical accidents

- + -

Planning, coherence and

cohesion

+ - +

Recourse to para and extralinguistic

elements

- + +

Morphosyntactic complexity

- + +/-

Lexical density + - +/-

Presence of dialect - + +/-

TranslationTranslation

In translation, all this becomes In translation, all this becomes ever more apparent.ever more apparent.

Translation processTranslation process

• Subject Subject – treatmenttreatment– screenplay screenplay – script [script [written dialogues]written dialogues]

• Spoken dialogue Spoken dialogue • Continuity script (transcription and Continuity script (transcription and

postsynchronization) postsynchronization) • TranslationTranslation

– adaptationadaptation– dubbingdubbing– mixagemixage– translated spoken dialoguetranslated spoken dialogue– subtitlessubtitles

Translation of Dawson’s Translation of Dawson’s Creek.Creek.

• Given the original’s stated intention Given the original’s stated intention of not aiming at authentic dialogue of not aiming at authentic dialogue the dubbed version on Italian the dubbed version on Italian television, follows suit … only more television, follows suit … only more so. so.

‘‘Dawson’s Creek’ in ItalianDawson’s Creek’ in Italian

• According to Zandegù:According to Zandegù:The language can be given the labelThe language can be given the label

ZERO ORALITY ZERO ORALITY

referring to the reduction in variation at referring to the reduction in variation at a stylistic, sociocultural and dialectal a stylistic, sociocultural and dialectal level.level.

Translation of previous Translation of previous passagepassage• Al diavolo la compassione! Io ti amo. Ti amo, Al diavolo la compassione! Io ti amo. Ti amo,

Jack. Ti amo perché sei la persona più Jack. Ti amo perché sei la persona più corraggiosa che conosca… la più gentile. Ti corraggiosa che conosca… la più gentile. Ti amo perché qualunque cosa tu faccia, la tua amo perché qualunque cosa tu faccia, la tua vita sarà speciale, e io voglio esserlo con te.. e vita sarà speciale, e io voglio esserlo con te.. e tua figlia.tua figlia.

• (very theatrical, too high a register – eg. use of (very theatrical, too high a register – eg. use of subjunctive - and pays no heed to semi-vulgar subjunctive - and pays no heed to semi-vulgar language and substandard ‘gonna’, etc.)language and substandard ‘gonna’, etc.)

The nature of the translation The nature of the translation processprocess

• Comparisons of corpora of original texts Comparisons of corpora of original texts and translated texts in the same and translated texts in the same semantic area have led to the semantic area have led to the identification of a number of ‘translation identification of a number of ‘translation universals’ – universals’ –

• REGULARLY OCCURRING PATTERNS OF REGULARLY OCCURRING PATTERNS OF TRANSLATIONAL BEHAVIOURTRANSLATIONAL BEHAVIOUR

• (see Baker, Laviosa, Olohan, Ulrych)(see Baker, Laviosa, Olohan, Ulrych)

Four main categories Four main categories (applicable to all languages)(applicable to all languages)

1.1. EXPLICITATIONEXPLICITATION

2.2. SIMPLIFICATIONSIMPLIFICATION

3.3. NORMALISATIONNORMALISATION

4.4. LEVELLINGLEVELLING

(examples taken from ‘The Gilmore (examples taken from ‘The Gilmore Girls’)Girls’)

EXPLICITATIONEXPLICITATION

• Make explicit what is implicit in the Make explicit what is implicit in the originaloriginal

• RORY: This is about HarvardRORY: This is about Harvard

• RORY: Io rischio HarvardRORY: Io rischio Harvard

SIMPLIFICATIONSIMPLIFICATION

• Tendency to simplify the languageTendency to simplify the language

• RORY: RORY: This is the end of this This is the end of this particular particular conversation!conversation!

• RORY:RORY: La conversazione finisce La conversazione finisce qui!qui!

NORMALISATIONNORMALISATION

• Tendency to conform to patterns that Tendency to conform to patterns that are typical of the target language and are typical of the target language and to opt for unmarked forms and to opt for unmarked forms and collocations.collocations.

• LORELAI:LORELAI: There’s nothing like a There’s nothing like a nice nice salad of lemony goodness.salad of lemony goodness.

• LORELAI:LORELAI: Niente coma un’insalata Niente coma un’insalata al al limone.limone.

LEVELLINGLEVELLING

• Tendency to gravitate towards the centre of Tendency to gravitate towards the centre of a continuum of written and spoken modes a continuum of written and spoken modes and to shift away from the two extremes.and to shift away from the two extremes.

• LORELAI:LORELAI: Okay, well, um, the… Max Okay, well, um, the… Max and I have been serious for and I have been serious for

quite a while now.quite a while now.• LORELAI:LORELAI: Max e io, da un po’, ci Max e io, da un po’, ci

frequentiamo molto.frequentiamo molto.

‘‘Friends’ in Spanish displays all Friends’ in Spanish displays all four characteristicsfour characteristics

HeyHey HolaHola

HiHi

Hello Hello

MorningMorning

Good morningGood morning Buenos diasBuenos dias

Hi thereHi there

In English it is observable inIn English it is observable in

• Type-token ratio (less diversity, more predictability)Type-token ratio (less diversity, more predictability)• Average sentence length (general shortening)Average sentence length (general shortening)• Lexical densityLexical density

• Interestingly, these features combine to make Interestingly, these features combine to make translated text appear more ‘native’ than originals. translated text appear more ‘native’ than originals.

• The concept of ‘translationese’ (foreign language The concept of ‘translationese’ (foreign language interference, etc.) can be observed in the work of interference, etc.) can be observed in the work of students, trainees and other less experienced students, trainees and other less experienced practitioners.practitioners.

So, to recapitulate, compared So, to recapitulate, compared to written language to written language

• spoken language is less lexically spoken language is less lexically dense, more grammatically intricate, dense, more grammatically intricate, consists of features specific to the consists of features specific to the genre (hesitation, use of discourse genre (hesitation, use of discourse markers, tag questions, etc.)markers, tag questions, etc.)

AndAnd

• film language has been shown to be film language has been shown to be different from spontaneous spoken different from spontaneous spoken language even thought it often language even thought it often attempts to recreate it with varying attempts to recreate it with varying degrees of success.degrees of success.

FurthermoreFurthermore

• Brunetta (1977) explains that original Brunetta (1977) explains that original (Italian) film texts already use a (Italian) film texts already use a simplified, normalised and levelled simplified, normalised and levelled language.language.

• For example when based on a book, For example when based on a book, story, etc. word order is usually story, etc. word order is usually normalised eg. ‘sempre li guardavo/li normalised eg. ‘sempre li guardavo/li guardavo sempre’; ‘si chiama essa’/’essa guardavo sempre’; ‘si chiama essa’/’essa si chiama’si chiama’

• Cf. Antonioni, ViscontiCf. Antonioni, Visconti

AndAnd

the language of translation has been the language of translation has been shown to have its own specificities shown to have its own specificities (explicitation, simplification, etc.) and (explicitation, simplification, etc.) and to accentuate a number of the to accentuate a number of the features associated with film features associated with film language language

So where does this leave us So where does this leave us with regard to translating films with regard to translating films into English?into English?

• Well, very few films and television Well, very few films and television programmes are translated into English, programmes are translated into English, due to the predominance of English due to the predominance of English language products in the media.language products in the media.

• And to a certain linguistico-cultural And to a certain linguistico-cultural snobbery!snobbery!

SubtitlingSubtitling

• But those few films that are translated But those few films that are translated are generally SUBTITLED.are generally SUBTITLED.

• This is regarded as a good thing by This is regarded as a good thing by language students, language language students, language enthusiasts, film buffs, the deaf and enthusiasts, film buffs, the deaf and indeed by the general public, who are indeed by the general public, who are not used to any other form of film not used to any other form of film translation.translation.

BUTBUT

• we have seen that written language we have seen that written language differs considerably from spoken differs considerably from spoken language (even as heard on a film);language (even as heard on a film);that the differences between film that the differences between film language and genuine spoken language language and genuine spoken language are accentuated in translation;are accentuated in translation;and that written translation differs from and that written translation differs from original texts of a similar nature.original texts of a similar nature.

So what about subtitling?So what about subtitling?

•Series of constraintsSeries of constraints

Script Script (written to be (written to be spoken as if not written)spoken as if not written)

>transcription >transcription (more spoken style)(more spoken style)> translation > translation (further deviation)(further deviation)>adaptation >adaptation (partial remodifying)(partial remodifying)> composition > composition (written)(written)

Philadelphia – scriptPhiladelphia – script

(CHANDRA)(CHANDRA)• You want to apply the foundationYou want to apply the foundation• as evenly as you can, Andy. Youas evenly as you can, Andy. You• don't want to look like you'vedon't want to look like you've• thrown it on with a spoon.thrown it on with a spoon. (ANDREW)(ANDREW)• Uh huh. Uh huh. (CHANDRA)(CHANDRA) Okay.Okay. You try. You try.

Philadelphia – film Philadelphia – film transcriptiontranscription(CHANDRA)(CHANDRA)• Okay, now,Okay, now, you gonna wanna apply the you gonna wanna apply the foundation as evenly as you can foundation as evenly as you can Andy, Andy, okay? okay? ‘Cos you don’t want to ‘Cos you don’t want to look like you’ve thrown it on with a look like you’ve thrown it on with a spoon, spoon, OOkay? So, okay,kay? So, okay, you try it. you try it.

Philadelphia – Italian Philadelphia – Italian subtitlesubtitle

•Il fondotinta va applicato il Il fondotinta va applicato il più uniformemente possibile, più uniformemente possibile, perché non sembri che te lo sei perché non sembri che te lo sei spalmato con un cucchiaio.spalmato con un cucchiaio.

Lexical density - scriptLexical density - script






Lexical density – film Lexical density – film transcriptiontranscription





• RatioRatio 2.5:12.5:1

Lexical density - subtitlesLexical density - subtitles





• RatioRatio 3.5:13.5:1

Dubbing into English?Dubbing into English?

England is not a dubbing England is not a dubbing country cf. Germany, Italy, country cf. Germany, Italy, Spain, France?Spain, France?

New project New project (Trieste/Forlì/Leeds/Durham)(Trieste/Forlì/Leeds/Durham)

• Survey to test British (and American) Survey to test British (and American) attitudes to dubbing.attitudes to dubbing.

• It has always been assumed that British It has always been assumed that British audiences would not take to dubbing.audiences would not take to dubbing.

• But it has never been investigated, let But it has never been investigated, let alone proved.alone proved.

Dubbing versus subtitlngDubbing versus subtitlng

• It runs in the familyIt runs in the family dubbed into Italian and Russian dubbed into Italian and Russian

• ConclusionsConclusions• ““The dubbed version consists of many marked terms The dubbed version consists of many marked terms

which more effectively maintain the communicative which more effectively maintain the communicative value of the original. The subtitled version tends to value of the original. The subtitled version tends to go for unmarked choices and idiomatic expressions go for unmarked choices and idiomatic expressions which fail to reflect the colloquial tone.”which fail to reflect the colloquial tone.”

• (Giacomin)(Giacomin)

Trieste dubbing projectTrieste dubbing project

• Students had to produce subtitled Students had to produce subtitled and dubbed versions of ‘Il and dubbed versions of ‘Il Commissario Montalbano’ and ‘Prime Commissario Montalbano’ and ‘Prime Suspect’Suspect’

• In the case of ‘Montalbano’, no In the case of ‘Montalbano’, no dubbed version had yet been dubbed version had yet been attempted.attempted.

So is dubbing better?So is dubbing better?

• Series of constraints:Series of constraints:– Lip synchronisationLip synchronisation– Supralinguistic elementsSupralinguistic elements– TimingTiming– Coordination with visual (multimodal Coordination with visual (multimodal

text)text)

Lip synchronisationLip synchronisation

Mi Mi ssembra daembra davvvvero improbabile. ero improbabile. That’That’ss vvery unlikely.ery unlikely.

ffra cinque minuti ra cinque minuti ffive minutesive minutes

Resisti, Resisti, ddaiai!!Hang on, Hang on, DDad!ad!

1)1) helps anchor stress patterns, but imposes modifications.helps anchor stress patterns, but imposes modifications.2)2) good dubbing actors recreate suprasegmental itemsgood dubbing actors recreate suprasegmental items

Line length and delivery Line length and delivery speedspeed• Non voleva essere di peso alla famigliaNon voleva essere di peso alla famiglia• He didn’t want to be a burden.He didn’t want to be a burden.

• L’ho accompagnato adesso in prigione a Vigata.L’ho accompagnato adesso in prigione a Vigata.• I have just taken him to prison.I have just taken him to prison.

• Greater timing synch gives impression that Greater timing synch gives impression that characters are speaking Italian (or whatever) characters are speaking Italian (or whatever) but there is enforced loss of some details.but there is enforced loss of some details.

Coordination with visualCoordination with visual

• Il signor La Russa questa notte si è spogliato nudo, si è Il signor La Russa questa notte si è spogliato nudo, si è applicato ai polsi e alle caviglie questi, la fascia grande se applicato ai polsi e alle caviglie questi, la fascia grande se l’è legata al petto, ha indossato la cuffia, si è coperto il l’è legata al petto, ha indossato la cuffia, si è coperto il corpo, con la maschera il viso. Sembra tutta roba che si è corpo, con la maschera il viso. Sembra tutta roba che si è fabbricato lui cu’ santa pacienza.fabbricato lui cu’ santa pacienza.

• Mister La Russa, last night, stripped himself naked, applied Mister La Russa, last night, stripped himself naked, applied these things on his wrists and ankles, tied the large strap to these things on his wrists and ankles, tied the large strap to his chest, put on the cap, covered his body, and his face his chest, put on the cap, covered his body, and his face with the mask. It seemed like he made all the stuff himself with the mask. It seemed like he made all the stuff himself with saintly patience.with saintly patience.

• Verbal and non-verbal more aligned but can impose Verbal and non-verbal more aligned but can impose strained syntaxstrained syntax

Semiotic impact on audiences

100%100%100%100%100%100%All channels

27%

18%

0%

55%

Voiced-over

version

26%

18%

1%

55%

Dubbed version

65%010%25%Speech

35%018%18%Sound effects

050%32%2%Writing

050%40%55%Image

Audio-described version

Deaf & HoH

version

Subtitled version

Original production

Genre: Drama

Media-political characteristics

**********Dialogue idiomaticity

*************Domestic-language boosting

00***0Literacy training

0*****0Foreign-language training

Ø*********Foreign-culture mediation

*************Full content mediation

*********0Dialogue authenticity

**********Semiotic authenticity

***********Affordability

Domestic TV production

Voiced-over TV

Subtitled TV

Dubbed TV

But of course, if dubbing into But of course, if dubbing into English takes off…English takes off…

• we are going to be dealing with a use we are going to be dealing with a use of language that is different from any of language that is different from any hitherto studied in terms of hitherto studied in terms of information structure, cohesion, information structure, cohesion, transitivity patterns, lexical choice, transitivity patterns, lexical choice, register, etc.register, etc.

• I hope by next time to have some I hope by next time to have some examples to show you and discuss.examples to show you and discuss.

34th ISFC 2007 Systemic Functional Linguistics in Use Odense 16th -20th July Dubbing into English – an alternative translation strategy Chris Taylor University.

Documents

film language

language of film

dry slide

dubbing slide

davy slide

robin hood slide

spontaneous language

high lexical density