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Transferring multilingual humour intralingually: the case of “Big Night”

100%
Magazzù G.
The European Journal of Humour Research
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2019
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vol. 7
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issue 1
EN
Multilingual films usually tackle significant social and political issues. Sometimes, these films adopt linguistic diversity to create confusion and to trigger humour, accomplishing a comic effect. Normally, films about migration and diaspora are multilingual, as they want to recreate the linguistic diversity that exists in reality. There are many cases though in which the translator/adapter faces the struggle of translating into his/her own language. In this paper, we will analyse the Italian dubbing of Big Night, to see how the dialogues have been conveyed and especially how verbally expressed humour and stereotypes from the Italian language and culture are transferred intralingually and to what effect.
2
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Comment la présence de l’image influence-t-elle les décisions du traducteur? Étude des relations du couple mot/image dans la traduction filmique

100%
Borowczyk P.
Studia Romanica Posnaniensia
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2021
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vol. 48
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issue 4
51-64
EN
The audiovisual text constitutes an inherent and obvious whole, the components of which, being linked to each other and entering into different types of relations and interactions, contribute to the construction of its meaning. This article presents a study of cases where visual information influences decisions made by the translator and ultimately sometimes changes the translation of dubbed dialogues. In the analysis, the following examples are distinguished:– those in which, under the influence of the image, the translator modifies the source text (compared to the original version) by adapting it to the visual contents of the audiovisual document, or by adding information to the target text;– one in which, under the influence of the image, both the author of the original version and the translator modify one of the elements of a given idiomatic expression.In this regard, contemporary computer-animated films (such as « Shrek 2 », « Madagascar » and « Monsters, Inc. »), aimed at all types of audiences and translated for dubbing, where the visual component plays a prominent role, represent interesting cases.
3
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Translating intertextuality in animated films – an analysis of DreamWorks, Disney and Pixar animations

89%
Wojciechowska-Pieszko A.
Polonica
|
2022
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vol. 42
5-28
PL
Intertekstualność skupia się na relacjach między tekstami, zarówno mówionymi, jak i pisanymi. Powiązania te są obecnie przedmiotem badań wielu naukowców na całym świecie, choć początkowo analizowane były wyłącznie z punktu widzenia literaturoznawczego (Tomaszkiewicz, 2006, s. 175). Celem artykułu jest analiza odniesień intertekstualnych w kontekście teorii przekładu, a zwłaszcza technik i strategii użytych podczas tłumaczenia dosłownych i pośrednich nawiązań w dubbingu. Analizie poddane zostały dialogi animacji „Shrek” (2001) wytwórni DreamWorks, „Zwierzogród” (2016) i „Ralph Demolka” (2012) Disneya oraz „Toy Story 3” (2010) Pixara w celu zidentyfikowania nawiązań intertekstualnych w tekście źródłowym i ich porównania z polskim i niemieckim tłumaczeniem. Autorka zwraca również uwagę na źródła intertekstualności w filmach animowanych i rolę tłumacza w rekontekstualizacji nawiązań w tekście docelowym, odnosząc się do pojęcia dyskursu i sprawczości tłumacza audiowizualnego.
EN
Intertextuality focuses on the relationship between different texts, either spoken or written. These connections have been the subject of research for many scholars around the world and initially were discussed mainly from the point of view of literary theory (Tomaszkiewicz, 2006, p. 175). The aim of this paper is to examine intertextual references in the context of translation theory, taking into account the various techniques and strategies employed when translating direct or indirect references in a dubbing format. The author analyses dialogues from the DreamWorks production “Shrek” (2001), the Disney films “Zootopia” (2016) and “Wreck-It-Ralph” (2012), as well as the Pixar Animation Studios film “Toy Story 3” (2010) with the aim of identifying intertextual references in the source text and comparing them with their Polish and German translations. The author also considers the sources of intertextuality in animation films and the translator’s role in decontextualizing this genre in the target language, drawing attention to the issue of discourse and the agency of audiovisual translators.
4
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Book review : Dore, Margherita (2020). Humour in Audiovisual Translation: Theories and Applications. New York: Routledge.

88%
Leggieri A.
The European Journal of Humour Research
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2022
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vol. 10
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issue 2
162-165
5

Dubbing Dark Humour: A Case Study in Audiovisual Translation

88%
Bucaria C.
Lodz Papers in Pragmatics
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2008
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vol. 4
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issue 2
215-240
EN
In an attempt to analyze the ways in which dark humour travels cross-culturally in audiovisual translation, the present study takes into consideration the processes involved in dubbing humour from English into Italian as observed in the English- and Italian-language versions of ten British and American dark comedies from the 1940s to the 2000s. In order to identify some of the main mechanisms of the dark humour genre, the humorous content of the films was analyzed in terms of the elements on which specific scenes are based, mainly the non-verbal and verbal components. In the cases in which verbal elements were involved, i.e. the examples of verbally expressed humour, the analysis was concerned with the translation strategies adopted and with possible effects of alteration of the dark humour content as a result of translation.
6
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O pewnych aspektach poetyki przekładu filmowego

88%
Paszkowska A.
Przegląd Rusycystyczny
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2023
|
issue 4 (184)
204-214
EN
Film translation is often referred to as a “necessary evil”. This is because the translated lines tend to be simplified in the process of audiovisual translation. It is estimated that the dialogue in a film translation might be shortened by up to 30–40% compared to the original text. However, it should be borne in mind that film dialogues are an integral part of the film’s image and serve not only an informative but also a poetic function. Thus, when translating the characters’ statements, one should consider not only the semantic aspect but also the stylistic elements used in the material, particularly repetitions, contrasting juxtapositions of foreground and background dialogues, and references to musical works. The article presents the conclusions of the author’s research based on five translation variants of the film Cold War into Russian.
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Bella signora dai capelli turchini czy może o kruczoczarnych włosach – przekład nazw własnych w polskiej wersji dubbingowej Pinocchia Roberta Benigniego

88%
Król-Gierat W.
Między Oryginałem a Przekładem
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2014
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vol. 23
125-141
EN
The translation of proper names depends to a great extent on cultural marking, on the specific connotations they may evoke. The role played by each character is also important in films targeted mainly at children. The present article is an analysis of the translation of anthroponyms and toponyms in the Polish dubbed version of Roberto Benigni’s Pinocchio. This film adaptation is a perfect example of a living myth whose original colour is getting blurred.
8
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Rozwój tłumaczenia napisowego w Polsce w latach 1931–1939

88%
Plewa E.
Studia Translatorica
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2019
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issue 10
135-145
EN
Text translation in films, contrary to frequently quoted opinions, did not start with the introduction of sound in films – which occurred in Poland in the 1929/30 cinema season. Prior to that, in the silent cinema period, title cards were a tried and tested way of delivering content to the viewer. And these silent movies’ intertitles were translated. Copies of various foreign films with Polish title cards have even been preserved instead of with the original wording. Imitating title cards for silent films, subtitles began to appear in films with sound and dialogue. These were “inserted subtitles” – between scene edits. The next way of presenting a subtitle was the in-image subtitle, which began modern film subtitling. This article concerns the subtitling of films in Poland in 1931–1939. It endeavours to show the development of Polish film text translation in its initial phase. The article contains previously unpublished pictures of subtitles for films from the discussed period, which come from original archival research.
9
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L’auteur de doublage, adaptateur du texte filmique : un traducteur-dialoguiste au service de la multimodalité

87%
Brisset F.
Studia Romanica Posnaniensia
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2018
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vol. 45
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issue 4
23-45
EN
As moving, multimodal texts, devised to be embodied by an actor, cinematic texts combine many characteristics which make them difficult to grasp, and which give their translation a high level of complexity. Those are paramount in dubbing. Combined to the technical and linguistic issues at stake, the process induces a singular relation between the audiovisual translators and the verbal material of the dialogues. This is often solved through a functionalist approach, seeking a dynamic equivalence which takes into account the many components of the filmic text, for the benefit of the dubbing actors and, eventually, the foreign audience. After addressing the questions of the authorial and legal status of the translators as scriptwriters, this article draws on several examples taken from different American cinematic genres to illustrate the  various aspects of this relation in the French audiovisual translation context.
10
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Phraseological Units in Audiovisual Translation. A Case Study of Polish Dubbing of Disney’s The Little Mermaid

75%
Golda P., Mężyk J., Golda P., Mężyk J.
Kwartalnik Neofilologiczny
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2021
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issue 1
11
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Translation in film. Film ‘in translation’ Tim Burton’s Alice in Wonderland, 2010.

75%
Grodź I.
Glottodidactica
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2016
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vol. 43
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issue 1
179-203
EN
The article describes fundamental issues relating to translation problems in the art of moving images (base perspective): subtitles, voiceover in the film, dubbing. It also presents the method of translation of the spoken (dialogues, monologues) and written word (poetry, prose) in selected audiovisual material, Alice in Wonderland by Tim Burton (2010).
12
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Monomodal and Multimodal Humour as a Challenge sin Audiovisual Translation: On the Example of the Polish Translation of the French Film Le Petit Nicolas (Little Nicolas)

75%
Lazreg N.
Academic Journal of Modern Philology
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2021
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issue 12
95-106
EN
This study will present a few examples of monomodal and multimodal humour in the translation of the film Le Petit Nicolas into Polish (Mikołajek). The objective of our research is to identify the selected difficulties in film translation that are caused by humour and the possible ways of solving them, taking into consideration that the audiovisual translation is situated on the border of interlingual and intersemiotic translation (Tomaszkiewicz 2006). Thus, we discuss the problem of the transfer of humour, keeping in mind its verbal but also non-verbal dimension (Kaindl 2004, Rębkowska 2016). As a result of our analysis, we can conclude that in audiovisual translation the visual layer has an impact, as it carries the information, even in the reception of the language-based humour. The analysis of three examples also shows that in their case the image reinforces the activation of humour; we discuss whether multimodality is applicable in language-based jokes, which are inherently monomodal.
13
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Translating irony into Arabic – who’s having the last laugh? Dubbing Monsters Inc.: Egyptian vernacular vs. modern standard Arabic

75%
Yahiaoui R., Alqumboz B., Fattah A., Al Adwan A.
The European Journal of Humour Research
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2019
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vol. 7
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issue 4
EN
Monsters Inc., an animated feature film produced by Pixar Animation Studios in 2001, received significant recognition worldwide. The film was nominated in 2002 for the ASCAP Film and Television Music Awards by the Box Office Films. Two dubbed versions of the film were later released with Arabic translations using Egyptian Vernacular, a spoken dialect, and Modern Standard Arabic, used primarily in formal, written communications.This study examines humor in translation and irony as humor which represents a common technique in “Pixar plotting”. The research investigates the strategies, types, and categories of irony as humor within the translations and the success of those translations at accurately transmitting the humorous meaning. Towards exploring the problems of translating irony across languages and cultures, this research examines the shifts in translations between the two Arabic language versions using an interdisciplinary theoretical approach encompassing humor studies, audiovisual translation studies, and descriptive translation studies. Furthermore, the research adopts Muecke’s (1978) classification of irony markers to categorize and identify the strategies used in translating irony as humor. The study finds that the two different versions of Arabic utilize similar strategies at times and divergent ones at others, such as explication, substitution, omission or addition, in translating irony as humor with each succeeding/failing at varied levels of meaning transmission. The research suggests translators’ creativity, or lack thereof, and the language variant used are primarily responsible for the success or failure of transmitting irony as humor for dubbing into Arabic. 
14
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Избранные аспекты теории и практики преподавания аудиовизуального перевода на польских неофилологических направлениях

65%
Kucy A., Kuca Z.
Roczniki Humanistyczne
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2020
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vol. 68
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issue 10
129-140
RU
Аудиовизуальный перевод (анг. audiovisual translation, АVТ) это наиболее динамично развивающийся вид перевода современной эпохи. По мнению авторов статьи, популярность этого вида перевода будет только расти. К сожалению,  на польских неофилологических направлениях занятия по аудиовизуальному переводу еще не вошли в учебные программы в качестве обязательных предметов. Цель настоящей статьи – привлечь внимание академического сообщества к необходимости включения курсов перевода AVT в учебные программы. В статье рассматриваются тенденции развития АVT и самые популярные техники аудиовизуального перевода: субтитрование и дубляж, которые могут быть успешно использованы в процессе обучения иностранным языкам. Авторы статьи дают рекомендации по способам использования данного типа перевода на занятиях и отвечают на вопрос, какого дидактического эффекта можно достичь благодаря его применению.
EN
Audiovisual translation (AVT) is the most dynamically developing kind of translation of the modern era. According to the authors of this article, the popularity of this type of translation will only increase. Unfortunately, within the framework of contemporary Polish modern language faculties, classes in audiovisual translation have not yet entered the curricula as obligatory subjects. The aim of this article is to draw the academic community’s attention to the necessity of introducing AVT translation classes into the curricula of modern language faculties, such as applied linguistics, translatology and contemporary linguistics. The article discusses the latest theoretical trends in AVT and presents the most popular types of translation of this type, which can be successfully used in the process of learning foreign languages in neophilological fields. These include, above all, subtitling and dubbing. The article ultimately raises the main question of how this type of translation can be used in class and what glottodidactic effects can be achieved in this way.
PL
Wybrane zagadnienia z teorii i praktyki nauczania tłumaczenia audiowizualnego na polskich kierunkach neofilologicznych Tłumaczenie audiowizualne (ang. AVT) jest obecnie najbardziej dynamicznie rozwijającym się rodzajem tłumaczenia. Według autorów niniejszego artykułu ten typ tłumaczeń będzie zyskiwać na popularności. Niestety, w ramach współczesnych polskich neofilologii zajęcia z AVT jeszcze nie weszły do siatki stałych przedmiotów. Artykuł ma za zadanie zwrócić uwagę środowiska akademickiego na konieczność wprowadzenia zajęć z AVT do siatki programowej. W artykule są omawiane najnowsze tendencje teoretyczne rozwoju AVT oraz prezentowane najbardziej popularne techniki tłumaczenia tego typu, które mogą być z powodzeniem wykorzystywane w procesie nauki języków obcych na kierunkach neofilologicznych. Należą do nich przede wszystkim tworzenie napisów oraz dubbing. Artykuł ostatecznie odpowiada na główne pytanie, w jaki sposób można wykorzystać ten rodzaj tłumaczenia na zajęciach i jakie efekty glottodydaktyczne można w ten sposób osiągnąć. Избранные аспекты теории и практики преподавания аудиовизуального перевода на польских неофилологических направлениях Аудиовизуальный перевод (анг. audiovisual translation, АVТ) это наиболее динамично развивающийся вид перевода современной эпохи. По мнению авторов статьи, популярность этого вида перевода будет только расти. К сожалению,  на польских неофилологических направлениях занятия по аудиовизуальному переводу еще не вошли в учебные программы в качестве обязательных предметов. Цель настоящей статьи – привлечь внимание академического сообщества к необходимости включения курсов перевода AVT в учебные программы. В статье рассматриваются тенденции развития АVT и самые популярные техники аудиовизуального перевода: субтитрование и дубляж, которые могут быть успешно использованы в процессе обучения иностранным языкам. Авторы статьи дают рекомендации по способам использования данного типа перевода на занятиях и отвечают на вопрос, какого дидактического эффекта можно достичь благодаря его применению.
15

Alcuni elementi culturali contestuali nel doppiaggio italiano

63%
Grozăvescu D.
Translationes
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2010
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vol. 2
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issue 1
EN
Our paper is considering some aspects of audiovisual translation, with a certain emphasis on cultural characteristics. The most common means used for text translation are dubbing (post-synchronisation) and subtitling, and the focus of this research lies on the former. It is well-known that foreign films are dubbed in Italian and dialogues in Italian are translated and adapted differently by comparison with the original version. Film translation is a phenomenon made of two different parts: translation and cinema. Actually, it applies its mains techniques for transposing the linguistic unit of a film from the source language to the target one. Therefore, the word “translation” takes into account literary texts but also all kinds of texts (including scripts). We propose to underline the importance and the complexity of dubbing and to consider the particularity of dubbed Italian, with the bias of specific characteristics of Italian adaptations.
IT
Il presente lavoro si propone di mettere in luce alcuni aspetti della traduzione audiovisiva, soffermandosi in particolare sulle specificità culturali. Le procedure di traduzione del testo filmico più note sono il doppiaggio e la sottotitolazione e nel presentare alcune caratteristiche di ciascuna, concentreremo l’attenzione sulla prima. È noto il fatto che, tranne alcuni casi isolati, i film stranieri vengono doppiati in italiano. Essi sono cioè presentati con dialoghi in italiano opportunamente tradotti e adattati da quelli della versione originale. Quindi, il termine « traduzione » non si riferisce solo a testi letterari, bensì a tutti i tipi di testo, anche alla sceneggiatura filmica. Ci proponiamo a mettere in risalto l’importanza e la complessità del doppiaggio e di mostrare le peculiarità culturali dell’italiano doppiato, attraverso la presentazione di dati che evidenzieranno i tratti specifici e le regolarità che caratterizzano gli adattamenti italiani.
16
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Gnomeo, Gnomeo, perché parli dialetto, Gnomeo? Uso del dialetto nei film d’animazione

51%
Grochowska-Reiter A.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2017
|
issue 9(3)
24-32
IT
Il dialetto, oltre a essere sistematicamente sfruttato nei film nazionali e, dagli anni ’70, anche nel doppiaggio di quelli stranieri, ben presto approda nei film a disegni animati, assolvendovi tre principali funzioni: imitativa, quando il dialetto della versione doppiata ricalca una varietà diatopica sfruttata nell’originale; creativa, quando il dialetto viene usato dal personaggio nonostante nell’originale esso non sfoggi alcuna varietà diatopica; connotativa, quando si assiste alla ricostruzione del personaggio attraverso la lingua, e il dialetto connota tratti caratteriali stereotipici che conferiscono al protagonista una sorta di nuova identità.
PL
W kinematografii włoskiej dialekt jest wykorzystywany zarówno w filmach rodzimej produkcji, jak i, począwszy od lat siedemdziesiątych, w postsynchronizacji filmów zagranicznych, w tym filmów animowanych. W kontekście tych ostatnich użycie dialektu spełnia trzy główne funkcje: imitacyjną – kiedy jego użycie w wersji dubbingowanej ma na celu naśladowanie wariantu regionalnego użytego w wersji oryginalnej; kreatywną – kiedy, pomimo że w wersjioryginalnej nie zachodzi żadne zróżnicowanie językowe, w wersji dubbingowanej dana postać posługuje się wariantem regionalnym; konotacyjną – kiedy w wersji dubbingowanej bohaterowi zostaje przypisany nowy wariant językowy związany ze stereotypowymi cechami charakteru, nadający bohaterowi nową tożsamość.
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