This book provides a theoretical and practical framework for researchers and practitioners who focus on the construction, interpretation and retextualisation of audiovisual texts. It defines translation as a communicative and interpretative process, with translators seen as cross-cultural mediators who make the denotative-semantic and connotative-pragmatic dimensions of source scripts accessible to target receivers, prompting equivalent perlocutionary effects, while still respecting the original illocutionary force. While existing research on audiovisual translation generally adopts a product-based perspective, examining the lexico-semantic and syntactic features of source and target versions, this book proposes an â oeInteractive Modelâ , in order to explore what happens in the translatorsâ (TM) minds, as well as the influence of the interaction between the linguistic and extralinguistic dimensions in the construction and interpretation of audiovisual texts. The application of this Model to the analysis of a corpus of humorous films, TV series and video games foregrounds the integration between the analysis of the source-text features and the knowledge of the target linguacultural backgrounds in the creation of pragmalingustic equivalent scripts. At the same time, this book also provides valuable insights into the audienceâ (TM)s reception of these translations, by submitting close-ended and open-ended questionnaires to subjects representing empirical receivers, thus helping to evaluate the degree of linguistic and functional equivalence of target versions.

This book provides a theoretical and practical framework for researchers and practitioners who focus on the construction, interpretation and retextualisation of audiovisual texts. It defines translation as a communicative and interpretative process, with translators seen as cross-cultural mediators who make the denotative-semantic and connotative-pragmatic dimensions of source scripts accessible to target receivers, prompting equivalent perlocutionary effects, while still respecting the original illocutionary force. While existing research on audiovisual translation generally adopts a product-based perspective, examining the lexico-semantic and syntactic features of source and target versions, this book proposes an “Interactive Model”, in order to explore what happens in the translators’ minds, as well as the influence of the interaction between the linguistic and extralinguistic dimensions in the construction and interpretation of audiovisual texts. The application of this Model to the analysis of a corpus of humorous films, TV series and video games foregrounds the integration between the analysis of the source-text features and the knowledge of the target linguacultural backgrounds in the creation of pragmalingustic equivalent scripts. At the same time, this book also provides valuable insights into the audience’s reception of these translations, by submitting close-ended and open-ended questionnaires to subjects representing empirical receivers, thus helping to evaluate the degree of linguistic and functional equivalence of target versions.

This collection of essays introduces the reader to the specificities of humour in audiovisual products and presents a series of case studies in audiovisual translation, from films to video-games, exemplifying problems and solutions to audiovisual humour in the dubs and subs in a variety of language combinations.

This book offers a comprehensive account of the audiovisual translation (AVT) of humour, bringing together insights from translation studies and humour studies to outline the key theories underpinning this growing area of study and their applications to case studies from television and film. The volume outlines the ways in which the myriad linguistic manifestations and functions of humour make it difficult for scholars to provide a unified definition for it, an issue made more complex in the transfer of humour to audiovisual works and their translations as well as their ongoing changes in technology. Dore brings together relevant theories from both translation studies and humour studies toward advancing research in both disciplines. Each chapter explores a key dimension of humour as it unfolds in AVT, offering brief theoretical discussions of wordplay, culture-specific references, and captioning in AVT as applied to case studies from Modern Family. A dedicated chapter to audio description, which allows the visually impaired or blind to assess a film’s non-verbal content, using examples from the 2017 film the Big Sick, outlines existing research to date on this under-explored line of research and opens avenues for future study within the audiovisual translation of humour. This book is key reading for students and scholars in translation studies and humour studies.

Thesis (M.A.) from the year 2011 in the subject Interpreting / Translating , grade: A, University of Gdansk (Institute of English), course: Translation studies, language: English, abstract: Humour translation is an extremely difficult process which causes translators many problems. Rendering humour into a different language becomes even more complicated when the translator translates film dialogues for the purpose of dubbing or subtitling. The aim of this thesis is to analyse translation strategies and techniques applied in the process of humour translation in dubbing and subtitling. The analysis is based on two animated films: Shrek 2 and Ice Age. In the thesis the original version of film dialogues is compared with its dubbed and subtitled versions in Polish. The material for the study comes from DVD releases. The thesis is divided into two chapters. In the first chapter the concept of humour is explained and humour translation is described. In this chapter I also provide definitions of translation strategy and translation technique, explain the difference between these two concepts and describe possible translation strategies and techniques in humour translation. In the second part of the first chapter the specificity of audiovisual translation is discussed, and subtitling and dubbing are described as two different translation methods. The second chapter offers a comparison between the Polish dubbed and subtitled dialogue versions. In this chapter I describe translation strategies and techniques used by the translators and compare the humorous effect evoked by them with the humorous effect of the original dialogues.

Due to a dearth of academic references in the area of English-Arabic audiovisual translation (AVT), this book represents a unique resource, in that it explores dubbing and subtitling into Arabic, a topic hardly discussed among academics both in the Arab world and worldwide. The book starts with some linguistic and audiovisual background, and lays new foundations for a discussion about the similarities between the translation of drama texts and AVT. It then moves on to highlight some grammatical, syntactic, semantic and functional challenges faced in subtitling with examples from various recent audiovisual material, as deictics, exophora, idiomatic language, register, negation, duality and plurality, and subject-predicate agreement in the target subtitled text. The book’s originality is manifest in its investigation of the obstacles encountered by new anonymous subtitlers by providing evidence in the form of genuine samples of their work. The book concludes with some original subtitling quality assessment reports, and presents effective strategies of subtitling.

This volume seeks to investigate how humour translation has developed since the beginning of the 21st century, focusing in particular on new ways of communication. The authors, drawn from a range of countries, cultures and academic traditions, address and debate how today’s globalised communication, media and new technologies are influencing and shaping the translation of humour. Examining both how humour translation exploits new means of communication and how the processes of humour translation may be challenged and enhanced by technologies, the chapters cover theoretical foundations and implications, and methodological practices and challenges. They include a description of current research or practice, and comments on possible future developments. The contributions interconnect around the issue of humour creation and translation in the 21st century, which can truly be labelled as the age of multimedia. Accessible and engaging, this is essential reading for advanced students and researchers in Translation Studies and Humour Studies.