Inversión de roles: un panorama de la traducción audiovisual al inglés
DOI:
https://doi.org/10.17533/udea.ikala.v28n2a01Palabras clave:
traducción audiovisual, plataformas de video bajo demanda, subtitulado, doblaje al inglésResumen
Este artículo describe el estado del arte de la traducción audiovisual (TAV) y arroja luz sobre los cambios recientes que impactan las prácticas de localización en medios, los patrones de visualización y la agencia del espectador. Se consideran también las motivaciones que han catapultado prácticas como el subtitulado y el doblaje al inglés en las plataformas de vídeo bajo demanda y se hace especial énfasis en el paso del contenido en lengua inglesa a la producción y distribución de originales creados en una multiplicidad de idiomas y exhibidos en las plataformas de video bajo demanda con subtítulos en inglés y doblaje a esa lengua. Se exponen además algunos de los más recientes avances tecnológicos por la influencia que han ejercido en la experiencia de visualización y los modos de TAV preferidos por la audiencia, los cuales han llevado a un cambio importante en los patrones de visualización y las preferencias de los espectadores anglófonos. Se identifican los retos que esto plantea para el estudio y la formación en tav en inglés y se recalca la importancia del cambio de paradigma en el que se invierte el enfoque y la percepción del inglés como lengua de llegada de la traducción, dejando atrás la imagen del inglés como lengua de partida. Se hacen recomendaciones concretas de posibles líneas de investigación en este campo en plena expansión, esperando que contribuyan a dibujar un panorama más detallado de la TAV en inglés.
Descargas
Citas
Adoma (n.d.). Series españolas que triunfan por el mundo… dobladas. Artistas de Doblaje de Madrid https://adoma.es/series-espanolas-que-triunfan-por-el-mundo-dobldas-2
Alfano, V. (2020). Subtitling gender stereotypes into English: The case of comedy Italian style. PhD thesis. University College London. https://discovery.ucl.ac.uk/id/eprint/10119161
Ávila-Cabrera, J. J. (2020). Profanity and blasphemy in the subtitling of English into European Spanish: four case studies based on a selection of Tarantino’s films. Quaderns, Revista de Traducció, 27, 125–140.
Black, S. (2022). Could integrated subtitles benefit young viewers? Children’s reception of standard and integrated subtitles: a mixed methods approach using eye tracking. Perspectives, 30(3), 503–519. https://doi.org/10.1080/0907676X.2020.1849324
Bolaños-García-Escribano, A., Díaz-Cintas, J. & Massidda, S. (Eds.) (2021). Latest advancements in audiovisual translation education, special issue of The Interpreter and Translator Trainer, 15(1). https://doi.org/10.1080/1750399X.2021.1880308
Brennan, L. (2018). How Netflix expanded to 190 countries in 7 years. Harvard Business Review. https://hbr.org/2018/10/how-netflix-expanded-to-190-countries-in-7-years#comment-section
Bruti, S., & Vignozzi, G. (forthcoming). Pinocchio and its lasting legacy. A study across adaptations and dubbings. In I. Ranzato, & L. Valleriani (Eds.), The classics translated on screen, special issue of Token: A Journal of English Linguistics, 17.
Bylykbashi, K. (2019). The big business of dubbing. TBI Vision. https://tbivision.com/2019/04/04/the-big-business-of-dubbing
Chaume, F. (2012). Audiovisual translation: Dubbing. Routledge.
Collins, K. 2018. Netflix's plan to get everyone watching foreign-language content. Yes, even English-speaking Americans. CNET Magazine. www.cnet.com/culture/entertainment/netflixs-plan-to-get-everyone-watching-foreign-language-content
Cunningham, K. (2023). Mumbling actors, bad speakers or lazy listeners? Why everyone is watching TV with subtitles on. The Guardian. www.theguardian.com/tv-and-radio/2023/jan/28/mumbling-actors-bad-speakers-or-lazy-listeners-why-everyone-is-watching-tv-with-subtitles-on
Díaz-Cintas, J., & Remael, A. (2007). Audiovisual translation: Subtitling. Routledge.
Díaz-Cintas, J., & Orero, P. (2010). Voiceover and dubbing. In Y. Gambier, & L. van Doorslaer (Eds.), Handbook of Translation Studies (pp. 441–445, volume 1). John Benjamins.
Fetner, C., & Sheehan, D. (2017). Netflix is looking for the best translators around the globe. https://about.netflix.com/en/news/netflix-is-looking-for-the-best-translators-around-the-globe
Filmer D. (2019). Voicing diversity? Negotiating Italian identity through voice-over translation in BBC broadcasting. Perspectives, 27(2), 299–315. https://doi.org/10.1080/0907676X.2018.1449871
Forsberg, C. (2023). Subtitles become popular among general population due to changes in TV, film consumption. ABC News: Australian Broadcasting Corporation. www.abc.net.au/news/2023-02-12/subtitles-popular-among-general-population-change-tv-film/101956758
Franco-Aixelá, J. (1996). Culture-specific items in translation. In R. Álvarez, & Ma Carmen-África Vidal (Eds.), Translation, power, subversion (pp. 52–78). Multilingual Matters.
Gottlieb, H. (2009). Subtitling against the current: Danish concepts, English minds. In J. Díaz-Cintas (Ed.), New trends in audiovisual translation (pp. 21–43). Multilingual Matters. https://doi.org/10.21832/9781847691552-004
Greenwood, G. (2023). Younger TV viewers prefer to watch with subtitles on. The Times. www.thetimes.co.uk/article/younger-tv-viewers-prefer-to-watch-with-subtitles-on-bbbcthft8
Hall, S. (2016). The first 15 feature films broadcast on British television. Sheldon Times. http://sheldontimeshall.com/the-first-15-feature-films-broadcast-on-british-television-v2
Hayes, L. (2021). Netflix disrupting dubbing: English dubs and British accents. Journal of Audiovisual Translation, 4(1), 1–26. https://doi.org/10.47476/jat.v4i1.2021.148
Hayes, L. (2022). Linguistic variation in Netflix’s English dubs: Memetic translation of Galician-Spanish series Fariña (Cocaine Coast). In L. Mejías-Climent, & F. Carrero Martín (Eds.), New perspectives in audiovisual translation: Towards future research trends (pp. 185–210). Publicacions Universitat València.
Hayes, L. (2023). English dubs: why are viewers receptive to the dubbing mode and to (‘foreign’) accent strategies. Íkala, Revista de Lenguaje y Cultura, 28(2), 1–20.
Hayes, L., & Bolaños-García-Escribano, A. (2022). (Main)streaming English dubs: a snapshot of Netflix’s playbook on strategies for English dubbing. Journal of Audiovisual Translation, 5(2), 213–233. https://doi.org/10.47476/jat.v5i2.2022
Holmes, S. P. (2000). The Hollywood star system and the regulation of actors’ labour, 1916-1934. Film History 12(1), 97–114. www.jstor.org/stable/3815272
Lee, W. (2022). Why dubbing has become more crucial to Netflix’s business. Los Angeles Times, 28 February. www.latimes.com/entertainment-arts/business/story/2022-02-28/why-dubbing-has-become-more-crucial-to-netflixs-business
McDonald, P. (2000). The star system: Hollywood’s production of popular identities. Wallflower.
Marking, M. (2022). Netflix COO reveals scale of dubbing and subtitling operations. Slator. https://slator.com/netflix-coo-reveals-scale-of-dubbing-subtitling-operations
Mereu Keating, C. (2021). “The usual hubbub of accents”: Italian films, transnational distribution and the reception of English-language dubbing in Britain (1950s-60s). Textus. English Studies in Italy, 1, 255-276. https://doi.org/10.7370/100404
Netflix. (2018). A great story and come from anywhere and travel everywhere. https://about.netflix.com/en/news/a-great-story-can-come-from-anywhere-and-travel-everywhere
Netflix. (2023). Dubbed audio style guide – Lector dubbing. https://partnerhelp.netflixstudios.com/hc/en-us/articles/220454368-Dubbed-Audio-Style-Guide-Lector-Dubbing
Nornes, A. M. (2007). Cinema Babel. Translating global cinema. University of Minnesota Press.
Orrego-Carmona, D. (2021). Squid Game: Why you shouldn’t be too hard on translators. The Conversation. https://theconversation.com/squid-game-why-you-shouldnt-be-too-hard-on-translators-169968
O’Sullivan, C. & Cornu, J.-F. (2019). The translation of films, 1900–1950. The British Academy by Oxford University Press.
Official Journal of the European Union. (2018). Article 13 of the Audiovisual Media Services Directives. https://eur-lex.europa.eu/legal-content/EN/TXT/PDF/?uri=CELEX:32018L1808&from=EN
Parrot Analytics. (2021). US demand for non-English content. https://tinyurl.com/4pjyvtc8
Patel, R. (2021). How SVoD platforms lead the internationalisation of popular content. Ampere Analysis. www.ampereanalysis.com/insight/how-svod-platforms-lead-the-internationalisation-of-popular-content
Pearson, B. (2022). Here's why movie dialogue has gotten more difficult to understand (and three ways to fix it). Slash Film. www.slashfilm.com/673162/heres-why-movie-dialogue-has-gotten-more-difficult-to-understand-and-three-ways-to-fix-it
Pedersen, J. (2011). Subtitling norms for television: An exploration focussing on extralinguistic cultural references. John Benjamins.
Pedersen, J. (2017). The FAR model: assessing quality in interlingual subtitling. The Journal of Specialised Translation 28, 210–229.
Pedersen, J. (2018). From old tricks to Netflix: how local are interlingual subtitling norms for streamed television? Journal of Audiovisual Translation 1(1), 81–100. https://doi.org/10.47476/jat.v1i1.46
Ranzato, I. (2016). Translating culture specific references on television: The case of dubbing. Routledge.
Sánchez-Mompeán, S. (2021). Netflix likes it dubbed: taking on the challenge of dubbing into English. Language & Communication, 80, 180–190. www.sciencedirect.com/science/article/pii/S0271530921000562
Sanders, L. (2022). Subtitling, semiotics and Spirited Away. Journal of Audiovisual Translation, 5(1), 1–21. https://doi.org/10.47476/jat.v5i1.2022.112
Savoldelli, S., & Spiteri Miggiani, G. (2023). The rendering of multilingual occurrences in Netflix’s Italian dub streams: evolving trends and norms on streaming platforms. Languages, 8(113), 1–23. https://doi.org/10.3390/languages8020113
South China Morning Post (2021). Voice actors in demand as Netflix series like Lupin and Money Heist put dubbed content front and centre. www.scmp.com/lifestyle/entertainment/article/3128576/voice-actors-demand-netflix-series-lupin-and-money-heist
Spiteri-Miggiani, G. (2021a). English-language dubbing: challenges and quality standards of an emerging localisation trend. The Journal of Specialised Translation, 36, 2–25. www.jostrans.org/issue36/art_spiteri.pdf
Spiteri-Miggiani, G. (2021b). Exploring applied strategies for English-language dubbing. Journal of Audiovisual Translation, 4(1), 137–156. https://doi.org/10.47476/jat.v4i1.2021.166
Svensson, G. (2001), “Glocalization” of business activities: a “glocal strategy” approach. Management Decision 39(1), 6–18. https://doi.org/10.1108/EUM0000000005403
Zanettin, F. (2012). Translation-driven corpora. St. Jerome.
Zeng, W., & Li, D. (2023). Presenting China’s image through the translation of comments: a case study of the WeChat subscription account of Reference News. Perspectives, 31(2), 313–330. https://doi.org/10.1080/0907676X.2021.1960397
Descargas
Publicado
Cómo citar
Número
Sección
Categorías
Licencia
Derechos de autor 2023 Íkala, Revista de Lenguaje y Cultura
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-CompartirIgual 4.0.
