Dublagem ao inglês: por que os espectadores anglófonos são receptivos à modalidade da dublagem ao inglês nas plataformas streaming e ao uso de sotaques?

Autores

DOI:

https://doi.org/10.17533/udea.ikala.v28n2a12

Palavras-chave:

sociolinguística variacionista, efeito de dobragem, plataformes de streaming, pluricentrismo, Netflix, variação linguística, habituação, sotaques estrangeiros , etnoletos, dobragem para o inglês

Resumo

Os sotaques são frequentemente usados em produtos audiovisuais ficcionais para estabelecer a identidade dos personagens. Isso se deve ao conjunto de conotações culturais que tem-se associado geralmente a cada sotaque em uma determinada comunidade linguística. No entanto, pode-se argumentar que ainda existe um público-alvo monolíngue? Na era das plataformas de streaming e da velocidade com que o setor de localização está produzindo versões legendadas e dubladas, o público-alvo de muitos produtos se tornou multilíngue. A revolução da dublagem em inglês, iniciada pela gigante do streaming Netflix, ilustra perfeitamente a ampliação do público na distribuição global. Este artigo trata da estratégia conhecida como “estrangeirização”, usada na dublagem em inglês. A exploração dessa estratégia é motivada pela novidade da dublagem em inglês para a maioria dos espectadores, bem como pela onipresença de variedades estrangeiras de inglês no cotidiano da anglosfera e, portanto, em textos ficcionais criados no idioma inglês. Em seguida, são oferecidas perspectivas teóricas sobre a aceitação singular da dublagem em inglês em geral e dos sotaques estrangeiros como estratégia de dublagem em particular. O caso do setor de dublagem espanhol também é explorado para fins de contraste, elucidando as características de públicos de dublagem (in)maduros: seus hábitos, preferências e (in)flexibilidade. As conclusões apresentam um conjunto de conclusões extraídas da discussão do artigo, que oferecem uma possível resposta às perguntas feitas no título do artigo.

|Resumo
= 3292 veces | HTML (ENGLISH)
= 8 veces| | PDF (ENGLISH)
= 394 veces|

Downloads

Não há dados estatísticos.

Biografia do Autor

Lydia Hayes, Universidade de Bristol

Consultora contratada pela empresa de localização ZOO Digital, para a qual trabalha como designer de currículos no sector educativo da empresa: ZOO Academy. O seu trabalho envolve a criação de cursos internos e contactos com universidades externas. Lydia é também professora no Mestrado em Tradução da Universidade de Bristol (Reino Unido). O seu ensino centra-se na legendagem e na adaptação de guiões para dobragem, bem como na tradução jornalística e literária, e ensina predominantemente alunos na especialização espanhol-inglês. Lydia é também colaboradora para a seção de resenhas da revista de estudos de tradução Hikma, da Universidade de Córdoba (Espanha). A sua experiência de investigação de doutorado na UCL foi em dobragem para o espanhol, dobragem para o inglês, sociolinguística variacionista e fonética.

Referências

Agha, A. (2003). The social life of a cultural value. Language and Communication 23, 231–273. https://doi.org/10.1016/S0271-5309(03)00012-0

Agha, A. (2007). Language and social relations. Cambridge University Press. https://doi.org/10.1017/CBO9780511618284

Arranz, L., & Velasco, J. (creators) (2020–present). El Cid (The legend of El Cid). [TV series]. Zebra Producciones.

Ballesteros, S., (2018). susanballes. Instagram Post. Retrieved 11 September 2018. https://www.instagram.com/p/Bnkt7SjAxc_/?utm_source=ig_web_copy_link

Baños-Piñero, R. (2009). La oralidad prefabricada en la traducción para el doblaje. Estudio descriptivo-contrastivo del español de dos comedias de situación: Siete vidas y Friends. [PhD Thesis]. Universidad de Granada.

Baños-Piñero, R., & Chaume, F. (2009). Prefabricated orality: A challenge in audiovisual translation. In M. G. Marrano, G. Nadiani, & C. Rundle (Eds.), The translation of dialects in multimedia [Special issue]. inTRAlinea, 47. https://www.intralinea.org/specials/article/1714 Bosseaux, C. (2015). Dubbing, film and performance. Uncanny encounters. Peter Lang.

Bruti, S., & Vignozzi, G. (2023, forthcoming). Pinocchio and its lasting legacy. A study across adaptations and dubbings. In I. Ranzato, and L. Valleriani (Eds.), The classics translated on screen. Special Issue of Token: A Journal of English Linguistics, 17.

Bylykbashi, K. (2019, April 4). The big business of dubbing. TBI Vision. https://tbivision.com/2019/04/04/the-big-business-of-dubbing/

Caro, M. (2020). Alguien tiene que morir (Someone has to die). [TV series] Noc Noc Cinema; Netflix España.

Castillo, M. (2018). Javier Bardem plays Pablo Escobar without 'glamour' in new movie, 'Loving Pablo'. NBC News. https://www.nbcnews.com/news/latino/javier-bardem-plays-pablo-escobar- without-glamour-new-movie-loving-n916036

Chaume, F. (2004). Cine y traducción. Cátedra.

Chaume, F. (2012). Audiovisual translation: Dubbing. Routledge.

Chaume, F. (2018). Is audiovisual translation putting the concept of translation up against the ropes? JoSTrans: Journal of Specialised Translation, 30, 84–104. https://www.jostrans.org/issue30/art_chaume.pdf

Chaume, F. (2019). Audiovisual translation in the age of digital transformation. Industrial and social implications. In I. Ranzato, & S. Zanotti (Eds.) Reassessing dubbing: Historical approaches and current trends (pp. 126–144). John Benjamins. https://doi.org/10.1075/btl.148.05cha

Chiaro, D., & De Bonis, G. (2019). An Austrian in Hollywood: The representation of foreigners in the films of Billy Wilder. The European Journal of Humour Research 7(1), 7–23. https://doi.org/10.7592/EJHR2019.7.1.chiaro

Coleridge, S. T. (1817). Biographia literaria; or Biographical sketches of my literary life and opinions. Rest Fenner.

Corrius, M., & Zabalbeascoa, P. (2019). Translating code-switching on the screen: Spanglish and L3-as-theme. Journal of Audiovisual Translation 2(2), 72–91. https://doi.org/10.47476/jat.v2i2.96

Di Giovanni, E., & Romero-Fresco, P. (2019). Are we all together across languages? An eye tracking study of original and dubbed films. In I. Ranzato, & S. Zanotti. (Eds.), Reassessing dubbing: Historical approaches and current trends (pp. 126–144). John Benjamins. https://doi.org/10.1075/btl.148.06di

Díaz-Cintas, J. (2011). Dealing with multilingual films in audiovisual translation, In W. Pöckl et al. (Eds.), Translation —Sprachvariation–Mehrsprachigkeit. Festschrift für Lew Zybatow zum 60 Geburtstag. Peter Lang.

Edwards, A., & Fuchs, R. (2019). Varieties of English in the Netherlands and Germany. In R. Hickey (Ed.), English in the German-Speaking world (studies in English language) (pp. 267–293). Cambridge University Press. https://doi.org/10.1017/9781108768924.014

El Confidencial (2020). Cabreo por el doblaje en castellano de 'Memorias de Idhún' en Netflix: "Los actores de doblaje merecen un respeto". https://www.elconfidencial.com/television/series-tv/2020-08-13/laura-gallego-memorias-idhun-netflix_2713399/

Fernández, V. (creator) (2019–2021). Hache. [TV series]. Weekend Studio.

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

Flis, G., Sikorski, A., & Szarkowska, A. (2020). Does the dubbing effect apply to voice-over? A conceptual replication study on visual attention and immersion. JoSTrans: The Journal of Specialised Translation, 23. https://www.jostrans.org/issue33/art_flis.pdf

Fodor, I. (1969). Linguistic and psychological problems of film synchronization (Part I). Acta Linguistica Academiae Scientiarum Hungaricae 19(1/2), 69–106. http://www.jstor.org/stable/44310434

Fodor, I. (1976). Film dubbing: Phonetic, semiotic, esthetic and psychological aspects. Helmut Buske.

Frades, J. (2018). La catedral del mar (Cathedral of the Sea). [TV series]. Atresmedia Televisión; Catedral del Mar Producciones; Diagonal TV; Generalitat de Catalunya – Departament de Cultura; Televisió de Catalunya (TV3).

Fredette, M. (2017). There is only one way to watch Dark on Netflix & this is it. Refinery29. https://www.refinery29.com/en-us/2017/12/183998/dark-netflix-watching-german-subtitles

Gabilondo, A. (creator) (2018). Vivir sin permiso (Unauthorized Living). [TV series]. Telecinco; Alea Media; Ficción Producciones; Mediaset España.

Garrone, M. (2019). Pinocchio. [Film]. Archimede; RAI Cinema; Le Pacte; Recorded Picture Company.

Gatta, F. (2000). La lingua della serie televisiva italiana fra stereotipo e realtà. In R. M. Bollettieri Bosinelli, Christine Heiss, Marcello Soffritti, Silvia Bernardini. (Eds.), La traduzione multimediale: quale traduzione per quale testo? CLUEB: Bologna, 85-107.

Goldsmith, J. (2019). “Netflix wants to make its dubbed foreign shows less dubby.” The New York Times, July 19. https://www.nytimes.com/2019/07/19/arts/television/netflix-money-heist.html

Gottlieb, H. (1994). Subtitling: Diagonal translation. Perspectives: Studies in Translatology, 2(1), 101–121. https://doi.org/10.1080/0907676X.1994.9961227

Gregory, M., & Carroll, S. (1978). Language and situation. Language varieties and their social contexts. Routledge.

Hagedorn, M. (dir.) (2020–present). Ragnarok. [TV series]. SAM Productions.

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. (2022a). Linguistic variation in Netflix’s English dubs: Memetic translation of Galician-Spanish series Fariña (Cocaine Coast). In L. Mejías-Climent and F. Carrero (Eds.), New perspectives in audiovisual translation: Towards future research trends. Publicacions Universitat València: Valencia, 185–210.

Hayes, L. (2022b). How to sound Spanish in English: questionnaire findings and implications for English-language original and dubbed fiction. In Ł. Bogucki, & M. Deckert (Eds.), Special issue: Innovation in audiovisual translation: from production to reception. XLinguae, 15(2), 33–52. https://doi.org/10.18355/XL.2022.15.02.03

Hayes, L., & Bolaños-García-Escribano, A. (2022). (Main)streaming English dubs: A Snapshot of Netflix’s playbook on dubbing strategies. Special issue: Media for all 9: Sketching tomorrow’s mediascape, JAT: Journal of Audiovisual Translation, 5(2). https://doi.org/10.47476/jat.v5i2.2022.211

Hodson, J. (2014). Dialect in film and literature. Palgrave Macmillan. https://doi.org/10.1007/978-1-137-39394-4

Johnson, J. (2021). Most common languages used on the internet as of January 2020, by share of internet users. Statista https://www.statista.com/statistics/262946/share-of-the-most-common-languages-on-the-internet/

Kässbohrer, P., & Murmann, M. (creators) (2019–2021). How to sell drugs online (fast). [TV series]. Bildundtonfabrik; Netflix.

Lefevere, A. (1992). Translation, rewriting, and the manipulation of literary fame. Routledge.

León de Aranoa, F. (2017). Loving Pablo. [Film]. Escobar Films; B2Y EOOD.

López, C. (2021). Un actor de La casa de papel hace el doblaje de su propia voz en todos los idiomas. Spoiler: Bolavip. https://spoiler.bolavip. com/series/Un-actor-de-La-Casa-de-Papel-hace-el-doblaje-de-su-propia-voz-en-todos-los-idiomas-20210911-0021.html

Martínez Sierra, J. J. (2012). Introducción a la traducción audiovisual. Universidad de Murcia.

McCarthy, N. (2020). The world's most spoken languages. Statista. https://www.statista.com/chart/12868/the-worlds-most-spoken-languages/

Minutella, V., 2020. Translating foreign languages and non-native varieties of English in animated films: Dubbing strategies in Italy and the case of Despicable Me 2. Journal of Audiovisual Translation 3(2), 47–63. https://doi.org/10.47476/jat.v3i2.2020.141

Molina Encinas, D. et al, 2020. La valla (The Barrier) [TV series]. Atresmedia; Globomedia; Good Mood.

Nornes, A. M. (2007). Cinema Babel. Translating global cinema. University of Minnesota Press.

O’Hagan, M., 2021. Exploring the role of translation studies in shaping translation in society. Seminar (1 February 2021) University College London (UCL): London.

Pavesi, M. and Perego, E., 2006. ‘Profiling Film Translators in Italy: A Preliminary Analysis’, Journal of Specialised Translation 6: 99-114.

Pearson, B., 2022. Here's Why Movie Dialogue Has Gotten More Difficult To Understand (And Three Ways To Fix It). Slash Film. https://www.slashfilm.com/673162/heres-why-movie-dialogue-has-gotten-more-difficult-to-understand-and-three-ways-to-fix-it/

Peterson, E., (2020). Making sense of "bad English": An introduction to language attitudes and ideologies. Routledge. https://doi.org/10.4324/9780429328343

Pina, Á. (creator) (2017–present). La Casa de Papel (Money Heist). [TV series]. Vancouver Media; Atresmedia; Netflix.

Ranzato, I. (2019). The Cockney persona: The London accent in characterisation and translation. Perspectives: Studies in Translation Theory and Practice, 27(2), 235–251. https://doi.org/10.1080/0907676X.2018.1532442

Ranzato, I., & Zanotti, S. (2019). The dubbing revolution. In I. Ranzato, & S. Zanotti (Eds.), Reassessing dubbing: Historical approaches and current trends. John Benjamins. https://doi.org/10.1075/btl.148

Rodríguez, A. (2018). Dub troubles. The best discoveries Netflix made while researching how people watch TV. Quartz. https://qz.com/1231253/netflix-finds-dubbing-doesnt-work-in- poland-and-other-local-tv-nuances/

Romero Fresco, P. (2006). The Spanish dubbese: A case of (un)idiomatic Friends. JoSTrans: Journal of Specialised Translation, 6, 134–151.

Romero Fresco, P. (2009). Naturalness in the Spanish dubbing language: A case of not-so-close friends. Meta 54(1), 49–72. https://doi.org/10.7202/029793ar

Romero Fresco, P. (2020). The dubbing effect: An eye-tracking study on how viewers make dubbing work. JoSTrans: Journal of Specialised Translation, 33, 17–40.

Ruiz de Austri, M. (dir.). (2020–2021). Memorias de Idhún (The Idhun Chronicles). [TV series]. Zeppelin TV.

Sánchez-Mompeán, S. (2017). The rendition of English intonation in Spanish dubbing. [PhD Thesis]. Universidad de Murcia.

Sánchez-Mompeán, S. (2020). The prosody of dubbed speech: Beyond the character’s words. Palgrave Macmillan. https://doi.org/10.1007/978-3-030- 35521-0

Sánchez-Mompeán, S. (2021). Netflix likes it dubbed: Taking on the challenge of dubbing into English. Language & Communication, 80, 180–190. https://doi.org/10.1016/j.langcom.2021.07.001

Sedes, C., & Torregrossa, J. (dirs.). (2018). Fariña (Cocaine Coast). [TV series]. Bambú Producciones; Atresmedia; Beta Film.

Silverstein, M. (1976). Shifters, linguistic categories, and cultural description. In K. H. Basso, & H. A. Selby (Eds.), Meaning in anthropology (pp. 11–55). University of New Mexico Press.

Silverstein, M. (2003). Indexical order and the dialectics of sociolinguistic life. Language and Communication, 23, 193–229. https://doi.org/10.1016/S0271-5309(03)00013-2

Solà Gimferrer, P. (2020). Polémica por las estrellas que Netflix ha contratado para doblar su próxima serie de animación. La Vanguardia. https://www.lavanguardia.com/series/netflix/20200814/482806670791/polemica-netflix-memorias-de-idhun-voces-doblaje-laura-gallego.html

Spielberg, S., (dir.). (1993). Schindler’s list. [Film]. Amblin Entertainment.

Spiteri-Miggiani, G. (2021a). English-language dubbing: challenges and quality standards of an emerging localisation trend. JoSTrans: Journal of Specialised Translation, 36, 2–25. https://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

Szmigiera, M. (2021). The most spoken languages worldwide in 2021. Statista https://www.statista.com/statistics/266808/the-most-spoken-languages-worldwide/

Terán, B. (2020). Las polémicas voces de 'Memorias de Idhún' de Netflix: cuando lo artificial nos suena mejor que lo natural. La Información. https://www.lainformacion.com/opinion/borja-teran/las-polemicas-voces-de-memorias-de-idhun-cuando-lo-artificial-nos-suena-mejor-que-lo-natural/2814916/

Venuti, L. (1995). The translator’s invisibility: A history of translation. Routledge.

Vincent, J. (2021). Deepfake dubs could help translate film and TV without losing an actor’s original performance. The Verge https://www.theverge.com/2021/5/18/22430340/deepfake-dubs-dubbing-film-tv-flawless-startup

Wasabi, A., & García, N. (2014). Doblajitis: La enfermedad de los actores de doblaje. [YouTube video] https://www.youtube.com/watch?v=9_26Qcxk62k

Wells, J. C. (1982). Accents of English 1: An introduction. Cambridge University Press. https://doi.org/10.1017/CBO9780511611759

Whitman-Linsen, C. (1992). Through the dubbing glass. The synchronization of American motion pictures into German, French, and Spanish. Peter Lang.

Yang, Y., Shillingford, B., Assael, Y., Wang, M., Liu, W., Chen, Y., Zhang, Y., Sezener, E., Cobo, L. C., Denil, M., Aytar, Y., & Freitas, N. (2020). Large-scale multilingual audio visual dubbing. Computer Science Repository. Cornell University. https://doi.org/10.48550/arXiv.2011.03530

ZOO Digital (2022). Crafting a new original with Mini Pet Pals. Case studies. https://www.zoodigital.com/case-studies/mini-pet-pals-start-school-crafting-a-new-original/

María Morán's work: "Alocacias"

Publicado

2023-05-26

Como Citar

Hayes, L. (2023). Dublagem ao inglês: por que os espectadores anglófonos são receptivos à modalidade da dublagem ao inglês nas plataformas streaming e ao uso de sotaques?. Íkala, Revista De Lenguaje Y Cultura, 28(2), 1–20. https://doi.org/10.17533/udea.ikala.v28n2a12