GlobEngGlobEngVerona 14th -16th February 2008Verona 14th -16th February 2008

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

Chris TaylorChris TaylorUniversity of TriesteUniversity of Trieste

Spoken LanguageSpoken LanguageThe primacy of speech and an awareness of the The primacy of speech and an awareness of the properties of spoken discourse was long ignored, properties of spoken discourse was long ignored, even by linguists (see Halliday, 1987).even by linguists (see Halliday, 1987).

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

And translators of film language are then And translators of film language are then presented with a ‘false text’.presented with a ‘false text’.

Film LanguageFilm LanguageThe 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)

ExperimentsExperimentsPast experiments in Trieste have Past experiments in Trieste have investigated the comparative use of investigated the comparative use of discourse markers, hedges, tag discourse markers, hedges, tag questions, vague language, parataxis, questions, vague language, parataxis, etc.etc.

More recent work has turned to other More recent work has turned to other features such as lexical density.features such as lexical density.

Robin Hood 1938Robin Hood 1938Friar 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 a girdled friar and vowed to and 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 to share it with you.share it with you.

Friar Tuck:Friar Tuck: Give me back my mutton joint!...Give me back my mutton joint!...Robin Hood:Robin Hood:Not so close, my thunderous Not so close, my thunderous one!one!

Lexical densityLexical density

• Lexical wordsLexical words 1919• Total wordsTotal words 4343• RatioRatio 1:2.21:2.2

These figures show similarity with These figures show similarity with written texts.written texts.

Dawson’s CreekDawson’s CreekScrew 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• Lexical wordsLexical words 1919• Total wordsTotal words 4545• RatioRatio 1:3c1:3c

Cf. Robin HoodCf. Robin Hood

Film textsFilm textsThere is in fact a co-existence of There is in fact a co-existence of

• written language features (complete written language features (complete sentences, high lexical density, lower sentences, high lexical density, lower grammatical intricacy, etc.grammatical intricacy, etc.

• spoken discourse (self-correction, spoken discourse (self-correction, hesitation, repetition, frequent use of hesitation, repetition, frequent use of linkage items such as discourse linkage items such as discourse markers, overlapping speech, etc.markers, overlapping speech, etc.

TranslationTranslation

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

Translation of Dawson’s Translation of Dawson’s Creek.Creek.• Given the original’s admittedly Given the original’s admittedly

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

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

‘‘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.

So…So…• film language is different from spontaneous film language is different from spontaneous

spoken language … though it often attempts to spoken language … though it often attempts to recreate it with varying degrees of success …recreate it with varying degrees of success …

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

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

• Cf. Antonioni, ViscontiCf. Antonioni, Visconti

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 programmes are translated into English, due to the predominance of English, due to the predominance of English language products in the English language products in the media.media.

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.

So … Dubbing into So … Dubbing into English?English?

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

BUTBUT

Ladri di biciclette 1948Ladri di biciclette 1948The dubbed version contains:The dubbed version contains:

factual errorsfactual errorsfalse characterisationfalse characterisationtotal normalisationtotal normalisationstereotypingstereotyping

ErrorsErrorstanto me to faccio accompagnà da tanto me to faccio accompagnà da lui a Porta Portese, noi rimaniamo qui lui a Porta Portese, noi rimaniamo qui damo una guardata ancoradamo una guardata ancora

Anto, go with him to Porta Portese, Anto, go with him to Porta Portese, might have better luckmight have better luck

False characterisation … False characterisation … Alfredo the thief’s mother is Alfredo the thief’s mother is aggressive and will stop at nothing to aggressive and will stop at nothing to protect her criminal offspring.protect her criminal offspring.

In the dubbed version she is the In the dubbed version she is the classic ‘mamma italiana’.classic ‘mamma italiana’.

… … and stereotypingand stereotypingMamma:Mamma: ma che vo’ sto gran ma che vo’ sto gran

farabutto? Alfre’ vie’ su!!farabutto? Alfre’ vie’ su!!

Mamma:Mamma: Oh mio Dio! What’s he Oh mio Dio! What’s he doing, Alfredo, what’s doing, Alfredo, what’s

he he doing?doing?

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.

Trieste dubbing projectTrieste dubbing project• Students had to produce subtitled and Students had to produce subtitled and

dubbed versions of ‘Il Commissario dubbed versions of ‘Il Commissario Montalbano’ and ‘Prime Suspect’Montalbano’ and ‘Prime 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.

MontalbanoMontalbano• Culture-bound problems – Sicilian variety Culture-bound problems – Sicilian variety

Stephen Sartirelli, author of the English Stephen Sartirelli, author of the English translations of the Camilleri novels, translations of the Camilleri novels, explained that he just made it as explained that he just made it as colloquial as possible. But he had more colloquial as possible. But he had more room for manoeuvre – explanations, room for manoeuvre – explanations, footnotes, etc.footnotes, etc.

Student versionsStudent versionsIn the students’ dubbed versions we In the students’ dubbed versions we find syntactic and lexical intervention.find syntactic and lexical intervention.

• Syntax - simple, elided, repeated and Syntax - simple, elided, repeated and use of phatic devices.use of phatic devices.

• Lexis - colourful, colloquial, idiomatic, Lexis - colourful, colloquial, idiomatic, metaphorical, slang, taboo.metaphorical, slang, taboo.

However … However … … … the skill lies in calibrating these the skill lies in calibrating these features to the individual characters. features to the individual characters. For example, the lawyer uses a high, For example, the lawyer uses a high, formal register but also formal register but also grammatically incorrect sentences grammatically incorrect sentences apparently typical of the Southapparently typical of the South

Non-linguistic constraintsNon-linguistic constraints

• Commissario = Superintendent (cf. Commissario = Superintendent (cf. translation into Italian of Detective translation into Italian of Detective Superintendent Tennison in Superintendent Tennison in Prime Prime SuspectSuspect as as Commissario Tennison.Commissario Tennison.

• BUT in the books the term had always BUT in the books the term had always been translated as ‘Inspector’ and so been translated as ‘Inspector’ and so he had to remain Inspector he had to remain Inspector Montalbano (cf. Inspector Morse, etc.)Montalbano (cf. Inspector Morse, etc.)

IntonationIntonation

Anna: Ma mi sembrava importante.Anna: Ma mi sembrava importante.Anna: But maybe it’s important, Anna: But maybe it’s important, isn’t it?isn’t it?

• Two reasonsTwo reasons• the frequency and naturalness of question the frequency and naturalness of question

tags in English (cf. use in similar series tags in English (cf. use in similar series through parallel texts):through parallel texts):

• from the intonation of the speaker it is clear from the intonation of the speaker it is clear that she aimed to involve Montalbano.that she aimed to involve Montalbano.

Character quirksCharacter quirks

• Lawyer Palillo says:Lawyer Palillo says:

Peccato che questa persona senza occhiali non Peccato che questa persona senza occhiali non riesca a distinguere una gemma da una riesca a distinguere una gemma da una patata.patata.(he wants to say ‘he can’t see very well’).(he wants to say ‘he can’t see very well’).

Pity, isn’t it? ..this person without glasses can’t Pity, isn’t it? ..this person without glasses can’t separate the wheat from the chaff.separate the wheat from the chaff.

To leave and not leaveTo leave and not leave

Nicolò: Mi sono imparato a fare la scaccia coi Nicolò: Mi sono imparato a fare la scaccia coi broccoli.broccoli.Nicolò: I’ve learnt a new recipe: scaccia coi broccoli.Nicolò: I’ve learnt a new recipe: scaccia coi broccoli.(Sicilian food is an important ‘character’ in the (Sicilian food is an important ‘character’ in the Montalbano series, so leave it, adding ‘a new Montalbano series, so leave it, adding ‘a new recipe’)recipe’)

The incorrect ‘mi sono imparato’ is normalised as The incorrect ‘mi sono imparato’ is normalised as the person speaking is an educated journalist. the person speaking is an educated journalist. Regionalisms are more frequent across all classes in Regionalisms are more frequent across all classes in Italy.Italy.

Comparative grammarComparative grammar

• … … va a passeggiare il caneva a passeggiare il cane• … … when walking his dogwhen walking his dog

The verb ‘passeggiare’ is intransitive The verb ‘passeggiare’ is intransitive in Italian, but ironically the literal in Italian, but ironically the literal translation is correct in English. translation is correct in English. There is no point in forcing the issue.There is no point in forcing the issue.

Lip synch and timingLip synch and timing

Giacomo: Io, non ho ucciso mio fratello!Giacomo: Io, non ho ucciso mio fratello!Giacomo: Me, I didn’t kill my brotherGiacomo: Me, I didn’t kill my brother

(length of enunciation and lip synchronisation)(length of enunciation and lip synchronisation)

Montalbano: Perchè?Montalbano: Perchè?Montalbano: What happened?Montalbano: What happened?

• (translating with ‘Why?’ has only one lip (translating with ‘Why?’ has only one lip movement. ‘What happened?’ respects the movement. ‘What happened?’ respects the alternation open/half closed – open/half closed.alternation open/half closed – open/half closed.

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

ffra cinque minuti ra cinque minuti ffive minutesive minutes

Line length and delivery Line length and delivery speedspeed• Non voleva essere di peso alla Non voleva essere di peso alla

famigliafamiglia• He didn’t want to be a burden.He didn’t want to be a burden.

• L’ho accompagnato adesso in L’ho accompagnato adesso in prigione a Vigata.prigione a Vigata.

• I have just taken him to prison.I have just taken him to prison.

Coordination with visualCoordination with visual• Il signor La Russa questa notte si è spogliato nudo, si Il signor La Russa questa notte si è spogliato nudo, si

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

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

General considerationsGeneral considerations1. Lip synch helps anchor stess patterns, 1. Lip synch helps anchor stess patterns,

etc. but imposes modifications;etc. but imposes modifications;2. Greater timing synch gives impression 2. Greater timing synch gives impression

that actors are speaking English, Italian that actors are speaking English, Italian or whatever, but there is enforced loss or whatever, but there is enforced loss of some details;of some details;

3. Coordination with the visual can 3. Coordination with the visual can impose strained syntax.impose strained syntax.

So if dubbing into English takes So if dubbing into English takes off…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.

• So be it.So be it.