Tóth József (szerk.): Nyelv, kultúra, megértés: új kutatási módszerek a humán tudományok területén
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2. Nyelvhasználat és interkulturalitás
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Dialects on screen. Display of dialectal significance in the series Poldark • Nóra Estélyi-Tala, Ildikó Hortobágyi
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5. Unique challenges in audiovisual translation

5. Unique challenges in audiovisual translation

Jegyzet elhelyezéséhez, kérjük, lépj be.!

AVT is a rather unique branch of translation, from several points of view. Firstly, compared to “traditional translation”, the length constraints are much stricter than those of works of literature, or even most profession-related texts. Reasons behind this strictness are the limitation of the number of characters in subtitling (the maximum number of lines is 2; the maximum number of characters per line is between 37 and 42, and the maximum number of characters per second is usually somewhere between 17 and 21), or the lip movement, in the case of dubbing, when talking about lip-synching. Dubbing brings about “a whole set of constraints that lead to the technical manipulation of the text and the consequent loss of language- and culture-specific nuances contained in the ST” (source text) (Dore, 2017: 131).

Jegyzet elhelyezéséhez, kérjük, lépj be.!

Consequently, it is evident that in AVT often only a short(ened) version of the original text can be conveyed into the target language, which means loss of information. The real challenge for the translator is to consider and weigh all the linguistic, social, stylistic, functional and audiovisual information (or as much of them as possible), and decide what to omit or change and how. “Decisions concerning text reduction are closely linked to the principle of relevance (Gutt, 1991), which supersedes linguistic issues, concerning not only the translation of meaning, but also of the purpose and function of the ST” (De Meo, 2019).

Jegyzet elhelyezéséhez, kérjük, lépj be.!

Secondly, the fact that in addition to verbal non-verbal elements (sounds, music, images, etc.) define the target-language text (Chaume, 2013) also poses unique challenges. “[T]ranslating solely the linguistic component of any audiovisual material, without fully considering the rest of the information transmitted by the audio and visual channels, would spell disaster” (Díaz Cintas, 2012: 281).

Jegyzet elhelyezéséhez, kérjük, lépj be.!

And thirdly, dialogues in a movie are first scripted, namely oral utterances appear in the form of written text imitating real-life speech. “Film dialogues […] are fabricated discourse and make-believe speech. Their text is projected orally, but usually from a written script in which structural and narrative considerations, and considerations of efficiency, loom large and have little place for features integral to live verbal negotiations and the constraints or co-constraints of discourse” (Guillot, 2012: 106).

Jegyzet elhelyezéséhez, kérjük, lépj be.!

As Ethelb (2019) points out, movies and TV series are often centred around different societal events and depict interactions within a society. Therefore, the language in films is often dialectal, posing a vast challenge for the translator. “Translators need to produce subtitles that are as fluent and close as possible to the source texts” (p. 37). As Linde and Kay (1999) state, subtitling should be a successful integration of sound and text, and it is important for the subtitling to synchronize with the image and sound.

Jegyzet elhelyezéséhez, kérjük, lépj be.!

Just like movies in general, as the oral representations of a written script, subtitles are also a special combination of written and oral communication. “[S]ubtitling is the result of a diamesic shift from speech to writing where the end product has undergone a considerable process of reduction due to the different nature of the target medium bound by time and space constraints” (De Meo, 2019).
 
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