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3. Audiovisual Translation

3. Audiovisual Translation

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Audiovisual translation [AVT] is a relatively new area of translation, but one that cannot be overlooked. Although its beginnings go back as far as the turn of the 20th century, the invention of the cinema, its scholarly prominence started gaining more attention around the 1990s, in the age of digitisation and the proliferation and distribution of AV materials (Díaz Cintas & Remael 2021). As “film industry is considered one of the dominant forms of culture in the modern age” (Tuhktarova et al. 2021: 50), the frequency of AVT is increasing.

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The two fundamental types of AVT can be differentiated by the approach to the text: “either the original dialogue soundtrack is substituted with a newly recorded or live soundtrack in the TL (i.e. revoicing) or it is converted into a written text that appears on the screen (timed text)” (Díaz Cintas & Remael 2021: 7).

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However, the term refers to a rather wide range of subtypes: “[L]inguistic and semiotic transfers like dubbing, subtitling, surtitling, respeaking, audiosubtitling, voice-over, simultaneous interpreting at film festivals, free-commentary and goblin translation, subtitling for the deaf and the hard of hearing, audiodescription, fansubbing and fandubbing.” (Chaume 2013: 105)

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The difficulties unique to AVT compared to “traditional” translation are manifold. AVT is absolutely different from traditional translation in the sense that the ST is originally a written text (often) intended to sound like a spontaneous oral discourse (although not always, like in the case of voice-over in documentaries). In the case of dubbing, the same holds for the TT as well. Another great difference is the strict constraints posed by time and space (be it the time of speech in dubbing or the line length limitations in subtitling, where the maximum number of lines is 2; the maximum number of characters per line is between 37–42, and the maximum number of characters per second is between 17 and 21).

Jegyzet elhelyezéséhez, kérjük, lépj be.!

But the most striking feature is the fact that not only verbal, but also non-verbal elements influence the translator’s choice (just think about the actors’ lip movements in lip-syncing, or puns where the elements of the pun are shown in pictures) (Chaume 2009). “Since [AVT] brings cultures into contact with one another, translation for the cinema in particular, and the audiovisual world in general, raises considerable crosscultural issues. Disregarding them may lead to a translated programme which is unintelligible for the target viewers.” (Ramière 2006: 152–153)
 
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