József Tóth, László V. Szabó (eds): Übersetzung und kulturelles Gedächtnis – Translation and Cultural Memory
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Translation of Realia and Irrealia in Two Pop-Culture-Related Movies • Nóra Estélyi-Tala, Ildikó Hortobágyi
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4. Realia in Audiovisual Translation

4. Realia in Audiovisual Translation

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Probably due to the fact that realia are not only context-, but also language pair-dependent, guidelines on how to address cultural-specific notions are scarce, practically non-existent, or unclear. Therefore, AV translators often rely on personal judgement (Ramière 2006; Espindola & Matielo 2011) whether to choose methods closer to the foreignisation or domestication pole. Yonamine addresses the issue analysing the current guidelines in the matter: “The Netflix recommendations for translation […] are considered ‘the strictest on the marketplace’ (European Parliament 2017: 15). Culture and domestication or foreignization strategies are not mentioned directly on the Netflix Style Guide (Netflix 2018). The issue is covered indirectly regarding the treatment of historical or mythical characters, plot relevant nicknames, titles of published books and movies, foreign words, and brand names (Netflix 2018). Moreover, Netflix recommends matching the tone of the ‘original’ content to the equivalent in the ‘target’ audience and language (Netflix 2020).” (Yonamine 2022: 199)

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As it was mentioned above, length constraints have strict limitations on the methods that can be applied in AVT. Therefore, it is expected that the shorter solutions predominate, so, for example, omissions, borrowing, or literal translation will be more frequent than explanation or addition. This is partly supported by Sereg (2016). She finds that the number of paraphrases and explanatory additions was exceptionally high, no higher than 2 percent, in the two (1st and 10th) seasons of Friends she analysed, which can be explained by the strict formal and length constraints imposed by dubbing. As she points it out, a lengthy insertion of text would require the elimination of other information. On the other hand, she finds that omissions were also a rather infrequent solution for the handling of realia (3.3 and 5.6 percent in the two seasons), which she explains by the genre: much of the humour in sitcoms relies on the realia in the text.

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Sereg also finds that during the decade between the two seasons of the series, a significant increase can be seen in the application of borrowing, while a decrease in generalisation is to be seen.

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“Translators and distributors are, therefore, not the only ones responsible for the cultural transfer of films; viewers as well play a role. Indeed, audiences’ intercultural skills and readiness to accept the Foreign might too often be underestimated, and the fact of sitting in a dark room to watch a foreign movie may in fact already bear testimony to viewers’ openness to accept this negotiation.” (Ramière 2006: 162)
 
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