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There are three fundamental issues in the field of screen
translation, namely, the relationship between verbal output and
pictures and soundtrack, between a foreign language/culture and the
target language/culture, and finally between the spoken code and
the written one. All three issues are raised and discussed by
contributors to this special issue of The Translator. The topics
covered include the following: the use of multimodal transcription
for the analysis of audiovisual data; the depiction and reception
of cultural otherness in Disney animated films produced in the
1990's; the way in which subtitles in Flanders strengthen the
already streamlined narratives of mainstream film stories, and how
they 'enhance' the characteristics of the films and their
underlying ideology; developing a research methodology for testing
the effectiveness of intralingual subtitling for the deaf and hard
of hearing; the pragmatic, semiotic and communicative dimensions of
puns and plays on words in The Simpsons; the reception of
translated humour in the Marx Brothers' film Duck Soup; and
non-professional interpreting in live interviews on breakfast
television in Finland. The volume also includes a detailed profile
of two postgraduate courses that have been successfully piloted and
run at the Universitat Autonoma de Barcelona: the Postgrado de
Traduccion Audiovisual and the Postgrado de Traduccion Audiovisual
On-line.
There are three fundamental issues in the field of screen
translation, namely, the relationship between verbal output and
pictures and soundtrack, between a foreign language/culture and the
target language/culture, and finally between the spoken code and
the written one. All three issues are raised and discussed by
contributors to this special issue of The Translator. The topics
covered include the following: the use of multimodal transcription
for the analysis of audiovisual data; the depiction and reception
of cultural otherness in Disney animated films produced in the
1990's; the way in which subtitles in Flanders strengthen the
already streamlined narratives of mainstream film stories, and how
they 'enhance' the characteristics of the films and their
underlying ideology; developing a research methodology for testing
the effectiveness of intralingual subtitling for the deaf and hard
of hearing; the pragmatic, semiotic and communicative dimensions of
puns and plays on words in The Simpsons; the reception of
translated humour in the Marx Brothers' film Duck Soup; and
non-professional interpreting in live interviews on breakfast
television in Finland. The volume also includes a detailed profile
of two postgraduate courses that have been successfully piloted and
run at the Universitat Autonoma de Barcelona: the Postgrado de
Traduccion Audiovisual and the Postgrado de Traduccion Audiovisual
On-line.
'Conference Interpreting: What do we know and how?' is the title of
a round-table conference (Turku 1994) organised to assess the state
of the art in conference interpreting research. The result is
collected in this volume with fully coordinated reports on the
round tables. The book presents an exciting coverage of the field,
touching on methodology, communication, discourse, culture,
neurolinguistic and cognitive aspects, quality assessment, training
and developing skills.
The globalisation of communication networks has increased the
domains of translation and is challenging ever more the
translator's role. This volume is a collection of contributions
from two different conferences (Misano, 1997 and Berlin, 1998).
(Multi)Media translation, especially screen translation (TV,
cinema, video), has made more explicit the complexities of any
communication and has led us to take a fresh look at the
translator's strategies and behaviours.Several papers ponder the
concepts of media and multimedia, the necessity of
interdisciplinarity, the polysemiotic dimension of audiovisual
media. Quite a few discuss the current transformations in
audiovisual media policy. A great many deal with practices, mainly
in subtitling but also in interpreting for TV and surtitling: what
are the quality parameters and the conditions to meet audience's
expectations? Finally some show the cultural and linguistic
implications of screen translation. Digitalisation is changing
production and broadcasting and speeding up convergence between
media, telecommunications and information and communication
technology. Is (multi)media translation a new field of study or an
umbrella framework for scholars from various disciplines? Is it a
trick to overcome the absence of prestige in Translation Studies?
Or is it just a buzz word which gives rise to confusion? These
questions remain open: the 26 contributions are partial answers.
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