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Dubbing: Prof - Ssa Laura Liucci

1. Dubbing involves replacing the original dialogues of a film with translated dialogues recorded in the target language. 2. Dubbing originated in the 1920s with the advent of sound films and became a common practice in some European countries like Italy, Spain, Germany and France. 3. The dubbing process involves translation, adaptation of dialogues to match lip movements, voice acting and synchronization by a sound engineer to mix the dubbed dialogues with the original film.

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78 views

Dubbing: Prof - Ssa Laura Liucci

1. Dubbing involves replacing the original dialogues of a film with translated dialogues recorded in the target language. 2. Dubbing originated in the 1920s with the advent of sound films and became a common practice in some European countries like Italy, Spain, Germany and France. 3. The dubbing process involves translation, adaptation of dialogues to match lip movements, voice acting and synchronization by a sound engineer to mix the dubbed dialogues with the original film.

Uploaded by

Giulia Madonna
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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DUBBING

Prof.ssa Laura Liucci


“Consists of replacing the original track of a film’s (or any
audiovisual text) source language dialogues with another track on
which translated dialogues have been recorded in the target
language.” (Chaume, 2012)

Sometimes the term “revoicing” is also used,


but this also includes intralingual postsynchronization (and
therefore also narration, voice-over, etc.)
The origin of dubbing goes back to the 1920s and the advent of the
talkies (the first sound films).

The term “dubbing” was coined in those years to refer to the


technology that would permit sounds and noises to be inserted
into movies using a mixer (Paolinelli and Di Fortunato, 2005).

The first dubbed movie was


The jazz singer (Alan Crosland, 1927).
During the ‘30s in Italy, Spain and Germany, dubbing became a
weapon in the hands of the totalitarian regimes.

Foreign languages were banned, and the dubbing of every


imported movie into the TL enforced.

Nowadays Italy, Spain, Germany and France are the four main
dubbing countries in Europe.
“We cannot ignore the fact that dubbing predates these regimes,
that the population in most of these countries had low levels of
literacy, that these countries had a dominant language, and that
they had the economic power to meet the cost of dubbing”
(Chaume, 2012)

There can be cultural, economic and historical reasons for


choosing dubbing over subtitling!
Chaume (2012) identifies a set of standard/priorities that should
be followed in dubbing:

1. Acceptable synchronization
2. Credible and realistic dialogue lines
3. Coherence between images and words
4. A loyal translation
5. Clear sound quality
6. Acting
“The replacement of the original speech by a voice-track […] which
attempts to reproduce the timing, phrasing and lip movements of
the original” (Luyken, 1991; in Chaume, 2012)

Three types of synchronization:

1. ISOCHRONY – synchrony between utterances and pauses;


2. KINESIC SYNCHRONY – body movement synchrony;
3. LIP SYNCHRONY (or lip-sync) – mouth articulation synchrony;
Translation is always a matter or compromise between adequacy
to the source text (ST) and acceptability in the target language (TL)

The dubbed dialogues need to sound “realistic, credible and


plausible […] and must be acceptable according to the canonical
standards of an audiovisual text translated into the TL” (Chaume, 2012)

PREFABRICATED SPEECH
There should be coherence between what is seen and what is
heard, that is between words and images.
“Broadly speaking, the viewer expects to see the same film that the
audience sees in the source language”
(Chaume, 2012)

The TT has to be (as) faithful (as possible) to the ST

The notion of loyalty or fidelity to the ST is well known and broadly


discussed, in Translation Studies. However, nowadays it is losing
ground in favour of a more prominent position of the TT
It goes beyond the translator/dialogue writer’s control, and
involves technical aspects such as:

1. Complete deletion of the original dialogues


2. Good acoustic quality of the newly recorded dialogues
3. Use of sound effects when needed
4. Etc…
It also goes beyond the translator/dialogue writer’s control.

“Dubbing actors are usually required to perform such as they sound


neither faked (overacted), nor monotonous (underacted)”
(Chaume, 2012)
Dubbing requires many professional figures and different activities
at different stages:

1. TRANSLATION OF THE DIALOGUES

2. ADAPTATION OF THE DIALOGUES

3. REVOICING

4. SYNCHRONIZATION AND MIXING


1. TRANSLATION:
A translator produces a rough translation of the original dialogues
(In some countries, the translator also adapts the dialogues, acting
as a dialogue writer)

1. ADAPTATION:
A dialogue writer adapts the dialogues to synchronize the
translation with the movements of the actors on screen
3. REVOICING
The voice talents dub the various scenes under the supervision
of the dubbing director

4. MIXING:
A sound engineer synchronizes the newly recorded dialogues and
then mixes them with the original film
Dubbing follows different conventions in every country!

The adaptation provided by the dialogue writer/adaptor needs to


be divided into segments, called takes (in Italian, anelli)

In Italy, the anelli usually have 10-12 lines each, but is not a fixed
rule, and the segmentation follows narrative criteria.
(in Chaume, 2012: 54)

Dubbing symbol
Timecode in Take’s number
(in Chaume, 2012: 60-61)
PREFABRICATED ORALITY

Common to most original and dubbed audiovisual programmes


based on a script; a text that is “written to be spoken as if it was
not written”…

A language that is very well planned , but needs to be recognised


as a “true-to-life conversation”
(Chaume, 2012)
In Translation Studies the “dubbese” – or doppiaggese, in Italian –
is considered as a language variety

THE DOPPIAGGESE
• is not marked on a sociolinguistic level (no diatopic or diastratic variation)

• presents neo-standard forms of the Italian language: dislocations (“sono io


che l’ho detto”); use of the indicativo instead of the congiuntivo; the so-
called “forme a doppio clitico” (farcela, spassarsela, prendersela)

• presents many formulas and translation routines


(Pavesi, 2005)
Routines can originate from calques, i.e. translation solutions modelled on the
SL that end up to be repeated in more and more movies

At every level: lexemes, idioms, phraseology, etc

MOST COMMON IN ITALIAN


“Assolutamente”  absolutely
“Be’”  well (instead of “ecco”)
“Ci puoi scommettere”  you can bet (instead of “certamente”
“Dacci un taglio”  cut it out (instead of “smettila”)
(Pavesi, 2005)
CHAUME, FREDERIC. 2012. Audiovisual Translation: Dubbing. Manchester: St.
Jerome Publishing.

PAOLINELLI, MARIO and ELEONORA DI FORTUNATO. 2005. Tradurre per il


doppiaggio. La trasposizione linguistica dell’audiovisivo: teoria e pratica di
un’arte imperfetta. Milano: Hoepli

PAVESI, MARIA. 2005. La traduzione filmica. Aspetti del parlato doppiato


dall’inglese all’italiano. Roma: Carocci

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