Audiovisual Translation Scenarios Copenhagen 1-5 May, 2006 I knew he was going to say that A consideration of the predictability of language use in film

Audiovisual Translation ScenariosAudiovisual Translation ScenariosCopenhagen 1-5 May, 2006Copenhagen 1-5 May, 2006

“I knew he was going to say “I knew he was going to say that” that”

A consideration of the predictability of language A consideration of the predictability of language use in filmuse in film

Chris TaylorChris Taylor

University of TriesteUniversity of Trieste

Talking PointsTalking Points

1.1. Film LanguageFilm Language

2.2. GenreGenre

3.3. PredictabilityPredictability

4.4. Translation (dubbing, subtitling)Translation (dubbing, subtitling)

Film LanguageFilm Language

The thesis that film language differs The thesis that film language differs appreciably from ordinary, everyday, appreciably from ordinary, everyday, spontaneous language has been spontaneous language has been recognised, and little criticised, since recognised, and little criticised, since the beginnings of the cinema.the beginnings of the cinema.

Visual GrammarVisual Grammar

With the advent of the cinema, for the first With the advent of the cinema, for the first time, pictures succeeded one another, time, pictures succeeded one another, creating patterns of occurrence and creating patterns of occurrence and repetition that resembled the linear flow of repetition that resembled the linear flow of speech. speech.

The innovation that cinema provided is to The innovation that cinema provided is to be seen in this visual grammar (Kress & be seen in this visual grammar (Kress & van Leeuwen), integrated with the verbal van Leeuwen), integrated with the verbal grammar in a multimodal text. grammar in a multimodal text.

APSAPS

But the flow of images was (and is) created by But the flow of images was (and is) created by film directors, cameramen, set designers, etc. film directors, cameramen, set designers, etc. in the construction of an artificial situation. in the construction of an artificial situation.

Similarly the language (and grammar) of film Similarly the language (and grammar) of film was a scripted construct created by writers, was a scripted construct created by writers, altered by directors and actors, in the creation altered by directors and actors, in the creation of an “artificially produced situation” (APS)of an “artificially produced situation” (APS)

Silent FilmsSilent Films

The early silent films were not The early silent films were not actually wordless; ‘intertitles’ were actually wordless; ‘intertitles’ were used, firstly on placards and later used, firstly on placards and later inserted into the film itself.inserted into the film itself.

Often they were, by today’s Often they were, by today’s standards, farcically artificial. standards, farcically artificial.

Intertitles: ‘Uncle Tom’s Cabin’ Intertitles: ‘Uncle Tom’s Cabin’ 19271927

Phineas outwits the slave tradersPhineas outwits the slave traders

Eliza escapes across the river on floating iceEliza escapes across the river on floating ice

Rocky Pass. Reunion of Eliza and Geo. HarrisRocky Pass. Reunion of Eliza and Geo. Harris

Moonlight bathing the old Kentucky home in radiance – romance in the winged and perfumed breezes of the night

TalkiesTalkies

But even with the talkies, the level of But even with the talkies, the level of artificiality did not drop.artificiality did not drop.

Film language remained theatrically Film language remained theatrically influenced.influenced.

The Big Trail 1930The Big Trail 1930

• A silent film slowly being adapted to sound. A silent film slowly being adapted to sound. • Along the way the actors were allowed to Along the way the actors were allowed to

leave the stilted, theatre-like acting;leave the stilted, theatre-like acting;• Marguerite Churchill very much looks like a Marguerite Churchill very much looks like a

typical early silent movie heroine at the typical early silent movie heroine at the beginning of the film, but at the end is beginning of the film, but at the end is allowed finer expressions. allowed finer expressions.

• BUT …BUT …

John WayneJohn Wayne

• "No great trail was ever blazed "No great trail was ever blazed without hardship...and you gotta without hardship...and you gotta fight! That's life..and when you stop fight! That's life..and when you stop fightin', that's death."fightin', that's death."

and even later …and even later …

Robin Hood 1938Robin Hood 1938

Friar Tuck: Friar Tuck: Robber and thief! Give me Robber and thief! Give me back my mutton joint!... I’m back my mutton joint!... I’m a girdled friar and vowed to a girdled friar and vowed to poverty.poverty.

Robin Hood:Robin Hood: If this is poverty, I’ll be glad If this is poverty, I’ll be glad to share it with you.to share it with you.

Friar Tuck:Friar Tuck: Give me back my mutton Give me back my mutton joint!...joint!...

Robin Hood:Robin Hood: Not so close, my thunderous Not so close, my thunderous one!one!

and even today …and even today …

‘‘Dawson’s Creek’Dawson’s Creek’

• Creator Kevin Williamson makes it Creator Kevin Williamson makes it clear that he does not strive for clear that he does not strive for authentic dialogue.authentic dialogue.

• In fact his cast of teenagers talk like In fact his cast of teenagers talk like thirty-somethings.thirty-somethings.

Who writes a film?Who writes a film?

A film is a team effort, with a A film is a team effort, with a consequent downplaying of its consequent downplaying of its paternity. The ‘authors’ of a film (and paternity. The ‘authors’ of a film (and its translated version) consist of: its translated version) consist of: screenplay writers, directors, screenplay writers, directors, cameramen, editors, actors, cameramen, editors, actors, translator/adaptors, dubbing directors, translator/adaptors, dubbing directors, dubbing actors, subtitlers, producers... dubbing actors, subtitlers, producers...

An open textAn open text

It is an open text: written to be acted and It is an open text: written to be acted and synchronised with the visual.synchronised with the visual.

A film lacks a single text of reference A film lacks a single text of reference (unlike theatre and radio discourse), in (unlike theatre and radio discourse), in that various transpositions succeed one that various transpositions succeed one another (subject, scriptanother (subject, script,, dialogue list, dialogue list, transcription, translation, etc.)transcription, translation, etc.)

Film text componentsFilm text components

• There is a co-existence of written There is a co-existence of written language features (no hesitation, no language features (no hesitation, no repetition, no self-correction, no repetition, no self-correction, no unarticulated sounds, no overlapping unarticulated sounds, no overlapping speech, etc.) and spoken discourse speech, etc.) and spoken discourse (eg. recourse to para and (eg. recourse to para and extralinguistic elements). extralinguistic elements).

Language Written Oral Film dialogue

Uniformity of pragmatic

and textual units(turns, clauses,

utterances)

- - +

Tendency tomonologism

+ - +/-

Extension of the units (turns,

clauses, utterances)

+ - -

Overlapping, fuzziness and

other dialogical acidents

- + -

Planning, coherence and

cohesion

+ - +

Recourse to para and extralinguistic

elements

- + +

Morphosyntactic complexity

+ - +/-

Lexical density + - +/-

Presence of dialect - + +/-

Filmese?Filmese?

• Compare the language of film with a Compare the language of film with a spoken corpus of English.spoken corpus of English.

• Bank of EnglishBank of English

• Bergen Bergen

• etc.etc.

Examples chosenExamples chosen

• NOWNOW

• WELL WELL

• RIGHTRIGHT

• SOSO

• OKOK

• YESYES

Realistic films - totalRealistic films - total

• Words 995,746Words 995,746

• nownow 377377

• wellwell 11791179

• rightright 260260

• yesyes 238238

• OKOK 670670

• soso 10321032

Bank of EnglishBank of English

• Words 1,000,000 circaWords 1,000,000 circa

• nownow 620620

• wellwell 29902990

• rightright 36503650

• yes yes 38303830

• OK OK 11501150

• so so 48004800

Comparison realistic/corpusComparison realistic/corpus

0

1000

2000

3000

4000

5000

realistic corpus

now

well

right

yes

OK

so

Tag questions - totals Tag questions - totals comparedcompared

• Total tag questions in FilmsTotal tag questions in Films

– 488488• Total tag questions in CorpusTotal tag questions in Corpus

–1,1941,194

GenreGenre

Genre analysis (Swales, Halliday, Genre analysis (Swales, Halliday, Hatim & Mason, Ventola, Aston et al) Hatim & Mason, Ventola, Aston et al) has produced some interesting work has produced some interesting work on classifying language use. on classifying language use.

At a macro-level we can talk of At a macro-level we can talk of literary language, the language of literary language, the language of journalism, scientific discourse, etc.journalism, scientific discourse, etc.

SubgenreSubgenre

But genres generate subgenres:But genres generate subgenres:

novels, poetry, detective stories…novels, poetry, detective stories…

tabloids, qualities, magazines….tabloids, qualities, magazines….

nuclear physics, medicine, nuclear physics, medicine, biochemistrybiochemistry

..and little fleas have littler ..and little fleas have littler fleasfleas GenreletsGenrelets

instances or instantiations of language use instances or instantiations of language use associated with very particular sub-sub associated with very particular sub-sub genres:genres:

love story dialoguelove story dialogue

weather forecastweather forecast

medical conference abstractmedical conference abstract

““a social occasion enshrined in language”a social occasion enshrined in language”

Film genresFilm genres

• Of course the expression ‘film genre’ Of course the expression ‘film genre’ will bring to mind such types as will bring to mind such types as western, spy story, comedy, etc. western, spy story, comedy, etc.

• But films too have their sub-genres But films too have their sub-genres and genrelets.and genrelets.

Film genres 2Film genres 2

• And it is these genrelets that are of And it is these genrelets that are of interest in the question of interest in the question of predictabilitypredictability..

• E.g., telephone conversations, E.g., telephone conversations, presentations, mealtime dialogue, presentations, mealtime dialogue, bar talk, etc.bar talk, etc.

PredictabilityPredictability

‘‘breakdown in public transport system scenario’breakdown in public transport system scenario’

““On these occasions (English) passengers On these occasions (English) passengers suddenly seem to become aware of each other. suddenly seem to become aware of each other. Our actions are always the same and minutely Our actions are always the same and minutely predictable, almost as though they had been predictable, almost as though they had been choreographed”choreographed”(Fox).(Fox).

““Huh, typical!” Huh, typical!” ““What is it this time?”What is it this time?”““Wrong kind of leaves, I suppose”.Wrong kind of leaves, I suppose”.

Optional and obligatory Optional and obligatory featuresfeatures

Genres, sub-genes and genrelets are Genres, sub-genes and genrelets are identifiable by obligatory features identifiable by obligatory features associated with any number of associated with any number of optional features (Halliday & Hasan).optional features (Halliday & Hasan).

Emergency phone callEmergency phone callRecipeRecipe

Indian food recipeIndian food recipePhone-in Indian food recipePhone-in Indian food recipe

IntertextualityIntertextuality

• In genrelets such as love scenes, In genrelets such as love scenes, telephone call protocols, telephone call protocols, presentations, service encounters, presentations, service encounters, etc. there is little room for creative etc. there is little room for creative language use. The same formulae language use. The same formulae are used over and over again, with are used over and over again, with the same cues and the same the same cues and the same response mechanisms.response mechanisms.

PrimingPriming

Hoey: words and expressions are Hoey: words and expressions are PRIMED to appear in particular PRIMED to appear in particular environments.environments.

e.g., I love you too.e.g., I love you too.

And …And …

• In winter … In winter …

• During the cold season …During the cold season …

• In the winter months …In the winter months …

• When frost’s tentacles do wrap us …When frost’s tentacles do wrap us …

Film languageFilm language

• The language of film tends to accentuate The language of film tends to accentuate the aspects outlined in the previous the aspects outlined in the previous slides.slides.

• Especially in stylised genres (traditional Especially in stylised genres (traditional westerns, medieval dramas, quickly westerns, medieval dramas, quickly produced cop and sci-fi series, etc.) but produced cop and sci-fi series, etc.) but even in more realistic genres, language even in more realistic genres, language use is that much more cued and crafted use is that much more cued and crafted and thus more PREDICTABLE. and thus more PREDICTABLE.

TranslationTranslation

In translation, all this becomes In translation, all this becomes ever more apparent.ever more apparent.

Translation processTranslation process

• Subject Subject – treatmenttreatment– screenplay screenplay – script [script [written dialogues]written dialogues]

• Spoken dialogue Spoken dialogue • Continuity script (transcription and Continuity script (transcription and

postsynchronization) postsynchronization) • TranslationTranslation

– adaptationadaptation– dubbingdubbing– mixagemixage– translated spoken dialoguetranslated spoken dialogue– subtitlessubtitles

Il grande sentiero 1931Il grande sentiero 1931

• Film created for foreign audiences by Film created for foreign audiences by use of multi-versions.use of multi-versions.

Translation of Dawson’s Translation of Dawson’s Creek.Creek.

• Given the original’s stated intention Given the original’s stated intention of not aiming at authentic dialogue of not aiming at authentic dialogue the dubbed version on Italian the dubbed version on Italian television, follows suit … only more television, follows suit … only more so. so.

‘‘Dawson’s Creek’ in ItalianDawson’s Creek’ in Italian

• According to Zandegù:According to Zandegù:The language can be given the labelThe language can be given the label

ZERO ORALITY ZERO ORALITY

referring to the reduction in variation at referring to the reduction in variation at a stylistic, sociocultural and dialectal a stylistic, sociocultural and dialectal level.level.

increased predictabilityincreased predictability

This leads to higher levels of predictability, including This leads to higher levels of predictability, including the repeated use in Italian of terms that don’t (or the repeated use in Italian of terms that don’t (or didn’t) appear in the ordinary spoken language:didn’t) appear in the ordinary spoken language:

Buon pomeriggioBuon pomeriggio

Calmati figliolo!Calmati figliolo!

Fottiti amico!Fottiti amico!

Obiezione!Obiezione!

Translation MemoryTranslation Memory

At times the predictability is so At times the predictability is so pronounced that an element of pronounced that an element of translation memory technique, translation memory technique, technologically aided or otherwise, technologically aided or otherwise, could prove useful.could prove useful.

At least the predictability factor should At least the predictability factor should be taken into account in order to save be taken into account in order to save time and particularly to ensure time and particularly to ensure consistency.consistency.

Testing predictabilityTesting predictability

Various films have been analysed in Various films have been analysed in terms of their genre structure, and terms of their genre structure, and sub-genres and ‘genrelets’ were sub-genres and ‘genrelets’ were identified.identified.

TITOLO Stregata dalla luna

TITOLO

ORIGINALEMoonstruck

TYPE OF SCENE BEGIN END DURATION NOTES

Restaurant (ordering) 0.04.190.04.4

5 0.00.26

Public row (man -woman) 0.04.470.05.1

0 0.00.23

Restaurant (ordering) 0.06.000.06.1

5 0.00.15

marriage proposal 0.06.250.08.4

0 0.02.15

At the airport 0.09.040.09.5

5 0.00.51

At the airport 0.10.00

0.11.05 0.01.05

Public row (husband -wife) 0.12.300.13.1

5 0.00.45

Father and son 0.15.10

0.16.55 0.01.45

Mother and daughter 0.17.10

0.18.07 0.00.57

Mother and daughter 0.20.50

0.28.50 0.08.00

On the phone 0.21.430.23.1

8 0.01.35

On the phone

Title Languages Ch. Begin End Notes

Quasi famosi Eng/Ita 8 0.33.50 0.34.50









Kramer contro Kramer

Eng/Fra/Ger/Ita/Spa

2 0.05.15 0.05.28

Kramer contro Kramer

Eng/Fra/Ger/Ita/Spa

2 0.07.52 0.08.17

Kramer versus KramerKramer versus Kramer (phone conversations compared with (phone conversations compared with

corpus findings)corpus findings)

• Yeah, hi, Ted KramerYeah, hi, Ted Kramer• Listen … OK?Listen … OK?• Yeah, OK, you too, thanks a lot.Yeah, OK, you too, thanks a lot.

• Hi Margaret, this is Ted. Is my wife there?Hi Margaret, this is Ted. Is my wife there?• Yeah, yeah …Yeah, yeah …• If she comes, tell her to come over or just give me If she comes, tell her to come over or just give me

a ring …yeaha ring …yeah• If she comes, tell her to give me a ringIf she comes, tell her to give me a ring• Thanks a lotThanks a lot

Yeah? Oh, wait a minute.Yeah? Oh, wait a minute.It’s for you, pick up 461It’s for you, pick up 461Who is it?Who is it?Ah, hi Billy. What’s up?Ah, hi Billy. What’s up?No …No …Look I can’t tell you now, I’m busy.Look I can’t tell you now, I’m busy.We’ll talk about it later when I get home, right?We’ll talk about it later when I get home, right?

Hello.Hello.Mr. Kramer’Mr. Kramer’Yes.Yes.Hold on please, Mr. Shaunessy.Hold on please, Mr. Shaunessy.Ted?Ted?Yeah, hi John. How are you? What’s happening?Yeah, hi John. How are you? What’s happening?Oh look, I’ve gotta tell you something.Oh look, I’ve gotta tell you something.HelloHelloYeah, I’m still hereYeah, I’m still here

Kramer versus KramerKramer versus Kramer

• Yeah, hi, Ted KramerYeah, hi, Ted Kramer

• Listen … OK?Listen … OK?

• Yeah, OK, you too, thanks a lot. Yeah, OK, you too, thanks a lot.

• Sì, pronto, Ted KramerSì, pronto, Ted Kramer

• Senti … OK?Senti … OK?

• Ah, OK, anche tu, grazie tante.Ah, OK, anche tu, grazie tante.

Kramer versus Kramer 2Kramer versus Kramer 2

• Hi Margaret, this is Ted. Is my wife there?Hi Margaret, this is Ted. Is my wife there?• Yeah, yeah …Yeah, yeah …• If she comes, tell her to come over or just give me If she comes, tell her to come over or just give me

a ring …yeaha ring …yeah• If she comes, tell her to give me a ringIf she comes, tell her to give me a ring• Thanks a lotThanks a lot

• Ciao Margaret, sono Ted. Mia moglie è lì?Ciao Margaret, sono Ted. Mia moglie è lì?• Sì, sìSì, sì• Se viene, dille di venire su o di chiamarmi, eh?Se viene, dille di venire su o di chiamarmi, eh?• Se viene, fammi chiamare, eh>?Se viene, fammi chiamare, eh>?


• Yeah? Oh, wait a minute.Yeah? Oh, wait a minute.• It’s for you, pick up 461It’s for you, pick up 461• Who is it?Who is it?• Ah, hi Billy. What’s up?Ah, hi Billy. What’s up?• No …No …• Look I can’t tell you now, I’m busy.Look I can’t tell you now, I’m busy.• We’ll talk about it later when I get home, right?We’ll talk about it later when I get home, right?

• Sì, un attimoSì, un attimo• E’ per te, prendi la 461E’ per te, prendi la 461• Chi è?Chi è?• Sì, ah, ciao Billy, che c’è?Sì, ah, ciao Billy, che c’è?• No …No …• Senti, ora non posso parlare, ho da fare.Senti, ora non posso parlare, ho da fare.• Ne parliamo staseraNe parliamo stasera


• Hello.Hello.• Mr. Kramer’Mr. Kramer’• Yes.Yes.• Hold on please, Mr. Shaunessy.Hold on please, Mr. Shaunessy.• Ted?Ted?• Yeah, hi John. How are you? What’s happening?Yeah, hi John. How are you? What’s happening?• Oh look, I’ve gotta tell you something.Oh look, I’ve gotta tell you something.• HelloHello• Yeah, I’m still hereYeah, I’m still here

• Pronto.Pronto.• Signor Kramer?Signor Kramer?• Sì.Sì.• Un momento prego, l’avvocato Shaunessy.Un momento prego, l’avvocato Shaunessy.• Ted?Ted?• Ciao John, come stai, che c’è?Ciao John, come stai, che c’è?• OK, senti, ti devo dire una cosa.OK, senti, ti devo dire una cosa.• Pronto?Pronto?• Sì, sono qua.Sì, sono qua.


• HelloHello• Ted? John Shaunessy here.Ted? John Shaunessy here.• Hi John. What’s up?Hi John. What’s up?• I just got a call from your wife’s lawyer.I just got a call from your wife’s lawyer.• … … Thanks very muchThanks very much

• Pronto.Pronto.• Ted? Sono ShaunessyTed? Sono Shaunessy• Ciao John, Dimmi.Ciao John, Dimmi.• Mi ha chiamato l’avvocato di tua moglie.Mi ha chiamato l’avvocato di tua moglie.• … … Grazie infiniteGrazie infinite

Almost FamousAlmost Famous

• HelloHello• William Miller?William Miller?• This is he.This is he.• This is Ben Fong Torres, music editor at Rolling Stone magazine.This is Ben Fong Torres, music editor at Rolling Stone magazine.• … … Is this the same William Miller?Is this the same William Miller?• Yes, it is.Yes, it is.

• ProntoPronto• William Miller?William Miller?• Sono io.Sono io.• Sono Ben Fong Torres, sono il redattore della rivista Rolling Sono Ben Fong Torres, sono il redattore della rivista Rolling

Stone Stone • … … Sei tu quel William Miller?Sei tu quel William Miller?• Sì, sono ioSì, sono io

Annie HallAnnie Hall

• HelloHello• Oh, hi.Oh, hi.• Erm, no, what’s the matter?Erm, no, what’s the matter?• What, you sound terrible.What, you sound terrible.• No, what kind of emergency?No, what kind of emergency?• Stay there. I’ll come right over.Stay there. I’ll come right over.

• ProntoPronto• Oh, ciao.Oh, ciao.• Er, no, che … che succede?Er, no, che … che succede?• Co-come, hai una voce terribile.Co-come, hai una voce terribile.• No certo, che tipo di minaccia?No certo, che tipo di minaccia?• No resta lì, resta lì. Vengo subito.No resta lì, resta lì. Vengo subito.

Other genres analysed in their Other genres analysed in their original and translated original and translated versionsversions• PresentationsPresentations

• Girl-boy rows (cf. When Harry met Sally)Girl-boy rows (cf. When Harry met Sally)

• Marriage proposalsMarriage proposals

• At the airport, railway station, hairdressers, At the airport, railway station, hairdressers, etc.etc.

• Father and son, mother and daughter, etc.Father and son, mother and daughter, etc.

• SackingsSackings

• Chat up routinesChat up routines

• Trailer monologuesTrailer monologues

Presentazioni

Title Languages Ch. Begin End Notes

Quasi famosi

Eng/Ita 5 0.24.12 0.24.32

Quasi famosi

Eng/Ita 17 1.15.20 1.15.35

Quasi famosi

Eng/Ita 23 1.48.20 1.48.35

Notting Hill Eng/Ita/Spa 5 0.33.08 0.34.26

Annie Hall Eng/Fra/Ger/Ita/Spa

10 0.23.33 0.23.43

Moonstruck Eng/Fra/Ger/Ita/Spa

27 1.25.06 1.25.14

Moonstruck Eng/Fra/Ger/Ita/Spa

27 1.25.43 1.26.05

Artificial Intelligence

Eng/Ita/Spa 17 1.12.12 1.13.54

My beautiful Laundrette

Eng/Ita 6 0.12.30 0.13.30

Less predictable genres in Less predictable genres in translationtranslation

Even where the language transfer Even where the language transfer involves some kind of semantic or involves some kind of semantic or pragmatic shift (eg. bar protocols in pragmatic shift (eg. bar protocols in English and Italian), matches based English and Italian), matches based on predictability can be easily made.on predictability can be easily made.

But some genres, where cultural But some genres, where cultural mores are involved, prove mores are involved, prove troublesome.troublesome.

FOOD!!!!FOOD!!!!

Mikes (1949) Mikes (1949) ““On the Continent people have good On the Continent people have good food. In England they have good table food. In England they have good table manners.”manners.”

Mikes (1977) Mikes (1977) ““In England the food has improved, but In England the food has improved, but the table manners have deteriorated.”the table manners have deteriorated.”

Watching the EnglishWatching the English

• Kate Fox, in her popular Kate Fox, in her popular anthropology book, suggests that the anthropology book, suggests that the English disdain for matters English disdain for matters concerning food is a reflection of the concerning food is a reflection of the innate reluctance on the part of innate reluctance on the part of English people to take themselves English people to take themselves (or anything else) seriously.(or anything else) seriously.

FoodiesFoodies

Foodies, a recent phenomenon, are Foodies, a recent phenomenon, are people who show interest in good people who show interest in good food, but they are sneered at by food, but they are sneered at by many.many.

In other countries, France, Italy, In other countries, France, Italy, Spain, etc., foodies are just normal Spain, etc., foodies are just normal people.people.

Novelty obsessionNovelty obsession

One minute it’s sun-dried tomatoes with One minute it’s sun-dried tomatoes with everything, the next minute these are everything, the next minute these are passé,and it’s raspberry vinegar,or garlic passé,and it’s raspberry vinegar,or garlic mash, or ‘delicate layers of potato rosti wth mash, or ‘delicate layers of potato rosti wth goat-cheese filo parcels and horseradish goat-cheese filo parcels and horseradish sabayon’.sabayon’.

Such concepts are difficult to translate into Such concepts are difficult to translate into cultures that don’t regard these ingredients cultures that don’t regard these ingredients as exotic.as exotic.

Invitati a cenaInvitati a cena

• Buonissimo!Buonissimo!• Ma come riesci a fare questi fagiolini?Ma come riesci a fare questi fagiolini?• Da noi si usa solo aglio e olio.Da noi si usa solo aglio e olio.• Sono la fine del mondo!!Sono la fine del mondo!!

• These expressions (not the words) are These expressions (not the words) are difficult to translate for the simple reason difficult to translate for the simple reason that English people don’t say them.that English people don’t say them.

……from one extreme to the from one extreme to the otherother• Between the extremes of total disdain Between the extremes of total disdain

and novelty obsession lie the pitfalls and novelty obsession lie the pitfalls for the translator, as neither position for the translator, as neither position is taken up in Italian contexts. is taken up in Italian contexts.

• This is not a question of culture-bound This is not a question of culture-bound terms – polenta, mushy peas – but of terms – polenta, mushy peas – but of cultural mind sets.cultural mind sets.

even Roman Jakobsoneven Roman Jakobson

The meaning of the word ‘cheese’ cannot The meaning of the word ‘cheese’ cannot be inferred from a nonlinguistic be inferred from a nonlinguistic acquaintance with acquaintance with cheddarcheddar or with or with camembertcamembert..

(non) si può dedurre il senso della parola (non) si può dedurre il senso della parola formaggio da una conoscenza non formaggio da una conoscenza non linguistica della linguistica della mozzarellamozzarella o del o del provoloneprovolone..

(Restaurant/food talk) dinner (Restaurant/food talk) dinner table talktable talk

(differs from) spontaneous chat(differs from) spontaneous chat

(non) spontaneous(non) spontaneous

(non) revisable(non) revisable

coordinationcoordination

short idea unitsshort idea units

(few) flow-monitoring devices (phatics, overlaps, (few) flow-monitoring devices (phatics, overlaps, interruptions, etc.)interruptions, etc.)

(no) disfluencies (false starts, reformulations, etc.)(no) disfluencies (false starts, reformulations, etc.)

shared visual contextshared visual context

(higher) explicitness(higher) explicitness

paralinguisticsparalinguistics

ScenesRestaurants, bars, foodTitle Languages Ch. Begi

nEnd Notes

Stregata dalla luna (Moonstruck)

Eng/Fra/Ger/Ita/Spa

3 0.04.19

0.04.45


Eng/Fra/Ger/Ita/Spa

3 0.06.00

0.06.15


Eng/Fra/Ger/Ita/Spa

20 0.59.38

1.00.16

Il Commissario Montalbano: Il Commissario Montalbano: coffeecoffee

• Michela: Michela: (bevendo (bevendo il caffèil caffè)) Mhm! Sì! Mhm! Sì!• Mimì:Mimì: (guardando Montalbano (guardando Montalbano

versare versare il caffèil caffè)) Ce Ce n’è n’è magari pe’mmea?magari pe’mmea?

• CM:CM: .. Mi è venuto voglia di una .. Mi è venuto voglia di una bella bella granatina di caffègranatina di caffè

• Fazio:Fazio: Ho portato ilHo portato il……• Donna:Donna: (beve l’ultimo sorso di (beve l’ultimo sorso di

caffècaffè))

Il Commissario Montalbano: Il Commissario Montalbano: disturbance!disturbance!

• Mimì:Mimì: Ma che stavi mangiando.Ma che stavi mangiando.

• CM:CM: No, no. Non ti preoccupare.No, no. Non ti preoccupare.

• Mimì:Mimì: E allora t’ho E allora t’ho disturbatodisturbato……

• CM:CM: E ti dico non ti preoccupare…E ti dico non ti preoccupare…

• CM: CM: Sto mangiandoSto mangiando la pasta con la pasta con broccolibroccoli, , chi è che rompechi è che rompe……

SeriousnessSeriousness

• M- M- Prego, si accomodi. Prego, si accomodi. Ha già mangiato?Ha già mangiato?• B- B- No, sono stata a Palermo, ho dato un No, sono stata a Palermo, ho dato un

esame esame all’università e siccome sono sola all’università e siccome sono sola avrei dovuto avrei dovuto mettermi a cucinaremettermi a cucinare

• M- M- Allora mangiamo insieme.Allora mangiamo insieme. • B- B- Io le devo confessare una cosa, Io le devo confessare una cosa, io se io se

mangio non mangio non riesco a parlareriesco a parlare, quindi mi , quindi mi interroghi o prima o dopo interroghi o prima o dopo

• M- M- Ha ha, a me lo dice? No no, Ha ha, a me lo dice? No no, prima prima mangiamo.mangiamo. Calogero carissimo, che Calogero carissimo, che cos’abbiamo cos’abbiamo di buono oggidi buono oggi??

C’è sempre…C’è sempre…

• CM:CM: Calogero buongiorno, c’è ancora Calogero buongiorno, c’è ancora qualcosa da mangiare?qualcosa da mangiare?

• C:C: Dottore Montalbano, per lei Dottore Montalbano, per lei il il mangiare mangiare c’è semprec’è sempre..

Pasta con broccoliPasta con broccoli

• CM: CM: Sto mangiando Sto mangiando la pasta con la pasta con broccolibroccoli, chi è che rompe…, chi è che rompe…

• Livia:Livia: Chi ti ha preparato Chi ti ha preparato la pasta con la pasta con broccoli?broccoli? Scommetto Adelina?... Scommetto Adelina?...

Sabato mattina prendo l’aereo Sabato mattina prendo l’aereo e e vengo giù.vengo giù.

• CM:CM: Sabato?Sabato?• Livia:Livia: Sì, sarò a Vigato Sì, sarò a Vigato per l’ora di pranzoper l’ora di pranzo..• CM:CM: Ah, benissimo..ma, sei sicura?Ah, benissimo..ma, sei sicura?• Livia:Livia: Sicurissima. Ho già fatto il biglietto… Vai a Sicurissima. Ho già fatto il biglietto… Vai a

buttare buttare quella pastaquella pasta nella spazzatura! nella spazzatura!

Classic scene 1Classic scene 1

M- M- Calogero carissimo, senti io mi Calogero carissimo, senti io mi prendo prendo un piatto di spaghetti col un piatto di spaghetti col

sugo di riccisugo di ricci, mi , mi raccomando, raccomando, come come piace a mepiace a me eh? eh?

C- C- Ci penso ioCi penso io dottò. dottò.

Classic scene 2Classic scene 2

• C- Dunque oggi c’ho pe’ vossia C- Dunque oggi c’ho pe’ vossia un risotto a nevuro di un risotto a nevuro di sicciasiccia ch’è megghio’ e na ch’è megghio’ e na cassatacassata..

• M- Per me va bene, per lei?M- Per me va bene, per lei?• B- Anche per me va bene.B- Anche per me va bene.• M- Aggiudicato.M- Aggiudicato.• C- Ah, per secondo carissimo dottore Montalbano ci C- Ah, per secondo carissimo dottore Montalbano ci

sono delle sono delle spigole freschissime pescate stanottespigole freschissime pescate stanotte oppure…oppure…

• M- No, per me va bene M- No, per me va bene le spigolele spigole senza oppure, per senza oppure, per lei?lei?

• B- Anche per me va bene.B- Anche per me va bene.• M- Aggiudicato.M- Aggiudicato.

TranslationTranslation

No dubbing (yet) attempted.No dubbing (yet) attempted.

The question arises firstly as to The question arises firstly as to whether to foreignise, localise or whether to foreignise, localise or standardise.standardise.

ForeignisationForeignisation

• CaffèCaffè remains – its meaning is known but is not always remains – its meaning is known but is not always clear (what kind of coffee?)clear (what kind of coffee?)

• Pasta con broccoliPasta con broccoli is a leitmotif of the series and can be left is a leitmotif of the series and can be left as it is.as it is.

• The disturbance and seriousness factors are part of that The disturbance and seriousness factors are part of that mind set that some of the audience will associate with Sicily mind set that some of the audience will associate with Sicily and others will not be aware of.and others will not be aware of.

• Spaghetti con sugo di ricci, risotto a nevuro di siccia, na Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, spigole freschissime pescate stanotte,cassata, spigole freschissime pescate stanotte, can be left can be left and simply understood as Italian dishes. and simply understood as Italian dishes.

LocalisationLocalisation

• CaffèCaffè must be rendered more English, ironically through the use of must be rendered more English, ironically through the use of explicit markers – explicit markers – cappucino, espresso, latte, etccappucino, espresso, latte, etc. – depending on . – depending on which of these is considered the most universal.which of these is considered the most universal.

• Elements of disturbance and seriousness may be changed or Elements of disturbance and seriousness may be changed or tempered.tempered.

• Pasta con broccoliPasta con broccoli may be changed to something more may be changed to something more recognisably Italian such as ‘spaghetti bolognese’ or ‘lasagne’. It recognisably Italian such as ‘spaghetti bolognese’ or ‘lasagne’. It depends on whether it can be seen.depends on whether it can be seen.

• Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, spigole freschissime pescate stanotte, spigole freschissime pescate stanotte, can be changed to can be changed to recognisable English/American dishes – ‘spaghetti with meatballs’, recognisable English/American dishes – ‘spaghetti with meatballs’, ‘sausages’, ‘ice cream’, ‘snapper’.‘sausages’, ‘ice cream’, ‘snapper’.

StandardisationStandardisation

• Caffè = coffeeCaffè = coffee

• Disturbance and seriousness elements translated Disturbance and seriousness elements translated literally, regardless of audience perplexity.literally, regardless of audience perplexity.

• Pasta con broccoli = pasta with broccoliPasta con broccoli = pasta with broccoli

• Spaghetti con sugo di ricci, risotto a nevuro di Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, spigole freschissime pescate siccia, na cassata, spigole freschissime pescate stanotte, stanotte, ‘spaghetti’, ‘rice’, ‘cake’, ‘fish’.‘spaghetti’, ‘rice’, ‘cake’, ‘fish’.

Some more …Some more …

• A number of other films and their A number of other films and their translations were analysed:translations were analysed:– MoonstruckMoonstruck– Notting HillNotting Hill– Intolerable CrueltyIntolerable Cruelty– Annie HallAnnie Hall

MoonstruckMoonstruck

• Mr. Johnny: Mr. Johnny: Now, we will both have Now, we will both have the Ticino the Ticino saladsalad and I’ll and I’ll have have special fishspecial fish..

• Bobo: Bobo: Good.Good.• Loretta: Loretta: Ok, Bobby we’ll have Ok, Bobby we’ll have the the

manicottimanicotti, Bobo., Bobo.• Bobo: Bobo: Sì, Miss Loretta.Sì, Miss Loretta.

• Mr. Johnny: Mr. Johnny: Allora portaci per cominciare Allora portaci per cominciare due due insalateinsalate TicinoTicino e per me dopo e per me dopo del del pescepesce..

• Bobo: Bobo: Va bene.Va bene.• Loretta: Loretta: Ok, Bobo portaci Ok, Bobo portaci due cannellonidue cannelloni per per

favore.favore.• Bobo: Bobo: Certo Signorina.Certo Signorina.

Drink!Drink!

• Jimmy: Jimmy: Enjoy your mealEnjoy your meal Mrs. Castorini. Mrs. Castorini.• Bobo: Bobo: Signora Castorini, Signora Castorini, you’re dining alone tonightyou’re dining alone tonight..• Rose: Rose: Oh, hello, Bobo, let me have Oh, hello, Bobo, let me have a Martini, no ice, two olives.a Martini, no ice, two olives.• Bobo: Bobo: Very good.Very good.• Bobo: Bobo: You want something to eatYou want something to eat..• Rose: Rose: Not now. I’ll wave.Not now. I’ll wave.

• Jimmy: Jimmy: La listaLa lista Signora Castorini. Signora Castorini.• Rose: Rose: Grazie.Grazie.• Bobo: Bobo: Signora Castorini, sei da sola questa sera?Signora Castorini, sei da sola questa sera?• Rose: Rose: Ciao Bobo, sì. Ciao Bobo, sì. Portami Portami un Martini senza ghiaccio con due un Martini senza ghiaccio con due

olive.olive.• Bobo: Bobo: Ah, Ah, un Martiniun Martini, subito., subito.• Bobo: Bobo: Signora, Signora, che cosa Le porto da che cosa Le porto da mangiare?mangiare?• Rose: Rose: Per ora niente, non ho deciso.Per ora niente, non ho deciso.

Drink! commentDrink! comment

‘‘Enjoy your meal’ is not the equivalent of Enjoy your meal’ is not the equivalent of ‘Buon appetito’ and is replaced with ‘La ‘Buon appetito’ and is replaced with ‘La lista’.lista’.

a Martini, no ice, two olives. a Martini, no ice, two olives. This shows the This shows the American penchant for ordering things in American penchant for ordering things in stages. It is localised in Italian to stages. It is localised in Italian to un Martini un Martini senza ghiaccio con due olive.senza ghiaccio con due olive.

‘‘I’ll wave’I’ll wave’ indicates the lady will not be indicates the lady will not be eating. ‘Non ho deciso’ leaves the door open.eating. ‘Non ho deciso’ leaves the door open.

Notting Hill - drinksNotting Hill - drinks

• Max: Max: Wine?Wine?• Tessa: Tessa: Oh, yes please. Come on Willie. Oh, yes please. Come on Willie. Let’s get Let’s get

sloshedsloshed..• Max: Max: Red or white?Red or white?• Tessa:Tessa: Red.Red.

• (not convincing)(not convincing)• Max: Max: Vino?Vino?• Tessa: Tessa: Oh, sì per piacere. Coraggio Oh, sì per piacere. Coraggio

Willie. Willie. Ciucchiamoci.Ciucchiamoci.• Max: Max: Rosso o bianco?Rosso o bianco?• Tessa: Tessa: Rosso.Rosso.

Drinks in Intolerable CrueltyDrinks in Intolerable Cruelty

• Waiter: Waiter: Something to start. Something to start. Some wineSome wine perhaps?perhaps?

• Miles: Miles: Red?Red?• Marylin: Marylin: French?French?• Miles: Miles: Bordeaux?Bordeaux?• Marylin: Marylin: Chateau Margaux?Chateau Margaux?• Miles: Miles: ’57?’57?• Marylin: Marylin: ’59?’59?• Miles: Miles: ’54!’54!

Notting Hill - humourNotting Hill - humour

• Bella:Bella: What do you think of What do you think of the the guinea guinea fowl?fowl?

• Anna:Anna: I’m a vegetarian.I’m a vegetarian.

• Bella:Bella: Oh, God.Oh, God.

• Max:Max: So, So, how’s the guinea fowl?how’s the guinea fowl?

• Anna:Anna: Best guinea fowlBest guinea fowl I’ve ever I’ve ever tasted.tasted.

Notting Hill – humour 2Notting Hill – humour 2

• Max: Max: Keziah. Keziah. Some woodcock?Some woodcock?• Keziah: Keziah: No, thank you. No, thank you. I’m a fruitarianI’m a fruitarian..• William: William: What is a fruitarian exactly?What is a fruitarian exactly?• Keziah: Keziah: We believe that We believe that fruits and vegetablesfruits and vegetables

have feelings so we think have feelings so we think cooking is cruelcooking is cruel. We . We only eat things that only eat things that have actually fallen from have actually fallen from the tree or the tree or bush and that are in fact dead bush and that are in fact dead already.already.

• William: William: Ah. Oh right. Nice. So, umm, Ah. Oh right. Nice. So, umm, these these carrotscarrots..

• Keziah: Keziah: Have been murdered, yes.Have been murdered, yes.

Notting Hill – humour 3Notting Hill – humour 3

• Max: Max: I’m sorry about I’m sorry about the lamb.the lamb.• Rosie: Rosie: No, I thought it was… really, you know, interesting.No, I thought it was… really, you know, interesting.• Will:Will: Interesting means inedible.Interesting means inedible.• Rosie: Rosie: Really inedible, yes, you’re right.Really inedible, yes, you’re right.

• (awkward)(awkward)• Max: Max: Mi dispiace per Mi dispiace per l’agnellol’agnello..• Rosie: Rosie: No, l’ho trovato molto… No, l’ho trovato molto…

interessante.interessante.• Will: Will: Interessante vuol dire Interessante vuol dire

immangiabile.immangiabile.• Rosie: Rosie: Davvero immangiabile, sì, hai Davvero immangiabile, sì, hai

ragione.ragione.

Intolerable Cruelty - humourIntolerable Cruelty - humour

• Waitress: Waitress: Yeah?Yeah?• Wrigley: Wrigley: I’ll just have I’ll just have a salada salad please Umm please Umm baby field greensbaby field greens• Waitress: Waitress: What did you call me?What did you call me?• Wrigley: Wrigley: Uhh, no I, I didn’t call you Uhh, no I, I didn’t call you

anything.anything.• Waitress: Waitress: You want You want a salada salad..• Wrigley: Wrigley: Yeah, do you have Yeah, do you have a green salad?a green salad?• Waitress: Waitress: What the fuck color would it be?What the fuck color would it be?• Miles: Miles: Just bring him Just bring him an iceberg lettuce and mealy tomato wedge an iceberg lettuce and mealy tomato wedge

smothered in French dressingsmothered in French dressing• W: W: And for you?And for you?• Miles: Miles: Ham sandwich on stale rye bread lots of mayo easy on the Ham sandwich on stale rye bread lots of mayo easy on the

hamham..• W: W: Slaw cup?Slaw cup?• Miles: Miles: What the hell!What the hell!

ItalianItalian

• Waitress: Waitress: Dica.Dica.• Wrigley: Wrigley: Io prendo Io prendo una insalatauna insalata prego, un bel prego, un bel cuore di cuore di

lattugalattuga’’ • Waitress: Waitress: Mi ha detto bella come?Mi ha detto bella come?• Wrigley: Wrigley: No, ahh, a Lei non ho detto niente.No, ahh, a Lei non ho detto niente.• Waitress: Waitress: Vuole Vuole un’insalataun’insalata..• Wrigley: Wrigley: Sì, avete Sì, avete insalata verdeinsalata verde??• Waitress: Waitress: Di quale cazzo di colore la Di quale cazzo di colore la

vorrebbe?vorrebbe?• Miles: Miles: A lui portiamo A lui portiamo una lattuga con pochissimi pomodori, sale e una lattuga con pochissimi pomodori, sale e

olio di semi.olio di semi.• W: W: E per Lei?E per Lei?• Miles: Miles: Un velo di prosciutto su pane ben Un velo di prosciutto su pane ben

raffermo soffocato dalla maionese.raffermo soffocato dalla maionese.• W: W: Lattughina?Lattughina?• Miles: Miles: Faccia Lei!Faccia Lei!

Cf. Annie Hall… and ItalianCf. Annie Hall… and Italian

• Alvy: Alvy: I’ve gonna have I’ve gonna have the corned beefthe corned beef, , please.please.

• Annie: Annie: I’m gonna have I’m gonna have pastrami on white pastrami on white bread with mayonnaise, tomatoes bread with mayonnaise, tomatoes

and lettuce. and lettuce.

• Alvy: Alvy: Io prendo il Io prendo il corned beef.corned beef. • Annie: Annie: E io prendo il E io prendo il rollé.. con pane rollé.. con pane

bianco, bianco, con maionese e pomodoro e con maionese e pomodoro e insalata.insalata.

CommentComment

The last few slides show the Anglo-The last few slides show the Anglo-American penchant for long, explicit American penchant for long, explicit descriptions. The Italian descriptions. The Italian ‘translations’, often semantically ‘translations’, often semantically innacurate, are an invention – foods innacurate, are an invention – foods are not described this way in Italian.are not described this way in Italian.

Conclusion 1Conclusion 1

WHERE THE TEXT IS HIGHLY PREDICTABLEWHERE THE TEXT IS HIGHLY PREDICTABLE

there is a place in film translation (in the there is a place in film translation (in the broadest sense), in subtitling but also in broadest sense), in subtitling but also in

dubbing, for the judicious use of some kind dubbing, for the judicious use of some kind of translation memory tool (eg, Atril’s Dejà of translation memory tool (eg, Atril’s Dejà

vu).vu).Although this would require very careful Although this would require very careful

editing it could save a lot of time and editing it could save a lot of time and provide much needed consistencyprovide much needed consistency


WHERE TEXTS ARE NOT VERY PREDICTABLEWHERE TEXTS ARE NOT VERY PREDICTABLE

translation choices may lie between translation choices may lie between foreignisation, localisation and foreignisation, localisation and

standardisation.standardisation.

The choice will depend on such factors as The choice will depend on such factors as the ‘prestige’ of the film or given audience the ‘prestige’ of the film or given audience

tastes.tastes.


WHERE TEXTS ARE GOVERNED BY WHERE TEXTS ARE GOVERNED BY CULTURAL MORESCULTURAL MORES

predictability can be largely discounted, predictability can be largely discounted, firstly in the patterns of the source firstly in the patterns of the source

language, and particularly in translation.language, and particularly in translation.Here the translator is on his/her own in Here the translator is on his/her own in gauging to what extent the audience is gauging to what extent the audience is

attuned to the mind set of the source text attuned to the mind set of the source text culture.culture.


• Practically all films (or TV series, or Practically all films (or TV series, or documentaries, or advertisements, or documentaries, or advertisements, or cartoons…) will contain stretches cartoons…) will contain stretches covered by conclusions 1, 2 or 3. The covered by conclusions 1, 2 or 3. The special skill of the translator lies also special skill of the translator lies also in identifying these stretches and in identifying these stretches and treating them accordingly.treating them accordingly.

but the final word goes to the but the final word goes to the DukeDuke

When in a cowboy classic a girl pleads with When in a cowboy classic a girl pleads with John Wayne not to go in search of a highly John Wayne not to go in search of a highly dangerous wanted criminal and he drawls:dangerous wanted criminal and he drawls:

““A man’s gotta do what a man’s gotta A man’s gotta do what a man’s gotta do”do”

YOU CAN SAYYOU CAN SAY

““I knew he was going to say I knew he was going to say that”that”

Documents

Audiovisual Translation Scenarios Copenhagen 1-5 May, 2006 I knew he was going to say that A consideration of the predictability of language use in film