
Contents
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26.1 Introduction 26.1 Introduction
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26.2 A short history 26.2 A short history
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26.3 Theoretical aspects 26.3 Theoretical aspects
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26.3.1 Covert translation 26.3.1 Covert translation
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26.3.2 The phonetic approach 26.3.2 The phonetic approach
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26.3.3 Audience design 26.3.3 Audience design
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26.3.4 The sociolinguistic approach 26.3.4 The sociolinguistic approach
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26.3.5 The pragmatic approach 26.3.5 The pragmatic approach
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26.4 Recent developments and terminology 26.4 Recent developments and terminology
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26.5 Types of synchrony 26.5 Types of synchrony
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26.5.1 Lip synchrony 26.5.1 Lip synchrony
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26.5.2 Isochrony 26.5.2 Isochrony
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26.5.3 Kinetic synchrony 26.5.3 Kinetic synchrony
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26.5.4 Content synchrony 26.5.4 Content synchrony
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26.5.5 Character synchrony 26.5.5 Character synchrony
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26.6 Types of revoicing 26.6 Types of revoicing
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26.6.1 Narration 26.6.1 Narration
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26.6.2 Free commentary 26.6.2 Free commentary
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26.6.3 Interpreting 26.6.3 Interpreting
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26.6.4 Voice-over 26.6.4 Voice-over
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26.6.5 Dubbing 26.6.5 Dubbing
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26.7 Practical aspects of dubbing 26.7 Practical aspects of dubbing
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26.7.1 Rough translation 26.7.1 Rough translation
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26.7.2 Dialogue version 26.7.2 Dialogue version
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26.7.3 Recording the dubbed version 26.7.3 Recording the dubbed version
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26.8 The role of the translator in the dubbing process 26.8 The role of the translator in the dubbing process
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26.9 Conclusion 26.9 Conclusion
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26.9.1 Anglicisms and lip-sync 26.9.1 Anglicisms and lip-sync
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26.9.2 Rough translation and dialogue writing 26.9.2 Rough translation and dialogue writing
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26.9.3 Dubbing actors 26.9.3 Dubbing actors
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26.9.4 Translators 26.9.4 Translators
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26.9.5 Improvement and outlook 26.9.5 Improvement and outlook
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Further reading and relevant resources Further reading and relevant resources
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26 Translation for Dubbing and Voice-Over
Get accessBarbara Schwarz worked for commercial and federal television in Zurich from 1989 to 1998. She received a graduate diploma in TESOL (2000) and an MA in Translation Studies (2002), both from the Australian National University. She is currently teaching English and translating German and English. Her publications include: ‘Translation in a Confined Space: Film Sub-titling with Special Reference to Dennis Potter's Lipstick on Your Collar’ (2002–3).
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Published:18 September 2012
Cite
Abstract
This article gives a brief history of film translation, and this is followed by some theoretical aspects of dubbing. It describes different types of synchrony and revoicing and discusses the practical aspects and the role of the translator. Translation has played an important part in making films accessible to wider audiences. The field of translation studies is mainly concerned with describing and explaining the process of translation, and establishing workable criteria. Finally, the article offers criticism of the practice, and some suggestions for improvement. Criticism of dubbed films is connected with the dischrony of the actor's lip movement with audible utterances. Different types of synchrony, such as lip synchrony, isosynchrony, kinetic synchrony, content synchrony, and character synchrony are closely linked. This article gives overviews of types of revoicing such as voice over, dubbing, narration, and interpreting. Recent developments have opened up technical possibilities that facilitate the dubbing process.
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