1. 34th ISFC 2007 Systemic Functional Linguistics in Use Odense 16th -20th July Dubbing into English – an alternative translation strategy Chris Taylor University of Trieste

2. Talking Points 1. Spoken Language 2. Film Language 3. Translation into English 1.Subtitling 2.Dubbing

3. Spoken language In 1987 Michael Halliday wrote that one of the most productive areas of discussion between linguists and educators in the past quarter century has been that of speech and the spoken language…. one of the most productive areas of discussion between linguists and educators in the past quarter century has been that of speech and the spoken language….

4. … spoken language in its natural form, spontaneous and unselfconscious, was not taken seriously as a medium of learning …… among linguists, by contrast, the spoken language had pride of place.

5. … the linguists professional commitment to the primacy of speech did not, however, arise from or carry with it an awareness of the properties of spoken discourse.

6. … scriptwriters of films and TV series were (and are) presumably even less aware of the properties of spoken discourse. Hence the existence of what is variously called the language of film, filmese, etc. scriptwriters of films and TV series were (and are) presumably even less aware of the properties of spoken discourse. Hence the existence of what is variously called the language of film, filmese, etc.

7. Complexity of spoken language AWere looking forward to bonfire night at least the children are do you indulge in this Boh in in Sussex we did Ive in fact I went to one last week but it was Athat was a bit early wasnt it? Ball the all the joys were joy was taken out of it for me because it was a huge bonfire in a garden the size of this room with big houses all around and the bonfire was right under a big tree with its leaves all dry (Crystal and Davy)

8. just the last turn all the all the joys were joy was taken out of it for me because it was a huge bonfire in a garden the size of this room with big houses all around and the bonfire was right under a big tree with its leaves all dry

9. Lexical density & grammatical intricacy Lexical words15 Lexical words15 Total words47 Total words47 Ratio1:3.1 Ratio1:3.1 No. of clauses3 No. of clauses3 Ratio5:1 Ratio5:1

10. Written version The fact that it was a huge bonfire under a big tree with dry leaves, in a huge garden surrounded by houses, spoiled it for me. The fact that it was a huge bonfire under a big tree with dry leaves, in a huge garden surrounded by houses, spoiled it for me.

11. Lexical density & grammatical intricacy Lexical words12 Lexical words12 Total words26 Total words26 Ratio1:2.1 Ratio1:2.1 No. of clauses1 No. of clauses1 Ratio12:1 Ratio12:1

12. Film Language The thesis that film language, as part of a semiotic whole, differs appreciably from ordinary, everyday, spontaneous language has been recognised, and little criticised, since the beginnings of the cinema.

13. APS The language (and grammar) of film is a scripted construct created by writers, altered by directors and actors, in the creation of an artificially produced situation (APS)

14. Robin Hood 1938 Friar Tuck: Robber and thief! Give me back my mutton joint!... Im a girdled friar and vowed to poverty. Robin Hood:If this is poverty, Ill be glad to share it with you. Friar Tuck:Give me back my mutton joint!... Robin Hood:Not so close, my thunderous one!

15. Lexical density Lexical words19 Lexical words19 Total words43 Total words43 Ratio1:2.2 Ratio1:2.2 Cf. previous written text

16. Dawsons Creek Creator Kevin Williamson makes it clear that he does not strive for authentic dialogue. Creator Kevin Williamson makes it clear that he does not strive for authentic dialogue. In fact his cast of teenagers talk like thirty-somethings. In fact his cast of teenagers talk like thirty-somethings.

17. Dawsons Creek Screw pity. I love you. I love you Jack. I love that youre the bravest person I know… the kindest. I love that no matter what you do, your life is gonna stand out. I want to stand out with you… and your daughter.

18. Lexical Density Lexical words19 Lexical words19 Total words45 Total words45 Ratio1:3c Ratio1:3c Cf. Robin Hood

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

20. And so… there is a co-existence of there is a co-existence of written language features (complete sentences, no hesitation, no repetition, high lexical density, lower grammatical intricacy) and written language features (complete sentences, no hesitation, no repetition, high lexical density, lower grammatical intricacy) and spoken discourse (eg. self-correction, frequent use of linkage items such as discourse markers, overlapping speech, low lexical density, higher grammatical intricacy). spoken discourse (eg. self-correction, frequent use of linkage items such as discourse markers, overlapping speech, low lexical density, higher grammatical intricacy).

21. Comparison of written, oral and film language modes. Rossi (2003) compared the three modes, appying a series of relevant parameters, to show the specificity of film language.

22. Language WrittenOralFilm dialogue Uniformity of pragmatic and textual units (turns, clauses, utterances) --+ Tendency to monologism +-+/- Extension of the units (turns, clauses, utterances) +-+ Overlapping, fuzziness and other dialogical accidents -+- Planning, coherence and cohesion +-+ Recourse to para and extralinguistic elements -++ Morphosyntactic complexity -++/- Lexical density+-+/- Presence of dialect-++/-

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

24. Translation process Subject Subject –treatment –screenplay –script [written dialogues] Spoken dialogue Spoken dialogue Continuity script (transcription and postsynchronization) Continuity script (transcription and postsynchronization) Translation Translation –adaptation –dubbing –mixage –translated spoken dialogue –subtitles

25. Translation of Dawsons Creek. Given the originals stated intention of not aiming at authentic dialogue the dubbed version on Italian television, follows suit … only more so. Given the originals stated intention of not aiming at authentic dialogue the dubbed version on Italian television, follows suit … only more so.

26. Dawsons Creek in Italian According to Zandegù: According to Zandegù: The language can be given the label ZERO ORALITY referring to the reduction in variation at a stylistic, sociocultural and dialectal level.

27. Translation of previous passage Al diavolo la compassione! Io ti amo. Ti amo, Jack. Ti amo perché sei la persona più corraggiosa che conosca… la più gentile. Ti amo perché qualunque cosa tu faccia, la tua vita sarà speciale, e io voglio esserlo con te.. e tua figlia. Al diavolo la compassione! Io ti amo. Ti amo, Jack. Ti amo perché sei la persona più corraggiosa che conosca… la più gentile. Ti amo perché qualunque cosa tu faccia, la tua vita sarà speciale, e io voglio esserlo con te.. e tua figlia. (very theatrical, too high a register – eg. use of subjunctive - and pays no heed to semi-vulgar language and substandard gonna, etc.) (very theatrical, too high a register – eg. use of subjunctive - and pays no heed to semi-vulgar language and substandard gonna, etc.)

28. The nature of the translation process Comparisons of corpora of original texts and translated texts in the same semantic area have led to the identification of a number of translation universals – Comparisons of corpora of original texts and translated texts in the same semantic area have led to the identification of a number of translation universals – REGULARLY OCCURRING PATTERNS OF TRANSLATIONAL BEHAVIOUR REGULARLY OCCURRING PATTERNS OF TRANSLATIONAL BEHAVIOUR (see Baker, Laviosa, Olohan, Ulrych) (see Baker, Laviosa, Olohan, Ulrych)

29. Four main categories (applicable to all languages) 1. EXPLICITATION 2. SIMPLIFICATION 3. NORMALISATION 4. LEVELLING (examples taken from The Gilmore Girls)

30. EXPLICITATION Make explicit what is implicit in the original Make explicit what is implicit in the original RORY: This is about Harvard RORY: This is about Harvard RORY: Io rischio Harvard RORY: Io rischio Harvard

31. SIMPLIFICATION Tendency to simplify the language Tendency to simplify the language RORY: This is the end of this particular conversation! RORY: This is the end of this particular conversation! RORY:La conversazione finisce qui! RORY:La conversazione finisce qui!

32. NORMALISATION Tendency to conform to patterns that are typical of the target language and to opt for unmarked forms and collocations. Tendency to conform to patterns that are typical of the target language and to opt for unmarked forms and collocations. LORELAI:Theres nothing like a nice salad of lemony goodness. LORELAI:Theres nothing like a nice salad of lemony goodness. LORELAI:Niente coma uninsalata al limone. LORELAI:Niente coma uninsalata al limone.

33. LEVELLING Tendency to gravitate towards the centre of a continuum of written and spoken modes and to shift away from the two extremes. Tendency to gravitate towards the centre of a continuum of written and spoken modes and to shift away from the two extremes. LORELAI:Okay, well, um, the… Max and I have been serious for quite a while now. LORELAI:Okay, well, um, the… Max and I have been serious for quite a while now. LORELAI:Max e io, da un po, ci frequentiamo molto. LORELAI:Max e io, da un po, ci frequentiamo molto.

34. Friends in Spanish displays all four characteristics HeyHola HiHelloMorning Good morningBuenos dias Hi there

35. In English it is observable in Type-token ratio (less diversity, more predictability) Type-token ratio (less diversity, more predictability) Average sentence length (general shortening) Average sentence length (general shortening) Lexical density Lexical density Interestingly, these features combine to make translated text appear more native than originals. Interestingly, these features combine to make translated text appear more native than originals. The concept of translationese (foreign language interference, etc.) can be observed in the work of students, trainees and other less experienced practitioners. The concept of translationese (foreign language interference, etc.) can be observed in the work of students, trainees and other less experienced practitioners.

36. So, to recapitulate, compared to written language spoken language is less lexically dense, more grammatically intricate, consists of features specific to the genre (hesitation, use of discourse markers, tag questions, etc.) spoken language is less lexically dense, more grammatically intricate, consists of features specific to the genre (hesitation, use of discourse markers, tag questions, etc.)

37. And film language has been shown to be different from spontaneous spoken language even thought it often attempts to recreate it with varying degrees of success. film language has been shown to be different from spontaneous spoken language even thought it often attempts to recreate it with varying degrees of success.

38. Furthermore Brunetta (1977) explains that original (Italian) film texts already use a simplified, normalised and levelled language. Brunetta (1977) explains that original (Italian) film texts already use a simplified, normalised and levelled language. For example when based on a book, story, etc. word order is usually normalised eg. sempre li guardavo/li guardavo sempre; si chiama essa/essa si chiama For example when based on a book, story, etc. word order is usually normalised eg. sempre li guardavo/li guardavo sempre; si chiama essa/essa si chiama Cf. Antonioni, Visconti Cf. Antonioni, Visconti

39. And the language of translation has been shown to have its own specificities (explicitation, simplification, etc.) and to accentuate a number of the features associated with film language

40. So where does this leave us with regard to translating films into English? Well, very few films and television programmes are translated into English, due to the predominance of English language products in the media. Well, very few films and television programmes are translated into English, due to the predominance of English language products in the media. And to a certain linguistico-cultural snobbery! And to a certain linguistico-cultural snobbery!

41. Subtitling But those few films that are translated are generally SUBTITLED. But those few films that are translated are generally SUBTITLED. This is regarded as a good thing by language students, language enthusiasts, film buffs, the deaf and indeed by the general public, who are not used to any other form of film translation. This is regarded as a good thing by language students, language enthusiasts, film buffs, the deaf and indeed by the general public, who are not used to any other form of film translation.

42. BUT we have seen that written language differs considerably from spoken language (even as heard on a film); we have seen that written language differs considerably from spoken language (even as heard on a film); that the differences between film language and genuine spoken language are accentuated in translation; and that written translation differs from original texts of a similar nature.

43. So what about subtitling? Series of constraints Series of constraints Script (written to be spoken as if not written) >transcription (more spoken style) > translation (further deviation) >adaptation (partial remodifying) > composition (written)

44. Philadelphia – script (CHANDRA) You want to apply the foundation You want to apply the foundation as evenly as you can, Andy. You as evenly as you can, Andy. You don't want to look like you've don't want to look like you've thrown it on with a spoon. thrown it on with a spoon. (ANDREW) Uh huh. Uh huh.(CHANDRA) Okay. You try.

45. Philadelphia – film transcription (CHANDRA) Okay, now, you gonna wanna apply the foundation as evenly as you can Andy, okay? Cos you dont want to look like youve thrown it on with a spoon, Okay? So, okay, you try it. Okay, now, you gonna wanna apply the foundation as evenly as you can Andy, okay? Cos you dont want to look like youve thrown it on with a spoon, Okay? So, okay, you try it.

46. Philadelphia – Italian subtitle Il fondotinta va applicato il più uniformemente possibile, perché non sembri che te lo sei spalmato con un cucchiaio. Il fondotinta va applicato il più uniformemente possibile, perché non sembri che te lo sei spalmato con un cucchiaio.

47. Lexical density - script Lexical words10 Lexical words10 Total words30 Total words30 Ratio1:3 Ratio1:3 No. of clauses3 No. of clauses3 Ratio3:1 Ratio3:1

48. Lexical density – film transcription Lexical words10 Lexical words10 Total words39 Total words39 Ratio1:3.9 Ratio1:3.9 No. of clauses4 No. of clauses4 Ratio2.5:1 Ratio2.5:1

49. Lexical density - subtitles Lexical words7 Lexical words7 Total words19 Total words19 Ratio1:2.7 Ratio1:2.7 No. of clauses2 No. of clauses2 Ratio3.5:1 Ratio3.5:1

50. Dubbing into English? England is not a dubbing country cf. Germany, Italy, Spain, France?

51. New project (Trieste/Forlì/Leeds/Durham) Survey to test British (and American) attitudes to dubbing. Survey to test British (and American) attitudes to dubbing. It has always been assumed that British audiences would not take to dubbing. It has always been assumed that British audiences would not take to dubbing. But it has never been investigated, let alone proved. But it has never been investigated, let alone proved.

52. Dubbing versus subtitlng It runs in the family dubbed into Italian and Russian It runs in the family dubbed into Italian and Russian Conclusions Conclusions The dubbed version consists of many marked terms which more effectively maintain the communicative value of the original. The subtitled version tends to go for unmarked choices and idiomatic expressions which fail to reflect the colloquial tone. The dubbed version consists of many marked terms which more effectively maintain the communicative value of the original. The subtitled version tends to go for unmarked choices and idiomatic expressions which fail to reflect the colloquial tone. (Giacomin) (Giacomin)

53. Trieste dubbing project Students had to produce subtitled and dubbed versions of Il Commissario Montalbano and Prime Suspect Students had to produce subtitled and dubbed versions of Il Commissario Montalbano and Prime Suspect In the case of Montalbano, no dubbed version had yet been attempted. In the case of Montalbano, no dubbed version had yet been attempted.

54. So is dubbing better? Series of constraints: Series of constraints: –Lip synchronisation –Supralinguistic elements –Timing –Coordination with visual (multimodal text)

55. Lip synchronisation Mi sembra davvero improbabile. Thats very unlikely. fra cinque minuti five minutes Resisti, dai! Hang on, Dad! 1) helps anchor stress patterns, but imposes modifications. 2) good dubbing actors recreate suprasegmental items

56. Line length and delivery speed Non voleva essere di peso alla famiglia Non voleva essere di peso alla famiglia He didnt want to be a burden. He didnt want to be a burden. Lho accompagnato adesso in prigione a Vigata. Lho accompagnato adesso in prigione a Vigata. I have just taken him to prison. I have just taken him to prison. Greater timing synch gives impression that characters are speaking Italian (or whatever) but there is enforced loss of some details. Greater timing synch gives impression that characters are speaking Italian (or whatever) but there is enforced loss of some details.

57. Coordination with visual Il signor La Russa questa notte si è spogliato nudo, si è applicato ai polsi e alle caviglie questi, la fascia grande se lè legata al petto, ha indossato la cuffia, si è coperto il corpo, con la maschera il viso. Sembra tutta roba che si è fabbricato lui cu santa pacienza. Il signor La Russa questa notte si è spogliato nudo, si è applicato ai polsi e alle caviglie questi, la fascia grande se lè legata al petto, ha indossato la cuffia, si è coperto il corpo, con la maschera il viso. Sembra tutta roba che si è fabbricato lui cu santa pacienza. Mister La Russa, last night, stripped himself naked, applied these things on his wrists and ankles, tied the large strap to his chest, put on the cap, covered his body, and his face with the mask. It seemed like he made all the stuff himself with saintly patience. Mister La Russa, last night, stripped himself naked, applied these things on his wrists and ankles, tied the large strap to his chest, put on the cap, covered his body, and his face with the mask. It seemed like he made all the stuff himself with saintly patience. Verbal and non-verbal more aligned but can impose strained syntax Verbal and non-verbal more aligned but can impose strained syntax

60. But of course, if dubbing into English takes off… we are going to be dealing with a use of language that is different from any hitherto studied in terms of information structure, cohesion, transitivity patterns, lexical choice, register, etc. we are going to be dealing with a use of language that is different from any hitherto studied in terms of information structure, cohesion, transitivity patterns, lexical choice, register, etc. I hope by next time to have some examples to show you and discuss. I hope by next time to have some examples to show you and discuss.