Dubbing, Film and Performance: Uncanny Encounters PDF
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New Trends in Translation Studies New Trends in Translation Studies Vol. 16 Research on dubbing in audiovisual productions has been prolific in the past few decades, which has helped to expand our understanding of the history and impact of dubbing worldwide. Much of this work, however, has been concerned with the linguistic aspects of audiovisual produc- tions, whereas studies emphasizing the importance of visual and acoustic B o dimensions are few and far between. s Dubbing, Film and s e a Against this background, Dubbing, Film and Performance attempts to fill u x a gap in Audiovisual Translation (AVT) research by investigating dubbing Performance • from the point of view of film and sound studies. The author argues that dubbing ought to be viewed and analysed holistically in terms of its visual, D u acoustic and linguistic composition. The ultimate goal is to raise further b b awareness of the changes dubbing brings about by showing its impact i n on characterization. To this end, a tripartite model has been devised to g , Uncanny Encounters investigate how visual, aural and linguistic elements combine to construct F i l characters and their performance in the original productions and how m these are deconstructed and reconstructed in translation through dub- a n bing. To test the model, the author analyses extracts of the US television d series Buffy the Vampire Slayer and its French dubbed version. P e r f Charlotte Bosseaux o r m Charlotte Bosseaux is Senior Lecturer in Translation Studies at the a n University of Edinburgh. She is the author of How Does it Feel: Point of c e View in Translation (2007). Her current research focus is performance and characterization in audiovisual productions and her publications include work on Marilyn Monroe, and Spike and Buffy from Buffy the Vampire Slayer. ISBN 978-3-0343-0235-7 Peter Lang www.peterlang.com New Trends in Translation Studies New Trends in Translation Studies Vol. 16 Research on dubbing in audiovisual productions has been prolific in the past few decades, which has helped to expand our understanding of the history and impact of dubbing worldwide. Much of this work, however, has been concerned with the linguistic aspects of audiovisual produc- tions, whereas studies emphasizing the importance of visual and acoustic B o dimensions are few and far between. s Dubbing, Film and s e a Against this background, Dubbing, Film and Performance attempts to fill u x a gap in Audiovisual Translation (AVT) research by investigating dubbing Performance • from the point of view of film and sound studies. The author argues that dubbing ought to be viewed and analysed holistically in terms of its visual, D u acoustic and linguistic composition. The ultimate goal is to raise further b b awareness of the changes dubbing brings about by showing its impact i n on characterization. To this end, a tripartite model has been devised to g , Uncanny Encounters investigate how visual, aural and linguistic elements combine to construct F i l characters and their performance in the original productions and how m these are deconstructed and reconstructed in translation through dub- a n bing. To test the model, the author analyses extracts of the US television d series Buffy the Vampire Slayer and its French dubbed version. P e r f Charlotte Bosseaux o r m Charlotte Bosseaux is Senior Lecturer in Translation Studies at the a n University of Edinburgh. She is the author of How Does it Feel: Point of c e View in Translation (2007). Her current research focus is performance and characterization in audiovisual productions and her publications include work on Marilyn Monroe, and Spike and Buffy from Buffy the Vampire Slayer. Peter Lang www.peterlang.com Dubbing, Film and Performance New Trends in Translation Studies Volume 16 Series Editor: Professor Jorge Díaz Cintas Advisory Board: Professor Susan Bassnett Dr Lynne Bowker Professor Frederic Chaume Professor Aline Remael PETER LANG Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien Dubbing, Film and Performance Uncanny Encounters Charlotte Bosseaux PETER LANG Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien Bibliographic information published by Die Deutsche Nationalbibliothek. Die Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data is available on the Internet at http://dnb.d-nb.de. A catalogue record for this book is available from the British Library. Library of Congress Control Number: 2015939713 ISSN 1664-249X ISBN 978-3-0343-0235-7 (print) ISBN 978-3-0353-0737-5 (eBook) © Peter Lang AG, International Academic Publishers, Bern 2015 Hochfeldstrasse 32, CH-3012 Bern, Switzerland [email protected], www.peterlang.com, www.peterlang.net All rights reserved. All parts of this publication are protected by copyright. Any utilisation outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microfilming, and storage and processing in electronic retrieval systems. This publication has been peer reviewed. Contents Acknowledgements vii Introduction 1 Chapter 1 Understanding audiovisual material: A multi-layered meaning process 7 Chapter 2 Performance and characterization 25 Chapter 3 Dubbing 55 Chapter 4 The model 85 Chapter 5 Buffy the Vampire Slayer 135 Chapter 6 Uncanny encounters: A multimodal analysis 155 Conclusion Where do we go from here? 211 Bibliography 221 Index 237 Acknowledgements This book is the fruit of many years of research and I would not have been able to write it without the input of a great many people. I would like to thank my Translation Studies colleagues and friends, particularly my ‘AVT chums’, Jorge Díaz-Cintas, Frederic Chaume and Pablo Romero-Fresco, who have provided feedback, guidance, ideas and support along the way. I would also like to thank my Edinburgh colleagues Sebnem Susam-Saraeva and Hephzibah Israel for their continuing support. I am also thankful to my Film Studies and Music Studies colleagues and friends, especially Martine Beugnet, Mark Cousins, Helen Julia Minors and Sarah Artt, for giving me advice when I did not know where to start when embarking on this journey and for providing feedback at various points of my research. I also would like to thank everyone who had something to say about my topic when it was developing in mysterious ways: friends, students, Translation Studies and Film Studies conference-goers, editors, review- ers and random people I met on the train, bus, boat or plane who did not know what they were letting themselves in for when they asked me what my job was! Thanks also to the staff at Peter Lang and the anonymous reader for her or his positive response and constructive feedback. Many thanks also to Conor O’Loughlin for his careful proofreading and indexing of the book. Thanks also to the Carnegie for funding part of the publication cost of this book and to the University of Edinburgh for a grant towards the proofreading and editing cost. Many thanks to Daniel Chandler for granting me permission to repro- duce images published on his website (reproduced here as Figures 1, 2 and 3). My special thanks also go to my sangha and amazing friends, particu- larly Steve Earl, Sharon Deane-Cox, Zhu Zhu and Geoffrey Baines; your viii Acknowledgements friendship, time, positive energy and enthusiasm really made a difference at times when I was wondering why I was doing all of this, so thank you once again. I also would like to thank Coll Hutchinson for his valuable reading recommendations and Véronique Desnain and Sarah Artt for watching Buffy with me and discussing her awesomeness for many hours. And finally, I would like to thank my family for their ongoing sup- port and love, particularly my grandmother and my parents; without you, I would never have been able to write any of this. This book is dedicated to you.
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