Audiovisual Translation

At the age of globalization and the dominance of media, the audiovisual translation is no more considered as a marginal area and plays an important role in bringing cultures closer to each other. While taboo terms are an inseparable part of American movies, the movie maker companies have to reflect the authenticity of their language in audiovisual products in order to make them more tangible for their audiences. However, one of the biggest concerns of Iranian official audiovisual translators is cultural and ideological items such as taboo terms in audiovisual products. One of the aims of the present study was to investigate the strategies applied in the translation of taboo terms in two dubbed American movies by Iranian official audiovisual translators. The results indicated that most of the taboo terms have been altered or deleted ideologically during the process of translation due to the cultural differences between the source and the target culture. Finally, Iranian official audiovisual translators attempted to tone down the strong language, offensive expressions, vulgar descriptions, etc. in the process of dubbing and create an acceptable translation for their audiences.

Subtitling, like all other types of audiovisual translation, has always been influenced by cultural factors, and in turn, subtitles have influenced their target readers. The relation between culture and language in interlingual subtitling might cause some problems in translating Culture References (CRs). The aim of the present study was to classify the samples of CRs in the “Harry Potter” movie series based on Klingberg’s (1986) model. It was also intended to investigate the strategies applied by Iranian translators in subtitling the (CRs) in “Harry Potter” movies from English into Persian based on Diaz Cintas's (2007) proposed strategies. To do so, instances of CRs were drawn from the two series of Harry Potter entitled Harry Potter and the Philosopher's Stone (2001) and Harry Potter and Goblet of Fire (2005). The data analysis was carried out by descriptive statistics to indicate the frequency and percentages. The findings revealed that “Personal Names” and “Magical Objects”, were the most frequently used CRs in the two selected series of Harry Potter movies based on Klingberg’s (1986) model. Additionally, the results showed that “Loan” and “Calque” were the most frequently used strategies in subtitling the CRs. The findings of the present study may be useful for English translation students, subtitlers, and fansubbers who do subtitle English movies in the Iranian context

Audiovisual translation is the term that has been utilized to mention mainly the transfer from one language to another language of the verbal elements that existed in audiovisual products. Among various modes of AVT, dubbing is the most common. Generally, in AVT there are problems in the field of idioms translation because idioms are considered one of the most problematical and complicated aspects of language. Moreover, since the meaning of idioms is not recognized by their words, translating them is hard task for translators. For solving this problematic issue, translators use different strategies. Therefore, the purpose of this research is to investigate and analyze the translation of idioms in dubbing. This research investigated the translation of English idioms in Persian dubbing of two comedy films named, “The Grand Budapest Hotel” and “21 Jump Street” according to Baker's (1992) strategies. To analyze the data, the frequency and percentage distribution were calculated for each Baker's strategy, which had been applied in the translation of English idioms into Persian dubbing of mentioned movies. Results showed that translation by paraphrase was the most frequent applied strategy, and using an idiom of similar meaning and form was the least frequent applied strategy in Persian dubbing of two mentioned comedy movies. The results of this study could be helpful for translators to recognize the frequent strategies of idiom translation used in dubbing and university teachers can train them for their students.

Notwithstanding the growing number of research on many aspects of audiovisual translation, cross-cultural pragmatics has remained under-investigated in audiovisual translation. The purpose of this paper is to examine the translation of general extenders—such as and stuff (like that) and or something in Persian dubbing and non-professional subtitling. Positioned at the crossroads of the pragmatics of fiction and audiovisual translation, the analysis presented in this article draws upon past research on English and Persian general extenders, as well as the models for translating general extenders. In doing so, this study follows a corpus-based approach, using both qualitative and quantitative approaches to identify translation patterns of general extenders by dubbing translators and fansubbers in Iran. A corpus of twelve English films from different genres, along with their Persian dubbing and non-professional subtitling, was compiled for the investigation. Overall findings suggest that non-professional subtitlers followed a literal and sourced-oriented approach to translation, resulting in a more direct translation of general extenders. In contrast, the dubbing team (i.e., translator and dubbing director) tended to edit out these pragmatic issues in their translations; therefore, many general extenders were deleted in the translation. This was partly because the translation for dubbing has to be synchronized, resulting in some omissions and partly because the dubbing team paid less attention to these elements. Additionally, other strategies, such as substitution or explicitation were infrequently used in both dubbing and non-professional subtitling. The paper concludes by discussing limitations and offering opportunities for future research.