Subtitling

The increasing impact of audiovisual media and film industry in particular has led researchers to think of audiovisual translation strategies. Huge investments in film industry need global markets. Hence, there is a need for qualified translations and systematic studies dedicated to this area are in great demand. This study aims to investigate translation strategies adopted in the translation of two awards-winning dramas. The selection criterion is based on winning international awards or compliments received in the target community. Although some may argue that these successes are rooted in the selected movies’ ideologies, the role of an accurate translation in transferring such elements is undeniable. The present study analyzes the translation strategies employed in the subtitled version of the following films: A Separation and I Daniel Blake. The theoretical framework of the current study is based on Gottlieb’s (1992) Classification of Interlingual Subtitling. The obtained results depicted that except dislocation and transcription, all Gottlieb’s strategies were applicable. The results also showed that the film’s genre plays an influential role in translators’ decisions. As these films were warmly welcomed by the target audiences, the frequent translation strategies will be useful and practical for the future of audiovisual translation industry.

Translation Studies (TS) moved away from the focus on literary translation and linguistic approaches to new types of translation called Audiovisual translation (AVT). Technological advancements affected the development of AVT. Technology created a situation in the world of moving pictures within which subtitling and dubbing take an important role in optimizing communication. Despite the growing interest in AVT, song subtitling and dubbing remain on the periphery of TS. Therefore, this study aimed to identify the differences that may exist between the strategies used for subtitling and dubbing the songs on some special musical animations from English into Persian based on Schioldager et al.’s (2008) twelve micro-strategies. The corpus of this study consisted of three musical animations which are Strange Magic, Moana , and Frozen 2 . This study focused on nine songs in each animation. The songs had meaningful lyrics, established the character(s), aided in the narrative, and made the audience relate to the character or the story. Hence, in the selected animations 27 songs were selected. The data were analyzed using a chi-squared test. The results indicated a statistically significant difference between six out of 12 strategies for dubbing and subtitling the animation’s songs. The differences were related to “Direct Translation”, “Oblique translation”, “Adaption”, “Addition”, “Substitution”, and “Deletion”. The results revealed the most frequent micro strategies used by Iranian translators in dubbing songs were “Oblique Translation”, “Deletion”, “Substitution”, and “Adaptation”. However, “Direct Translation” and “Addition” were the most used strategies in subtitling songs in animations. Thus, it was revealed that the translator in dubbing not only transferred the dialogue from the source text but also considered the source text idea. The findings offered a pedagogical implication for translation students, subtitlers, and dubbers to recognize better the subtitling and dubbing strategies that were being used by translators in the Iranian context.

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

This study is a descriptive piece of research attempting to compare and contrast the use of two types of cohesive devices (i.e., lexical cohesion and ellipsis) in the original dialogues of a television series with the Persian subtitled and dubbed versions of the same dialogues. The data used in the study comprises the dialogues of 10 scenes randomly selected by the researcher from the television series Prison Break as well as the dubbed and subtitled counterparts of the dialogues of the same scenes. The study seeks two objectives: First, it attempts to investigate the original dialogues of the film in terms of the frequency of the use of the two mentioned types of cohesive devices and to compare them with the dubbed and subtitled versions; second, it aims to compare the two types of audio-visual translations (i.e., dubbing and subtitling) to find out how they have dealt with these cohesive devices and what difference exist between these two types of translation in terms of their handling lexical cohesion and ellipsis. For this purpose, the study employs the model proposed by Halliday and Hasan (1976). Also, in order to determine the interrater reliability of the analyses, Chi Square test is conducted. The findings reveal that repetition has the greatest frequency of use among lexical cohesion elements and clausal ellipsis has the greatest frequency among ellipsis types in the original dialogues. The findings also demonstrate that the two translated versions are relatively similar in their handling lexical cohesion but the dubbed version contains a substantially greater number of cases of ellipsis than the subtitled version does. The findings of this paper could provide audiovisual translators with information as to how the cohesive elements are differently used in the English dialogues and their Persian translations (subtitled and dubbed dialogues).

Translating taboo words is one of the challenging tasks that translators face during subtitling and dubbing movies. The translation of taboo words should be handled carefully since they may violate the norms of the target society. In this regard, the translators use different strategies to find an equivalent in the target language. This study tried to identify the strategies used by Iranian translators in dubbing and subtitling the F*k words as taboos in American English-drama crime television series based on Davoodi’s (2009) model. Thus, this was a corpus-based study that has a quantitative method with a descriptive comparative approach. The corpus of this study was limited to F*k words found in the TV series called Big Little Lies season one. This TV series was selected as the corpus of this research because this series movie was incredibly more suggestive and popular in recent decades and targeted a wide range of audiences and adults. Thus, 80 F*k words were identified for further analysis based on Sharifi and Darchinian's (2009) model. Descriptive statistics were used to determine frequencies and percentages of the applied strategies in the Persian subtitled and dubbed of the F*k words. The findings showed that Substitution, and Euphemism were the first and second used strategies by Iranian translators for dubbing and subtitling the F*k words, respectively. Additionally, the results of the Chi-square test revealed that there was not a significant difference between Iranian translators’ strategies for subtitling and dubbing F*k words. The results of the present study can be beneficial for Iranian subtitlers, dubbers, and translation students in the subtitling and dubbing of F*k words as taboos in crime drama movies from English into Persian.