Wykład 5

• Good dubbing translator:

  • Creativity
  • Extensive knowledge of pop culture
  • Knowing what can be changed – which intertexts, even though not necessarily understandable by everybody, would work well with the background, the visuals, and the storyline. 
• In subtitling the balance is shifted from verbal auditory to verbal visual, which normally is nearly without semantic context – in subtitling, unlike dubbing, this balance of those four semiotic channels is not retained.
• A change of medium from oral to written speech = modification – speech is more natural then writing, therefore, subtitles change certain expressions
• The so-called six second rule is used to estimate the length of a subtitle = time needed for an average spectator to read and understand the information contained in a two-lined subtitle (each one is about 35 keystrokes with some variations)
• Spotting = dividing the original dialogue into units to be subtitled and indicates the time when a subtitle should appear and disappear
• • Temporal synchrony – once we stop hearing the character, we also should stop seeing the subtitles.
• Image ‘contamination’: part of the screen is devoted to subtitles
• Interpretation, intonation, and non-verbal information are not transmitted through subtitles
• Off-camera/off-stage commentary is normally a production technique, where a given voice which is not a part of a narrative is produced
• non-diegetic level - not a part of the work

  diegetic level - a part of a work
• The voice-over is superimposed over the verbal auditory channel – we can still hear the original sounds, dialogues, etc.
• The only type of AVT that maintains the balance between the four channels is the dubbing