Luận văn thạc sĩ: An evaluation of the translation of the film “Rio” based on Newmark’s model

VIETNAM NATIONAL UNIVERSITY, HANOI

UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIESFACULTY OF POST-GRADUATE STUDIES

TRAN THI NGAN

AN EVALUATION OF THE TRANSLATION OF THE FILM “RIO”BASED ON NEWMARK’S MODEL

Đánh giá ban dich bộ phim “Rio” dựa trên mô hình của Newmark

M.A MINOR PROGRAMME THESIS

Field : English Linguistics

Code : 60220201

HANOI - 2016

VIETNAM NATIONAL UNIVERSITY, HANOI

UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIESFACULTY OF POST-GRADUATE STUDIES

TRAN THI NGAN

AN EVALUATION OF THE TRANSLATION OF THE FILM “RIO”BASED ON NEWMARK’S MODEL

Đánh giá ban dịch bộ phim “Rio” dựa trên mô hình cia Newmark

M.A MINOR PROGRAMME THESIS

Field : English LinguisticsCode : 60220201

Supervisor : Assoc Prof Dr Lam Quang Đông

HANOI - 2016

I declare that the thesis entitled ‘An evaluation of the translation of the film

“Rio”, based on Newmark’s model’ reflects the findings of the study conducted

by myself The thesis is submitted to University of Languages and InternationalStudies — Viet Nam National University, Ha Noi for the Degree of Master inEnglish Linguistics It has not been submitted for the award of any degree ordiploma in any other tertiary institutions.

Hanoi, 2016

Tran Thi Ngan

I also take this opportunity to thank all my lecturers and classmates atFaculty of Graduate Studies for their inspiration to me.

Besides, I am grateful to my friends and my colleagues for their valuableadvice and great encouragement Last but not least, I would like to deliver specialthanks to my husband for his kind support which helps me a lot in completion of

this thesis.

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This thesis assesses the translation quality of the Vietnamese version of thefilm “Rio”, which was translated and dubbed in the project of MegaStar Media Ltd.Company, Viet Nam in April 2011.

To reach its aim, the study used four methods including analysis and

comparison, which were based on Newmark’s model In addition, statistical and

observational methods were also applied to examine the synchronisation of eachutterance and its translated version.

The research instrument was “Aegisub”, a free open-source cross-platform

subtitle editing program designed for timing and styling of subtitles Theresearcher’s purpose was to see how well utterances in both versions of the film are

synchronised with each other.

The research findings show that in general, the film was well-translated interms of structures, proper nouns, hierarchical pronouns, borrowed words and puns.

Weaknesses of the translation were found in the title and several mistranslations.The study also reveals that the translated utterances were synchronised with the

original ones quite well, especially in terms of duration.

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1.2 An overview of previous studies

Chapter 2: RESEARCH METHODOLOGY

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3.1.A brief analysis of the SL text

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AVT: Audiovisual translation

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PART 1: INTRODUCTION

1 Rationale

It is said that translation has received a lot of attention from linguists, scholarsand especially translators Typically, in the era of globalization and integration,interaction among nations and the need to exchange information and cultures havebecome greater Translation has been regarded as one of the most effective toolsthat satisfy people’s need to entertain and enrich their knowledge about the world Itis undeniable that translating a film from one language into another is really achallenging task because of its important role in bringing understanding of the textsto the “readers” with different knowledge backgrounds.

In fact, film translation is a widely discussed topic among linguists Adaptinga film from the source language to the target language requires a lot of translators’efforts In film translation, not only is the translator dealing with basic issues oftranslation, such as linguistics, ideological and cultural barriers, but he or she is alsofacing with the multimedia constraints such as synchronisation in dubbing or theappropriateness of the characters’ lip movements, the syllables or even the numberof syllables.

In the field of film industry, “Rio” is the first Hoolywood 3D cartoon dubbed

in Vietnamese under a project of MegaStar, one of the biggest film importers inViet Nam, and the 20th Century Fox (Sai Gon Times Online Newspaper) Reviewfrom website Rottentomatoes.com, an 18-year-old American review aggregatorwebsite for film and television, and a variety of others, indicates that “Rio” is reallyhighly appreciated by viewers and critics From the day of its release, “the film was

also a box office success, grossing over $143 million in the United States and $484

million worldwide” (Wikipedia) The author of this study is impressed with the highelaborateness in the process of dubbing According to Vietnamnet OnlineNewspaper, Vietnamese voice actors, including actress Minh Hang, actors MinhTiep and Dai Nghia, were selected by the film director himself Then the voicedubbing was carried out under the supervision of American experts Furthermore,

the dialogues were translated in Viet Nam while songs were translated in the UnitedStates of America After that, Vietnamese musicians edited the songs Next,

Vietnamese artists sang the songs and sent them back to the U.S for editing.

In fact, there are different ideas about how film translation should be defined

and what should be the methods, as well as the criteria to assess its quality.Therefore, conducting a research to examine the success and drawback of thetranslation of a film is expected to bring about benefits to language learners,translation assessors and especially to the film industry.

2 Aims and objectives of the study

This study was conducted with the aim of applying Newmark’s TQA model to

evaluate the quality of the translated version of the film “Rio” With this aim, the

objective of this study is to examine the success and the shortcomings of thetranslation of the film “Rio”, based on Newmark’s model.

3 Research question

The study addressed the following question:

What are the strengths and weaknesses of the translation of the film “Rio”,according to Newmark’s model?

4 Scope of the study

As previously mentioned, this study was undertaken to assess the translationquality of the film namely “Rio” Both the original and translated film scripts werechosen for analysis based on Newmark’s TQA model Additionally, the audio of thetwo versions of the film was also measured to see the duration, the starting time andending time of each utterance Furthermore, articulatory movements and postures inthe film were observed to examine the phonetic synchronisation between theoriginal utterance and its translated version.

5 Methods of the study

The study was carried out with four methods as follows.

- Analysis method: film scripts in both English and Vietnamese were examined

in terms of the topic, the prospective readership, the translation method, thetitle, the structure, proper names, hierarchical pronouns, borrowed words and

- Contrastive method: Data collected by the above methods were compared to

assess the advantages and disadvantages of the translation of the film.

6 Significance of the study

Currently there have been devoted researchers interested in audiovisualtranslation; however, studies on the quality of the translated version of a specificfilm have not been conducted yet Therefore, the very first purpose of the researcherwhen conducting this study is to figure out how good the English-Vietnamesetranslation of the film “Rio” is The assessment lay not only on the film scriptsbased on Newmark’s model but also on the duration, starting time, ending time andphonetic features of each utterance in the two versions of the film In terms ofimplication for film translation, the thesis is expected to offer several useful lessonsto the film industry.

7 Organization of the thesis

The thesis is composed of three main parts.

Part One is the INTRODUCTION in which the rationale, the objectives, thescope, the research questions and the organization of the thesis are presented.

Part Two, the DEVELOPMENT, consists of three chapters.

Chapter 1, Literature Review, reviews the previous studies related to the topic and a

brief theoretical background with concepts such as definition of translation,

translation methods and procedures, translation equivalence, and Newmark’s model

of translation quality assessment.

Chapter 2, Research Methodology, describes the research-governing principles, datacollection and data analysis procedure.

Chapter 3, Analysis and Discussion, offers a detailed analysis of the data, the results

obtained and discussions of these results.

Part Three is CONCLUSION.

This is the last part which provides a recapitulation of the main points

presented, together with implications for film translation, limitations andsuggestions for further studies.

Last but not least, the Appendix presents the film script in both English andVietnamese In the analysis, examples taken from the scripts to be examined areabbreviated for convenience For illustration, the text numbered 10 in page I of theappendix will be shortened as (A10 — p.I).

Translation is the procedure leading from a written SL text to an optimally

equivalent TL text, and requiring the syntactic, semantic, stylistic and textpragmatic comprehension by the translator of the original text (Wilss, 1982:112)

Weber (1968), on the other hand, provides another widely-agreed definition

of translation as follows, “Translation is the transposition of a text written in a

source language (SL) into a target language (TL) The translated version must beabsolutely accurate in meaning, contain all nuances of the original, and must bewritten in clear, elegant language that can be easily understood by the reader.Needless to say, punctuation spelling and grammar must be flawless” However,

this definition is not so persuasive since it over-appreciates the role of grammar in

For a formal notion, Dubois claims “translation is the expression in anotherlanguage (or target language) of what has been expressed in another, sourcelanguage, preserving semantic and stylistic equivalences” (Bell, 1991:5).

In 1959, Roman Jakobson, a structural linguist, offers a quite detaileddefinition of translation that is distinguished among three kinds as follows:

©_ Intralingual translation, or rewording, is an interpretation of verbal signs bymeans of other signs of the same language.

© Interlingual, or translation proper, is an interpretation of verbal signs by

means of some other language.

© Intersemiotic translation, or transmutation, is an interpretation of verbal signsby means of signs of nonverbal sign systems.

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After discussing the three aspects of meaning, House proposed a tentativedefinition of translation: “translation is the replacement of a text in the source languageby a semantically and pragmatically equivalent text in the target language” (1977:29) Itcould be seen that these are only for written texts.

Newmark (1981: 7) defines translation as “a craft consisting in the attempt to

replace a written message and/or statement in one language by the same message and/orstatement in another language”.

Then, in A Textbook of Translation, he claims that translation is “renderingthe meaning of a text into another language in the same way that the authorintended the text” (1988: 5)

General speaking, those definitions of translations mentioned above all share

the basic idea that translation does not deal with language as a system, but with

language in use However, with regards to the aspect of sound in translation, it isjust mentioned slightly by Newmark in his theory That is the reason why the authorof this study chooses his approach for the theoretical background in the evaluationof a film translation.

Literal translation Free translation

Faithful translation Idiomatic translation

Semantic translation Communicative translationThese methods are briefly explained as:

- Word-for-word translation: The SL word-order is maintained and words are

translated individually by their most common meaning, without being situated incontext In addition, cultural words are translated literally.

- Literal translation: The SL grammatical structures are transferred to their closest

TL equivalents but the lexical words are again translated individually, withoutbeing contextualized.

Faithful translation: A faithful translation attempts to reproduce the precisecontextual meaning of the original within the constraints of the TL grammaticalstructures It attempts to be completely faithful to the intentions and the text-realization of the SL writer.

Semantic translation: Semantic translation differs from ‘faithful translation’ onlyin as far as it must take more account of the aesthetic value (that is, the beautiful

and natural sounds of the SL text, compromising on 'meaning' where appropriateso that no assonance, word play or repetition jars in the finished version) Further,it may translate less important cultural words by culturally neutral third orfunctional terms but not by cultural equivalents The distinction between ‘faithful’and ‘semantic' translation is that the first is uncompromising and dogmatic, whilethe second is more flexible, admits the creative exception to 100% fidelity andallows for the translator's intuitive empathy with the original.

Adaptation: This is the “freest” form of translation It is used mainly for plays

and poetry; the themes, characters, plots are usually preserved, the SL cultureconverted to the TL culture and the text rewritten.

Free translation: Free translation reproduces the matter without the manner, orthe content without the form of the original Usually it is a paraphrase muchlonger than the original, a so-called “intra-lingual translation”, often prolix andpretentious, and not translation at all.

Idiomatic translation: Idiomatic translation reproduces the “message” of theoriginal but tends to distort nuance of meaning by preferring colloquialisms andidioms where these do not exist in the original.

Communicative translation: Communicative translation attempts to render the

exact contextual meaning of the original in such a way that both content andlanguage are readily acceptable and comprehensible to the readership.

(1988: 45-47)

1.1.3 Translation Equivalence

From different definitions of translation by scholars and linguists, it is

obvious that equivalence is the central issue in translation theory Translationequivalence refers to the relationship between a SL text and a TL text that allows

the TL text to be regarded as a translation of the SL text In the book “A LinguisticTheory Translation” (1965:21), Catford points out, “the central problem oftranslation-practice is that of finding TL equivalents A central task of translationtheory is that of defining the nature and conditions of translation equivalence." Forthat reason, equivalence is considered the key criterion in evaluating the quality of atranslation, that is, a good translation must have a certain degree of equivalence to

According to Julian House (1977:25), “The essence of translation lies in thepreservation of meaning across two different languages.”, that is, meaningequivalence is the most important in translation.

The following are several elaborate approaches to translation equivalence.

- Nida claims that there are two different types of translation equivalence, namelydynamic equivalence and formal equivalence, in which the later in the secondedition by Nida and Taber (1982) is referred to as formal correspondence Thetwo theorists provide a very detailed explanation of each type of equivalence Informal correspondence, the message in the TL should be conveyed by elementsas closely matching as possible with those in the SL At the same time, dynamicis achieved when the SL and TL words have the same effect on their effectivereaders (Nida and Tiber, 1974) In their point of views, the achievement ofequivalent response in the two languages, or dynamic equivalence in otherwords, is the goal of a successful translation.

- Newmark emphasizes the importance of functional equivalence in his statement,“The overriding purpose of any translation should be to achieve equivalent effect,i.e to produce the same effect (or one as close as possible) on the readership ofthe translation as was obtained on the readership of the original.” (1995:48) In

his opinions, equivalence effect is a desirable result rather than the objectives ofany translation except for two cases (a) if the purpose of the SL text is to effect

and the TL translation is to inform or vice versa, (b) if there is a pronouncedcultural gap between the SL and the text.

- Koller (1979) establishes translation equivalence classification including varioustypes of equivalence among which are denotative, connotative, text normative,pragmatic, and formal equivalence.

o Denotative equivalence: Denotative equivalence is the type of equivalence in

which the SL and the TL words refer to the same thing in the real world It is

an equivalence of the extra-linguistic content of a text It is also the purposeof any translation procedure, which is to find the referential identity between

SL and TL units.

o Connotative equivalence: Connotative equivalence provides additional valueand is achieved by the translators’ lexical choice of synonymous words orexpressions, especially between near-synonyms.

o Text-normative equivalence: The SL and the TL words are used in the sameor similar context in their respective readers.

o Pragmatic equivalence: Pragmatic equivalence is oriented towards thereceiver of the text or message This type of equivalence is chosen totranslate a text for particular readership where the expectations of the targetreaders must be considered Pragmatic equivalence is also used when thetranslator wants to make an impact on the readers.

o Formal equivalence: This type of equivalence is related to the form andaesthetics of the text, including word plays and individual stylistic features ofthe source text It is particularly used in translation of poems, songs, etc.

1.1.4 Translation quality assessment

1.1.4.1 Definition of translation quality assessment

Peter Newmark names translation quality assessment as translation criticismand considers it an essential link between translation theory and its practice.

Malcolm Williams at University of Ottawa, another scholar, presents a moredetailed definition of translation quality assessment basing on several factors

including evaluating sources (their usefulness and authenticity), evaluating authors

and their translators (their aesthetic, their influences and how this informs theirwork), evaluating source texts and evaluating target texts Hence, translation qualityassessment could be regarded a type of evaluation, which can be quantitative orqualitative, i.e it can be based on mathematical or statistical measurement or onreader response, interviews, and questionnaires Besides, translation qualityassessment can be diagnostic (when measuring progress and giving feedback duringa course of study), formative (when measuring progress and giving feedback duringa course of study) or summative (when measuring the results of learning) In his

opinions, whether we focus on products, performance or competence, it is important

to determine degrees of goodness when we perform translation quality assessment.The approach can be prescriptive, assessing translation against criteria of aestheticeffect, usability, and intrinsic compliance with standards of target languagecorrectness and fidelity.

1.1.4.2 Translation Quality Assessment Models

There have been a number of linguists and scholars proposing models oftranslation quality assessment such as Wilss (1974), Koller (1974), or Reiss (1974).Peter Newmark (1995) and Juliane House (1997) are the two brilliant researcherswho create their own models to repair the deficiency and limitation of the preceding

Juliane House’s TOA Model

Juliane House is famous for functional-pragmatic model of translationevaluation, which was first designed in the mid-1970s (House, 1977, 2d.ed.1981)and recently revisited (House, 1997) This kind of model is based on a theory oftranslation as re-contextualization, translation texts are doubly contextually bound:to their originals and to the new recipients’ contextual conditions As appropriateuse of language in communicative performance is what matters most in translation,

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functional pragmatic equivalence plays a very important role This type ofequivalence underpins this functional translation model The model explicates the

way semantic, pragmatic and textual meanings are re-constituted across different

Following is a view of function and context-text underlying the analytic

framework of the model.

- Translation is conceived as the replacement of an LI text by a semanticallyand pragmatically equivalent L2 text An adequate translation is then a

pragmatically and semantically equivalent one.

- A first requirement for this equivalence is that a translation text has afunction equivalent to that of its original.

- The function of a text — with its ideational and interpersonal components — is

simply the application of a text in a particular context, and there is asystematic relationship between context and the functional organization oflanguage-in-text, which can be revealed by breaking down context into amanageable set of “contextual parameters” To grasp a text’s meaning, itmust be referred to the particular “context of situation” which envelops it.

According to Lê Hùng Tiến (2006), the model of translation qualityassessment has a clear linguistically theoretical base and concrete, detailed steps.However, this model also requires linguistic knowledge and high professional skillsof the critics and the criticism mainly aims at researching languages and translation.Therefore, this model has not been applied widely and just at experimental level inTranslation Studies.

Peter Newmark’s TỌA Model

Peter Newmark’s theory of translation pedagogy in 1988 revolves around thenotion of text This theory is explained in the book “A textbook of translation”(1988:5) and has been selected in many translation-teaching contexts Basing onNida and Taber’s model, Newmark starts explaining his theory with the question:

what is translation? He suggests that it is often, but not always, rendering the

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meaning of a text into another language in the way that the author intended the text.This means the text is pulled in ten different directions:

1 The individual style or idiolect of the SL author;

2 The conventional grammatical and lexical usage for the type of SL text,depending on the topic and the situation;

3 Content items referring specifically to the SL culture;

4 The typical format of a SL language text in a book, periodical, newspaper, etc., asinfluenced by the tradition at the time;

5 The expectations of the putative readership, bearing in mind their estimatedknowledge of the topic and the style of language they use, expressed in terms of the

largest common factor;

6 The conventional grammatical and lexical usage for the type of TL text,

depending on the topic and the situation;

7 Content items referring specifically to the TL culture;

8 The typical format of a TL text in a book, periodical, newspaper, etc., asinfluenced by the tradition at the time

9 What is being described or reported, ascertained or verified (the referentialtruth), where possible independently of the SL text and the expectations ofthe readership;

10 The views and prejudices of the translator, which may be personal andsubjective, or may be social and cultural.

This can be visualized as follows:

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His theory is also based on an unrealistic three-level activity process, by whichtranslators receive, analyse the SL text and then transfer it into the TL However,professional translators and scholars alike have demonstrated that translators do notfirst receive and analyse an SL text and then transfer it into the TL, but that theprocess of reception and analysis operate according to the purpose of translation.Thus, the translator does not receive and analyse the SL in a neutral way, but with aview to translating it for a certain purpose The eclectic approach proposes a five-step learning process of translation to help students tackle the source text and its

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translation more confidently and with more and better arguments to account fortheir decisions Therefore, rather than getting students to proceed following a linear

structure (receive — analyse — transfer), they learn to approach the text from

different angles and perceive the different factors existing in the translation such as

linguistic, extra-linguistic, pragmatic or professional.

Discussion on House’s model and Newmark’s model

Generally, in House’s model, both ST and TT are analysed along thedimensions of field, tenor and mode, then the ST and TT are compared Then, anevaluation of their relative matches is established: what the similarities anddifferences between the two texts are, in terms of different linguistic and culturalconstraints.

In Newmark’s model, the TT is compared to the ST in order to see theaccuracy, correctness, preciseness and faithfulness of the TT In this“comprehensive criticism of a translation” (Newmark, 1988), the translator does notreceive, analyse and convey the meaning from the SL into the TL in a neutral way,but with a view to translating it for a certain purpose Also, Newmark’s model paysmuch attention in the readership, which is a really important factor in translatingmedia products.

In short, as this study attempts to assess the English-Vietnamese translationquality of a film, Newmark’s practical model seems to be the best to match theresearch’s purpose.

1.1.5 Audiovisual translation (AVT)

According to the Oxford Dictionary, the adjective audiovisual is defined as

“using both sight and sound, typically in the form of images and recorded speech ormusic”.

In Routledge Encyclopedia of Translation Studies, Luis Perez Gonzales(2009) gave a brief definition that “audiovisual translation is a branch of TranslationStudies concerned with the transfer of multimodal and multimedial texts intoanother language and/or culture” Besides, Diaz and Cintas (2006) defined AVT as

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“the translation of products in which the verbal dimension is supplemented byelements in another media.”

In short, AVT refers to the translation of audiovisual texts In this study, theresearcher examined the strengths and weaknesses of a film translation, where thefilm is considered an audiovisual text.

1.1.6 Synchronisation in dubbed films

According to Varela (2004), synchronisation, also known as lip-sync, is oneof the key factors at stake in film translation, particularly in the context of dubbing.This author also established three types of synchronisation including kinetic

synchrony, phonetic synchrony and synchrony between utterances and pauses.

Firstly, kinetic synchrony is a kind of body movement synchrony in which

the translation must also agree with the movements of the screen characters For

illustration, in most cultures, a shaking head indicating negation cannot beaccompanied by an affirmative “yes”, or a character raising his hands to his headmust pronounce an interjection to match the gesture (Whitman, 1992:33)

Regarding phonetic synchrony (or lip synchrony), Whitman (1992:20)claimed that it consists of adapting the translation to the articulatory movements ofthe on-screen characters, especially in close-ups and extreme close-ups Accordingto Goris (1993), in order to attain the reality and naturalise the product to make itappear less foreign and more familiar, the translation should particularly respect theopen vowels pronounced on screen.

Concerning synchronisation of duration of the translation, Varela (2004)stated that the translated dialogue must fit exactly in the time between the instantthe screen actor opens his/her mouth to utter the source text dialogues and theinstant in which he/she closes his/her mouth Most criticisms of a badly dubbed filmare grounded in deficiencies of duration synchronisation as it is here that the vieweris most likely to notice the fault For example, when the character’s lips have closedat the end of an utterance but the viewers still hear the translated speech, or when anactor is obviously speaking, while the viewers hear nothing; these are frequent

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grounds for justified criticism by both critics and the public.

1.2 An overview of previous studies

Film industry has been one of the most outstanding entertainment tools that

people are much interested in In that context, film resources within a nation’ sboundary are not enough to meet entertainers’ demands It is undeniable that film

translation has received a lot attention of translators and scholars who lovetransferring the meaning and messages from the language of a foreign film to thelanguage of the audience.

There have been dedicated overseas researchers investigating the topic up tonow Ndaga (2011) evaluated subtitles in the translation of colloquial expressionsand ended up with the conclusion that meaning was not adequately transferred dueto the lack of professionals in the field Next, in 2013, Arrey’s thesis was anassessment of the translation quality of auto-subtitles in the film “Le temoin del’ombre” (The Shadow Witness) It is revealed from his study that without trainingin subtitling, a film producer will face enormous problems in auto-subtitling his orher own product The studies cover many facets of film translation such as

translating film scripts or translating idioms in films but dubbed films.

In Viet Nam, there have been several researchers interested in filmtranslation Lé Thi Thanh Van (1999) and Lé Thi Thanh (2001) are the two typicalauthors in this field, to name but a few Their studies cover several facets of filmtranslation such as translating film scripts or translating idioms in a film, etc.However, an assessment of translation quality of a dubbed film has not beenaddressed in these studies despite its importance.

In recent years, Nguyén Thi Thu Hién (2012) examined the translation

quality of a short story named “The Call of the Wild” It is shown from her study

that although the translation text has achieved a lot of success in conveying the

author’s message, it still reveals several mismatches between the source text and the

translated text Besides, Bui Thi Mai Anh (2014) also investigated the quality of

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translated version of the novel named “The Notebook” and came to a conclusion

that the work is quite well-translated except for several shortcomings related tomistranslation or omission Both of these two studies applied Newmark’s model inevaluating the quality of translated text; however, the subjects of their studies are

not a dubbed film.

In general, translation quality assessment has been a quite interesting topic

that has received due attention from researchers However, there exists a gap inevaluating the translation quality of a dubbed film Hopefully, this study will help toraise people’s awareness of translation of a dubbed film and bring about positivecontributions to the film industry.

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Chapter 2: RESEARCH METHODOLOGY

This part presents general information about the film, restatement of research

questions, research approaches, research instruments, data collection procedure andmethods of data analysis.

2.1 The film

The study was conducted on the American 3D computer-animated musical

adventure-comedy entitled “Rio” This highly-appreciated film with a feature of

length of nearly 100 minutes was produced by Blue Sky Studios and directed by

Carlos Saldanha in 2011, and then it was dubbed in Vietnamese in May 2011 Thereason for choosing this film includes:

This is the first Hollywood 3D cartoon dubbed in Vietnamese under a project

of Mega Star and the 20th Century Fox;

The author of the study is inspired with the success of the film when it has

received generally positive reviews from film critics (Rottentomatoes.com).In addition, the film has been widely welcomed by not only children but also

adults The audience not only enjoys the film in their own mother tongue butalso is able to hear background sound like melodious music in a scene This

factor reflects how the film is outstanding in comparison with others as it

applied Hollywood dubbing technology;

(iii) The author of this study is impressed with the high elaborateness in the

process of dubbing According to Vietnamnet Online Newspaper,Vietnamese voice actors, including actress Minh Hang, actors Minh Tiep andDai Nghia, were selected by the film director Then the voice dubbing was

carried out under the supervision of American experts In addition, thedialogues were translated in Viet Nam while songs were translated in the

United States of America After that, Vietnamese musicians edited the songs.Next, Vietnamese artists sang the songs and sent them back to America forediting.

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2.2 Restatement of research question

The study addressed the following question:

What are the strengths and weaknesses of the translation of the film “Rio”,according to Newmark’s model?

2.3 Research approaches

2.3.1 Qualitative analysis approach

The original and the translated film scripts were examined thoroughly andcomprehensively in terms of the author’s purpose, the topic, characteristic of theaudience, the title, as well as several linguistic features such as structure, pronouns

or puns, etc.

In addition, phonetic features in the close-up of each utterance in both

versions were also examined to see how well the translation was adapted to suit theon-screen characters’ lip movement.

2.3.2 Quantitative approach

In order to get the quantitative data, the software ““Aegisub” to measure theduration, starting and ending time of each single ST and TT when they are uttered.The process of collecting this kind of data was quite complex and challenging task.Whena single utterance is made, the researcher must listen to the characters’ speechattentively many times to decide the starting and the ending time This step requiresthe researcher to be really patient and careful to get the most exact timing.

2.3.3 Contrastive analysis approach

In this thesis, the ST was compared to its translation under the framework ofNewmark’s translation quality assessment model.

Besides, another comparison was made to see how well the TT wassynchronised with the ST in terms of duration, starting time, ending time andphonetic features in the close-up of an utterance.

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2.4 Research instrument

In order to obtain the quantitative data, the software named “Aegisub” was

applied to measure the duration, starting time and ending time of each utterance inthe original film and its translated version.

According to Wikipedia, “Aegisub” is a free open-source cross-platform

subtitle editing program, which has been designed for timing and styling ofsubtitles The software is considered the standard in well-known subbing groupsand is extensively used in creating subtitle for films.

2.5 Data collection and analysis procedure

This study was conducted in stages as follows.

Firstly, general information about the film such as its context, scenario writer,producer, plot or characters is collected.

Secondly, both the English and Vietnamese film scripts are noted by watchingthe two versions of the films The researcher can make use of the English scriptwhich is available on the Internet while the Vietnamese one is transcribed by theresearcher herself when watching the dubbed film many times.

Thirdly, the translated text was compared to its original text under theframework of Newmark’s TQA model with five steps as follows:

- A brief analysis of the SL text stressing its intention and its functionalaspects This may include a statement of the author’s purpose, that is, theattitude he takes towards the topic; characterization of the readership; anindication of its category and type;

- The translator’s interpretation of the SL text’s purpose, his translationmethod and the translation’s likely readership;

- A selective but representative detailed comparison of the translation withthe original in terms of both semantics and syntactic You do not take thepoints successively; you group them selectively under general headings:the title; the structure, including the paragraphing and sentence

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connectives; proper names; cultural words; shifty metaphors;translationese; neologisms; “untranslatable” words; ambiguity; level of

language; and, where relevant, meta-language, puns, sound-effect.

- An evaluation of the translation: (a) in the translator’s terms, (b) in the

critic’s terms, (c) as a piece of writing, independently of its original.

- Where appropriate, an assessment of the likely place of the translation inthe target language culture or discipline In the case of a serious text, say a

novel, a poem, or an important book, you assess the work’s potential

importance within the target language culture.

(Newmark, 1988: 186-189)Next, the software named “Aegisub”, a free open-source cross-platformsubtitle editing program designed for timing and styling of subtitles, was applied tomeasure the duration, starting time and ending time of each utterance in bothversions of the film.

Fifthly, phonetic features of an utterance in both versions were also examined.

In steps four and five, a comparison between the original utterance and its

translation were made in terms of timing and phonetic features to see how well thetwo versions are synchronised with each other.

Finally, data were consolidated and categorized The results then wereanalysed and presented in forms of tables.

2.6 Summary

This study uses a combination of three approaches including qualitative,

quantitative and contrastive for the data analysis The generalisation of theconducted data was expected to provide relatively exact information about thetranslation quality of the film There may exist inevitable shortcomings during thestudy but it is hoped that the trustworthy basis for the data analyses and findingswill be provided.

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Chapter 3: ANALYSIS AND DISCUSSION

In this chapter, the translated texts are analysed by means of Newmark’s

model (1988) with five steps mentioned in the previous section Besides, theresearcher investigated the synchronisation of utterances in the original film and inthe translated version in terms of duration (including starting time and ending time),lip movements and even the number of syllables in each utterance.

3.1 A brief analysis of the SL text

In “Textbook of translation”, Newmark affirms, “In your analysis of the SLtext, you may include a statement of the author’s purpose, that is, the attitude he

takes towards the topic; characterization of the readership; an indication of itscategory and type You assess the quality of the language to determine the

translator’s degree of license, assuming for example that he can reduce cliché to

natural language in informative but not in authoritative texts You briefly state the

topic or themes, but do not précis the text and do not ‘plot-monger’ (painfully retellthe plot)” (1988:186) From this theory, the researcher is going to give a brief

analysis of statement of the author’s purpose, characterization of the readership, and

the topic of the chosen literary work.3.1.1 The author’s purpose

According to Wikipedia, director Saldanha developed his first story concept

of Rio in 1995 when a penguin was washed up in Rio Then, he learned of theproduction of some other films and changed the concept to involve macaws andtheir environments in Rio It is obvious that the title “Rio” refers to the magnificent

Brazilian city of Rio de Janeiro, where the film is set It is said the filmmakers aimat introducing the landscape beauty and culture of Brazil in general, and of Rio de

Janeiro in particular, to the audience worldwide.

Especially, the film describes the relationship between the macaw, namely

Blue, and Linda, the main supporting protagonist in “Rio” Through the film, the

audience can see how they and other birds fight against smugglers to escape to

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freedom It is obvious that the scenario writer’s purpose is to celebrate love andfreedom spirit, which can fight against all smugglers or traffickers.

On the other hand, it could be easily seen that, at the beginning and the end

of the film is the image of birds singing and dancing happily together It is reflectedthat the birds in particular, and animals in general, also have feelings and emotionslike human They feel happy when living in freedom; they are wretched when beingkidnapped; and they have solidarity and willing spirit to help each other That isalso another message the scenario composer wishes to bring us.

3.1.2 Characteristic of the readership

As an animated film with colourful scenes and cute characters, “Rio” centreson children viewers Besides, the film tells the story of Blu, a male Spix

macaw who was taken to Rio de Janeiro to mate with a free-spirited female Spix's

macaw, Jewel The two eventually fell in love, and together they had to escape frombeing smuggled by Nigel, a cockatoo In the film, the audience can see a few flirtingscenes between the two birds or between Linda and Tulio Hence, the audiencecould also be young adults as well Both kinds of audience, children and youngadults, are those whose love discovering novel and creative things.

3.1.3 The topic

As discussed in the above section, there are various ideas about the topic orthe theme of this adventure cartoon; however, the most outstanding one is that truelove can conquer all The love between Linda and Tulio, or the love between thetwo macaws, as well as the relationship between Linda and the bird Blue finally winall ferocious smugglers to have freedom.

3.2 The translator’s interpretation

In this second step, a review is made to see whether the translator hasomitted any section of the ST and whether it affects the message that the authorwishes to express Besides, the researcher wishes to investigate the translator’smethod and the translation’s likely readership.

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3.2.1 Omission of original text

Careful analyses of the SL text of the film Rio reveal that several phrases and

sentences in the original have not been translated.

1 Tall and tan and young andlovely, the girl from Ipanema goeswalking.

(A.618 — LXIID (untranslated)

2 And when she passes, each one shepasses goes, ah! (singing)

(A.620 — LXTID (untranslated)

3 Hasta la vista, losers! (A.1260 - CXXVIID Hasta la vista Li

thua cuộc!

4 Well, I'll show him (A.112 —p.XD Minh sé cho anh ta thay

5 | Well, that's a fair question.(A 657 — p.LX VID) Một câu hỏi công băng.

6 |And have I ever broken apromise?

(A.132 — pXII) Đã có bao giờ tớ thất hứa

chưa, hu?7 | This is the heart and soul of our

(A.180 — p.XVII) Day chính là trái tim và

linh hồn khu chuồng chim.

8 | No, no, guys, really, I'm fine.

The cage is great.

(A.174 - XVII) Không Đủ rồi, tôi on.

11 | Hey! My watch! (A.646 — p.LXVD E, cái dong ho!

12 | Where I need to come down for | (A.814 — p.LXXXIV) Tôi ha xuong hit tho

oxygen một it oxy.

13 | I'm that samba, samba master (A.826—p.LXXXV) Ta là samba, samba

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Master, master, master, master

14 | You're choking! Okay! Allright! | (A.961 — p.XCIX) Oi éi Anh bi nghen

thiệt kia!

15 | Hey! Wait for us! (A.1185 — p.CXX) Ay Doi da!

16 | It's Blu! Look, Tulio, it's Blu! (A.1278 — p.CXXX) Chinh Blu! Tulio,chinh Blu!

The table above clearly shows that examples 1, 2 and 3 are the translator’s

omissions of the original text Generally, an omission when conveying meaningfrom the SL to the TT can make readers or viewers miss the lines For literarytranslation such as a translation of novels, stories or fictions, etc., this kind ofomission is unacceptable as readers must base on the reading material to understandthe meaning of the text However, for the film “Rio”, untranslating these sentences

and phrases may not cause misunderstanding to the audience When watching thefilm, they not only listen to dialogues and music but also watch the background and

characters’ acts and postures Hence, they can get most of the point Especially,

examples 1 and 2 are the lyrics of the song Rafael sings when this bird persuades its

“wife” to help Blue and Jewel see Luiz In the original film, Rafael appears as a

romantic bird who sings not very well Hence, if these 2 sentences are translated

and then dubbed by a Vietnamese singer, the audience may misinterpret the qualityof the voice actor For the third example, the original text, “Hasta la vista”, is from

Spanish language, which means goodbye When following this scene, the audiencemay be confused about its meaning The researcher herself must listen several times

and then see the English subtitle to see what the character says.

In addition to three totally-untranslated texts above, the translator seems to have

overlooked several words in other sentences Examples 4, 5, 6, and 9 in the tableillustrate this point - they refer to the exclamation words which mean “Ừm, à, ” in

Vietnamese The omission of those words does not cause much change in the

meaning of the original version.

Examples 10, 11, 12, 13, 14, 15 and 16 demonstrate the missing of some

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words in the sentences Particularly, in examples 12 and 13, where and master,master, master, master, master is totally ignored However, this sentence is from

the lyrics of the song at the beginning of the film The translator not only has to

interpret the meaning of the original text but also make it suitable with the melody.

Therefore, this adaption is reasonable.

Examples 10, 13, 14 and 16 reflect the disappearance of the equivalence of thetranslated version of some words Yet, it is agreeable as these texts are uttered inconversations where there exist many different kinds of sounds such as characters’

voice or the music Therefore, the audience cannot realize any signals of thisomission.

In general, all the above-mentioned texts show that a few words, phrases and

even sentences in the translation of the film have been intentionally or deliberately

left out As previously discussed, in most cases, the omission of the words orphrases has no significant impact on general meaning of the original text Thetranslator may suppose that conveying the whole meaning of the dialogue is moreimportant than translating every single word Besides, as the influence of this on theaudience’ understanding is immaterial and they can still grasp the main gist of thefilm, this kind of translating is still acceptable However, it seems insupportable inone case: the phrase Hasta la vista is not translated, which affects the understandingof the audience who only have chance to watch the Vietnamese version of the film.This may result from literary translation where the translator has to comply with theprinciples of the target language; hence, he might not be able to maintain the formatof the original version.

3.2.2 The translator’s method

Viewers praise “Rio” not only because the message and meaningfulness thefilm brings about but also because its language is simple and easy to understand Infact, the glossary and expressions in the film are not complex; hence, translating thefilm is not a hard job Nonetheless, how to convey as much as the beauty of thecontent of the film, especially of content of the song, is a challenging task.

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Generally, the translator has stuck to the communicative translation method as itattempts to produce the message from the original film to the audience in a verysmooth and natural way The Vietnamese version of “Rio” can be considered a

target language biased translation because of its accessibility of thought and cultural

content of original to viewers On the other hand, in a long and complicated worklike a film, the complexity of communicative language is inevitable; therefore, thetranslator certainly has to combine some methods of translation along with a chiefmethod Especially, for the song sung by the birds in the film, adaption translation

method is also utilized.

3.2.3 The translation’s prospective readership

Resembling the original, the translated version generally aims at young

audience such as children or young adults who love watching foreign animated

cartoons The methods and language the translator has used suggest that the targetedreadership is mostly of these two types of audience and even those who areinterested in discovering Brazilian culture.

3.3 Comparison of the translation with the original

The third step of assessment, also considered as the heart of the study, will dealwith how the translator has solved the particular problems of the SL text The researcherwill pick out the most selective and representative examples of the accomplishments and

shortcomings of the translated version in comparison with the original text Then, theyare grouped under general headings including the title, the structure, proper names, andcultural words (Newmark, 1988:187) In addition, a discussion of translation problemswill be presented as well.

Comment [A1]: The intended audience includes

children and young adults only, or all, young andold? This paragraph seems to contain conflicts.

Revise.

because it is “governed by non-detachability” considering that “the title derives itsidentity from the context and translation must take this into account.” PeterNewmark (1988:56) argues that the translated title “should usually bear somerelation to the original, if only for identification”, but it should also “sound

attractive, allusive, suggestive” to attract the potential readers In general, a

translator is entitled to “change” the title of the text (Newmark, 1988:156).However, translating titles is not simple because the only true unit of translation(the minimal stretch of language that has to be translated together, as one unit) is the

whole text (Newmark, 1988:54), that is to say, it is necessary to take the title into

serious consideration as a part of the whole text when dealing with title translation.It is compulsory that a translator understands the whole text before translating its

title Newmark (1988: 57, 156) suggests that all titles are either descriptive, which

describe the topic of the text, or allusive, which have some kind of referential orfigurative relationship to the topic; the latter ones are suitable for imaginativeliterature, and may have to be changed.

Titles of films need to be attractive, allusive, and suggestive in order to catchthe attention of the viewers For this purpose, itles should be able to attract thereaders emotionally because, as Nida and Taber (1974:91) states, “we do not onlyunderstand the reference of words; we also react to them emotionally This aspectof the meaning which deals with our emotional reactions to words is calledconnotative meaning.”

Concerning the film, both the original and the translated name is “Rio” Thetitle itself refers to the magnificent Brazilian city of Rio de Janeiro, where the filmis set It seems that one of the film-makers’ purposes is to introduce the picturesquescenery and culture of Brazil in general, and of Rio de Janeiro in particular to theaudience worldwide The title is quite interesting, especially with those who havealready had some knowledge about Rio de Janeiro or at least they have heard thisname before However, for those who have never heard of Rio, then the title seemsto carry too little information to attract potential viewers Hence, it is suggestible

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that the translated title should have additional features to be more attractive,allusive, and suggestive.

3.3.2 The structure

This section of the thesis will present several key points with remarkable

examples that reflect the differences between the ST and the TT.3.3.2.1 Simple sentences vs compound sentences

After the thorough examination of the ST and the TT, it is noticeable that ingeneral, structures in both versions are mostly retained Reasons for this may comefrom the fact that most of the texts in the film are parts of dialogues or of a song,which usually does not contain long and compound sentences Thus, it is obviousthat the translator is quite lucky as he/she does not have to modify structures from

the original to the translated version.

3.3.2.2 Active voices vs passive voices

No | Original version Translated version

1 I'm protected by this magical | (A.51 — p.V) Tui được bảo vệ bởi một

force-field called glass lớp màn chắn gọi la kính.

2 This poor guy was found last | (A.197 — p.XIX) Anh bạn khôn khổ

night nay được tim thấy tôi qua.

3 Many of the birds here were | (A.118 — p.XIX) Hau hêt chim ở đâyrescued from smugglers được cứu từ tay bọn buôn lậu.

4 I've always been mesmerized by | (A.289 — P.XXIX) Và lúc nào tôi cũng

those big round, intelligent eyes bị thôi miên bởi mắt to tròn và thông

thái của chúng.

5 You were attacked by a little | (A.310 — p.XXXI) Anh đã bi một con

white bird? chim nhỏ lông trang tan công?

6 | To be continued (A.350 — p.XXXV) Bộ phim van còn

tiếp tục.

1 I wasframed (A.362 - p.XXXVII)Tôi bị gai bay.

8 | Something seems to be lodged in | (A.400 — p.XLD Có cái gi đó dính

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my beak trong mỏ của ta.

9 We have no ideas We’re having | (A.602 — p.LXD Cũng hong biết nữa,

him tested nó dang được chuẩn đoán.

10 | It can? be done! (A.639 — p.LXV) Lam sao mà di noi!11 | You were locked up and now | (A.775 — p.LXXIX) Lúc trước thi bi

you're rolling with a hot-wing nhét ma gid thi lai di chung voi ngudi

The table shows the differences in the use of passive and active voicebetween in the language in the original film and its translated version Theillustrations are briefly described as follows.

In examples 1, 2, 3, 4, 5, 7, 9 and 11, sentences in both the ST and the TT arein passive voice More specifically, the translator has transformed the structures oforiginal text in examples 1, 2, 3 and 9 into passive voice in the translated version,

adding được as the signal of passive voice in the target language On the other hand,

the source text in examples 4, 7 and 11 is translated with the addition of bi.Example 5, remain passive in both versions However, the TT is slightly changed inthe word order: một con chim nhỏ lông trắng in order to make it sound morenatural.

Example 6 is also an illustration of the change from passive voice into active voicein the structure of the TT Especially, the translator also adds Bộ phim as the subjectin the TT This makes the translated film more lively and easier to understand.

In examples 8 and 10, the translator has transformed the passive action into an

active one Of these two, the TT in example 10 is totally different from the ST withthe addition of Lam sao as an exclamation This also makes it sound more natural.

In short, basing on the difference between the two languages — the sourcelanguage and the target language — in using active and passive voices, the translator

has skilfully switched between the two voices, helping viewers understand the text

more easily and clearly However, in most cases, it is noticed that passive voice in

English has still been maintained in Vietnamese In spite of great efforts of the

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translator, instances such as 1, 2 and 9 seem to sound strange to the Vietnamesepeople as they are more familiar with active voice Hence, it is more judicious to

alter the original structure of the text in the translated version.

3.3.2.3 Order of clauses

Original version Translated version

There is nothing natural about being | (A.111 — p.XD Bi ném quang ở

thrown halfway across the room phòng, chang có gi là tự nhiên cả.

As the example above indicates, the structure in the TT is a complexsentence whose complement is a dependent clause The translator has transportedthe position of the clauses when translating this ST into the TT In this way, thetranslator has solved the complexity of the sentences and made them easier tounderstand as well as more natural in the target language.

3.3.2.4 Use of antonym

Original version Translated version

but I wouldn't make you do this | (A.134 — p.XI) nhung tớ sẽ không épif it wasn't the right thing to do cậu làm điều nay nếu như nó là điều sai trai.

In this example, instead of translating the present word used in the original

film, the translator has conveyed the connotation of the dialogue by using antonymof the word together with a negative elimination This helps the utterance becomecolloquial in the target language.

3.3.2.5 Change of subjects

Original version Translated version

No! It's not what you think (A.233 — p XXIV) Không! 7i có nghĩ thé đâu.

The example above demonstrates the adjustment in the structure of the TT.In the ST, subject it is not translated Instead, T6i is added as the subject of thetranslated sentence Obviously, this modification in the TT makes the text muchmore intelligible to the audience.

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3.3.3 Proper names

3.3.3.1 People’s names

No | Original version Translated version

1 Thanks, Linda! (A.35 — p HD Cam on Linda!

2 Good morning, Blu (A.28 — p.IH) Chao buôi sang, Blu.

3 Rafael, quit following me | (A.1085 — p.CX]I) Rafael, đừng theo chau nữa.

4 Yeah, sing it, Lionel (A.240 - p.XXIV) Dung rồi, hát nữa di, Lionel.5 Tulio! Tulio! | saw Blu! | (A.1179 — p.CXX) Tulio! Tulio! Tôi nhìn thay

6 But Fernando, T trusted | (A.875 — p.XC) Nhung Fernando, chi chỉ tin

you! em thôi!

It is noticed that in this film, animated characters are humanised, therefore, their

names are regarded as people’s names and will be discussed in this section.

According to Newmark (1988:214), normally, people’s first and surnames aretransferred, thus preserving their nationality, and assuming that their names have noconnotations in the text Moreover, currently, more people have some knowledge ofEnglish and are more familiar with English names, most translated version offoreign works retain the spelling of characters’ names In the film, it is shown thatnames of main characters such as Linda, Blu, Jewel, Tulio, Fernando, Nigel, Nico,

Pedro, as well as other names such as Marcel or Lionel appear with the same

spelling in the translated version.

In short, all people’s names in the film remain the same in both original andtranslated versions.

3.3.3.2 Geographical names

According to Newmark (1988:216), “we have to be up to date in your

rendering to check all terms in the most recent atlas or gazetteer and, where

necessary, with the embassies concerned We have to respect a country’s wish todetermine its own choice of names for its own geographical features” Furthermore,

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