Dubbing as a type of audiovisual transla

T.C ATILIM ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ MÜTERCİM TERCÜMANLIK ANABİLİM DALI ÇEVİRİ BİLİMİ BİLİM DALI DUBBING AS A TYPE OF AUDIOVISUAL TRANSLATION: A STUDY OF ITS METHODS AND CONSTRAINTS FOCUSING ON SHREK YÜKSEK LİSANS TEZİ Hazırlayan Ayhan ŞAHİN Tez Danışmanı Prof Dr N Berrin AKSOY Ankara-2012   T.C ATILIM ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ MÜTERCİM TERCÜMANLIK ANABİLİM DALI ÇEVİRİ BİLİMİ BİLİM DALI DUBBING AS A TYPE OF AUDIOVISUAL TRANSLATION: A STUDY OF ITS METHODS AND CONSTRAINTS FOCUSING ON SHREK YÜKSEK LİSANS TEZİ Hazırlayan Ayhan ŞAHİN Tez Danışmanı Prof Dr N Berrin AKSOY Ankara-2012 T.C ATILIM CiNivEnsirpsi so s yAL siriMren pNsrirusu irauounrucUNE Ayhan $AHIN tarafindan hazrlanan"Dubbing As A Type Of Audiovisual Translation: A Study Of Its Methods and Constraints Focusing on Shrek 2" baghkh bu gahgma 17.01'2012 tarihinde yaprlan savunma smavl sonucunda oybirligi ile bagarrh bulunarak jiirimiz tarafindan Miitercim-Terci.imanhk anabilim dah Qeviri Bilimi bilim Yi.iksek Lisans Tezi olarak kabul edilmigtir A.q. -Dog Dr Asalet ERTEN (Bagkan) En+ Pror Dr N Be'in ^:;$;reman) Yrd Dog Dr ismail ERTON (Uye) dahnda ACKNOWLEDGEMENTS I am heartily thankful to my adviser, Prof Dr N Berrin Aksoy, whose encouragement, guidance and support from the initial to the final level enabled me to develop an understanding of the subject In addition to providing academic suggestions, she has reviewed my thesis repeatedly and prompted me to step up efforts regularly Her strong commitments to my performance and her comprehensive knowledge of issues have made this thesis possible I offer my respects and gratitude to all of those who have supported me in any respect during the time of this study Finally, I am deeply indebted to my family for their valuable support and trust ii TABLE OF CONTENTS ACKNOWLEDGEMENTS…………………………………………………… i TABLE OF CONTENTS……………………………………………………… ii INTRODUCTION……………………………………………………………… CHAPTER I: INTRODUCTION 1.1 FILMS AND THEIR TRANSLATIONS………………………………… 1.2 CONSTRAINTS OF AUDIOVISUAL TRANSLATION………………… 1.3 TYPES OF AUDIOVISUAL TRANSLATION…………………………… 1.4 THE OBJECT AND THE PURPOSE OF THIS STUDY …………… 1.5 LIMITATIONS OF THE STUDY………………………………………… 1.6 STRUCTURE OF THE STUDY………………………………………… CHAPTER II: AUDIOVISUAL TRANSLATION 2.1 AUDIOVISUAL TRANSLATION……………………………………… 2.2 HISTORY OF AUDIOVISUAL TRANSLATION.……………………… 13 2.3 REVOICING……………………………………………………………… 14 2.3.1 Types of Revoicing………………………………………………… 14 2.3.1.1 Lip-sync Dubbing (Dubbing)……………………………… 14 2.3.1.2 Voiceover……………………………………………………… 15 2.3.1.3 Narration…………………………………………………… 15 2.3.1.4 Free Commentary………………………………………………16 CHAPTER III: THEORETICAL FRAMEWORK 3.1 THEORETICAL FRAMEWORK………………………………………… 17 CHAPTER IV: CONSTRAINTS OF DUBBING 4.1 NORM-BASED APPROACH….………………………………………… 26 4.1.1 Institutional Norms………………… …………………………… 27 4.1.2 Social Norms……………………….… …….…………………… 28 4.1.3 State Norms…………………………………………………… 29 iii 4.2 SYNCHRONY-BASED APPROACH………………………………… 30 4.2.1 Lip-Synchrony………………………………… ……………… 32 4.2.2 Content Synchrony…… ………………………………………… 33 4.3 TRANSLATOR’S ATTITUDE…….……………………………………… 34 CHAPTER V: CHALLENGES OF DUBBING 5.1 CULTURAL ELEMENTS………………………………………………… 36 5.2 HUMOROUS ELEMENTS…………………………………………… 38 5.3 LINGUISTIC ELEMENTS…………………………………………… 39 5.3.1 Wordplays………………………………………………………… 40 5.3.2 Swear Words…………………………………………………… 41 5.3.3 Dialects…………………………………………………………… 42 5.3.4 Idiolects………………………………………………………… 42 5.3.5 Songs…………………………………………………………… 42 CHAPTER VI: SHREK 6.1 ABOUT THE FILM ……………………………………………………… 45 6.2 DATA….……………………………………….………………………… 48 CHAPTER VII: ANALYSIS OF CONSTRAINTS OF DUBBING 7.1 NORM-BASED CONSTRAINTS………………………………………… 50 7.1.1 Institutional Norms………………………………………………… 50 7.1.2 Social Norms…………………….………………………………… 50 7.1.3 State Norms………………………… …………………………… 51 7.2 SYNCHRONY-BASED CONSTRAINTS.…………………………… 51 7.2.1 Lip-Synchrony……………………….…………………………… 51 7.2.2 Content Synchrony………………………………………………… 53 7.3 TRANSLATOR’S ATTITUDE……………………………………… 55 CHAPTER VIII: ANALYSIS OF CHALLENGES OF DUBBING 8.1 CULTURAL ELEMENTS………………………………………………… 57 iv 8.2 HUMOROUS ELEMENTS……………………………………………… 59 8.3 LINGUISTIC ELEMENTS………………………………………… …… 60 8.3.1 Wordplays………………………………………………… …… 62 8.3.2 Swear Words…………………………………… …… ………… 63 8.3.3 Dialects…………………………………… ……….……………… 64 8.3.4 Idiolects…… ………………………………….………………… 65 8.3.5 Songs…… ………………………………… …………………… 65 CONCLUSION………………………………………………………………… 69 REFERENCES………………………………………………………………… 72 ÖZET…… ……………………………………………………………………… 78 ABSTRACT…………… …………………………………………………… 79 CHAPTER I: INTRODUCTION 1.1 FILMS AND THEIR TRANSLATIONS Cinema, as an art form, has been in existence for more than a century It came into being in 1890s and in the next two decades it spread all over the world In a short time it developed into an industry, becoming a popular form of entertainment for audience throughout the world Film, as a medium, has been used for education and propaganda as well as for entertainment Today, audiovisual media take up too much of our time and there is a fundamental shift from written sources to visual ones As above-mentioned, films are a form of entertainment and the rise of standards of living has enabled people to allocate more time for entertainment Today, audiovisual media not only occupy every moment of our life but also shape it Thanks to audiovisual translation (AVT), cultures come closer and get to know each other, which may lead to overcome prejudice against different cultures However, film translations might be a danger for the target culture if the target culture is economically and politically less powerful than the source culture (Yücel, 2011) Films reflect the life style and culture of the countries in which they are made According to the studies conducted in the field of cultural studies, it has been put forward by (Tomlinson, 1991; Ryan, Ingram, & Musiol, 2010; Sardar & Van Loon, 1999) that less powerful target nations are exposed to being injected the culture and the life style of the more powerful source culture Dubbing method rather than subtitling makes this situation easier because performers in films speak the same language as the audience The audience see the performers in films as one of themselves, so they adopt the target culture readily In fact, films are a means for the first world to transfer their values and cultures to the third world Films have an effect on the way people talk and the way they dress We cannot think of film as just one film Films come with by-products, like toys or books, especially when they are for children So, films are complex phenomena with many aspects similar to other forms of visual arts 2    According to Delabastita (1989) film is a multi-channel and multi-code type of communication It is multi-channel because both the visual channel and the acoustic channel are simultaneously employed To put it simply, we watch (visual) and hear (acoustic) the film at the same time This is the way the film reaches us There is the multitude of codes that gives shape to any film as a meaningful sign and that enables the audience to make sense of it Codes in film consist of linguistic and paralinguistic subcodes which make the film meaningful We need these codes, linguistic and paralinguistic, to understand the film Linguistic codes are verbal ones Paralinguistic codes are tone of voice, expressions on face, actions, etc Delabastita emphasizes that channels should not be confused with the codes because the codes are used to produce the film’s actual meaning while the channels are the means by which the film message reaches its audience To sum up, AVT translators should take into account these codes and channels to make a good translation On a global basis, we cannot think of film translation and film industry separately Today, films are made to be shown not only at the national level but also at the global level So, film makers right from the beginning keep in mind that their potential audience is the whole world Film companies are aware of the fact that worldwide success of the film depends on the good translation of the film, so they attach great importance to it Moreover, film companies listen to the recording of the dubbing actor/actress to decide if s/he is suitable for the particular film actor/actress Thanks to globalization and developments and changes in technology, interest in AVT has increased in recent years and the field has moved a long way towards being a discipline in its own right within Translation Studies Scholars have primarily focused on its specificity, like what makes it different from other types of translation, and the constraints it brings up against translators 66    Source Language Target Language Hit it! Move ‘em on! Head ‘em up! Hadi Koşalım gidelim dörtnala hey Head ‘em up, move ‘em on! Head ‘em up! Koşalım gidelim dörtnala hey Rawhide! Move ‘em on! Gidelim koşalım dörtnala hey Head ‘em up! Koşalım gidelim dörtnala hey Move ‘em on! Move ‘em on! Koşalım gidelim dörtnala hey Head ‘em up! Rawhide! Koşalım gidelim dörtnala hey Ride ‘em up! Move ‘em on! Koşalım gidelim dörtnala hey Head ‘em up! Move ‘em on! Rawhide! Koşalım gidelim dörtnala hey Knock ‘em out! Pound ‘em dead! Yiii haaa Make ‘em tea! Buy ‘em drinks! Meet their mamas! Milk ‘em hard! Rawhide! Yee-haw! Instead of translating the song word for word, the translator has chosen to repeat the same translated line over and over as the context allows it Furthermore, type of shot of the scene allows the translator to translate the song freely The translator might have thought that faithful translation of the song does not make any sense for the Turkish audience so s/he might have adapted it After all, we can say rhythm and rhyme are retained but the content is lost Example After the argument between Shrek and King Harold, Fiona, sad, goes to her room She meets Fairy Godmother there Source Language Target Language Your fallen tears have called to me Ağlayan sesini duydum So, here comes my sweet remedy Ve hemen uỗup geldim I know what every princess needs Güzel prensese gerekenler For her to live life happily Fazlasıyla bir bende var 67    This is a melody especially written for the film so it is important to convey the meaning, i.e content, here Words of the song match the situation in which Fiona is In Turkish translation, content and rhythm are achieved but the rhyme is lost The important thing in this example is to convey the meaning because of the context Therefore, we can say that the translation is successful Example At the end of the film, Fairy Godmother sings a popular song called “Holding out for a hero” The song was originally recorded by Bonny Tyler, but in this film a version by Jennifer Saunders (Fairy Godmother) was featured Although it is a popular song, it’s been translated into the target language with a few adds and drops because it has been adapted to Turkish by a famous Turkish singer Ajda Pekkan as “O Benim Dünyam” Therefore, it is a well-known song by the Turkish audience but it is not Ajda Pekkan who sings the song in this film The last part of the song is absent in the Turkish arrangement by Ajda Pekkan, but the translator has translated that part too Although there is no content match in the translation because it is a total adaptation or arrangement, the content of the translated song is acceptable and appropriate to the context Source Language Target Language Where have all the good men gone Ne zaman gỹne aỗsa o gỹcỹme gỹỗ And where are all the gods? katar Where’s the street-wise Hercules Nefesiyle sözüyle canıma can katar To fight the rising odds? Isn’t there a white knight upon a fiery Ne zaman şimşek olsa ondan ödüm steed? kopar Late at night I toss and turn and I dream Bakışında nazarında o anda tüm of what I need kanım donar I need a hero O benim dünyam I’m holding out for a hero ‘til the end of Onunla nefes alan ve onunla yok olan 68    the night He’s gotta be strong Öylesine gỹỗlỹ And hes gotta be fast ệylesine gỹzel And hes gotta be fresh from the fight Öylesine benim olan I need a hero O benim dünyam I’m holding out for a hero ‘til the morning Onunla sevebilen onunla nefret eden light Hes gotta be sure ệylesine gỹỗlỹ And its gotta be soon Öylesine güzel And he’s gotta be larger than life Öylesine benim olan Somewhere after midnight Ne zaman bahar olsa iỗim iỗime In my wildest fantasy smaz Somewhere just beyond my reach Bir gülüşü ve öpüşü, böylesi bir aşk There’s someone reaching back for me olamaz Racing on the thunder and rising with the Ne zaman fırtınaysa karşı durulmaz heat It’s gonna take a superman to sweep me Delice öfkesinden tozum toprağım off my feet kalmaz Up where the mountains meet the heavens Kabaran sular göğe ulaşıyor above Out where the lightning splits the sea Yüksek dağlar bulutlara I would swear that there’s someone Ve oralarda bir yerde bekliyor somewhere watching me Through the wind and the chill and the Deli gibi yağmura rağmen rain And the storm and the flood Fırtınaya rağmen I can feel his approach Damarlarımda onu hissediyorum Like the fire in my blood CONCLUSION Cinema, one of the most common forms of entertainment today, occupies an important place in our life and affects the lives of people and cultures Cinema has grown into an enormous industry in a very short time and the USA has been a major player in movie industry Bassnett (1996) expresses that “globally, this is the age of mass communications, of multimedia experiences and a world where audiences demand the right to share the latest text, be it film, song, or book simultaneously across cultures” (pp 20-21) These media products come to our homes or movie theaters by means of translation It is a well-known fact that translation is not just a transfer between languages but between cultures Films reaching us through translation make intercultural interaction possible Translators play a vital role in this intercultural interaction They are key players that make the communication possible and also mediators between cultures One important limitation of the study is, as it has been mentioned before, that there is no strict and comprehensive theoretical framework to study audiovisual translations Considering that Shrek is an animated film and contains humorous, linguistic and cultural elements, it is best thought in this study that target-oriented approach and domestication approach would be appropriate for this specific film because the AVT translator would certainly create the same humorous, linguistic and cultural effect for the target audience Translators, especially audiovisual translators, are under some constraints before or during the translation process and there are some challenges that await them Both modes of AVT, dubbing and subtitling, have unique constraints and challenges For example, in dubbing lip-synchrony is an important constraint for the audiovisual translator In subtitling, place and time is another constraint because subtitles have to appear on screen within a specific place (two lines with maximum 70 characters including spaces) and time (maximum six seconds) From this point of view, the aim of the study is to present the constraints and challenges that the AVT translators face during the dubbing translation and their strategies to deal with them in special case of Shrek Shrek has been chosen 70    because it contains a large number of constraints and challenges like humorous, linguistic and cultural elements that will push the translator to find ways to deal with them It is also very popular with both children and adults and it is the most watched animated movie of all time To sum up the findings of the film, although there are some instances of lipsynch asynchrony, the fact that the film is animated makes the translator’s work easier since the lip movements in animated films are not very distinctive unless they are close-shot or move slowly Throughout the film, it can be said that the translator adopts a target-oriented approach or domestication The examples of this approach can be seen in semantic category too The translator has used some elements familiar to the target culture although they not exist in the original The film includes countless references to American popular culture many of which are visual As it has been previously put forward, AVT translators cannot change the visual aspect of films while they change the verbal one In this case, the understanding of these references depends on the audience’s general knowledge As for the verbal cultural elements which have no equivalence in the target culture, the translator has preferred to omit them completely The same applies for the humorous elements which mostly depend on the visual and graphical elements As for the linguistic elements, the most challenging ones, we can say that they are not rendered into the target language efficiently This is normal because of the syntax differences between English and Turkish Similarly, in wordplays same effect regrettably cannot be created because of the lexical characteristics of the languages Again, the translator has helplessly employed a standard variety of the target language no matter which accents or dialects are spoken in the source language Accordingly, the characters in the film lose their originality to a certain extent Information that is conveyed through the use of dialects or accents i.e the geographic origin or social class of a character, are lost in the dubbed version 71    To conclude, the translator has preferred a target-oriented approach to make the film closer to the audience by bringing the film to the audience rather than bringing the audience to the film Further, s/he has adopted the strategy of compensating for what is lost by adding extra humorous elements which are nonexistent in the original The contribution of the research to the existing literature could be said to be twofold One, it is the first-ever study of this kind in Turkey; the other, this study will encourage other people interested in this field to conduct further studies in the future to develop a comprehensive and sound-based theoretical frame for AVT This study is based on translation problems only in dubbing, however, future researchers might research translation problems in subtitling, the other mode of audiovisual translation They will definitely find more material on subtitling than dubbing because more research on subtitling has been done than dubbing in the field of AVT 72 REFERENCES Akỗura, G (2006) Bir zamanlar dublaj Retrieved from http://www.sesturk.com/birzamanlardublaj.php Aksoy, B (2000) 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