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Abstract

Audiovisual translation (AVT), also known as multimedia versioning or multimedia translation (Gambier, 2008, p.25), encompasses various practices including audio description for the visually impaired, subtitles for the hard of hearing, dubbing and voice-over for foreign audiences, and subtitles for foreign audiences. While the former two are known as “intralingual” translation whereby a change of semiotic medium occurs within the same language, the latter three practices are “interlingual” (Díaz Cintas, 2008, p.6) and follow the more common source language (SL) to target language (TL) transfer between the source (ST) and target text (TT), albeit diagonally (Gottlieb, 1994, as cited in Gambier, 2008, p.16) in subtitling due to a shift in medium from spoken to written language. In terms of AVT for foreign television and cinema, countries around the world have traditionally been split down a line of preference for either subtitling or dubbing, depending on a combination of ideological, cultural, social, and educational reasons. Focussing on Europe, although examples of all types of AVT can be found throughout, subtitling is now the preferred practice, except for in France, Italy, Germany, Spain (Dwyer, 2017, p.39) and other countries which share their languages such as Austria, Switzerland, Luxembourg, and Francophone Belgium. This is backed up by a study published by the European Commission (2011) which emphasises the fact that the United Kingdom is indeed a subtitling-dominant country, albeit less visibly (p.6) due to the fact that a smaller percentage of films shown in the UK require translation at all due to historic Anglophone cinema dominance.

Course: Translation Studies (DL) - MA - C2114P

Date Deposited: 2022-08-15

URI/permalink: https://www.library.port.ac.uk/dissert/dis13990.html