tion, translation), aptitude to puns, search for internationally clear vocabulary. When employing voice-over, synchrony and isochrony of various types are essential. When subtitling, multilingualism is preserved by keeping the original soundtrack, and different languages may be highlighted by employing subtitles of different types (differentiating by font, colour, etc.). When dubbing, the film is adapted to the language and culture of translation while eliminating multilingualism. In the context of audio-visual translation, the multilingual film is prominently challenging. Since the 1990s, the multilingual film has been employed to draw attention to the issues of migration and diasporas. The multilingual film was developed in the 1930s, after the completion of the epoch of silent film. In this case, the concept of the genre is heavily debatable. On the other hand, a question may be raised whether the creator of a film deliberately selects the tradition of multilingualism, whether a multilingual film is consciously intended. It is also denoted by reiterating combinations of actions and character constellations, specific patterns (odyssey, integration, translation), aptitude to puns, search for internationally clear vocabulary. ![]() In this sense, the multilingual film is a formal genre similar to, e.g., the musical where instead of a combination of movement and singing a combination of several languages prevails. The definition of this type of film is based on the use of several different languages and their “collision” in a feature film. It is also denoted by reiterating combinations of actions and character constellations, specific patterns (odyssey, integraa The present article investigates the most topical issues of the genre and translation of the multilingual film (also referred to as “polyglot film”). In this sense, the multilingual film is a formal genre similar to, e.g., the musical, where, instead of a combination of movement and singing, a combination of several languages prevails. The definition of this type of film is based on the use of several different languages and their ‘collision’ in a feature film. The present article investigates the most topical issues of the genre and translation of the multilingual film (also referred to as „polyglot film“). The study demonstrates that documentary voice-over translation techniques, particularly the synchronization principles, are frequently followed on Iran’s television, although with slight modifications they would even improve more. The results revealed that, in practice, voice-over narrators adhered strongly to synchronization techniques in most segments of the selected documentary. ![]() For this purpose, a documentary was selected and analyzed based on framework triangulated by the researchers. The present study investigated documentary voice-over on Iran’s national television from an isochrony perspective seeking to examine to what extent the international isochrony standards are followed and where the Iranian voice-over profession stands. Voice-over is widely used in the translation of documentaries in many countries including Iran. The technical factor of synchrony (adapting the length of the soundtrack, matching the original and target soundtracks, the soundtrack and visuals, and the soundtrack and body movements) raises the quality of voiced-over products. The reason for the double-voice hearing is proof of the products’ authenticity and translators’ faithfulness to the target viewers. Voice-over is a mode of transfer in the audiovisual translation in which the original soundtrack is heard simultaneously in the background.
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