Abstract
Synchronization is one of the most important factors in dubbing. which is a fact established repeatedly by many different sources. Chaume(2004b) defined the boundaries of the subject and classified types of synchronization: phonetic or lip synchronization; isochrony or synchrony between utterances and pauses; and kinetic synchrony or body movement synchrony. This study aims to analyze the three types of synchronizations found in English-dubbed Korean films that were released in North America in a DVD format with dubbed soundtracks. The study shows that bilabial and labial consonants in original Korean dialogues were dealt with under careful scrutiny in dubbed versions when actors were shot in close-ups. The duration of the actors’ utterance, or isochrony, was strictly followed and sometimes “overly” observed to match the lips of actors on mute. Kinetic synchrony was more respected when actors were shown in full shot. Dubbing on mute was also found to coincide with actors’ body movement on screen. The examples of creative use of synchronizations and skillful addition on mute suggest that synchronization is not just a constraint that forces translators to put their skills to use, but an opportunity for translators to move away from literal translation and put forward creative alternatives.
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