Abstract
Dubbing, also known as voice-overs, is the most common way of presenting the audience with the materials in a movie. As this process requires time, budget, and a team of translators, voice-overs, voice recorders, etc., producers sometimes tend to release the movies in other languages through subtitling. This is a rather easier procedure, presenting the audience with the written translated text of the material being spoken and happening in a movie. Several movies are then being processed through these common procedures in different countries. However, the question still remains as to what strategies make up the most important issues in movie translation. Explicitation vs. implicitation, domestication vs. foreignization, etc., are just some of these strategies. In this regard, many models have been presented by translation theorists (e.g., Klaudy 2008, Venuti 20004, Larson 1998, etc.). In line, the present study tended to investigate the explicitation strategies pointed out by Klaudy (2008) while dealing with the act of dubbing on the one hand, and subtitling on the other. In this regard, Harry Potter and the Philosopher's Stone was selected as the corpus of the study. Using Klaudy's (ibid.) model of translation explicitation, the cases were detected and further placed within the corresponding categories. Having a frequency analysis on the collected data, the results revealed statistically significant differences among the frequencies of the strategies in the dubbed and subtitled versions of the movie. The results also revealed that 'obligatory explicitation' was the most frequent strategy used in both versions by Iranian translators.
Highlights
With the growing pace of technology, a great deal of information is being presented to the audience each and every day
One of the most common ways to such distribution is through audio-visual (AV) means
Many of the studies done on subtitling and dubbing focused on translation strategies used in these processes and the frequency and adequacy of each strategy
Summary
With the growing pace of technology, a great deal of information is being presented to the audience each and every day. As De Linde and kay (1999) believe, this is not a linguistic process 45) argue that these processes are “influenced by the material structure of a program and the semiotic relations operating between text and image, which must be processed by viewers.”. This is to support Gambier (1996), coining the term ‘audio-visual language transfer’ due to the interdependency of linguistic and visual information in order to describe any practice involving the transfer of linguistic content within an AV context. In De Linde and Kay’s (1996, p.46) definition, subtitling “supplements the dialogue of a film with written captions, while dubbing entirely substitutes an original dialogue with a phonetically-tuned synchronous oral translation.”. In De Linde and Kay’s (1996, p.46) definition, subtitling “supplements the dialogue of a film with written captions, while dubbing entirely substitutes an original dialogue with a phonetically-tuned synchronous oral translation.” According to Gambier (1996, p. 9), these two common procedures of AV language transfer have some sub-categories, presented as follows: Simultaneous subtitling (for live interviews and news broadcasts, etc.)
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