Research paths in audiovisual translation: The case of dubbing

Abstract

Dubbing is one of the oldest modes of audiovisual translation (AVT). Its origins can be traced back to the late 1920s, with the need to transfer the new sound films to other languages and countries. Once multilingual movies had been abandoned because they were both too expensive and unpopular with foreign audiences who wanted to see the original actors and actresses on screen rather than their local counterparts, and once subtitling had fallen out of favour in some countries – due to factors like low literacy levels, linguistic chauvinism and reluctance to learn new languages in countries speaking major languages, together with a consolidated financial basis to meet the high costs of dubbing – sound engineers invented and improved a kind of revoicing known as dubbing. Although the first dubbings were technically poor and met with a very icy reception, dubbing voices – voice talents – gradually became more credible, lip-syncing came onto the scene and translators began to produce convincing scripts, ideally meeting all the demands of the different synchronization types, but still creating the illusion of original dialogues (for an extensive review of the history of dubbing and audiovisual translation see Izard 1992, 2001; Ivarsson 2002; Diaz Cintas 2003; Diaz Cintas and Remael 2007; and Chaume 2004a, 2010). Some 80 years later dubbing is more globally widespread than ever: cartoons for younger children are dubbed all over the world, even countries historically reluctant to dubbing like Portugal, Denmark and Norway (Tveit 2009) are beginning to dub some teen films (teen pics), while in Russia dubbing is trying to take the place once held by voice-over, South American and Turkish soap operas are also now dubbed in Greece and in the Maghreb. Moreover, dubbing also occurs in other complex audiovisual translation modes: in video game localization, especially in blockbusters, dialogues are usually dubbed; some commercials are dubbed even in traditional subtitling countries; ‘fandubbing’ is becoming internationally popular; DVDs may include dubbings into traditional subtitling languages, etc. It seems that in the new world of a la carte services, audiences can now actively choose their preferred audiovisual mode, product and platform at all times. This boom in AVT modes, platforms, electronic devices, new windows and new habitshas inevitably attracted the attention of researchers. New research has extended seminalstudies, making AVT research a leading field in translation studies – where literary translation once reigned. In what follows, both old and new research will be examined, together with the new promising paths that will be broadened and followed throughout the twenty-first century.