Abstract
Pivot translations are very often used in film festivals, but have been granted little consideration from an academic viewpoint. This article analyses the role of pivot languages in audiovisual translation within the framework of Asian film festivals held in Catalonia. There are three aims of this paper: (i) to examine to what extent pivot translations are part of the translation process in films screened in such festivals, (ii) to determine the justifications for their use, and (iii) to analyse the effects of their use from a qualitative perspective. In order to do so, the answers from a questionnaire distributed among the most relevant agents in Asian film festivals in Catalonia will be analysed. Additionally, the Chinese film Old Stone by Johnny Ma that has been translated into and subtitled in Catalan through English as its pivot language, will be presented as a case study. Lay abstract The use of a third language or pivot translation is widespread in film festivals, although very few studies focus on this practice, which usually remains unnoticed by the average spectator. This article seeks to examine just how common this phenomenon is in film festivals and to analyse its impact with a case study, taking the Chinese film Old Stone by Johnny Ma and its translation into Catalan as an example. More precisely, the article aims to answer two questions regarding the use of pivot languages in audiovisual translation. Firstly, to what extent and for what exact purpose are pivot translations currently being used in Asian film festivals in Catalonia? Secondly, how does using a pivot language, in our case English, affect quality?
Highlights
Theatre film screening is currently giving rise to a paradox: a great number of movie theatres are closing down because they are unable to compete with multiplex cinemas targeted at general audiences, whereas film festivals that focus on specific topics or are devoted to specific regions of the world are thriving
According to Casas-Tost (2018), Casas-Tost & Rovira-Esteva (2019), and the latest data published in the online database on Chinese cinema in Spain (Casas-Tost et al, 2019–2020),1 film festivals are the main vehicle for the introduction of Chinese cinema2 in Spain, with more than half of all Chinese films arriving through festivals and film seasons, as opposed to the less than 30% that reach movie theatres
Despite them being few in number, the inclusion in our survey of all Catalonia’s film festivals and organisations exclusively devoted to Asian or even Chinese cinema guarantees a certain degree of representativeness as regards the translation of Chinese films in this particular context, as they cover the great majority of Chinese films shown in the region
Summary
Theatre film screening is currently giving rise to a paradox: a great number of movie theatres are closing down because they are unable to compete with multiplex cinemas targeted at general audiences, whereas film festivals that focus on specific topics or are devoted to specific regions of the world are thriving. In order to answer the first question, shed light on the nature of Asian film festivals in Catalonia, and determine the translation process of the films they screen, an online questionnaire has been designed and sent to the directors and organisers of all such festivals in the region. Journal of Audiovisual Translation, Volume 4, issue 1 a case study We have chosen this film because it underwent the usual translation process followed by such film festivals, based on the answers to our questionnaire, and because the festival organisers granted us access to all the materials involved. It should be noted that this case study is relevant to other festivals that translate such films into Spanish in Catalonia or even other regions of Spain, as, according to the questionnaire, they follow the same translation process, or screen films that have already been translated and shown in other festivals or venues in Spain
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