Table Of ContentNew Trends in Translation Studies New Trends in Translation Studies
Vol. 16
Research on dubbing in audiovisual productions has been prolific in the
past few decades, which has helped to expand our understanding of the
history and impact of dubbing worldwide. Much of this work, however,
has been concerned with the linguistic aspects of audiovisual produc-
tions, whereas studies emphasizing the importance of visual and acoustic B
o
dimensions are few and far between.
s Dubbing, Film and
s
e
a
Against this background, Dubbing, Film and Performance attempts to fill u
x
a gap in Audiovisual Translation (AVT) research by investigating dubbing Performance
•
from the point of view of film and sound studies. The author argues that
dubbing ought to be viewed and analysed holistically in terms of its visual, D
u
acoustic and linguistic composition. The ultimate goal is to raise further b
b
awareness of the changes dubbing brings about by showing its impact
i
n
on characterization. To this end, a tripartite model has been devised to g
, Uncanny Encounters
investigate how visual, aural and linguistic elements combine to construct F
i
l
characters and their performance in the original productions and how m
these are deconstructed and reconstructed in translation through dub- a
n
bing. To test the model, the author analyses extracts of the US television d
series Buffy the Vampire Slayer and its French dubbed version. P
e
r
f Charlotte Bosseaux
o
r
m
Charlotte Bosseaux is Senior Lecturer in Translation Studies at the
a
n
University of Edinburgh. She is the author of How Does it Feel: Point of
c
e
View in Translation (2007). Her current research focus is performance
and characterization in audiovisual productions and her publications
include work on Marilyn Monroe, and Spike and Buffy from Buffy the
Vampire Slayer.
ISBN 978-3-0343-0235-7
Peter Lang
www.peterlang.com
New Trends in Translation Studies New Trends in Translation Studies
Vol. 16
Research on dubbing in audiovisual productions has been prolific in the
past few decades, which has helped to expand our understanding of the
history and impact of dubbing worldwide. Much of this work, however,
has been concerned with the linguistic aspects of audiovisual produc-
tions, whereas studies emphasizing the importance of visual and acoustic B
o
dimensions are few and far between.
s Dubbing, Film and
s
e
a
Against this background, Dubbing, Film and Performance attempts to fill u
x
a gap in Audiovisual Translation (AVT) research by investigating dubbing Performance
•
from the point of view of film and sound studies. The author argues that
dubbing ought to be viewed and analysed holistically in terms of its visual, D
u
acoustic and linguistic composition. The ultimate goal is to raise further b
b
awareness of the changes dubbing brings about by showing its impact
i
n
on characterization. To this end, a tripartite model has been devised to g
, Uncanny Encounters
investigate how visual, aural and linguistic elements combine to construct F
i
l
characters and their performance in the original productions and how m
these are deconstructed and reconstructed in translation through dub- a
n
bing. To test the model, the author analyses extracts of the US television d
series Buffy the Vampire Slayer and its French dubbed version. P
e
r
f Charlotte Bosseaux
o
r
m
Charlotte Bosseaux is Senior Lecturer in Translation Studies at the
a
n
University of Edinburgh. She is the author of How Does it Feel: Point of
c
e
View in Translation (2007). Her current research focus is performance
and characterization in audiovisual productions and her publications
include work on Marilyn Monroe, and Spike and Buffy from Buffy the
Vampire Slayer.
Peter Lang
www.peterlang.com
Dubbing, Film and
Performance
New Trends in Translation Studies
Volume 16
Series Editor:
Professor Jorge Díaz Cintas
Advisory Board:
Professor Susan Bassnett
Dr Lynne Bowker
Professor Frederic Chaume
Professor Aline Remael
PETER LANG
Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien
Dubbing, Film and
Performance
Uncanny Encounters
Charlotte Bosseaux
PETER LANG
Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien
Bibliographic information published by Die Deutsche Nationalbibliothek.
Die Deutsche Nationalbibliothek lists this publication in the Deutsche National-
bibliografie; detailed bibliographic data is available on the Internet at
http://dnb.d-nb.de.
A catalogue record for this book is available from the British Library.
Library of Congress Control Number: 2015939713
ISSN 1664-249X
ISBN 978-3-0343-0235-7 (print)
ISBN 978-3-0353-0737-5 (eBook)
© Peter Lang AG, International Academic Publishers, Bern 2015
Hochfeldstrasse 32, CH-3012 Bern, Switzerland
[email protected], www.peterlang.com, www.peterlang.net
All rights reserved.
All parts of this publication are protected by copyright.
Any utilisation outside the strict limits of the copyright law, without
the permission of the publisher, is forbidden and liable to prosecution.
This applies in particular to reproductions, translations, microfilming,
and storage and processing in electronic retrieval systems.
This publication has been peer reviewed.
Contents
Acknowledgements vii
Introduction 1
Chapter 1
Understanding audiovisual material:
A multi-layered meaning process 7
Chapter 2
Performance and characterization 25
Chapter 3
Dubbing 55
Chapter 4
The model 85
Chapter 5
Buffy the Vampire Slayer 135
Chapter 6
Uncanny encounters: A multimodal analysis 155
Conclusion
Where do we go from here? 211
Bibliography 221
Index 237
Acknowledgements
This book is the fruit of many years of research and I would not have been
able to write it without the input of a great many people.
I would like to thank my Translation Studies colleagues and friends,
particularly my ‘AVT chums’, Jorge Díaz-Cintas, Frederic Chaume and
Pablo Romero-Fresco, who have provided feedback, guidance, ideas and
support along the way. I would also like to thank my Edinburgh colleagues
Sebnem Susam-Saraeva and Hephzibah Israel for their continuing support.
I am also thankful to my Film Studies and Music Studies colleagues
and friends, especially Martine Beugnet, Mark Cousins, Helen Julia Minors
and Sarah Artt, for giving me advice when I did not know where to start
when embarking on this journey and for providing feedback at various
points of my research.
I also would like to thank everyone who had something to say about
my topic when it was developing in mysterious ways: friends, students,
Translation Studies and Film Studies conference-goers, editors, review-
ers and random people I met on the train, bus, boat or plane who did not
know what they were letting themselves in for when they asked me what
my job was!
Thanks also to the staff at Peter Lang and the anonymous reader for
her or his positive response and constructive feedback.
Many thanks also to Conor O’Loughlin for his careful proofreading
and indexing of the book.
Thanks also to the Carnegie for funding part of the publication cost
of this book and to the University of Edinburgh for a grant towards the
proofreading and editing cost.
Many thanks to Daniel Chandler for granting me permission to repro-
duce images published on his website (reproduced here as Figures 1, 2 and 3).
My special thanks also go to my sangha and amazing friends, particu-
larly Steve Earl, Sharon Deane-Cox, Zhu Zhu and Geoffrey Baines; your
viii Acknowledgements
friendship, time, positive energy and enthusiasm really made a difference
at times when I was wondering why I was doing all of this, so thank you
once again. I also would like to thank Coll Hutchinson for his valuable
reading recommendations and Véronique Desnain and Sarah Artt for
watching Buffy with me and discussing her awesomeness for many hours.
And finally, I would like to thank my family for their ongoing sup-
port and love, particularly my grandmother and my parents; without you,
I would never have been able to write any of this. This book is dedicated
to you.
