Audiovisual Translation

The Face-to-face Course Guidelines ”Tools and Strategies for Supporting the Adaptation to E-Learning in HE Sector - YES4eLearning” together with the course curriculum elaborated within the same project are innovative tools for the higher education sector aiming to improve the knowledge, skills, attitudes and competences of HE academics, teachers and workers related to online social presence components and to raise their involvement in order to compensate for the lack of physical presence in online spaces. The final purpose of the the course is of increasing the quality of online courses, preventing training drop-out and increasing students’ motivation.
The course was designed in distinct sections that can be delivered as stand-alone workshops. There are five sections:
Module 1: Affective participation introduces expressing emotions, showing confidence, humour and self-disclosure.
Module 2: Community cohesion teaches about feeling the membership, online resource sharing.
Module 3: Involvement of the trainer offers information about providing examples, giving immediate feedback to the students during the online courses.
Module 4: Intensity of the interaction informs about the presence of thanks, providing encouragement, appreciation, approval, compliments during the online teaching.
Module 5: Knowledge and experience teach about mutual sharing of experience, knowledge and expertise during the online interaction.

This paper presents the methodological framework for the ABC Stereo project. The aim of the project is to analyse the use of real-time captioning to facilitate communication by healthcare professionals with hearing-impaired patients, with foreigners and in situations where hearing barriers are present. The project contributes to enriching the body of research on real-time subtitling and doctor-patient communication. It also aims to experiment with and improve on existing technologies. The article begins by examining the difficulties involved in health professional-patient communication, while section 2 summarises the existing literature, section 3 presents real-time subtitling and the main technologies available, section 4 sets out the project aims and methodology and section 5 suggests the possible implications of the study.

El videojuego chino Black Myth: Wukong desde su lanzamiento ha ganado gran popularidad a nivel mundial. Este estudio se propone examinar la traducción al español de los nombres de monstruos y demonios en el juego. Mediante un análisis cualitativo y cuantitativo de un corpus paralelo de 171 nombres, se identificaron y categorizaron las técnicas de traducción utilizadas. Los resultados revelan una preferencia por la extranjerización, con la traducción semántica como técnica predominante (60% de los casos), mientras que la transcreación fue la menos empleada. Esta tendencia contrasta con la inclinación habitual hacia la domesticación en la localización de videojuegos. El estudio también identifica desafíos en el proceso de localización, incluyendo restricciones temporales y posibles deficiencias en el control de calidad. Se concluye que, aunque la localización logra en gran medida preservar elementos culturales chinos, existen áreas de mejora en la precisión y contextualización de las traducciones. Esta investigación contribuye al entendimiento de las prácticas de localización de videojuegos chinos para audiencias occidentales y plantea cuestiones sobre el equilibrio entre fidelidad cultural y accesibilidad en la traducción de productos culturales.

This essay examines the role of, what we termed, English-Centred Pivot Subtitling (ECPS) within contemporary streaming culture and argues that its significance extends beyond industrial efficiency. While English intermediary subtitle templates have helped expand global access to non-English film and television, they have also positioned English at the centre of contemporary translation networks. Drawing upon translation studies, postcolonial theory, and cultural studies, the essay explores how English hyper-centrality shapes the circulation, interpretation, and visibility of global media. Through analysing the cultural and linguistic consequences of pivot subtitling, it argues that ECPS risks reinforcing existing hierarchies of linguistic power and reproducing forms of epistemic and digital neocolonialism beneath the appearance of global accessibility and cultural diversity.

yılları arasında Türk televizyonlarında yayınlanan ve başrolünde Haluk Bilginer'in (İhsan Yıldırım) yer aldığı Tatlı Hayat dizisinin sosyolojik, psikolojik ve kültürel altyapısını derinlemesine incelemektedir. Amerikan yapımı The Jeffersons formatının yerli bir uyarlaması olan eser, salt bir komedi olmanın ötesine geçerek Türk toplumunun sınıfsal dinamiklerini, "yeni zengin" (nouveau riche) kavramını ve merkez-çevre çatışmasını özgün bir dille ekranlara taşımıştır. Çalışmada, İhsan Yıldırım karakteri üzerinden dizinin taşıdığı varoluşsal yaşam felsefesi, toplumda yarattığı umut duygusu, verdiği evrensel ve yerel mesajlar incelenmektedir. Özellikle dizinin didaktik olmaktan uzak, zorlamasız ve doğal üslubu (gündelik tabirle yapaylığa düşmemesi) ve insan doğasını kusurlarıyla kucaklayan samimiyeti mercek altına alınmıştır.

Idiosyncrasy denotes a peculiar or unusual characteristic or mannerism that is unique to an individual or a group. Diverse works from a sociological and cultural point of view have been conducted on Kèlání’s films but they have not been seen from the stylistic point of view. This study examines style and idiosyncratic ability in Túndé Kèlání’s movies viewing them as idiosyncratic uniqueness. We critically explore three of Túndé Kèlání’s movies, Dazzling Mirage, White Handkerchief and The Narrow Path, which constitute our source of data for this paper. The selected films are subjected to tenets from Wilson and Sperber’s (1986) Relevance Theory. It was understood from the study that, cultural renaissance and globalisation of Yorùbá culture, mass awareness and conservationism vs progressivism are the cogent styles that distinguish this director from other film makers. He hardly embarks on movies without the traits of public awareness and sensitisation as central focal points. This study recommends juxtaposition of more of Kèlání’s traits and styles with other African film writers so as to ensure that society as well as individual are sensitised better while being entertained by the movies. It is also established in this study that style goes beyond examining the phono-aesthetic or photo-aesthetic tropes

Throughout this essay the differences between the English subbed (“words shown at the bottom of a film or television picture to show what is being said, or to translate it into a different language” (Cambridge Dictionary, 2026)) and English dubbed (“to change the sounds and speech on a film or television programme, especially to a different language” (Cambridge Dictionary, 2026)) versions of One Piece (1999- ) will be explored via semantic (“connected with the meanings of words” (Cambridge Dictionary, 2026)) and pragmatic (“the ways in which context influences the
interpretation of meaning in language” (Ruzibaeva, 2022, p.1)) analysis. Comparing and contrasting the differing translations where the fundamental meaning changes between each version will be the main focus of this essay. However, this essay will begin by analysing the differences within the show's opening theme and will therefore also include a small amount of musical analysis. Due to time and language limitations, the original Japanese audio will not be manually translated and therefore will not be used as part of this essay. Furthermore, only one episode of the show will be analysed due to these same constraints; which will be Hiruruku no sakura to uketsugareyuku ishi ヒルルクの桜と受け継がれゆく意志  (‘Hiriluk’s Cherry Blossoms and the Will That Gets Carried On’).

https://publications-prairial.fr/encounters-in-translation/index.php?id=1637
This article discusses the role of actress and playwright Franca Rame (1929-2013) in the international success of her creative partnership with Dario Fo, particularly when it comes to on- and off-stage translations of their theatrical production. Despite recent scholarly publications on the artistic legacy of the couple, the details of how Rame and Fo’s works were translated and received outside Italy have so far remained underexamined. The article argues that Rame and Fo’s performances abroad were key to their international success, focusing in particular on their American tour of 1986. It demonstrates that Rame, often overshadowed by Fo, was the true agent of translation of the couple’s works. The discussion also brings forward Rame’s pioneering use of theatre surtitles, through the analysis of archived documents and tapes, opening to new avenues of research on Rame’s own career as a translation practitioner. Rame’s translation techniques and tendencies will be exemplified, comparing her on-stage strategies to selected instances from the published translation of her and Fo’s works.

Le linee di fuga di Attivissimo nella materia dei segni-Utsanga utsanga.it/aprile-le-linee-di-fuga-di-attivissimo-nella-materia-dei-segni Le linee di fuga di Attivissimo nella materia dei segni by Francesco Aprile Una forma di lotta? Una via di fuga? Un territorio sgranato dai segni dell'inquietudine? Il segno di Giuseppe Siniscalchi, artista crotonese in arte "Attivissimo", domina la formazione di uno spazio lirico-drammatico, ci ricorda Angelo Ferragina in un testo del 1980 che introduceva una mostra dell'artista, che fa del colore furia e incisività, che indaga il primitivo senza farne riproposta, valorizzandolo in una condensazione di linee di fuga, volte a una lettura del proprio tempo in forma di colloquio costante con la materia dell'opera e del suo sentire. Nel Settantasei, sulla rivista "Le Arti", Gino Grassi scriveva: "Attivissimo è un autentico talento incompreso. Ce lo presenta Gaetano Ganzerli, su proposta di Enrico Bugli. Il quale, nella sua veste di docente dell'Accademia di Belle Arti di Catanzaro, ha scoperto questo singolarissimo giovane artista. […] Un autodidatta nel senso più alto della parola, il quale, dopo aver iniziato i regolari corsi, intraprende operazioni linguistiche di alto livello e si prende il lusso di giungere ad una decodificazione degli alfabeti pittorici più storicizzati in funzione di nuovi personalissimi codici espressivi". In Attivissimo le ripetizioni dei segni, sia che incidano la superficie o la caratterizzino per pennellate dense, possenti o minime e rapide, si mettono in gioco in forma di proliferazione, dove il "gioco" della furia, dell'incedere forsennato quasi si dissolve nella metrica dell'abbondanza, di una intensità asignificante, asemica che forgia ancora i segni in termini di ritmo, quasi di suono, di spazio deterritorializzato dove la pittura cessa di essere tale per darsi come esistenza, materia viva, attiva in quanto

Into the second decade of the 21st century, global media distribution is increasingly defined by platforms. This dissertation examines media localization by looking at three distinct production contexts, and analyses the social role that localizers play in promoting global media content. The localization of global media involves interactions among three key social actors: media companies, exemplified by platforms; governments, represented by policymakers; and finally, the focus of this dissertation, localizers, who function as conduits for channeling content to the general public. Employing a blend of ethnography, interviews, and cultural policy analysis, this study seeks to provide a thicker description of how localizers create a sense of locality, and how they perceive their own roles within broader systems of media circulation.

Each of the three case studies presented in this dissertation represents a distinct subculture within media production. The Quebec dubbing industry and its politics of nation and dialect provides a starting point, as a traditional example of localization. Here, dubbers not only provide translation services but also position themselves as uniquely attuned to the sensitivities of local populations. I then follow with an examination of Indigenous mainstream media producers, and their attempts to broaden their reach to global viewers by “internationalizing” their content. This process is similar to the idea of localization because it also requires careful adaptation of content for its desired audience. The third case study is of fan translators and anime commentators, whose work facilitates the adoption of global anime into local contexts by providing customized promotion. The towering presences of platforms and cultural policies are never too far from the discussion, modulating in powerful ways the work and professional aims of each of these groups.

Through these snapshots, the aim of the dissertation is to highlight the role of localization and its practitioners in creating a sense of the “local” in mediascapes defined by free and unrestricted flows of information.

This article focuses on the well-known opposition in translation: gain vs. loss. The starting point is the comparison of two Romanian translations of the same American novel: J. D. Salinger’s “The Catcher in the Rye.” The reason for choosing these particular cases of translation and re-translation is represented by the extensive use of euphemisms in the Romanian translation to avoid the explicit use of taboo words as written by Salinger. I have also mentioned the issue of infidelity in translation. An important aim of this article was the focus on the problem of the translator’s visibility or invisibility in the target text (TT). The translator’s visibility refers to his / her presence in the TT through notes, footnotes or comments in brackets. To support this idea I have provided some examples in point referring to the use of “explanatory circumlocutions” or footnotes in the first Romanian version of Salinger’s novel, representing the lack of transparency in this version. Neverthel...

This paper discusses, from a qualitative and quantitative corpus-based perspective, the features and challenges in comparable terminology in the field of migration in Arabic, Italian, and English. More specifically, it examines terminology related to the migration process, migration agents and socially related issues such as marriage and adoption, taking into account linguistic, social, and cultural obstacles in identifying suitable translation candidates when applying European law to languages that do not share similar juridical frameworks and social practices. The aim of the paper is to identify common linguistic issues and their root causes and to present best practices for adequately covering of this terminological area.

The paper will delve into the significance of audio description as a powerful tool for
enhancing translation competences. The framework for translator and translation
competence, initially released by the European Master's in Translation (EMT) network
in 2009, underwent significant revisions in 2017 and 2022. It has since evolved into
a prominent benchmark for translator education across the European Union and
globally, influencing both academic institutions and professional sectors. It defines
five main areas of competence: language and culture, translation, technology,
personal and interpersonal, and service provision. In Latvia, there are approximately
20,000 individuals with vision impairment and blindness.
The visually impaired and blind community faces barriers to integration into society.
Fortunately, a solution has emerged in the form of audio description, a practice that
has been available globally for several decades. This transformative approach makes
films, pictures, TV series, performances, football matches accessible to those with
visual impairments. Across the Baltic region, initiatives have been undertaken to
incorporate audio description, reflecting a commitment to inclusivity. In Lithuania, the
first film with audio description was created in 2017. Estonia demonstrated its
dedication to accessibility in 2019. Latvia, joined this movement in 2022 with the
production of the first Latvian film featuring audio description, "Māsas" by Linda Olte.
In the same year the students of Baltic International Academy (Riga, Latvia)
audiodescribed a French silent film A Trip to the Moon directed by Georges Méliès.
In 2021, Baltic International Academy embarked on a groundbreaking initiative in
Latvia by introducing a new course centred around media accessibility. This
innovative course is meticulously designed to empower students with the requisite
expertise and acumen to actively participate in the realm of translation and
interpreting, with heightened emphasis on the sphere of media accessibility. The core
objective is to facilitate the adaptation of diverse media forms, including art exhibitions
and films, to cater to individuals with visual impairments. Central to this agenda is the
integration of audio description techniques, which play a pivotal role in enhancing
accessibility and fostering inclusivity. Through a strategic timeline spanning from
2021 to 2024, the rollout of five distinct audio description projects signifies a
concerted effort towards addressing the unique needs of individuals with visual
impairments and augmenting their engagement with various forms of media. In
summary, working on audio description projects provides students with a multifaceted
learning experience that goes beyond traditional translation tasks. It aligns with
various competences, offering valuable insights into service provision, interpersonal
dynamics, technological applications, translation strategies, and cultural awareness
within the context of accessibility.