Pluricentric dubbing in French and Spanish: the translation of linguistic variation and prefabricated orality in films
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Document Type
Document Version
Author
Director
Alsina i Keith, Victòria
Brumme, Jenny
Reinke, Kristin
Brumme, Jenny
Reinke, Kristin
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Publication Date
Pages
404 p.
Embargo date
Citation
Trencia, P. Pluricentric dubbing in French and Spanish: the translation of linguistic variation and prefabricated orality in films. Universitat Pompeu Fabra; 2019. handle: http://hdl.handle.net/10803/668119
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Citation
Doctoral program
Programa de doctorat en Traducció i Ciències del Llenguatge
Abstract
El present estudi examina com es tradueix el discurs fílmic, especialment els elements marcadors de la variació lingüística, al francès i al castellà, dues llengües pluricèntriques, és a dir, llengües que tenen més d’un centre normatiu. El fet que diverses nacions adoptin mesures per promoure la indústria nacional del doblatge, en general per motius econòmics i culturals, en ocasions porta a duplicar les varietats de doblatge. Per tant, una qüestió clau és saber com es comparen aquestes versions doblades i com aconsegueixen transmetre la variació lingüística i la oralitat prefabricada a través de les seves respectives traduccions. L’objectiu d’aquesta investigació consisteix a examinar quines són les principals diferències i similituds entre el discurs fílmic doblat de Quebec i de França (per al francés) i d’Espanya i Amèrica Llatina (per a l’espanyol), sobre la base d’un estudi de la pel·lícula Death Proof (2007) de Quentin Tarantino. Aquesta pel·lícula va ser seleccionada pel seu alt nivell de variació lingüística i la importància que Tarantino dóna a la llengua (no estàndard) de les seves pel·lícules. Al Quebec, el principal motiu adduït per produir la seva pròpia versió doblada és escoltar la seva varietat francesa a la pantalla. Així, es podria suposar que les versions doblades a Quebec presenten característiques típiques del francès del Quebec. No obstant això, les investigacions anteriors sobre el tema mostren que al Quebec s’utilitza una varietat sense variació lingüística anomenada francès internacional, similar a l’espanyol neutre de la indústria del doblatge d’Amèrica Llatina. Vaig descobrir que la versió del Quebec presentava elements propis de la varietat del francès del França, que suggereixen la influència dels estàndards exògens. En aquesta investigació, vaig exainar aspectes claus del discurs de la pel·lícula doblada. Mentre que la majoria de versions doblades van transmetre una certa immediatesa comunicativa, els resultats de la versió llatinoamericana contrastaven amb els altres amb el seu alt nivell de distància comunicativa. A més, vaig descobrir que la majoria de versions doblades mostraven una orientació més aviat cap a la cultura font, incloent la versió de França, que ha estat qualificada de tenir tendències més domesticadores. En general, aquesta anàlisi em va ajudar a fer un retrat de les tradicions i pràctiques de traducció audiovisual en aquestes comunitats de parla.
The present study examines how filmic speech, especially the elements bearing marks of linguistic variation, are translated into French and Spanish, two pluricentric languages, that is, languages which have more than one normative centres. A number of nations adopt measures promoting their own national dubbing industry, usually for economic and cultural reasons, occasionally leading to more than one dubbed version for a same language. A key question, therefore, is to know how these dubbed versions compare to one another and how they manage to transmit linguistic variation and prefabricated orality through their respective translations. The purpose of this research is to examine the main differences and similarities between dubbed filmic speech from Quebec and France, and from Spain and Latin America, on the basis of a case study of Quentin Tarantino’s Death Proof (2007). This movie was selected for its high level of linguistic variation and the importance Tarantino gives to (non-standard) language in his films. In Quebec, the main reason evoked for producing its own dubbed version is to hear its French variety on screen. Thus, one could assume that the versions dubbed in Quebec feature characteristics typical of Quebec French. However, previous research addressing the topic showed that a variety supposedly free of linguistic variation, called ‘International French’ was used instead, not unlike the ‘Neutral Spanish’ known in the Latin American dubbing industry. I found out that the Quebec French version actually featured elements typical of the Franco-French variety, which suggest the influence of exogenous standards. In this investigation, I also examined key aspects of dubbed film speech. While most dubbed versions conveyed more or less communicative immediacy, results for the Latin American version contrasted with the others with its high level of communicative distance. Furthermore, I discovered that most dubbed versions displayed an orientation rather towards the source culture, including the Franco-French version, which has been qualified as having more domesticating tendencies. Overall, this analysis helped me draw an accurate portrait of the AVT traditions and practices in these speech communities.
The present study examines how filmic speech, especially the elements bearing marks of linguistic variation, are translated into French and Spanish, two pluricentric languages, that is, languages which have more than one normative centres. A number of nations adopt measures promoting their own national dubbing industry, usually for economic and cultural reasons, occasionally leading to more than one dubbed version for a same language. A key question, therefore, is to know how these dubbed versions compare to one another and how they manage to transmit linguistic variation and prefabricated orality through their respective translations. The purpose of this research is to examine the main differences and similarities between dubbed filmic speech from Quebec and France, and from Spain and Latin America, on the basis of a case study of Quentin Tarantino’s Death Proof (2007). This movie was selected for its high level of linguistic variation and the importance Tarantino gives to (non-standard) language in his films. In Quebec, the main reason evoked for producing its own dubbed version is to hear its French variety on screen. Thus, one could assume that the versions dubbed in Quebec feature characteristics typical of Quebec French. However, previous research addressing the topic showed that a variety supposedly free of linguistic variation, called ‘International French’ was used instead, not unlike the ‘Neutral Spanish’ known in the Latin American dubbing industry. I found out that the Quebec French version actually featured elements typical of the Franco-French variety, which suggest the influence of exogenous standards. In this investigation, I also examined key aspects of dubbed film speech. While most dubbed versions conveyed more or less communicative immediacy, results for the Latin American version contrasted with the others with its high level of communicative distance. Furthermore, I discovered that most dubbed versions displayed an orientation rather towards the source culture, including the Franco-French version, which has been qualified as having more domesticating tendencies. Overall, this analysis helped me draw an accurate portrait of the AVT traditions and practices in these speech communities.
Keywords
Traducció audiovisual, Llengües pluricèntriques, Doblatge, Variació lingüística, Oralitat prefabricada, Audiovisual translation, Pluricentric languages, Dubbing, Linguistic variation, Prefabricated orality
Subjects
81
Publisher
Universitat Pompeu Fabra
