UNIVERSIDADE FEDERAL DE SANTA CATARINA
PÕS-GRADUAÇÀO EM INGLÊS E LITERATURA
CORRESPONDENTE
EVERYTHING YOU WANTED T O KNOW ABOUT FILM TRANSLATION
(BUT DID NOT HAVE THE CHANCE TO ASK)
por
ELI ANA PAES CARDOSO FRANCO
Dissertação submetida à Universidade Federal
de Santa Catarina
para a obtenção do grau de MESTRE EM LETRAS
FLORI ANÕPOLIS
Outubro,
1991
Est-a dissertação foi
final
julgada adequada e aprovada
em sua forma
pelo Programa de Pós-Graduação em Inglês para a obtenção
do grau de
MESTRE EM LETRAS
Opção Inglês e Literatura Correspondente
Prof.
Dr. Dílvo
I. Ristoff
COORDENADOR
Prof a. Dra. Rosa
W. Konder
ORIENTADORA
BANCA EXAMINADORA;
Prof a. Dra.
Prof.
Prof.
Florianópolis,
Dr.
Dr.
Rosa
W. Konder
Francis H. Aubert
Josê Roberto B. O ’Shea
29 de outubro de 1991.
Aos meus pai s
Margarida © José Luiz
C In M&mori<xnO ,
©
a todos os profissionais
da tradução cinematográfica.
AGRADECIMENTOS
A Rosa W. Konder , pela. ef iciência com que orientou minha
dissertação e pela amizade.
à coordenadoria
do
curso
de
Pós-Graduação
em
Inglês
e
Literatura Correspondente da UFSC.
Aos professores e colegas do curso.
À CAPES,
pelo apoio financeiro.
Aos membros da Banca Examinadora.
Ao professor Hilário Bohn,
pelo auxílio na formulação do
questionário destinado aos tradutores.
A Edson J. Corti ano,
A
Vera
Sartori,
pelo interesse e ajuda.
pela
grande
ajuda
na
primeira
etapa
deste trabalho.
A
Telma
G.
Mareia
E.
Dragan,
Fiker
CCurt
Virgínia
fe AlexD,
F. F.
Minerbo
Marina
e
ao
de
sr.
Oliveira,
Alan,
pelo
interesse que demonstraram em minha pesquisa.
Aos srs.
Domingos P.
da. Rocha Spiegel,
S.
Júnior
dois pioneiros da tradução de
demais tradutores dos laboratórios
e
Videolab,
por
CHerbert
terem
tornado
Álamo,
RichersD , e S.
filmes,
Duplilab,
possível
a
Cláudia
de
e aos
SBT,
TVTEC
realização
deste
Ãvila,
terem
trabal ho.
A Rubens
Edwald
Filho
e
por
gentilmente me recebido e contribuído com esta pesquisa.
A todos
os
meus .amigos
que
direta
ou
indiretamente
ajudaram .
Ao meu companheiro,
m
Marcos,
pelo apoio e compreensão.
Outubro,
1©91.
me
ABSTRACT
This study looks at cinematographic translation from the
translator’
s perspective.
present
attitude
non-specialized
Its ultimate purpose is to change the
towards
film
criticism,
translating
which
leads
to
assumed
nothing
by
but
the
depreciation of such an activity.
In order
and/or
a
to achieve this purpose,
dubbing translators for TV,
questionnaire,
characteristics
the
aim
inherent
of
in
video and cinema were given
which
the
twenty-one subtitling
was
film
to
identify
translating
the
process
as
well as the main linguistic difficulties the translators face.
These
characteristics
proved
to
be
indispensable
not
only to the definitions of good quality subtitling and dubbing
film
translation
problematic
areas
respondents
and
products,
present
randomly
in
but
also
the
films
selected
by
to
the
both
the
the translator’
s linguistic incompetence,
analysis
suggested
researcher.
which critics
on pointing out as the main cause of the inadequacies
translation,
it was concluded through
this analysis
other factors - the characteristics of the process,
linguistic
and/or
1anguage}___and
cultural
correspondence
T L __CLangel---language?-----—can
translator’
s rendering
options
the
Thus,
final
between
product.
and
the
therefore,
critics'
SL
in film
many
Csource
the
quality
of
product-oriented
actual
film
translating
theory,
proved to be ^subjective, biased and superficial.
of
insist
the lack of
which result from their
and
of
the
Besides
that
evaluations,
process
lack
by
influence
the
of
knowledge of the
general
translation
VI
Finally,
provide
more
aiming at, assisting film translation critics to
objective
and
r©commendations is proposed.
realistic
evaluations,
a
set
of
RESUMO
Esse»
estudo
examina
perspectiva do tradutor.
a
tradução
Seu principal
cinematográfica
sob
a
objetivo é o de mudar
a
presente atitude ©m relação à tradução de filmes assumida pela
crítica não especializada,
a qual
leva apenas
à depreciação de
tal atividade.
Para
qu©
esse
tradutores d© TV,
receberam
um
objetivo
fosse
vídeo e cinema,
questionário
cujo
para
atingido,
legenda
objetivo
vinte
e
um
e/ou dublagem,
era
identificar
as
-car-acterTsticaTs inerentes ao processo da tradução d© filmes bem
como
as
principais
dificuldades
linguísticas
que
esses
tradutores enfrentam.
Essas
apenas
características
para
as
definições
provaram
de
áreas
problemáticas
respondentes
e
nos
presentes
filmes
indispensáveis
tradução
qualidade para legendagem e dublagem,
das
ser
de
filmes
não
de
boa
mas também para a análise
nos
filmes
selecionados
sugeridos
ao
pelos
acaso
pelo
pesquisador.
Além da incompetência linguística do tradutor,
que
os
insistem
das
críticos
insuficiências
através
na
dessa
características
em
tradução
análise
do
como
a
principal
cinematográfica,
que
processo,
linguistica e/ou cultural
alvo?
apontar
muitos
a
outros
falta
de
foi
causa
concluído
fatores
— as
correspondência
entre LF Clíngua fonte?
© LA Clíngua
- podem influenciar as opções de tradução do tradutor
consequentemente,
avaliações
a
orientadas
qualidade
ao
do
produto
produto
feitas
resultam da falta de conhecimento do real
final.
pelos
Assim,
críticos,
e,
as
que
processo da tradução
VIII
de
filmes
e
subjetivas,
da
de
realistas,
geral
da
tradução,
provaram
ser
preconceituosas e superficiais.
Finalmente,
tradução
teoria
filmes
com
a
o
intuito
fornecerem
de
auxiliar
avaliaçSes
os
mais
uma série de recomendações é proposta.
críticos
objetivas
de
e
TABLE OF CONTENTS
A B S T R A C T ..................................................................
V
R E S U M O ......................................................................
VII
THE CONTEXT OF THE R E S E A R C H ......................................
1
1.1.
1
The P r o b l e m ......................................................
1.2. O b j e c t i v e s ...............................................................................................................................
1.3.
8
Methodology......................................................
11
1.3.1.
The Corpus .............................................
11
1.3.2.
The Questionnaire...................................
11
1.3.3.
The Interviews .......................................
12
N O T E S .......................................................................
14
THE RESPONDENTS........................................................
16
2.1.
Basic Information.............................................
16
2.2.
Additional Information ......................................
17
2.3.
Essential
Information:
Respondents’ English
Background ......................................................
19
N O T E S .......................................................................
27
TRANSLATION
CHARACTERISTICS
FOR
SUBTITLING
AND
D U B B I N G ...................................................................
28
3.1.
28
Introduction.....................................................
3.1.1.
The
Selection of Films to be Translated:
ILI
.................................... ...................
3.1.2.
The Translators’Place of Work:
3.1.3.
Time Limits:
3.1.4.
Remuneration:
3.1.5.
The
ILI
ILI
Equipment
Laboratories:
.......
33
....................................
34
...................................
36
Supplied
ILI
31
by
the
I L D ...................................
40
X
3.1.6.
Number
of
Characters
Available
for
Subtitling / Phonological Synchronism for
Dubbi ng: I M D ..........................................
3.1.7.
Subtitle Speed on
Length Synchronism:
Screen
/ Speaking
I M D .........................
47
I L D ...........................................
50
3.1.8.
Review:
3.1.9.
Censorship:
E A D D ....................................
55
A Definition......
50
N O T E S .......................................................................
71
THE FILM TRANSLATING P R O C E S S ....................................
72
4.1.
Seeing the F i l m ................................................
72
4.2.
The Translation of Titles .................................
74
4. 3. Film Translation Problems and Solutions ............
73
3.2.
4.
the
44
Good Quality Film Translation:
4.3.1.
Introduction ...........................................
79
4.3.2.
The Analysis ..........................................
92
4. 3.2.1.
Proper Nouns ............................
00
4. 3. 2. 2.
Style/Dialect..........................
gg
4.3.2.3.
Culture—
Specific Items ............
103
4. 3. 2. 4.
Conventional
and
Idiomatic
Expressions .............................
IOO
4. 3. 2. 5.
Play on Words ..........................
117
4. 3. 2. 6 .
P o l y s e m y .................................
127
4. 3. 2. 7.
False C o g n a t e s ........................
128
4. 3. 2. 8 .
Obscene Terms ..........................
129
4. 3. 2. 9.
Misunderstandings....................
130
4.3.2.10.
Modifications
in
the
Original
Text .......................................
132
CONCLUSION ...............................................................
140
XI
APPENDIX I : THE QUESTIONNAI R E .................................. ...148
BIBLIOGRAPHICAL REFERENCES ..........................................164
FILM R E F E R E N C E S ...........................................................168
PERSONAL INTERVIEW REFERENCES .................................. ...170
1.
THE CONTEXT OF THE RESEARCH
1.1.
THE PROBLEM
It
is
articles,
press,
that
both
about
the
not
in
the
video
surprising
today’
s
tricky
to
find
specialized
task
revolution
of
has
a
large
and
of
non-specialized
translating
contributed
number
films.
at
It
least
seems
to
the
awakening of the audience to the frequent misinterpretations on
the screen.
Bad quality
in
film translation
critics’favourite topic.
way critics discuss it:
Gozações
of
titles
enable the reader
"linguistic
critic.
been
in turn,
the
of
attacking the translator.
newspaper
and
periodical
to predict what is to come:
absurdities’
* plus
ironical
Some critics go even further
cinematic
is as old as the
"TraduçSes ou
"Pândega esquizóide ou surrealista
examples
of
This topic,
has
are .just few
articles
which
an endless
comments
in showing their
by
list
the
contempt
for the film translator’
s work
Tudo muito esquizofrênico. E incompetente
também, é claro. Mas a gente se chateia è.
toa. Nao tem que ficar chateado. Tem mais é
que curtir, como, aliás diria o Gabeira.
CCastro,
In
general,
characteristcs.
film
Foi ha de S. Paul o, 5/10/1080)
translation
They are Cl)
on each critic’
s viewpoint;
reviews
subjective,
C2 ) biased,
that
for
share
is,
the
same
they depend
they contribute to
2
the
depreciation
superficial,
of
for
the
film
their
translation
main
procedure
activity;
consists
of
and
C33
listing
translators’errors without any reference to theory.
The
subjectiveness
which
translation criticism is well
S.
Paulo,
22/06/91D,
evaluation
written
by
the
activity
of
explained by Arrojo CO Estado de
when
Paulo
involves
commenting
Francis
about
on
a
the
translation
final
part
of
U1ysses, translated into Portuguese by Antônio Houaiss:
Todo critico de tradução escamoteia de sua
crítica o fato
de que sempre compara a
tradução que julga com a tradução que tem
em mente e que toma como sendo a "correta"
ou "ideal". C...} ó ele próprio C Francis '},
assumindo,
consequentemente,
a função de
parâmetro para a avaliação da tradução que
comenta.
Assim, em sua crítica, o que ó
dele passa, implicitamente, a ser a norma,
o
desej á vel,
o
adequado,
aqui1 o
que
verdadeiramente deveria estar no texto.
The tendency of film translation criticism to be biased
comes from the low status that has always been attached to the
activity
of
translating,
Bass nett -McGuire
translation
translated
which
has
in
"low
C198G: 95
products
texts
from
as
a
resulted,
critics’
position
of
level
according
discussions
pronouncements
assumed
sense
that
deep and careful
it
does
not
thought,
represent
serious
of
about
superiority".
Film translation criticism is considered superficial
the
to
judgement
in
after
but careless and simplistic comments
about the film rendering activity,
such as a Foi ha de S.
Paulo
journalist H. I. ’
s
De qualquer maneira, traduzir é difícil.
Compreende-se
que,
para
traduzir
Shakespeare, Goethe, Dostoievsky e outros,
será
preciso
um
grande
talento
e
um
profundo conhecimento da língua do autor e
daquela
para
a
qual
ó
vertida.
Mas,
3
traduzir diálogos do filmes não ó tarefa
tão espinhosa. É necessário contudo que o
tradutor
tenha
algum
conhecimento
da
língua, e tenha certa familiaridade com os
usos e costumes dos povos, a começar do seu
própr io.
C06/02/763
Furthermore,
the errors mentioned by critics are almost always
of the same type,
with the same examples repeated in different
articles:
literal translation of idiomatic expressions or wrong
choice of
the meaning of
polysemous words.
such a kind of criticism is the actual
What
analysis of errors,
understanding of the factors which produced them,
more
than
merely pointing out
what
is
is missing
wrong in
in
the
which is much
the
rendered
text.-.
The
evaluated.
o
fact
the
is
that
only
’
produto’
",
transiation-product
which
alone
means
is
purposes of an effective evaluation,
the
the
According to Nogueira C1984:835
’
processo’e o
of
then
process
that
has
originated
product
is
being
"Tradu9 §
io significa
that
neither
any description
enough
for
the
nor does it throw light on
it,
failing,
therefore,
to
recognize the essence of translation theory
C. ..5 the body of knowledge that we have
and have still to have about the process of
translating C .. .5 Its main concern is to
determine appropriate translation methods
for the
widest possible range of texts or
text-categories.
Further,
it
provides
a
framework of principles, restricted rules
and
hints
for
translating
texts
and
criticizing translations, a background
for
problem-solving C. ..3
C Newmar k 1981:195
Considering
that
the
first
systematic
study
of
the
4
transiat-ion processes was published in 1791
Tytler
Cin
Bassnei i -McGui re
theorists,
as
opposed
1980:63)
to
it
critics,
may
have
process-oriented view towards translation.
such
as
Newmark
long condemned
errors.
Cl 981)
and
the still
Together
with
said
always
Cl 977)
practice of
other
be
Frase»
that
had
a
That is why scholars
Vâzquez-Ayor a
current
by Alexander
have
just
for
so
quantifying
scholars,
Brazilian
theorists/practitioners such as Francis H. Aubert C04/04/1990),
José
Paulo Paes
Cl988),
and
Waltensir
Dutra C02/04/1990),
one
of the founders of SINTRA CSindicato dos Tradutores) , highlight
the need for more accurate translation evaluations.
The
have
proposed
together
film
main
problem,
a
broader
with critics,
rendering.
science,
however,
view
towards
see
with
this
and
although
translation,
theorists
they
the specific
discuss
have,
area of
translation
as
a
concept within which film translation is
just one small specific area.
concerned
that
failed to discuss
Theorists
as a general
is
type of
there is lack of literature
rendering,
the
few
the
subject.
Concepts of good translation are also too general
and
directed
mainly
the
rendering
with
on
translation.
may be approached
great
success,
as
©qui valence'equi val entany
translation
sense,
natural
rendering,
must
the
actual
Nevertheless,
from
for
some
Nid a ’
s
perspective.
these
concern
cinematographic
four
Cl 964)
According
requirements:
easy
form
of
expression,
4.produce
dynamic
to
him,
"1 . make
2. convey the spirit and manner of the original,
and
of
theorists’ perspectives
example,
effect
meet
considerations
very
about
book
general
even
available
literature
only
and
writings
to
are
Thus,
a
3. have
similar
5
response" Cp.1645,
translation
they
which are found adequate for evaluating film
products.
should
be
specificities
However,
elaborated
of
film
as they
so
as
rendering,
are still
to
so
take
as
too general,
into
to
be
account
consistent
the
with
the purposes of effective evaluation.
Critics,
neither
its
critics
view
however,
specificities
evaluate
of
discuss this specific area considering
the
nor
translations
closeness
C Bassnett-McGuire
of
its
position
that
which again confirms
towards
translation
"from
translation
is,
criterion that good quality products
production,
scope.
superficially,
the
1080:95,
broader
to
based
In
the
the
on
sum,
narrow
SL
text"
the
simple
usually come from literal
the critics’product-oriented
evaluation.
This
can
be
inferred
from the responses mentioned below:
TD,
a
video
translator
research Csee Chapter
was
translating
a
and
2,
one
of
the
Table 15 told
film
and
that
interviewees
in
me C29/03/005
she
knew
she
this
that
she
would
be
criticized for having translated the sentence "Hang the picture
on the wall
of the living-room over
na sala".
She
dizer
eu
que
added,
was
sentence
Hugo
ironically commented
nSo
that
on
the
Toschi,
a
reinforces
her
filmes,
a
se
sabia
it
was
little
very
o
que
impossible
space
"Eu
by
tradu<?§io fosse
sei
to
literal,
o
The
reproduce
available
saying
into
que
’
sofa’
".
experienced
statement
que veria" Cin Schild,
era
the sofa"
on
film
Jornal do Brasil ,
critico
problem,
such
video
translator
that
o
the
"Pendure-o
"C...5
espectador
a
vai
she
long
screen.
somehow
em
mais
alguns
leria
08/11/19845.
At an interview with Rubens Edwald Filho C30/10/905,
the
6
well -known
film
critic
asked
what
a
him
answered,
t©m
good
É
? ’ para
uma
it
may
suggested
by
th©
the
qu©
b©
©u
of
between
"Como você está
you
7” por
th©
besides
translated
should
b©
reviewer,
lik©,
quê
não
and
lit©ral
not
utterance
adding
h©
'Como
você
From
this
2
translation
anything
overlooks
the
I
’
Como
constantemente. "
that
r©vi©w©r
subtitling
literalmente. ..ao invés d©
v©jo
said
meaning
Art©
translation
'How ar©
coisa
example,
matter
Video
"Por quê não seguir
passado
©stá*?’
and
to
th©
difference
and "Como tem passado
which is a
of styl© to be adjusted to th© context of
situation of
th© original Cmor© or l©ss formal^.
It
is
agr©©d
that
th©
us©
of
procedure occurs naturally whenever
literal
translation
th©
target
criterion
language
for
translation
CTL3.
evaluating
may
be
Nevertheless,
translation
dangerous
demand,
such
etc.
as
the
of
the
text,
the
th©
of variables,
objective
receptors’expectations,
account
the
in
any
subtitling
literal
or
dubbing
is
of
to
might
use
be
or
literal
to
due
the
not
Aub©rt
to
many
client’
s
to
such as the length
th©
primary
use
and
translation,
the
it
type
TL
etc. , which also hav© to b© taken into
translation
translation
translator
decision
a
according
translators’ insecurity,
Moreover,
depends on a number
as
and those
products,
because,
C 04/04/1Q9CO , its us© by th© translator
reasons,
a
there is proximity between
th© language and culture of th© source language CSLD
of
as
©valuation.
translator
appropriate
Such
variables
to determine
or
not.
whether
If
has to decid© on th© typ©s of adjustments
to be mad© in the content of
the TL text,
for
enable
not,
th©
the
that hav©
example,
©ither
stylistic
TD’
s
Cas
cas©),
in R.
Edwald
among
others.
Filho’
s case)
All
or
thes©
technical
decisions
Cas
that
in
th©
translator has to make ar© part of the translation process,
and
so, cannot be disregarded by the analyst.
It may be concluded that there is
translation
rendering
is
interested
seem
theory,
criticism,
concerned.
in book
nonsensical
The
makes
applied
practice
fact
rendering
if
and
to
a big gap separating
that
the
some of
film
as
far
as
film
theory
is
more
its
"propositions"
rendering.
Some
Karl Dedecius’Pecâloqo para uso próprio Cin Campos,
items
in
1987:40-3)
such as “
Traduza unicamente o que você mesmo descobrir" Cp.40),
or
"NSo traduza por escolha de outrem”Cp.43),
theorists’ recommendation
obscurities
in
the
Film
translation
from
both
process,
so
the use of
translated
criticism,
general
and
for
text
in
translation
,
it
can
are
as well
footnotes
just
turn,
seems
theory
and
contribute
a
the
to clarify
few
to
be
examples.
dissociated
film
very
as some
rendering
littl©
to
the
which
its
inprovement of the activity of translating films.
A
systematic
objectives,
criteria
for
importance.
theorists
study
of
this
characteristics,
©valuation
If
we
agree
generalizations
are
with
activity
linguistic
defined
Newmark
arise
from
-
is
-
in
difficulties,
now
C1981:36)
of
the
that
practice",then
and
utmost
"all
the
capturing
the subtitling/dubbing translator’
s perspective is an essential
condition for the development of such a study.
Bassnett- McGuire
Cl 980:7) can best support my proposal
The
need
for
systematic
study
of
translation
arises
directly
from
the
problems
encountered
during
the
actual
translation process and it is as essential
8
for those working in the field to bring
their practical experience to theoretical
discussion,
as
it
is
for
increased
theoretical perceptiveness to be put to use
in the translation of texts C. ..5
The more recent proposals which where put forward at the
IV
Encontro
served
as
proposal
a
well
basis
de
for
through
as
the
Tradutores
this
C04/04/19905
translation
as
Naci onal
to
C19903
study,
describe
hel d
such
as
the
actual
translators’ perspective
psychologist
at
Geraldina
F.
USP
H.
al so
Aubert’
s
process
of
- a case study P.
Witter’
s
for
investigating the relevant variables of the translation process
which define the quality of the product.
These proposals
and the
fact
that
the materials
about
film rendering for TV, video and cinema are not sufficient have
motivated me to embark on this study.
Now
that
the
importance
of
this
research
is
justified
its objectives can be stated.
1,2.
OBJECTIVES
When
I
translation
disapprove
products
of
I
am
the
not
translated texts for the cinema,
translator,
do
occur;
I cannot deny
nevertheless,
usually traditional
clearly shows
that
I
way
critics
defending
evaluate
the
film
idea
that
TV and video are perfect.
a great
cannot
number
agree
way of evaluating
the critics’ unawareness
with
such
of
inherent in the film translation activity.
of
the
inadequacies
biased
inadequacies
the
As a
as
and
it
characteristics
Q
Film
translating
constitutes
a
special
type
translation because it embodies a number of variables
believe,
together
which,
I
with the translators’linguistic competence,
play an active role in the translation process.
decisively contribute either
final product.
of
to
the success
Therefore,
or
they
failure of
the
As Nida C1964:1643 himself says
One cannot state a translation as good or
bad without taking into consideration a
myriad of factors, which in turn must be
weighted in a number of different ways,
with different answers.
Thus,
the characteristics inherent in the film rendering
process
should
be
him/her
not
interpret
to
known
translators’ linguistic
happens.
the
have
every
rendering
film
translation
errors
incompetence
as
critic
a result
only,
as
it
originated
to
the
to
such
absence
examine
errors,
of
translator’
s ignorance of
SL
their
for
nature,
instance,
equivalents
in
the SL language,
the
if
the TL or
etc.
As J.
the
usually
it is
causes
they
for
of
And even if these errors are purely linguistic,
analyst’
s duty
either
by
that
are
due
to
the
P.
Paes
so well states
É muito fácil criticar uma tradução, quem o
faz
está
numa
posição
muito
cômoda.
O
problema
é
saber
fazer
essa
crítica.
Criticar uma tradução não basta, é preciso
apresentar uma alternativa C...3 Traduzir 4»
um trabalho penoso. Criticar uma tradução
alheia é> um trabalho ainda mais penoso,
porque
preciso se colocar no lugar do
outro
tradutor
para
verificar
se
ele
cometeu um erro, um deslize, uma traição,
ou
se
se
trata
apenas
de
uma
opção
estilística da pessoa C ...}
Cl988: 58}
10
In vi©w of so
translation
and
in
many i nadoquai© considerations
order
to
produce
an
effective
on
film
study about
this specific area I will try to:
1
.
define
th©
main
linguistic
difficulties
in
film
tr ansi ati o n ;
2
.
identify
the
main
problems
that
occur
in
film
translation;
3.
define
the
characteristics
inherent
in
the
film
translation process;
4. based on the characteristics I will try to:
4. a.
define
the
concept
of
a
good
film
translation
product;
4. b.
classify
that
th©
is,
types
errors
characteristics
Cor
translation process,
of
errors
which
found
are
due
specificities)
of
in
films,
to
th©
the
film
errors which are due to the
translator’
s linguistic
incompetence,
which ar© du© to th© lack
or
errors
of linguistic and/or
cultural correspondence between SL and TL;
5.
propose a procedure
to be followed
by analysts
when
evaluating film translation products.
Most of these items will
subtitling
of personal
and dubbing
b© defined on the basis of the
translator’
s answers
interviews and questionnaires.
obtained
by
means
11
1.3.
METHODOLOGY
1.3.1.
THE CORPUS
English films Cabout, a hundred!)
hundred}
wer e
selected
at
random
and titles Cabout- three
and
Portuguese translations analysed in order
problems that occur
nature of
their
respective
to identify the main
in the translation of films as well
such problems.
translators’ answers
to
These data will
be compared
the
of
third
part
the
as the
with the
questionnaire
which was sent to them.
1.3.2.
THE QUESTIONNAIRE
The
questionnaire
sent
to
TV,
video
and
cinema
translators Csee Appendix I!) consists of seventy-four questions
divided into three parts.
The
first
the translators'
part
consists
of
personal
English background knowledge,
questions
about
their experience
in the activity and how they see it.
The second part
in
the
process
characters
of
relates to the characteristics
film
available
rendering
for
as,
for
subtitling’
example,
and
inherent
’
number
of
’
phonological
synchronism for dubbing’
.
The third part is chiefly concerned with the linguistic
aspect
of
the
activity,
that
is,
its
aim is
to find out
from
r~
A
12
the responsos ih© main linguistic di ff icul ti es the respondents
face when performing their task and the procedures they use to
cope
with
such
give
their
difficulties.
opinion
about
It
the
also
asks
quality of
the
film
respondents
translation
to
and
suggestions for improving it.
Because
of
the
translator’
s life,
questionnaire.
I
lack
opted
of
for
time
that
getting
characterizes
my
data
through
any
this
I tried to make it very simple - in the form of
multiple choice rather than descriptive questions.
Nevertheless,
Although
I
had
my
to
be
choice
very
has
imposed
detailed,
some
even
limitations.
repetitive,
when
considering some topics in order to check contradictions in the
translators’answers,
seventy-four
would still
items,
which resulted in a long questionnaire of
I felt that some topics Cmainly in Part 33
need greater explicitness, which cannot usually be
attained by such questionnaires.
that
many more questions
questionnaire
could
would certainly
Thus,
have
not
I always had the feeling
been
asked,
motivate
the
but
a longer
translators
to
answer it.
Fortunately,
compensated
for
questionnaire
the
has
objective answers.
the
by
deficiencies
adding
have,
that
enriching
in
a
their
THE INTERVIEWS
majority,
multiple
comments
This fact has somehow proved their
in the research.
1.3.3.
translators
choice
to
their
interest
13
Before the questionnaire reached some translators,
I had
an interview with the heads of the translation department Cwho
are
also
translators)
of
video
laboratories
in
SSo
Paulo.
I
also had an interview with the owner Cwho is not a translator)
of an important dubbing laboratory in Sao Paulo.
I opted for such personal
the
questionnaires
importance
first
of
attempts,
my
by
mail)
in
research.
except
for
contacts Crather
order
to
Fortunately,
one
video
than sending
better
I
explain
succeeded
laboratory
the
in
whose
all
name
I
prefer not to mention.
The
people
interviewed
were
in
charge
distributing and collecting the questionnaires.
of
both
They served as
intermediaries between the film translators and me.
At first I
thought that this might affect the translators’responses;
but
actually this did not happen.
All
research
the
other
received
translators
the
that
questionnaires
contributed
personally
to
and
the
were
interviewed either at their homes or at their place of work.
The
questions
interviews
such
as
consisted
what
their
free-lancers or employees,
of
film
translation
at
of
main
very
clients
get
familiar
present,
with
were,
and
if
general
they
were
what they thought about the quality
etc.
Some
were extremely interesting and enriching
could
simple
the
of
the
interviews
to the extent
that
translators’ environment
I
and
equi pment.
Now,
it is time to introduce the film translators.
they are the key components of my research,
Since
whose answers made
14
this study possible,
I have decided that
they deserve
a whole
chapter.
NOTES:
1.
Augusto,
S.
S.
"Pândega esquizóide ou surrealista",
Paulo, 13/03/88,
Cno
author!).
Foi ha
de
p. D-l .
"Traduções
ou
Gozações
'?",
íris
Foto
CVideo Press}, Cno date}, Cno page no.}.
2.
Here defined in Newmark’
s words as "the
of
the lexical words
though
TL are
out of context,
respected"
of
1
senses
the original are translated as
but the syntactic structures of the
Cl981:63}.
F.
H.
Aubert
proposed three interpretations of the
translation:
primary
. "ao pé da letra",
Cl987}
concept
of
the same
has
literal
categories
and the same syntactic order of the SL text are kept in the
TL
text,
and
the
semantic
approximately identical
strict
semantic
grammatical
SL
the
norms
of
each
fidelity
between
SL
and
norms of the TL are respected;
morpho-syntax and
and
use
of
SL
to that of the TL word;
strict semantic-contextual
the
value
word
2. there is
TL,
and 3.
but
the
TL.
are
Also
adjusted
according
according
the
there is
fidelity between SL and TL,
style
is
to
but
to
Aubert
IS
Cop. oil-. 3,
Caiford
"word-for-word
translation"
definition
and
3.
the
concept
1
translation"
while Vinay and
.
"literal
"modulation".
of
has
and
called
definition
definition
Darbelnet
translation",
Cl0583
2
.
is
translation,
the relevant
which
one
2
.
1.
"literal
have
called
"transposition"
Aubert’
s interpretation
literal
Newmark’
s definition,
pur pose.
Cl 0803
number
coincides
for
the
2.
of
with
present
2.
THE RESPONDENTS
<2.1.
BASIC INFORMATION
Twenty—
on©
twelve
from
video
laboratories
companies,
dubbing
and
and
to
answered
laboratories,
one
who
works
the
eight
mainly
questionnaire:
from
for
television
cinematographic
which means that the three and only media
television,
order
translators
subtitling
cinema
-
introduce
translations
are
the
are
represented
respondents,
involved
and
in which
-
analysed
Table
1
sums
video,
here.
up
information about them.
INITIALS
AGE
OCCUPATION
T I M E IN THE
ACTIVITY
LAB
MAIN
CLIENTS
(no.of years)
o
LU
Û
>
CG
TD
26-30
36-40
MB
MF
subt.
2-4
CURT&
ALEX
T VE Cul
tura 2
tr.
+ 10
26-30
45-. .
36-40
sub t . t r .
subt. tr.
s u b t . tr. /
head tr.dep.
4-6
6-10
6-10
VIDEO
LAB
(SP)
Warner
Abril
RM
AER
ALG
VM
20-25
26-30
19
41-45
-1
-1
-1
2-4
DUPLI
LAB
(SP)
CIC
Warner
CC
36-40
s u b t . tr.
subt. tr.
s u b t . tr .
s u b t . t r. /
head tr.dep.
s u b t / d u b tr.
subt/dub
tr .
+ 10
HERBERT
RICHERS
(Rio)
TV M a n _
chete
Globo
tr .
t r.
-1
2-4
2-4
SBT
(SP)
TVSBT
1-2
2-4
4-6
■»10
Alamo
(SP)
TV Man _
c h e te
Globo
-*10
(Rio)
52
MR
RO
EB
20-25
20-25
25
d u b . t r.
subt/dub
subt/dub
DA
FR
CA
GB
26-30
26-30
41-45
45-. .
dub.
dub.
dub.
dub.
dub.
SRS
45-, .
subt/dub
o
TABLE
36
TVTEC
(SP)
RC
MA
MO
DS
>
-1
4-6
36
s u b t . tr.
s u bt. tr. /
head tr.dep.
s u b t / d u b tr.
1 : THE
RESPONDENTS
tr.
t r.
tr.
t r. /
director
tr.
6-10
UIP, Art
Films,
A l v o r a d a ..
In
basic
17
It,
is
worth
mentioning
that,
translators work as free-lancers,
for
SBT,
TVTEC
and
Herbert
a
number
Richers
laboratories.
Another
Table 1 is the great
seventeen out of twenty-one.
The Table shows that people who work for video,
the largest number,
number
for
subtitling
are mainly subtitle translators;
video,
of
except for the ones that work
interesting point which is not evident in
number of women translators,
large
cinema
and
mainly
and dubbing translators;
a smaller
television
and
finally,
actually
are
the
both
smallest
number are only dubbing translators and work for television.
Regarding
to
forty
plus
two
age,
C48SO:
the
people
from
most
translators
younger
group
Duplilab,
mainly to television CÂlamo,
Apart from the usual
activity,
regular
Table:
some
parallel
on
the
respectively,
their
specific
who
ages suggest;
hand,
and,
and
the
to
twenty-six
SBT
laboratory
older
group
belongs
age-experience relationship in the
cases,
MB
present
belongs
from
Herbert RichersD and cinema.
progression
one
range
and
and
larger
or
exceptions,
can
RC
be
from
the
identified
in
TVTEC
Videolab
practical
on the other
break
hand,
and
experience
this
than
VM from Duplilab,
who presents less practical experience than her age suggests.
2.2.
ADDITIONAL INFORMATION
There are two pieces of information that seem important.
18
The
first, relates
people
that
C71SO
more
films.
have
than
This
to the
that
translation
half
fact
fact
may
of
as
fifteen
their
them
make
suggest
that,
out
only
a
job,
living
in
of
twenty—
one
which
from
economic
means
rendering
terms,
film
translating may be considered a satisfactory activity.
However,
which relates
rendering,
them C3JO
our second piece of the additional
to the reasons why the
suggests
that
this
is
respondents
not
quite
information,
work
true:
in film
just
said s/he was in the activity because it was
remunerative.
So,
it
seems
that
money
is
not
the
one
of
highly
ultimate
reason for translators to go into the film rendering activity,
but
a sense of
professionalism,
since
most
of
those
who
have
film rendering as their only job have justified their engaging
in
this
activity
specialized
The
1
saying
that
it
was
because
they
had
in translation C412-Q.
fact
that
it
is
not
a
satisfactory
activity
in
economic terms may not motivate translation professionals who,
therefore,
leave the activity largely in the hands of amauters,
who accept low salaries for seeing the film rendering activity
just
as a convenient source of extra income,
which is the case
of 17% of the respondents.
Such
a
discussion,
things should be considered:
translator
and
amauter
however,
requires
that
two
main
a clear definition of professional
translator
as
well
as
analysis of the respondents’economic situation,
an
accurate
both of which
will be dealt with later in this chapter and in Chapter Three.
r.
19
2.3.
ESSENTIAL INFORMATION:
This
that
it
information
allows
professional
present.
represent:
and
some
who
If
is
is
we
RESPONDENT'S ENGLISH BACKGROUND
considered
essential
generalizations
in
the
assume
film
that
about
translation
the
in
the
and
2
. important
of
business
at
twenty-one
cinematographic
companies in São Paulo and Rio de Janeiro,
sense
type
translators
1. the three different translation media:
video,
the
TV, cinema
laboratories
and
then the analysis of
their English background will provide us with reliable data for
making the generalizations mentioned.
The
respondents'
answers
about
their
knowledge
of
English are summarized in Table 2:
1
yes:U
3-<t:2
+ 4:8
TVJ
>
a.
b.
O
a. y e s : 8
b. 1 - 2 : 2
3-4:1
+ 4:4
y e s :C
a. y e s
b . +4
yes
TABLE
1.
2.
3.
4.
5.
6
.
7.
2
y e s :9
2:
3
a . y e s :2
b. 1 - 2 : 1
+ 4:1
a . y e s :5
b. + 4 : 5
no
RESPONDENTS1 ENGLISH
4
5
6
7
a. y e s : l l
b. 1 - 2 : 2
3-4:4
+ 4:4
a« y e s : l l
b. n c : l l
CP: 1
A: 1
a. y e s : l l
b. 6 d - l l / 2 y
c. S: 4
T:9
a. y e s : 4
b. t e : 2
pc:l
uc:l
a . y e s :7
b . 1-2:1
3-4:4
+ 4:2
n • y e s :5
b. b l a n k
a.
b.
c.
a
no
no
yeo:4
lm-ly
S :3
T: 1
0:1
a. y e s
b . many
times
c. D
.
yes:l
b • u c :1
no
HACKGKOUND
Have you studied English: a. at lary and 2ary schools ? b.
How long 7 Cnumber of years!)
Have you got a University degree 7
Have you studied English: a. at the university “
? b. How
long ? Cnumber of semesters}
Have you studied a. in a private English course ? b. How
long ? Cnumber of years}
Have you got a. any English certificate ? b. Which “? CBasic
Courses=BC, Cambridge Proficiency=CP, A1umni =A}
Have you a. already been to an English speaking country ? b.
How
long
?
Cd=day,
m=month,
y=year}
c.
Objective
7
CT=tourism, B=busi ness, S=study}
Are you a. studying English ? b.
Where *? Ctranslation
course=tc, private cl asses=pc, university course=uc}
20
A
careful
twenty-one
look
at.
translators
and secondary levels,
Table»
CQ5%}
2
shows
have
that
studied
most of them C65%}
twenty
English
for
over
out,
of
at
primary
four
years.
Out of the sixteen people C76%} that have obtained a university
degree,
and,
only seven C44%} have studied English at the university
out of these seven people,
for over four semesters.
six C38%}
have studied English
These six people are the only ones who
have taken language courses at the university.
twenty-one
most
of
them
received
The
C8 6 %}
have
for
English
same
more
number
from
different
Finally,
of
than
three
people
country
five
Cl 6 }
to
years.
of
Sixteen
been
periods
year
a
C24%}
are
ones.
to
of
half,
study
have
lower
different
and
courses,
C 76%}
are
already
language
people
private
which
have
one
tourism,
five
English
most
during
days
reasons:
just
attended
certificates,
English-speaking
ranging
also
Eighteen out of
and
an
time,
and
for
business.
studying
English
respondents
that
at
present.
Despite
the
small
taken English courses at
English
that
now,
the
th©
minority
the
resulting
scores,
considered average to good.
first
to
language
evaluation
evaluate
and
Coincidentally,
score:
people}
university and
translators’ overall
confirm this
52%
in
both
Cel even
th©
over
own
general
of
their
evaluations
case.
in
questionnaire
in
translation
had
the
50%,
themselves
ability
"good"
first
Interesting
as
case
to
suggest
may
be
seem to
when asked
the
English
colleagues.
the
and
note
have
are studying
background
The translators
people}
second
English
in the
that
that
mostly
later
their
then
of
is
highest
43%
the
Cnine
fact
21
that, th© translators tended
to b©
mor © s©v©r© wh©n evaluating
their colleagues.
Concerning
represented
that
in
are
by
the
the
type
subjects,
worth discussing.
Table
1,
it
distinct types:
background
of
seems
there
First,
that
we
in
a
academic
considerable
background
experience.
in
Curiously
GB from Âlamo,
here,
C2 )
dilemma:
are
some
specific
concerning
dealing
points
information
with
three
main
plus
reasonable
practical
C2 ) those who in academic terms
knowledge
of
English
but
little
and C3) those who present a poor
academic
enough,
terms
C3)
four men among the translators:
Apart
also
terms
experience in rendering films,
English
are
professional
Cl) those who present both a reasonable English
experience in rendering films;
present
translation
is
but
great
represented
practical
by
the
DS from Herbert Richers,
only
CA and
and SRS who represents many cinema companies.
from
and
Cl),
C3)
which
of
which
have
the
put
two
seems
the
types
to
be
analyst
of
the
on
ideal
the
professionals
situation
horns
is
of
able
a
to
produce a better quality translation 7
Scholars
opinion
the
about
belief
traductor
present
this
that
todas
translation,
some
question:
"C. ..)
las
los
divergence
when
expressing
while Ayora Cl077: 386)
aKos
técnicas"
de
is
experiencia
one
of
the
their
says
le
that
dan
myths
al
of
José Paulo Paes C1988:61) categorically asserts "A
tradução é uma arte,
fazendo.
Um
aprendiz
que,
não uma ciência,
tradutor
por
sua
experiente
vez,
Aubert Cl 988: 36), however,
vai
e a arte só se aprende
corrige
se
tornar
a
tradução
um
de
um
profissional".
presents a compromising view:
22
A r©1 açao enire qua.lida.de © experiência
profissional
não deve ser
entendida de
maneira rigorosamente linear; C. ..3 parece
razoável
supor
que
um
resultado
quali tati vãmente
posi ti vo
de
tal
experiência somente será assegurado se o
acúmulo se deu numa interação constante com
um processo de conscientização, isto ê, se
o fazer e o saber Ccomo/ quando/ por quê3>
fazer se entrecruzaram e se fertilizaram
mutuamente C ...D
Although each of the arguments above sounds reasonable,
the
answer
to
the
dilemma
each individual’
s view.
and C33,
proves
Thus,
to
be
subjective,
based
both types of professionals,
on
C23
might be able to produce a good quality translation,
depending on the point of view adopted.
Second,
the
it
question
seems
of
of
the
rendering
for
identifying
discussion.
the
defining
therefore,
film
that
professional
the
activity
The
subjectiveness
type
of
for
more
a
involves
translators,
professional
requires
requisites
that
who
definite
good
and
is
in
criteria
translation
as
suggested by theorists and supported by film practitioners may
help in this discussion.
that
translators
must
source language CSL3.
fulfil
this
The first and
have
a
unanimous requisite is
satisfactory
knowledge
Concerning the respondents,
requisite for
their
overall
of
the
they seem to
English knowledge was
statistically defined as good.
The
second
and
also
unanimous
requisite
is
that
translators must have a sound knowledge of the target language,
even
the
sounder
TL
that
than
texts
that
are
of
the source
generally
language for
translated.
GB,
it
from
is
into
Â.1amo,
23
makes an important comment
about
who
cannot
do
not
like
to
write
this
topic
saying that
translate.
This
those
opinion
is
shared by Arrojo and Newmark who think that writing well in the
TL
is
an
essential
condition
for
producing
good
quality
translation:
Escrever
e
traduzir,
como
sugere
Octavio
Paz,
são
operaçSes
"gêmeas".
Além
de
refletir
a
leitura
que
o
tradutor
elaborou
a
partir
do
"original", todo
texto
traduzido
ser 4,
para
um
público
que
não
tem acesso a
esse
"original",
texto
de
partida
para
a construção de outras leituras.
C Arrojo,
1986:77!)
The
translator’
s
craft
lies
f irst
in
his
command
of
an
exceptionally
large
vocabulary
as
well
as
all
syntactic
resources
to
use
them
elegantly,
flexibly,
succintly.
All
translation
problems
finally
resolve
themselves
into pr obi ems of how to wr ite wel 1
in
the target language.
CNewmark,
1981:17)
This requisite was also analysed by the respondents in question
13
of
the
questionnaire.
evaluate their
produce
1
This
question
asked
the
subjects
to
speaking and writing abilities in Portuguese to
. good
quality
subtitling
renderings,
which
require
the ability to summarize as well as to reproduce content from a
phonic means into a graphic means,
renderings,
different
fulfil
for
which
require
phonological
the
systems.
this second requisite:
"very
good"
scored 33% for
and
43%
and
2
. good quality dubbing
ability
The
to
synchronize
respondents
also
seem
two
to
their speaking ability scored 57%
for
"good";
"very good" and 52% for
their
"good".
writing
ability
24
A third and also unanimous requisite© that defines a good
translator
is,
with
SL
the
according
to
nevertheless,
culture.
the
hard
This
length
of
time
each
however,
inadequate
the
objectives.
specific
of
Another
cinematographic
tests,
to
might
be
be
translator
familiar
evaluated
spent
in
a
would
be
procedure
laboratories.
But
an
this evaluation would yet be
respondents’ different
criterion
admission
measure:
requisite
English speaking country;
because
to
what
the
that
was
travel
application
depends
found
of
only
out
is
on
that
the great majority of laboratories simply ask their newly hired
translators to render
T think
is
not
an
any film as a way of testing them,
adequate procedure once the
films
which
used
for
testing are chosen at random.
Other
peripheral
theorists/practitioners
level
of general
talent,
view
translator,
Is
the
translation
€1977:385-63
nasce
e
of
so
third
an
many
to
measure:
as imagination,
requirements
point
innate
ele
harder
mentioned
by
a
good
intelligence,
and so on.
se
habilidade.
indi spensável
even
that
skill
gives the answer
tradutor,
talento
are
culture as well
common sense,
In
requisites
faz.
to
deserves
or
can
lógico
A preparação
fulfilled
by
some discussion
it
"O tradutor
É
be
be
taught?
a
is:
Ayora
não se improvisa nem
que
ele
sistemática
terá.
do
que
ter
tradutor
ó
C ...3 .
In spite of the fact that the activity of translating is
as
old
as
the
Rosetta
Stone,
translation
training professionals are very recent.
courses
Maybe one of
aiming
the
at
main
reasons that contributed to this delay was the way translation
25
was
soon,
as
a
words
C19813,
which
could
the
source
secondary
as
a
minor
activity
be performed
by
language.
translation
having
courses
for
already
who
have
being
anyone
Thus,
theori sts/practi ti oners
reasons:
activity,
to
adventure"
serve
who
language
some
of
advocate
abroad,
for
foreign language courses and so on.
purposes
knowledge
of
present
importance
owing
for
R6 nai ’
s
the
the
translators
teachers,
in
specific
had
most
become
travelled
"an
being
having
to
of
diverse
poets,
for
attended
some
This is mainly the case of
the four men interviewed who represent number C3D.
Although
there
translators,
which
profession
not
there
is
is
a
is
still
an
reinforced
urge
translators
in
who
the
can
intense
by
legally recognized
growing
specialized
is
bias
the
yet,
market
fact
against
that
the
practice shows
that
for
more
more
and
improve
the
quality
of
the
translators
the
question
of
the
product offered.
To our
cinematographic
importance of a specific
do
not
C29SO
think
such
who think
opinion about
a
course
the subject.
that are in favour
have
just
means
started
who
that
possibly
have
the
of
in
been
new
because
performance
is
is
rather
of
their
fuzzy.
indispensable,
it is and three C14JO
ones
people
course
Twelve C57%D
opposed
to
six
who do not have a clear
It is interesting
to note
that
the
of such a course are three people who
the
in
ones
film
the
rendering
activity
feel
the
encountering
tasks,
and
for
need
many
the
activity
of
many
a
ones
three
years,
which
specialization
problems
older
and
during
the
recommend
based on the experience they already have in rendering films.
it
26
Act.ua.lly,
sense
that
Videolab,
very few respondents
they
have
attended
a
are
specialized
specific
Cin
course):
MA
the
from
VM and ALG from Duplilab who have taken the course at
Associa9 §
(o Alumni,
but even so
they are among those who do not
think of a course in translation as indispensable.
MO
Videolab
and
and
VM,
heads
Duplilab
of
the
translation
respectively,
suggest
departments
that
the
of
training
given by laboratories to their newly hired translators would be
more
useful
than
specificities
of
a
specialization
cinematographic
course
because
translation.
But
of
the
statistics
demonstrate that the majority of the respondents C62%) have not
received
working
any
for.
training
They
from
inform
the
that
laboratories
such
training
they
would
started
have
been
"very useful" C38%) and "useful" C38%).
A
possible
reason
translators
in
which
cinematographic
their
some
the
employees.
certificates
Waitzberg,
magazine
rendering
of
the
field
owners
which
is
that
according
Another
receive,
many
laboratories
Duplitech,
Cl 990/5).
translators
so
The only laboratory
is
one
film
for
of
the
reason
serves
to
non-specialized
the
neglect
regard
demands
an
the
nothing
recruit
translation
interview
laboratory,
is
and
but
with
gave
Ellie
to
Set
low
pay
film
to
drive
good
professionals away from cinematographic laboratories.
The
the
video
importance
boom
of
especially
film
translation
undoubtedly arising in the market.
says MO,
this
is
has
contributed
and
a
happening
we
may
increase
concept
is
"The situation has changed",
"distributors are asking for higher
really
new
to
soon
be
quality work".
able
to
define
If
the
27
characteristies
distinguishing
of
professional
them
cinematographic
definitely
film translators more clearly,
from
laboratories
amauter
may
soon
translators;
present
a
and
more
homogeneous team of professionals.
In
the
following
chapter,
the
characteristics
specific
to the film rendering activity are presented.
NOTES:
1. The term "specialized" needs some attention here.
for
my
purposes,
it
meant
"took
a
course
Csee question 9 of the questionnaire},
by almost
idea of
all
"their
activity".
So,
the respondents
decided
to
translation"
it was misunderstood
who related the term to the
only activity" or
I
in
Although,
"how long they are in the
take
according to their interpretation.
the
term
"specialized"
3.
TRANSLATION CHARACTERISTICS FOR SUBTITLING AND DUBBING
3.1.
INTRODUCTION
All
use
of
three
both
media
- cinema,
subtitling
and
video
dubbing
and
television
translations:
the
type is mainly present
in cinema and
video pictures
latter
present
pictures.
two
type
types
is
of
translation
which medium,
be
are
in
TV
used
former
while
Whenever
simultaneously,
no
the
these
matter
the result will usually be that the audience will
overloaded
esquizóide",
mainly
— make
with
two
different
texts,
in
short,
a
"pândega
as the quotation below so well defines:
Dubl ados
e
1egendados, como
os
que
o
SBT exibe - presumivelmente para uma seleta
audiência de surdos,
cegos e idiotas
resultam
quase
sempre
numa
pândega
esquizóide,
com
o dito
brigando
com
o
escri to.
CAugusto, Foiha de S. Paulo, 13/3/883
Even
different
the
media
same
may
type
present
of
translation
some
discrepancies,
subtitling rendering of a given film will
the cinema and another
version for
rendering of a given film will
number
of
the
released
that
characteristics,
is,
by
the
have one version for
video;
or,
the dubbing
have one version for
and another version for television.
a
but
the
video
Such differences are due to
peculiar
to
each
type
of
translation and to each medium.
These characteristics Cor
specificities}
are present in
29
©very
direct
film
or
translation
process,
and
so
indirectly - the quality of
influence
-
the translation
either
product
as far as they can function as constraints to the translator in
the
film rendering
on the fact:
process.
Nida Cl964)
has
already commented
"The translator for motion pictures is subject to
restrictions sometimes even more severe than the ones of poetry
or songs”Cp.177-8)
In
general,
the
characteristics
Cor
specificities)
of
the subtitling and dubbing types of translation are congruent,
and so, they can be presented side-by-side.
In order
to present such characteristics in a clear
way
I suggest a taxonomy in which they are grouped according to the
environment
influence
which
the
defines
linguistic
them
aspect
and
of
to
the
the
film
manner
they
can
translation.
The
characteristics inherent in the film rendering process are then
classified as follows:
a. The selection of films to be translated:
b. The translator’
s place of work:
ILI,
ILI,
c . Ti me 1imi ts: ILI
d. Remuneration:
e.
ILI ,
The equipment supplied by the laboratories:
ILD,
f. Number of characters available for subtitling / Phonological
synchronism for dubbing:
g.
IMD,
Subtitle speed on the screen / Speaking length synchronism:
IMD,
h. Review:
ILD,
i. Censorship:
EADD,
30
in which ILI
means that these characteristics Ca,
b,
c and d3
are defined internally by the laboratory environment CIL3
that
they
can
translation
influence
the
indirectly
conditions;
linguistic
CI3,
as
aspect
they
of
relate
the
to
and
film
working
ILD means that these characteristics Ce and h3 are
also defined internally by the laboratory environment CIL3
that
they
can
translation
influence
directly
Ccharacteristic
e
Ccharacteristic
translation
and
g}
f
for
defined
environment
Cl M3
CD3,
linguistic
as
for
process;
are
the
they
SL
TL
IMD
encoding}
means
that
that
these
starting
the
of
film
ending
the
actual
characteristics
this
can
the
the
and
points
by,
they
of
represent
decoding}
internally
and
aspect
but
time,
also
the
Cf
medium
influence
the
linguistic aspect of the film translation directly CD3, as they
impose
technical
rendering
a
rules
film;
to
and
be
followed
finally,
by
the
EADD
translator
means
when
that
this
characteristic Ci3 is defined externally by the audience and/or
distributor
linguistic
imposes
environments
CEAD3
and
that
it
aspect of the film translation
lexical
changes
to
be
made
by
can
influence
directly CD3,
the
the
as it
translator
when
rendering a film.
Before
discussing
each
characteristic
should be mentioned here Csee 2.1.3
respondents there are ten
from
video
that
laboratories},
six
and
CMR,
GB,
SRS
CA,
from cinema
labs3;
and
it
among the twenty-one
subtitling translators Call
subtitling
translators CMB and CC from video labs;
labs
separately,
DS,
five
and
of them
dubbing
EB and RO from TV
dubbing
DA and FR from' television labs3,
translators
which means that
31
sixteen
peopl © have contri buted
to
questions
about
subtitling
rendering and eleven people have contributed to questions about
dubbing rendering.
3.1.1.
THE SELECTION OF FILMS TO BE TRANSLATED:
ILI
If
Karl
translators
recommendation
traduza
por
difficult
had
already
escolha
for
the
decided
to
mentioned
de
follow
Cin
outrem",
it
cinematographic
Campos,
would
1987:43)
have
industry
Dedeci us’
in
"NSo
been
very
Brazil
to
survi ve.
Considering
quite different
no
film
the
that
from the ideal,
translator
rendered,
fact
has
the
the
what
right
translator’
s reality
actually happens
to
choose
the
is that
film
to
except for those who, besides being translators,
occupy supervisor
positions
the
The
laboratories.
in the
great
translation
majority
C9050
films to be rendered as against two people Cl050
being the head of
the translation department
of
be
also
departments
cannot
is
of
select
the
who can:
one
Videolab CMOD
and the other the dubbing director of Ãlamo CGB).
The
reasons
Cdistributors)
which,
in
Needless
film
turn,
to
say
do
this
the films
distribute
that
translators
free-lancers
task.
give
for
not
the
and
for
them
obvious:
translating
among
fact
them
to
economic
that
the
the
available
unfavourable
the
permit
seem
the
luxury
of
clients
laboratories
translators.
situation
majority
refusing
of
are
the
32
The fact that translators do not select the films to be
translated
produce,
nevertheless,
some
negative
consequences.
Although 84% of the 90% of translators say that this fact does
not
impair
their
respondents
might
be
agree
better
translating
that
if
the
quality
performed
screenplay as a whole,
performance,
by
that is,
of
the
someone
film
who
its genre,
50%
of
the
translation
appreciated
the
content and writer,
which somehow coincides with the theorists’statements,
such as
Campos’
s Cl986:713
C. .,3para traduzir bem qualquer texto, o
tradutor
deve
sentir-se
de
algum
modo
atraído ou motivado, ou pela forma ou pelo
conteúdo
dele,
ou
pelo
autor,
ou
pela
cultura a que se refere o texto a traduzir.
Unfortunately,
actual
practice
rarely
favours
this
situation and it frequently turns the film translating activity
into
cinema
"uma
verdadeira
translator,
is
penalidade"
a
case
in
CPaes
point.
considered the privileged translator
1988:653.
Although
SRS,
he
the
may
be
among the respondents for
he is the only one who is credited for
his
film translations,
he told me at an interview Cl 1/05/903 about how dissatisfied he
felt when he had to translate the so called pornographic films,
in
which
he
even
insisted
on
not
being
credited.
MO,
from
Videolab also comments on this topic:
Não há nada mais aborrecido Csic3 do que
desempenhar um trabalho que não nos agrade.
Quando
o
tradutor
gosta
do
filme,
automaticamente
ele
se
empenha
mais
na
tradução, até porque ele assimila melhor o
conteúdo do mesmo.
Most of the respondents C57%3 seem to share MO’
s opinion
33
j Bibliofeca UmVarsif^rw^
jfsr
for they have defined the experience of translating a film they
did not enjoy as "boring".
Thus,
select
the
their
translation
therefore,
fact
films
process
reflect
that
makes
almost
this
function
non©
of
the
characteristic
as
indirectly
a
real
on
the
translators
of
constraint
quality
the
film
which
of
may,
film
the
translation product.
3.1.2.
THE TRANSLATORS'
When
activity,
Quando
PLACE OF WORK:
mentioning
the
ILI
advantages
of
the
translating
R6 nai C1981:883 says "Pode ser exercida em casa C...D
praticado
num
©mprego
fixo,
na
maioria
dos
C71SO
work
casos
6
realizado em condi9 &es condignas".
It
is
true
that
most
respondents
at
home
while a small number C2QSO are asked by their employers to work
in
th©ir
offic©s.
situation,
lack
however,
of comfort
office?
Contradicting
and
translators
may cause
Csuch is
lack
of
spend
more
equipment
different
situation
may
also
rendering process,
from
what
negative
the
case
of
individual
time
as
For
a
DS
says,
reactions
who
rendering
these
constraint
the
latter
because of
works
equipment,
when
th©irs.
function
R<6nai
in
a
which
a
tiny
makes
film
with
translators,
this
during
the
film
which may indirectly reflect on the quality
of the translation product.
34
3.1.3.
TIMELIMITS:
ILI
It, is a known fact, that iime limits
activity are short,
exception.
Some
and cinematographic
of
the
reasons
for
in any translating
translation is not an
the
urgency
that
also
characterizes the activity of translating films appear in Set
As empresas de duplicação são obrigadas a
oferecer serviços de tradução e legendagem
às distribuidoras, que por sua vez ficam à
mercê
da
burocraci a alfandeqâri a
- que
muitas vezes atrasa a entrega de um lote de
filmes por até seis meses.
Cl990/5:473
When
these
films
reach
the
distributors,
they
start
pressing laboratories to translate and subtitle the films in a
very short time,
days:
which may vary from twenty-four hours to three
"Quando pedimos uma legendação,
estamos correndo contra o
tempo" Cp.493,
says Luís Carlos Procópio,
According
Schwartsman
to
Ç Foi ha
de
director
S.
of Mundial.
Paul o ,
02/08/895,
translations for dubbing suffer from the same urgency,
limits may also vary from the minimum of twenty-four
The consequences of such an industrial
to predict:
For
subtitling
have for
Bó
achieve
are easy
hurried translations full of errors.
a
large
and/or
number
dubbing
C483Q
of
the
translators
rendering a film is one week.
Cin
hours on.
rhythm of work
video
the
and
Set, 1990/5:403,
a good
translation
thinks
Although
product
that
in
it
such
television
average
is
time
they
the president
of Associação dos Tradutores Técnicos de São Paulo,
Dal
and time
Ãurea C. T.
impossible
a short
time,
to
the
35
respondents
say
that
reduced depending on:
and the number
Curt
&
render
Alex
of
the
one—
week
Herbert
available:
Richers
a film in two and a half
respectively;
limit
may
still
be
Cl3 the number of films to be translated
translators
and
time
such
whose
is
the case of
translators
to three days
have
to
and three days
C2 D the translator’
s experience in the activity,
which naturally reduces
the average one-week
time limit:
such
is the case of 80% of the respondents who are able to translate
films
in
less
laboratories;
laboratories,
It
time
Caround
C33
the
actually,
to
availability
be
mentioned
either
asking
for
a
statistics
of
enough
translators
suggest,
than
of
C23
together
number
So,
suggest
or
of
that
allowed
reviewers
by
in
the
when
distributors
ask
dub
a
film,
they
are,
services,
among
which
film
in spite of the fact that the high
that
to
with
that
subtitle
translation is just one.
for
days}
who can minimize the translators’work.
should
laboratories
three
the
perform
everything
one-week
their
else
task,
that
time
limit
they
may
was
said
is
also
before,
that this average time limit comprises not only the translation
of a film but
also
the duplicating.
the
This
reviewing,
can
be
the
subtitling/dubbing,
confirmed
by
the
fact
that
and
more
than half of the respondents C5350 said that they would like to
be given more time for translating films.
Although
claim for
more
the
cinema
time,
translator
he is
the only one
days
to translate
a film.
This
the
facts
first,
cinema
that:
quality work;
second,
SRS
he himself
is
among
who is given
can possibly
be
distributors
reviews
those
fifteen
explained
demand
who
by
higher
his translations;
and
36
third,
he is autonomous,
that
is,
between distributors and himself,
limits
directly
without
the
according
interference
to
there are no intermediaries
and so he can negotiate time
the
of
complexity
laboratories,
of
the
which
film
only
and
profit
from the number of films duplicated and not from the quality of
translations,
as the quotation below states:
C ...3
el a C tr<xcfoção3
não dá. lucro.
Na
melhor das hipóteses, o preço cobrado por
esse serviço empata com o capital que nele
foi gasto. A duplicação ó que traz lucros
aos laboratórios.
CSet, 1990/3:483
Thus,
considering that laboratories fix time limits for
a translator to render a film according to their interests, and
that
it
steps
is
of
very difficult
the
translating
translating,
follows
reviewing)
that
function
as
for
the
time
constraints
in
a translator
process
such
limits
in
the
Cseeing
short
imposed
film
to
the
on
through
film,
periods
of
film
rendering
will indirectly influence the quality
go
the
actual
time,
it
translators
process,
which
of the final product, as
76% of the respondents agree on.
3.1.4.
REMUNERATION:
Rónai
remuneration
activity.
ILI
C "Decálogo
is
Low
one
of
do
the
remuneration
Tradutor",
1981:883
disadvantages
is
also
of
presented
says
the
as
that
low
translating
one
of
the
37
characteristics
of
film
translating,
since
many
respondents
C43%3 corroborate Rónai’
s statement,
as opposed to 33% that say
that
and
they
are
reasonably
well
paid
to
24%
that
say
that
they are well paid.
These
statistics
people that consider
deserve
some
discussion.
themselves reasonably well
Among
the
paid there are
three heads of translation departments/reviewers of video labs
CTD,
MO,
case.
VM3 , and the cinema translator
This
people
means
from
position
video
in
the
when
labs
these labs
paid only as
answer,
that
we
as
translators.
SRS,
considering
should
well
as
the
take
answers
into
the fact
Considering
who is a special
the
of
these
account
their
that they are not
cinema
translator’
s
it should be taken into account that although he may be
most
privileged
conditions,
of
the
he considers
respondents
himself
only
in
terms
"reasonably
of
working
well
paid".
Concerning the people Cfive> who consider themselves well paid,
it is interesting to note that four are from the same video lab
CDuplilab)
and
that
one
of
them
remarked
"É
apenas
neste
that
video
laboratório que os tradutores sSío bem pagos".
Regarding
the
can
be
who
best
the field of cinematographic
by
the
in
cinema
mostly
it
translators,
paid
are
medium,
translator
SRS.
subtitling
On
the
said
translators,
rendering,
other
hand,
translators,
who are mostly dubbing translators,
paid
field
in
recent
thousand
the
data,
and
of
video
two
cinematographic
translators
hundred
cruzeiros
rendering.
were
to
hundred cruzeiros per film CSet, April
followed
television
According
thousand
10903,
the
are the worst
receiving
six
are
to
from
four
and
three
"o que nSo chega
38
a 25.000,00
cruzeiros
por
mês"
Cp. 473;
television
translators
were getting about four thousand cruzeiros CLei tão, 05/04/10903
per film while,
getting
over
according to SINTRA price index,
eighteen
Richers,
was
being
cruzeiros
Cdata
thousand
paid
cruzeiros;
one
thousand
from 09/05/19903
for
a
they should be
DS,
and
from
Herbert
three
hundred
thirty—
minute
animated
cartoon.
In view of the remuneration received by film translators
and the fact that 71% of them have the film rendering activity
as
their
only
translators
to
1986:25-63
job,
put
it
becomes
into
almost
impossible
Karl
Dedecius’ Cin
practice
recommendation
"Non
sordidi
for
these
Theodor,
lucra
causa",
interpreted by Theodor as "Você deve traduzir não 'em virtude’
,
mas
’
apesar
de’
".
On
the
contrary,
the
film
translators’
dissatisfaction will be immediately reflected on their work,
as
is commented on by Aubert:
PressupS>e—
se, com efeito, que o serviço mal
pago pode redundar em serviço mal prestado,
o que, se nem sempre é verdade, tende a
confirmar-se pelo que se nota na média da
produção
de
traduções
nos
segmentos
editorial e fílmico, precisamente aqueles
em
que
a
remuneração
do
tradutor
se
apresenta, no geral, menos satisfatória.
Cl988:393
Some
the
field
already
profit
facts
of
that
cinematographic
mentioned
for
translation
respondent
the
is
contribute to such 1ow remuneration
that
film
translation
translation
laboratories;
not
C23
that
officially recognized,
MR from SBT,
are:
is
not
the
as
C13
a
the
source
profession
mentioned
in
one
of
of
by the
which is an argument used by SBT as a
39
justification for the low salaries paid to translators;
and C33
the
of
fact
mentioned
by
Campos
that
almost
none
the
translators are credited for their work
C. ..3 o que se ouve dizer, em geral, ó que
se trata de uma "versão brasileira" de tal
ou
qual
laboratório
cinematográfico
especializado. Esse anonimato acoberta, por
um lado, os maus tradutores; e , por outro
lado,
permite
a
esses
"laboratórios"
e
empresas afins,
usuários do trabalho de
tradutores despreparados, pagar-lhes muito
menos
do
que
teriam
de
pagar
a
profissionais conscientes da tradução.
Cl986:273
When
is
also
suffer
Campos
referring
for
mentioned
the
by
24/01/903,
low
calls
to
film
one
translators
of
pay
given
Salathiel
Lage
director
of
the
problema ó que todo tradutor
the
to
"despreparados",
consequences
film
Cin
Centro
de
The
result
is
which
Isto
Dublagem
is
Senhor,
of
SBT:
"O
de filmes quando atinge um nível
excelente de profissionalismo muda de ramo.
Cp.683.
laboratories
translators,
Rocha,
he
obvious:
Por quê 7 Salário. "
experienced
translators
leave
the activity largely in the hands of the non-experienced ones.
Another
one
is
Rubens
consequence
the
which
production
Edwald
remuneration,
Filho’
s
of
is
bad
also
a
consequence
quality
opinion,
are
of
translations
also
the
the
first
which,
result
of
in
low
besides other things.
The stated causes of low remuneration in cinematographic
translation as well as the consequences originated from it seem
to put an end to the well-known dilemma:
paid because it is a low quality work
or
"Is translation badly
is
it a low quality
work because it is badly paid 7" Facts undoubtedly point to the
40
second
option.
This
is also
43% of
the respondents
reinforced
think
that
by:
C13
the
fact
that
low remuneration influences
the quality of their work; and C23 the opinion of Rifka Bereein
Cat
I_V
Encontro
translator
of
National
Hebrew
de
Tradutores,
literature,
who
03/04/19903,
thinks
that
a
adequate
remuneration can produce better quality translations.
It is undeniable that this fourth characteristic of the
film rendering activity also acts as a constraint
translation process,
influencing,
therefore,
in the film
the quality of the
film translation product indirectly.
3.1.5.
THE EQUIPMENT SUPPLIED BY THE LABORATORIES:
The basic-equipment
for
the two types
of
ILD
translation
-
subtitling and dubbing - is the copy of the film in a VHS tape
and its original
talks
is
also
translators,
script.
A cassette
considered
with the recorded actors’
basic,
but
only
for
dubbing
as they are concerned with synchronism between the
Portuguese version and the English original speech.
Although the equipment described is basic,
of
the
film
is
received
by
eleven dubbing translators,
the script,
present
all
the
only the copy
respondents.
eight C73SO
which is almost always sent to the respondents,
some
complications.
The
first
Cortiano
“
international
C1090il59),
screenplay"
this
or
type
the
receive the cassettes;
problem
that
with scripts is that sometimes they are too detailed.
to
Among
of
"script
script
for
may
may
occur
According
is
export",
called
which
41
"contains
explanations
Although
spend
it
some
may
of
of
help
the
more
translators,
their
already
obscure
the
short
slang
script
time
or
will
syntax".
make
selecting
them
what
the
relevant scenes for translating are.
Another
speech
instance in which the script does not match the
sequence
serious
script
is
problem.
is
when it
comes
According
called
"script
to
da
incomplete,
Set
which
C199(V'3s48}
pr6 -produ9 §
io",
is
this
which
a more
type
will
of
make
translators not only look for the blanks but also fill them in.
This task may produce dreadful results like the one about which
DS from Herbert Richers told me at an interview C09/05/903.
Two
new girls working with an incomplete script were asked to fill
in the missing parts.
As they could not understand the English
spoken text they simply invented them and the result,
said DS,
was a di saster .
The
available
difficulty
most
for
serious
problem
translators.
are
1.
to
have
The
a
is
when
ways
good
there
of
book
communication,
understanding
translators
an advantage film
and
which
communication.
If
both
result
be
a
will
sound/subtitle,
final
result
are
happy
put
into
be
a
disastrous
such
a
English,
. to rely on
grasp
practice,
between
divorce
have
over
linguistic
the
final
image
between
image
and
the
and
A good example of the latter case is a scene in
the film Gent-e Diferente Cwhose original
Cl 9893,
2
translators
them
marriage
and
of
scripts
but if one of the two aids does not work,
may
sound/subtitle.
aids
helps
no
overcoming
which is expected from all film translators,
visual
are
released
by
America
Video
title
Films
and
is Shy People}
subtitled
by
42
Audiolar laboratory.
Grace
and
h©r
Th© seen© is t-h© following:
mother
liv©
in
a big
city
and
decide
to
visit
som© relatives who live in a distant place nearby a marsh.
relatives are very simple and ignorant people.
herself
The
Once Grace finds
alone with on© of th© men of the house and she offers
him cocaine.
It was his first time,
so he did not know he had
to sniff instead of swallowing the drugs
Grace:
subtitle:
Ready.
Ok.
Ok.
Pronto.
C the man, opens his mow tM
Grace:
No, not through your mouth.
Open your mouth.
Abra a boca.
Cactual
English text?
Cmisunderstood English text?
Ctranslated subtitle?
C the man shuts his mouthD
Grace:
Through your nose.
Cactual
Here is your dose.
(misunderstood English text?
Aqui está sua dose.
C the man sni/fs
Grace:
subtitle:
English text?
Ctranslated subtitle?
the drug}
Breathe deep,
Respire fundo.
In dubbing translation such a type of inadequacy is not
so easy to detect
soundtrack;
once we do not
however,
a
more
have
attentive
some problems in the dubbed version,
access
audience
English
movie
and
director
the
and
seen©
an
is
a
The
conversation
American
the original
may
perceive
as in a scene in Jean-Luc
Godard’
s film O Desprezo CSet, 1990/5:47?.
in
to
producer,
film is dubbed
between
a
mediated
French
by
an
43
interpreter
who repeats everything the Englishman says without
translating anything into French at all.
Of course this type of
mistake
script
French
would
text
translator
have
had
been
been
who,
avoided
given
assisted
to
by
if
the
the
the
containing
English-Portuguese
original
script,
the
dubbing
could
have
reproduced the French text into his translated text.
A1 though
script
is
not
versions,
it
a
may
be
strong
thought
argument
that
for
the
absence
justifying
so
of
many
the
poor
it should be mentioned that some originals are quite
difficult
to
quality of
understand
the copy of
due
the
to
the
film,
actors’ pronunciation,
soundtrack
noises,
etc;
and
also considering the short limit of time translators are given
to
do
their
task,
a
good
quality
product
becomes
almost
impossible to be achieved.
Thus,
the
fact
that
translators
do
not
always
receive
the script of the film to be translated (many respondents have
complained about
t h a O , and even
may be incomplete,
when
they do
receive
it,
it
CSRS C11/OS/9CO remarked that "Traduzir pelo
roteiro não dá"Ü, makes the equipment supplied by laboratories
function
which
as
a
will
constraint
directly
during
influence
the
the
film
quality
rendering
of
the
process,
linguistic
aspect of the final product.
There are other
access to.
laboratory
tools
which
sometimes
Among dubbing translators,
tape-recorders.
translators,
seven C33SO
use dictionaries,
Among
have
two of them Cl050 use the
both
dubbing
and
are given sheets of paper,
two use typewriters,
for computers Ce.g.
translators
four
subtitling
four
receive
disksD, one uses a video cassette,
Cl930
equipment
one uses
44
a TV monitor and two use a "visor",
which is a kind of small TV
screen on which the film is projected.
All
being
these
badly
statistics
paid,
unfortunately
translators
also
have
money on some of the equipment mentioned.
of
these
tools
are
the typewriter
part
of
any
mean
to
that
spend
besides
their
own
It is true that some
translator's
arsenal,
and the language dictionaries.
It
is
such
as
also true
that many of the respondents C71H) work at home, which makes it
impossible
for
laboratories
to
provide
more
the
quality
of
sophisticated
equipment to all translators.
Finally,
provided,
3.1.6.
concerning
the
equipment
of the respondents have classified it as "good".
NUMBER
OF
CHARACTERS
AVAILABLE
FOR
PHONOLOGICAL SYNCHRONISM FOR DUBBING:
Space
on
the
screen
according to the medium.
well
as
available
✓
IMD
for
subtitling
varies
Considering the information from some
respondents
as
specialized
periodicals,
from
some
the
articles
average
ranging
from 24 to 30 characters
video
medium,
and
maximum
of
as
may
35
in
space
lines
a
SUBTITLING
for
newspapers
available
each
characters
line
for
the
and
is
two
for
the
cinema
medi um.
Contradictory
shorter
it
seem,
cinema
than video ones because of a simple
subtitles
fact:
are
video films
are watched at home, which makes it possible to rewind any part
the
viewer
has
missed,
to
replay
the
whole
film
or
even
to
45
re>-r<s>nt it,. Cinema, viewers do not, have such resources at, their
disposal,
order
may
as
and so the subtitle must, be even
not, t-o spoil
cause
Rubens
curto,
por
communication
This
negative reactions towards cinema renderings,
such
Filho’
s C30/10/903:
"No
isso comédias ficam sem graça
of
the
in
film.
Edwald
the visual
more summarized
cinema
C. . .3
é
bem
mais
No cinema eles
traem porque não traduzem quase nada".
In
will
sum,
the medium,
video or
always be shorter than their originals.
the original
for
whatever
captions
That is,
whenever
content exceeds the number of characters available
captions,
speech,
cinema,
translators
will
have
trying to follow what Longhi
Paulo, 1S/07/1Q893
calls
"padrSes
to
summarize
the
actors’
CInfor màti c a , Foi ha de S.
internacionais":
the
least
possible number of words and short sentences, which immediately
leaves
out
1 iter al
the
critics’ criterion
evaluation
according
to
pr oduc tion.
Then,
represents
process.
the
an
And,
process,
number
actual
of
characters
constraint
the denser
the difficulties
defined
on
the
the content of
this constraint
will
by
each
medium
film
translation
the film,
the greater
impose on the rendering
as Rubens E. Filho C30/10/903 himself remarked that he
had many problems with the film
C19583
of
Gata em Teto de
Zinco
Quente
for it had many dialogues which had to be cut because of
the space available on the screen.
constraint
will
act
even
more
Needless to say that such a
severely
on
the
translation
pr ocess of ci nema fi1 ms.
So,
it
is
fair
to
conclude
characteristic/constraint of the subtitle
that
this
translation activity
46
will
have
great, direct,
the final
product,
influence
on
and consequently,
the
linguistic
aspect, of
on its quality,
as 485-i of
the respondents have pointed out.
In
dubbing
translation,
however,
the
problem
does
lie in the translators’ability to summarize the original
but
in
their
ability
phonological1 y
different
reduction,
English
unstressed
syllables
reduction
to
occurs.
synchronize
languages
being
as
characterized
whereas
Nida
the
in
Cin
regards
by
Brazilian
Brislin,
sounds
the
not
text
of
two
syllable
reduction
Portuguese
1076:62?
has
no
of
such
already
considered this activity of synchronization of cinema dialogue
as
that
in
occur:
which
"Not
one
only
of
the
must
most
the
rigid
sets
of
corresponding
constraints
expressions
pronounceable within approximately the same time span,
movement
of
C1Q64:178?
result,
the
lips
must
be
Nida suggests that,
closely
matched. "
in order
translators should make "a number of formal
Herbert
Richers,
somehow
shares
have,
to
translating
instead
of
his
the
book
most
adaptations
DS C00/05/00?,
Nida’
s view
good synchronism translators
original
but
to have a satisfactory
without destroying the meaningful content".
the
In
be
of
saying
the
it,
that
time,
for
from
for
to adapt
example,
the
best translation/adaptation for the English sentence "Let’
s go"
would be
course,
option
"Vamu
nessa"
instead
of
style was not considered
of
translation
would
be
"Vamos
in his
embora",
example.
"Vom'bora",
phonological1y even closer to the original
In
between
view
the
of
the
actors’
difficulties
lip
movements
he
says.
Another
which
Of
good
would
be
"Let’
s go".
imposed
and
by
synchronism
the
Portuguese
47
translation,
rules:
mesmo
translators
"manter
número
CLaura,
no
o
de
mesmo
tônicas
date:
no
translators’ data,
for
dubbing
número
e
só
page
for
de
to
sílabas
conservar
no.3.
the
try
a
follow
que
idéia
According
sake
of
o
to
certain
original,
do
o
original"
the
synchronism,
dubbing
18?<
are
"always" obliged to modify the translated text while 555< do it
"frequently".
phonological
As
was
differences
already
between
expected,
English
owing
and
to
the
Portuguese,
such
modifications are characterized mainly by omissions of parts of
the original C75SO.
It
C64SO
is
the
then
obvious
task
imposed
that
for
by
most
the
of
the
television
respondents
medium
of
synchronizing English and Portuguese phonological1y represents
an actual constraint for the dubbing translation process,
will
be
directly
reflected
on
the
quality
of
the
which
linguistic
aspect of the dubbing translation product.
3.1.7.
SUBTITLE
SPEED
SYNCHRONISM:
ON
THE
SCREEN
/
SPEAKING
LENGTH
IMD
According to Longui CFolha de S. Paulo, 12/07/10805 each
line of a subtitle usually lasts one second on the screen,
two line subtitle Cthe maximum allowed}
seconds.
sày that
so a
is supposed to last two
Other people are not so precise about the subject and
the subtitle
must
be on
the screen
"time
enough
for
the viewer to read it".
As can be observed,
subtitle speed is closely connected
48
with the number of characters allowed.
the original
That is why
"the shorter
rendering,
viewer with reading.
match
the content of
must be summarized not only to fit on
but also to enable the viewer
subtitling
That is,
the
whose
of
to read it in such a short time.
the better" is a primary condition on
objective
Besides,
action
the screen
is
not
to
overload
the
the fact that the subtitle has to
the
film
also
contributes
to
the
relationship succint captions/fast reading.
This matching between subtitle and action is what Longui
calls
subtitling
through
the
use
translators mark
then
synchronism,
inserted
of
the
a
time
technical
code,
a
procedure
device
achieved
which
the start and the end of each talk,
in
the
film
according
to
its
helps
which is
corresponding
action.
However,
despite
all
the
content of a film may spoil
of
the
video version of
technology
the whole thing.
Citizen
Kane
Cl9413
Its content is so dense that the viewer
captions
to
di sconnected
read
visual
in
so
little
images.
MO,
available,
the
Such is the case
by
Orson
Welles.
gets lost with so many
time
from
plus
a
Videolab,
number
agrees
of
that
overcoming the subtitle speed on the screen constraint depends
to a great extent not only on the content of the original
but also on the translator’
s ability to "enxugar
the
speech
down
to
its
bare
bones ’
3.
In
challenging constraint to the respondents,
great
influence
characters,
In
C67SO,
even
greater
a fala" C ’
cut
general,
who think
than
text
the
this
is
a
it exerts
number
of
on the quality of their work.
dubbing
translation
the
length
of
time
of
the
49
Portuguese
version
soundtrack.
So,
has
the
to
coincide
translators’ task
besides translating the original
with
is
content
her©
the
original
also
twofold:
s/he has
at
the same
time to achieve synchronism between the Portuguese version and,
in
Nida’
s
with
words
attention
means
that
Cl 064: 178?,
to
the
dubbing
"the
overall
speaki ng-scri pt,
CEngli&K)
corresponding
translators
already
length",
try
to
which
adapt
the
translated text to dubbers.
There
synchronism
is
a
close
Cdiscussed
synchronism,
which
have
translation process.
Portuguese
been
version
achieved
synchronism
soundtrack
whenever
in
between
3.1.6 .D
the
both
to
and
be
the
the
between
the
is likely to occur
version
as a natural
the former presents any problem,
on the latter,
the
movements
translator,
Portuguese
in
length
dubbing
synchronism between the
actors’ lip
dubbing
phonological
speaking
achieved
Once phonological
and
by
relationship
and any failure in this
has
already
speaking
and
the
length
original
consequence.
it will
process
Thus,
be reflected
is
immediately
detected by the TV film audience.
As
the
speaking
the phonological
actual
length
synchronism,
constraint
on
the
synchronism
and
dubbing
as
the
depends
latter
translation
largely
on
represents an
process,
it
is
then clear that the former also represents a constraint on this
process which will
be directly reflected on the quality of the
dubbing translation product.
50
3.1.8.
REVIEW:
ILD
It,
unanimously
is
respondents
otherwise
also
that
it
agreed
should
being
be
any translation
is
among
must
"courting calamity"
among
done
agreed
theorists
by
specialized
another
in
the
and
theorists
the
be submitted to review,
CNewmark,
1981:585.
respondents
translator,
activity,
and
as
that
because
José
P.
the
It is
review
besides
Paes
also
Cl988: 585
suggests
Para uma crítica procedente e eficaz, tenho
impressão que outro tradutor é a pessoa
mais
indicada.
Porque
é
um
colega
de
ofício, sabe as dificuldades desse ofício.
the
translator/reviewer
is
not
in
frequent
contact
with
the
translated tex*,, so s/he is able to detect subtle mistakes that
the translator/author is not able to, such as mistakes owing to
distraction,
comments
revista
on
por
wrong
this:
quem
interpretation,
"Idealmente,
a
fez,
a
já. que
etc.
Nogueira
tradução
4> sempre
nunca
mais
C1984;895
deveria
fácil
ser
notar
os
erros dos outros do que os nossos próprios".
In
real
practice
it
seems
that
only
subtitling
translations for the video medium are. reviewed since eleven out
of
the
twelve
reviewer
cinema
dubbing
video
subtitling
in the laboratories
subtitling
translator
translators,
who
translators
they work
SRS
said
and
there
for,
to
the
was
no
said
there
as opposed
eight
was
a
to the
television
reviewer
in
the
laboratories they work for.
The
people
in
charge
of
reviewing
subtitling
51
translations at- the video laboratories
1
Csee
2.1.3,
Duplilab.
there
MF
was
TD
TVTEC,
C 28/03/903
no
translation
from
from Curt
reviewer
was
checked
MO
in
this
work,
which
is
from
&
according to Table
Videolab
Alex,
said
laboratory,
by the client,
cinema subtitling translation,
his
are,
and
that
VM
from
although
the
subtitling
TV Cultura.
Concerning
SRS says that he himself reviews
justified
by
the
fact
that
he
is
very
respected as a cinema translator Che is the only respondent who
is credited3,
given longer
and also by
the fact that cinema translators are
time limits to perform their task Cas can be seen
in 3. 1 .3. 3 .
Cases in which the subtitling translation is reviewed by
the client,
that is,
ineffective
since
knowledge
often
than
of
the
not,
the distributor,
the
SL
distributor
and
only
so,
which
translation
presented
inadequacies,
many
the
the
checked
surface aspects" CCortiano,
subtitling
may sometimes prove to be
of
rarely
translation
for
spelling
1990;1603.
the
film
inadequacies.
director
of
has
a
is
thorough
"C...3
errors
and
more
other
Such is the case of the
Hiroshima,
When
Sagres
Mon
Amour,
justifying
— the
such
distributor
responsible for the review of the film - implicitly makes clear
the
risk
any
translation
product
runs
if
reviewed
by
inefficient and careless distributors:
C. ..3 Gastamos uma fortuna na traduçaío, e
isso
só
pelo
interesse
de
fazer
um
lançamento de qualidade. Revisamos o filme
aqui, mas não entendemos francês muito bem,
assim como a maioria do público.
CSet,
1990/5:493
52
Thus,
considering
ineffectively
that
reviewed
whenever
this
that,
by
subtitling
incompetent
situation
translations
people,
occurs,
it
the
may
be
may
be
said
quality
of
the
subtitling translation product will be directly affected.
Some
practice
ways
in
of
the
overcoming
cinema
directors and writers,
this
medium
problem
long
ago
were
by
some
put
into
screenplay
such as Stanley Kubrick and Woody Allen,
who demanded that the translations of their films be checked by
themselves
with
the
Veiga Cin Schild,
help
of
interpreters,
according
Jornal do Brasi 1 , 08/11/1084?,
to
Elza
an experienced
translator for the cinema.
In the video medium,
some distributors are hiring people
especially for reviewing translations.
hired
the
film
translators,
legendas”
:
explains.
who
is
is
"A
everything
even
Video
This
able
critic
that
credited
Arte
fact,
to
Rubens
however,
produce
has
an
been
Edwald
in
pediu
Video Arte,
the
films
as
who,
raises
effective
about
de
C30/10/Q0?
the question
review.
this
unlike
"supervisor
exclusividad©'1, he
again
said
Filho
for example,
about
Considering
question,
it
may be
concluded that this decision taken by distributors has relative
merit.
Besides,
translators,
reviewer,
it can also bring some negative consequences to
such
as
the
devaluing
which makes people other
translators’ position,
and
the
of
the
translator
as
a
than translators occupy the
devaluing
of
the
activity
of
translating once it is the reviewer who is credited and not the
translator,
which
results
in
the
reviewers
assuming
superior
positions in relation to translators.
■
Some
translators
such
as
LeitSo
C05/04/1990?
believe
53
that- to
solve
the
problem
should be given longer
themselves
would
of
ineffective
reviews
translators
time limits and extra pay and so,
review their
work,
as
it
is the
case
they
of
the
cinema translator SRS.
Regarding
situation is
the
reasons
some
of
laboratório
não
"ignorância
da
translators’ answers
interessado
nesse
tipo
de
were:
"o
revisão*',
the
"em nosso meio não há costume de se fazer revisão",
laboratório não quer ter despesas extras",
What
actually
happens
is
the film goes directly to the
to
for
the
available,
chefia",
the
translations,
the dubbing laboratory did not have a reviewer
está.
asked
dubbing
that
dubbing
When
of
fact
the
worse.
review
translator
Leitão
that
C05/04/Q0D
modificando por sua conta”
. So,
and so on.
after
dubbing
being
director
"toma
"o
translated,
who,
para
si
according
a
versão,
instead of the translated texts
being corrected by a reviewer or by the translators themselves,
they are evaluated by the dubbing
process.
Angela
Bonatti
Cin
director
Schwartsman,
during
Foiha
02/08/©05, Herbert Richer® dubbing director,
explaining the dubbing process:
film
are
seconds
divided
each.
during
which
translation,
into
Each
the
dubbing
rehearses
has
de
S.
Paulo,
confirms this when
she says that the talks of each
loopings
looping
the dubbing
which
to
be
director
dubbers
and
correspond
ready
in
corrects
records
to
three
and
twenty
minutes
adapts
the
the
Portuguese
versi on.
In the case of a poor
the
spoil
’
correction’ by
the
message,
the
is
synchronized dubbing translation,
dubbing
director,
justifiable.
once
Nonetheless,
it
does
according
not
to
54
the respondents,
them Cincluding
noticed
this does
very experienced translators?
modifications
dubbed,
not seem to be the case for
in
their
translated
have
texts
40K of
"sometimes"
after
being
while another 2 0 Ü have "always" or "frequently" noticed
modifications
in the dubbed
the
such
latter,
original
version.
modifications
content.
Respondents
In the opinion
have
somehow
also complain
of 67£* of
altered
that
some
the
dubbing
directors do not even know English,
which may put the original
content at risk.
Thus,
that
content
fit
only
to
as
the
nonsense
it is clear
the
actors’ lip
result
will
be
a
altering
the original
movements
good
will
produce
synchronism
of
an
uni ntel1igi ble text.
There
Senhor,
are
still
24/01/90?,
translated
text
cases,
where
simply
according
the
dubbers
because
sophisticated words and change
of the translated text.
Rocha
themselves
they
them on
ev©n absurd cases where dubbers fail
to
refuse
their
Cisto
modify
to
use
own account,
to do the correct
the
more
and
reading
These are responsible for the fact that
four out of ten films present problems in their dubbed version.
About
the
remarks:
former
"N§
ío
estrangeiros.
e
o
case
repetimos
apenas
satisfactory results,
police
by
an
agent
as
Cin C. B. ,Auto-Falante, 1978:8?
inflexões
e
Damos a nossa interpretação.
papagaio
created
a dubber
repete",
such as
anonymous
Kojak
who
which
os
A gente adapta,
may
sometimes
the expression
dubber,
which
liked to suck
maneirismos
"heim,
fitted
lollipops.
very
dos
cria
produce
nenem 7",
well
the
Nevertheless,
such a practice among dubbers is clearly subject to inadequate
results.
55
As
dubbing
a
conclusion,
translations
it-
are
may
bo
said
arbitrarily
that-
modified
the
in
fact
the
that
dubbing
process without the support of their authors comes to prove the
direct
influence dubbing has
aspect of the final product.
for
the
critics’ negative
on
the quality of the
This,
in turn,
reactions
to
linguistic
will be responsible
innocent
translators,
such as Tarso de Castro’
s
Alguns
dos
momentos
mais
brilhantes
do
bestialógico nacional
sao vividos diante
dos enlatados, dublados em vibrantes vozes
nacionais e traduzidos por intépretes do
mesmo qui1ate C ...3
CFolha de S^_ Paulo, 05/10/19803
3.1.9.
CENSORSHIP: EADD
Censorship
was
in film translation,
once
either
responsible
by omitting
for
many
parts
’
treacheries’
of
the original
content or by changing the meaning of the original
message,
as
attested i n the f ol1owi ng quotati on:
C. ..3 nos rob6 todas las referencias a la
guerra espanola de los labios de Bogart o
de Or son•Wei1es. pudo converti r adulter ios
en amistades CDe aqui
a l_a eter ni dad3 ,
madres en madrastas CEl irresistible Henry
Or ient3,
prostitutas
en
bailarinas
C El
puente de Waterloo} y lesbianas en ni si
sabe qu<£ C La habi taci 6n in forma de L3 .
CSantoyo, 1985:1503
Although
this
type
of
censorship
is
not
a
regular
practice at present,
it seems that another type of still exerts
some
the
influence
on
activity
of
film
translation,
as
56
suggested
by
S.
Augusto
CFoi ha
de
S.
Paulo, 13/03/88:15
when
discussing the advantages of subtitled films over dubbed films:
"Mas elas C l&g&n/jUzs'J ao menos permitem que alguns ouvidos façam
as correçSes cabíveis e peguem em flagrante as intromissSes da
censura",
It
is
journalist S.
for
the
exists
video
in
that
followed
is
not
ask
explain
film
rendering
homosexuality,
by
that
etc.
distributor
the
type
of
censorship
The translators who work
the
censorship
activity
is
which
imposed
to
use
dictates
rules
Reviewer
by
the
such
that
have
Rubens
to
E.
it
be
Filho
said that the translator of Video Arte
certain
rude
unless it is strictly necessary.
the
now
According to their answers,
translators.
for example,
allowed
sometimes
what
and that it relates mainly to moral matters,
each
C30/10/905,
to
medium
the
as adultery,
fair
Augusto is referring to.
distributors,
seems
now
distributor
VM,
CWarner5
words
such
as
from Duplilab,
can
alter
"merda",
said
the
that
already
transi ated text.
For translator SRS, censorship,
distributors in the cinema medium,
social
of
matters Ce.g.
rude words,
good-humoured
such
as
"vá
à
of
still
allow
some
him
to
At
dictatorial
told me about,
them:
"fofa-se"
present,
translate
As regards the use
a long time ago,
translating
mesbla” or
Brasi1 , 08/11 /19845.
that
is a problem mainly whenever
"drugs"5 are concerned.
he invented,
way
which is also imposed by
these
clients,
the
making
Schild,
are
words;
like
different
through
Cin
there
a
some
puns,
Jornal
do
distributors
however,
one
and
SRS
there
are
Cl 1/05/905
that very recently did not allow him to use the
57
word "bunda" in a film and it had to b© changed to "traseiro”
.
This means
to shock
that if,
on the one hand,
the audience,
they are,
distributors do not
on the other
hand,
want
ridiculing
the translators’work.
Because of that,
SRS agrees that this type of censorship
is a limitation to the translating
reflected on
In
always
which
is directly
the quality of his translation product.
the
acted
process,
television
more
medium,
severely,
even funny results,
a
as
fact
expected,
which
censorship
sometimes
has
produced
as Santoyo C1985:152? illustrates
En Mogambo, película dirigida por John Ford
y estrenada hacia 1953, se desarrolla una
historia de adultério.
El matrimonio lo
forman
los
personajes
representados
por
Donald Binden y Grace Kelly. Para que la
relación de ésta con Clark Gable no fuera
adúltera, la censura espanola — a través
del doblaje —convirtió a los esposos ! en
hermanos!
Result<£> entonces que hermano y
hermana dor mi an ©n la misma tienda y se
conducían enteramente como si fueran marido
y mujer. Se evitaba así el adultério, pero
se caía en el incesto.
As
eight?,
still
most
of
including
acts
as
a
the
dubbing
translators
the dubbing director
severe
constraint
process for the television medium,
the
audience,
Senhoras
naquele
as
translator
Católicas
horário",
reclamar
and
it
acts
EB
in
GB,
the
current
dubbing
out
of
censorship
translation
but it is mainly imposed by
remarks
como
agree Cfive
um
mainly
"ai
vein a
palavrão
in
Liga
passa
questions
na
related
das
TV
to
morality.
As a result,
most TV dubbing translators have to replace
rude words with milder terms as well as minimize other
’
heavy’
58
vocabulary,
which,
unintelligible
drugs
in
obter
utterances.
which,
illustrates,
as
"um
V.
de
viciado
’
farinha';
injetar
depending
gangs
on
Such
the
is
the
Sá. C Folha
em
de
film,
case
de
cocaína
S.
faz
may
of
result.
a
film
in
about
Paul o , 1S/OS/QS:13
qualquer
adolescentes
usam
coisa
para
seringas
para
’
remédio’C. ..3".
As
observed,
censorship that
functions
as
a constraint
in the subtitling and dubbing translation processes is imposed
externally either
medi
or
by
by the distributor
the
consequence of
audi ence
this is
Cin
Cin
the
reflected,
the video and cinema
tel evi si on
although
medi unO.
to a small
The
extent,
on the quality of video subtitling translation products and, to
a
great
extent,
on
the
quality
of
cinema
subtitling
and
television dubbing translation products.
It is of utmost importance,
which
censorship
influences
the
however,
process
translation should be questioned.
translation
language
and
product
the
should
cultural
be
the reality of each period.
called
by
Cl986:243
the
product
as a cultural
contemporaneous
community
express
Arrojo
and
of
If it is assumed that the act
of translating is a linguistic as well
the
that the extent to
it
refers
to,
act,
then
with
trying
the
to
It is the translation text
"palimpsesto".
Thus,
censorship
should not commit the mistake of minimizing reality the way it
does,
as Santoyo Cl985:1503
suavizar
los
términos
más
puts
it:
"la censura
contundentes
que
se
ha
intentado
utilizan
en
la
vida cotidiana".
From
the
characteristics
translations already presented,
of
subtitling
and
dubbing
it may be observed that all
of
50
them
function
with during
as
constraints
the actual
which
rendering
translators
process.
It
is
have
to
cope
also observed
that these constraints may influence the quality of translation
products
directly,
indirectly,
when
they
when they refer
refer
to
the
to working conditions;
linguistic
aspect
of
the
or
SL
and TL texts.
Finally,
role for
these
characteristics
have
any film translation analyst.
a
very
important
Besides helping
in the
analysis of the errors found in film translations Csee Chapter
45,
they also represent the variables which define the quality
of the translation product.
These characteristics serve then as
the basis for the definition of a good film translation product
which,
in turn,
translation
serves the critic as the starting point of any
evaluation.
A tentative definition of
a good
film
translation
must
translation can now be given.
3.2.
GOOD QUALITY FILM TRANSLATION:
In
general,
it
is
account for the semantic,
agreed
A DEFINITION
that
pragmatic
a
and
good
stylistic
levels, as
obser ved by Aubert- Cl980: 117 ~>:
C. ..5, nas traduç3es tidas como "boas" ou
"satisfatórias", se observa uma tendência
Cvai or mais estatístico!) no sentido de uma
maior incidência de fidelidade, i .e. , de
aproximação
entre
os
dois
textos,
nos
níveis
hierárquicos
mais
elevados,
transfrásticos
Cretórico-estilí st-ico
e
semântico-pr agmático).
60
Any text
the semantic
is
its
or
text
1evel, the most
denotative
relation
piece of
or
between
"basic
signs
has
a message
important
element
literal"
meaning,
and
what
t,o convey.
of
the message
that
they
At
is,
stand
"the
for"
CBassnett-McGuire, 1980: 273.
However,
interpreted
alone
situation
in
involved.
Thus,
a
the
message
semantic
without
which
content
taking
it
is
of
into
produced
the
semantic
message
account
and
the pragmatic content or
conditions
a
the
the
be
context
of
participants
contextual
content
cannot
meaning of
for
it
helps
translators to interpret
the function Ci11ocutionary force)
utterance
a
performed
communicative
1990:333,
by
situation.
According
it is always
of pragmatic
meaning,
equivalence.
Pragmatic
be
participant
to
has
House
in
Cin
a
Cortiano,
illustrated
if
by
necessary to aim at
necessary at
thus
the
overrides
video
the expense
semantic
version
of
equivalence
of
semantic
meaning. “ This
the
film
Elvira,
Mistress of the Dark Cwhose Portuguese title is Elvira,
das
Trevas), 1989,
Videolar laboratory.
and a relative.
released
by
Paris
Films
and
subtitled
As she inherits
a big house from her
her relative asks her:
Relative:
Are you interested in selling it 7
Subtitle:
Voc£ esto*. interessada em vender a casa 7
Subtitle:
Elvira:
Rainha
by
The scene is a conversation between Elvira
as she desperately needs money,
Elvira:
given
pragmatic meaning has priority over semantic meaning:
"In translation,
can
given
an
Does a chicken have a beak 7
Galinha tern bico 7
Of course I ’
m interested.
aunt and
61
Subtitle:
É claro quo <s>u estou interessada.
Ir»
"Does
Elvira’
s
chicken
intention,
utterance,
relative
literal
a
was
or
not
about
of
a
the
beak
a
it
is
illocutionary
obtaining
whether
translation
have
a
chicken
yes/no
had
a
clear
force
answer
beak
of
that
of
her
from
her
not,
as
conveyed in the subtitle suggests,
the
but of
expressing to her relative how stupid and obvious his question
was
once
he
knew
according
to the
utterance
would
for
example,
were
be
to
'?" or
in a
que
é
the
SL
in
você
would
cliche
"Pássaro
flavour of the original
economic
expressed
que
the
bad
be
a
captions,
its
acha
one
"Does
voa
if
in
which
'?".
what
understood
casual
type
of
is
said
as
the
to formal
but
with
which
as
’
imperative’
?.
Cdifferent
something
in
language
use,
that
1
words
or
careful
TL
have
then
a
cliche,
beak
gosta
preserve
de
the
the concern is not
is
said.
which
is,
Style
ranges
according
to
is
from
the
participants’ social
participants
frozen to intimate?,
to create
Such
a
were,
the topic C technical /non-technical!) ,
the relationship between
wishes
more
"Macaco
would
Cformal /i nf or mal ? , the
degree of affectivity:
addressor
how
variation
role in a given situation,
the location,
Elvira’
s
utterance.
according to
situation
A
chicken
such
Thus,
translation
At the stylistic level, nevertheless,
with
situation.
the illocutionary force of
better
however,
reproduced
banana
was
context,
"O
translation,
equivalent
she
on
the
stylistic
and the effect
addressee
varieties
expressions?,
Ci.e.
Ci.e.
can
grammatical
tone:
be
the
the
e.g.
lexical
Cdifferent
sentence structures? and phonological C especially intonation?.
62
They can also be realized by means of metaphors,
expressive values of certain words,
effects.
"os
rhetorical
puns,
rhymes,
and connotative
All stylistic varieties are called by Neis C
meios
formais
realized
disponíveis
through
formal
em
cada
features,
língua".
Taber
Once
Cin
?
:102}
style
Neis,
is
p. 102}
defines it simply as "a tradução dos valores formais".
Another
for
vary
language variety which is important
it comprises
according
temporal
all
to
Ce. g.
Liverpool
types
the
of
user
style
and
old/modern
dialect/Birmingham
according to the user’
s social
sex
and
age},
and
is
the
can
to mention
dialect.
be
Dialects
characterized
as
English},
geographical
Ce. g.
dialect},
socioeconomic
Ci.e.
class,
individual
education,
Ci.e.
ethnic group,
idiolects}.
2
Dialectal
features can also be lexically, grammatically or phonologically
marked by means of words,
sentence structure and pronunciation
different from other forms of the same language.
It is then clear
that the actual
3
message of a text can
only be grasped by also taking into account the environment in
which such a message is produced,
as well
as who produces
it,
and in what manner.
The
close
relationship
set
pragmatic and stylistic elements
only
for
interpreting
conveying it in the TL.
all
these
Cl964:170}
elements
when
the
into
the
semantic,
of
a
SL
text
but
also
for
the translator’
s aim is to build
the
considering
between
makes them indispensable not
message
Thus,
up
TL
the
text,
as
essential
stated
elements
by
Nida
for
a
translati on:
C...}
avoid
failures
when
adjusting
the
63
message
to
the
context,,
incorporate
positive elements of style which provide
the proper tone of the discourse,
which
reflects
the
author’
s
point—
of—
view
Cirony,
sarcasm. .3.
Individuals
must
be
characterized by the appropriate selection
and arrangement of words, so that features
of social class and geographical dialect be
evi dent.
Whenever
elements
the translator
in the SL text-,
ultimate goal
succeeds
s/he,
in capturing all
at the same time,
of any translation;
these
achieves
to produce an effect on the
TL receptor equivalent to that produced on t-he SL receptor.
Thieberger C1972:1213
mesmo longínquo,
atinge
is
seu
objetivo".
Principle of Similar
For
"É apenas na medida em que o tradutor for
capaz de atualizar o receptor,
o
the
or
This
what
Equivalent
Ni da
Effect,
que a tradução
Cl 9643
and
about
calls
The
which he
says:
Whether
of poetry or prose,
translating
must be concerned with the response of the
receptor; its ultimate purpose, in terms of
its impact upon its intended audience, is a
fundamental factor in any evaluation.
Cl 964; 1623
However,
be
followed
competence.
there are cases in which this principle cannot
because
they
independent
According to Catford C19653,
two different natures:
formally
are
corresponding
1.
linguistic,
feature,
of
the
translators*
these cases may be of
when the
"Linguistic
TL text
has
no
untranslatability
occurs typically in cases where an cunbiguity peculiar to the SL
text
is
Cp.943;
a
functionally
2.
cultural,
relevant
"a
feature
situational
-
e.g.
feature,
in
SL
puns"
functionally
64
relevant for the SL text,
of
which
the
TL
importance of
may
define
is
a
is completely abs&nt
part"
Cp. 99?.
These
the semantic/pragmatic
to
the
translator
the
from the culture
cases
element
degree
point
to
of a text,
of
the
which
translatabi1ity
possible between SL and TL.
Although
purpose
of
any
evaluation,
based
"on
on
feedback
What
is
and
considered
so
the
ultimate
indispensable
receptor’
s response,
psychological
factor"
therefore
mainly
to get,
translation
TL
mentalistic,
refers
principle
to
any
its achievement is difficult to verify since it is
the
the
Nida’
s
in
to
terms
subjective
literary
of
in
as
the
receptors
TL
receptors,
translation
usually
do
is
to
is
says,
It
Newmark,
book
adequacy
C1981?
receptor.
concept.
unless they are interviewed for
these
Newmark
is
a
however,
readers,
whose
really difficult
this specific purpose.
make
general
comments
about the plot and the characters of the prose or poetry.
Differently from TL book
receptors,
either
positive
or
negative feedback from TL CPortuguese? film receptors - cinema.,
video and TV viewers
- is easier
viewers
about
original
complaining
in
the
dubbed versions
bilingual
and
translations
soundtrack
to
see
subtitled
for
such
the
puzzled
as
"Seu
viewers’ odd
versions
or
filho
at
the
strangeness
m§e"
parts
poor
usual
complaining
da
facial
is usual
of
the
It is also
viewers
which made all
It
omissions
spiel Is out in a loud voice
meaningless joke,
or
the
television.
monolingual
to get.
of
the
synchronized
to find
about
while
to find
both
minimized
the
original
"You son of a bitch",
expressions
on
hearing
or
a
the actors laugh except them,
of
some
words
or
sentence
65
structures
films
the
which
dubbed
in
audience
for
an
them
are
not
Portuguese.
serve,
as
appropriate
have
no
translation
natural,
indeed even
Although
Theodor
in
activity,
the
for
these
C1986:120D
translation,
basis
all
it
nonsensical,
is
reactions
says,
as
evident
that
characteristics
example,
the
the
of
from
norms
some
the
’
IMD
in
of
film
Humber
of
characters available for
subtitling’characteristic,
which can
justify
parts
the
the
omission
of
Censorship’ characteristic,
of
the
which
original;
justifies
so
or
many
’
EADD
minimized
translati ons.
Positive
observed
feedback,
on
simultaneously
Everybody has,
the contrary,
with
the
at least once,
suspense
adventure.
or
even
All
clapped
these
be
presentation
immediately
of
the
cried at a love story or
laughed at the jokes in a comedy,
of
can
drama,
felt apprehensive at a moment
at
reactions
film.
the
point
hero’
s
to
bravery
the
fact
in
that
an
the
principle of equivalent effect was accomplished.
In such cases,
translation
does
not
, the
depend
translated.
In
Iinguistic,
on
which
consists
the »xtra-Un^iastic,
the
costumes,
viewer
with
an
scenery}.
types
textual
to be
intelligible
principle
textual
material
of
material:
components
contours,
which consists
Only
this
translated}
terminal
actors’ gestures
the
two
instance of film
of
linguistic
are
of
which have
intonation,
realization
the
any film there
components Ce. g.
Ce.g,
as in any other
satisfactory
only
actors’utterances
and
as well
of
and
Ci.e.
tone of voice};
visual
components
facial
expressions,
the
sum
these
message
in
the
the
auditory
and
of
the
their
provides
T L , as
the
Thieberger
i
66
stat©s:
A tradução d© um cenário d©
filme não
faz-se sem referência contínua ao filme. A
parte
extra-linguística
é
fixada
pelo
original
©
o
tradutor
recria
a
parte
lingüística do enunciado para formar
um
todo
com
a
parte
extra-linguística
e
ímutável.
Cl 072; 1333
Th© visual components will reveal to the TL receptor the
context of the film,
role,
as well
direct
as the channel
Ce.g.
indirect
such as the actors’environment and social
of discourse,
face-to-face
Ce.g.
through
the
or
which may be either
telephone
radio}.
conversation}
or
Since these components
are
visual,
they are directly grasped by the TL
receptor
screen,
In the case of the channel of discourse,
from the
the subtitling
translator will only have to convey the corresponding subtitles
either
dubbed
using
version
channel,
that
face-to-face
will
the
or
not
has
using
different
to account
is,
a
radio
conversation.
the
specific
program
Anyway,
cannot
the
while
sound
of
sound
channel
of
dubbed
version,
the
sound
technical
and
stress
and
rec©ptor
dubbing
are
handled
translators.
or non-technical, affective or
usually
be
will
be
each
a
discourse
the
and,
in
dubbers’
not the translators’
.
The auditory components
subtitling
effect
the
like
already be visually addressed to the TL receptor
responsibility,
can
for
typesetting
reproduced
intonation
can
in
subtitles
be
directly
differently
Formal
or
by the
informal,
non-affective styles
while
tone,
perceived
one© s/he has access to the original
by
rhythm,
the
soundtrack
TL
in a
67
subtitled film.
for
example,
Nevertheless,
by means
of
the translator
different
version both style and all
may opt to mark
typesetting.
these phonological
,
In the dubbed
features have to
be present.
Dialectal
geographical
features
and individual,
since the translator
of
in
discourse;
subtitling
translation,
mainly
are usually difficult to reproduce
works from the spoken to the written mode
however,
as
the
TL
soundtrack at his/her disposal,
receptor
has
the
original
the translator generally leaves
these features to be perceived by him/her.
Temporal
dialect is
usually characterized by the use of the second person singular
and plural
either
pronouns Ci.e.
more
or
less
"tu"/"v6s"?
and by the use
sophisticated.
Socioeconomic
of
words
dialectal
features are perhaps the easiest to convey graphically and they
are mainly marked by different words and spelling.
Such is the
case
spoken
of
the
sentence
times by a disc
film Do
"That’
s
jockey of a black
the
TL
soundtrack,
the
truth,
receptor
does
important dialectal
translator
since
1989?,
In dubbing
not
visual
Ruth",
community in
the Right Thing CSpike Lee,
"Essa e a verdadi, cxanpadi".
that
the
have
important
Harlem in the
and translated into
translation,
access
to
the fact
the
original
features cannot be put aside by
components
alone
enough to reproduce the message of the text.
geographical
many
would
A case
not
be
where the
and socioeconomic dialectal features are extremely
for
Cruzado,
TV
Richer s.
At an
the
Globo,
Portuguese
which
is
version
is
translated
interview C09/05/90?
he
by
said
the
serial
DS
from
that
he
Prinw
Herbert
tried
to
adapt the innocent and simple nature of the protagonist to the
68
ways of the people from the interior
this
adaptation
demanded
lexical
of Minas Gerais,
as
well
as
and that
phonological
changes.
Thus,
adequately
makes
a
it
is
rendered
bridge
only
by
the
between
auditory
components
principle
of
and
the
textual
translator
the
equivalent
Cortiano C199Q:183
when
and
translated
the
is
when
the
TL
is
viewer
utterances
and/or
the
components
that
the
visual
effect
component
achieved.
As
a
conclusion,
says:
Equivalence of effect in film translation,
therefore,
is only obtainable through a
consorted effort by both the translator whose aim is to put across relevant textual
utterances from the original - , and the
viewer - who plays an active role in the
process by grasping from the screen and
from the soundtrack those elements which
C. ..5 will hopefully result in an effect
equivalent to the one the film produced in
its original viewer.
Then,
receptor
it
may
be
affirmed
that
the
is much more active if compared
receptor,
since
formation
of
the
former
role of
with
participates
the
TL
film
the TL literary
directly
in
the
the message in the TL and without whom the whole
communicative process would fail.
Maybe
it
is
because of
this
fact that the principle of equivalent effect in cinematographic
translation is easier to detect.
In
subtitling
order
and
considerations,
that
the
pr obi em.
’
ILD
to
arrive
dubbing
it
is
at
the
definitions
translations
necessary
to
take
Equipment’ characteristic
of
good
according
as
does
a
quality
to
starting
not
these
point
present
any
69
Any
type
of
film
translation
dubbing - has an artistic character;
Cl9863
may
definitions of
be
said
that
-
either
essence
characterized as "versão",
or
and in terms of Theodor’
s
"tradução", "versão" and
the
subtitling
of
film
"recriação",
translation
is
it
best
which he defines as:
Trabalho de transposição, exato e artístico
C...?. Tem, ao mesmo tempo, de conservar a
harmonia do todo, transportado para outro
idioma,
assim
como
as
suas
qualidades
estéticas e,
em se tratando de poesia,
procurará
aproximar-se,
inclusive
em
métrica
e
rima
do
original.
Ê
aquela
tradução
que
se
esmera
em
observar
a
fidelidade semântica, a situação contextual
e as propriedades estilísticas, sem atentar
contra as boas normas do idioma II.
CTheodor, 1086:88?
In
both
fidelidade
subtitling
semântica"
Cthe
and
dubbing
semantic
contextual" Cthe pragmatic content?
equivalents
with
not
with
the
greatest
CCatford,
1965:49?,
’
the same
possible
translations
content?
and
"a
"a
situação
have to be realized by "TL
meaning’ as
overlap
of
the
SL
items,
situational
but
range"
as demonstrated in Elvira’
s utterance.
"As
propriedades estilísticas" have to be realized in the two types
of translation as far as they provide TL viewers with important
elements for
their
grasping of the message.
It should
also be
mentioned here that the ’
EADD Censorship’characteristic has to
be carefully handled by the translator,
who has to evaluate the
censored term or expression according to the medium and to the
viewers
it
will
be
available
to.
Whenever
this
expression is important for conveying the message,
term
or
it has to be
fully reproduced in the TL,
So,
the
subtitling
translation
or
version
succeeds
if
70
the
translator
stylistic
IMD
elements
’
Number
’
Subtitle
manages
of
speed
in
to capture
relevant
characters
on
the
to disregard textual
the
textual
whenever
dubbing
translation
or
translator
manages
to
the
’
Phonological
capture
in adapted
synchronism
textual
for
synchronism’characteristics
syllable sounds
and the
two
phonological
different
for
it
is
version
the
oblige
him/her
excessive.
if
the
pragmatic
and
utterances since the IMD
dubbing’ and
length
since
succeeds
semantic,
oblige him/her
sound
and
subtitling’ and
screen’ characteristics
material
pragmatic
utterances,
available
The
stylistic elements
semantic,
of
’
Speaking
length
to synchronize the
actors’ utterances
languages,
once
one
of
language
(■.Portuguese} substitutes for the other CEnglish} in the dubbing
process.
Equivalent effect in the subtitled
by
the
sum
of
well-translated
auditory and visual
components,
relevant
version is achieved
textual
utterances,
as Cortiano states:
The translator for subtitling will attempt
to concentrate
on
the
relevant
textual
utterances - that is, on those that, when
adequately
translated,
will
provide
the
average viewer with a firm basis from where
to aprehend visual and auditory components
from the film which fill in gaps that the
captions have left open.
C l 990: 183
Equivalent
effect
in
the dubbed
version
the sum of well-adapted and synchronized textual
is achieved
by
utterances and
visual components.
In this way,
film translation will be able to fulfil the
already mentioned Csee 1.1.}
four
basic
requirements
which any
71
translation must meet, as stated by Nida Cl9645.
Finally,
disregarded,
the
that
also supposed
is,
’
ILD
a
Review’ characteristic
good
quality
translation
cannot
be
product
is
to be one which is adequately reviewed.
In the next, chapter,
the characteristics as well
as the
definitions of a good quality product in subtitling and dubbing
translations will be put into practice in the analyses of parts
of
films
both
suggested
by
the
respondents
and
randomly
selected by me.
NOTES:
1.
Definition based on Richards,
J.; Platt,
J.
and Weber,
Longman Dictionary of Applied Linguisties, 1985,
on
Catford,
J.C.
A
Li ngui sti c
Theory
of
H.
and
Translation,
1965.
2.
Based
on
dimensions
Chiu’
s C1973D
in
Cort-iano,
E. D.
expanded
"A
Quality of Videofilm Translation",
3.
According
Cop. ci t.
.
to
Longman
Dictionary
model
Model
for
1990,
of
of
language
Assessing
the
p. 23.
Appli ed
Li ngui sti cs
4.
THE FILM TRANSLATING PROCESS
4.1.
SEEING THE FILM
In literary translation, it is
unanimously conceived
as
indispensable that the entire text should be read before it is
translated.
about
The reading,
the genre,
TL receptor,
determine
writing
much
as
about
objectives of the SL text and type of
provide the
intention
well
position
topic,
can
the
preceded by the translator's knowledge
as
the
to
the
of
the
style of
text,
the
assess
Apart
translator
author,
degree
basis
quality
of
Having
will
of
firm
be
learnt
in
a
fidelity
the
that
better
possible.
be
approached in this respect from the literary point—
of—
view.
It
essential
topic
of
the
him/her
the
film
film s/he
to
according
of
for
translator
the
film is classified
in
as
attitude
1976:603;
if
the
form
film
is
translator’
s objective will
of
translation.
comedy,
toward
the
know
the
For
and
content"
SL
will
text
classified
be that of
as
and,
if
the
will
in
Brislin,
do c u m e n t a r y ,
the
informing and sometimes
CNida,
impact"
help
the degree
example,
CNida,
factors
and
Both
and
and so s/he "will have a
s/he "will
clarity
genre
the translator’
s objective
convincing the receptors and so,
of
the
to form an idea about
be that of entertaining the receptors,
freer
to
objective
to this objective,
expected
translation
is going to translate.
determine
fidelity
film
to
can
is
differences,
a
the
the text.
translator
the
from slight
with
op.
consider
cit.D,
much more
as
can
be
73
observed
in
the
film
O
Homen que
narrator C Orson Welles?
Viu
o
Amanha
Cl981?,
whose
tries to convince the receptors of the
true value of Nostradamus’prophecies by making a link between
them and the events of our days.
Unlike
receptors
TL
are
literary
very
television medium,
translation
heterogeneous,
receptors,
mainly
film
concerning
which makes it difficult for
define who is going to see what film.
TL
the
translators to
The only secure criterion
translators have to identify receptors of a given film is age.
TL
film receptors
and adults.
translator
are
then divided into children,
adolescents
Of course the genre and topic of a film enable the
to
predict
possible
receptors;
however,
inferring
film viewers’preferences seems quite a subjective task.
Armed
with
this
objective and receptor
next step of the
information
-
film
- the film translator
process:
seeing the film.
genre,
is
topic,
ready for
Now the translator
is able to get acquainted with the situation of the film,
participants’social
role and
speech
unit
represents
translator
as
the
a
basis
of
for
the style
of
translation
apprehending
the
their
which
the
speech.
will
serve
content
of
its
Each
the
the
message through:
a. o valor de cada um dos itens lexicais;
b. a combinatória dos valores de conteúdo
de cada item lexical; c. as relaçSes de
significação cristalizadas nas estruturas
sintáticas; d. o valor da posição e altura
tonal ocupada pelo núcleo da melodia da
frase Cou o valor de pontuação, grifos...?;
e. o contexto,
o conjunto de mensagens
precedentes em que a mensagem em questSo se
enquadra; f. a situação extra-1inguística
C social, cultural, psicológica, etc?.
CAubert,
1978:86-7?
74
Th©
respondents
step as essential,
of
their
Filho
seem
to
consider
the
film
seeing
for most of them C81SO said that it is part
translating
when
also
talking
process,
about
which
his
contradicts
subtitling
Rubens
review
Edwald
procedure:
"Recebo a cópia do filme já legendado e o script em português
e
inglês
e
vejo
o
filme,
o
que
o
tradutor
nao
faz
e
comete
erros de contexto".
The
main
necessity of
script
given
by
the
respondents
to
to
them,
the
which
spoken
usually
text.
The
presents
four
divergencies
respondents
said they did not see the film before translating it
MO,
about
VM and DS.
C1QSO
already
answer,
mentioned
the activity,
it
about
may
him,
be
that
the amount of work
the time limit
which
them to see the whole film before its
they see it during the review.
his
who
The reason given by the first three translators
makes it unnecessary for
translation;
in
were TD,
was that they also work as reviewers at the laboratories,
justified
the
seeing the film before translating is the type of
sent
relation
reason
said,
his
Although DS has not
based
years
on
of
done at Herbert
everything
experience
Richers,
in
and
are somehow enough to excuse him from this step
of the rendering process.
4.2.
THE TRANSLATION OF TITLES
From
perhaps
all
the
the one that
critical
most
articles
presents
on
film
translation,
no justification
in actual
75
p>ractice
is
Ruy
Castro's
CVideo
translation of film titios:
ou recriados,
tradutores",
News^73,
pp. 53-563
about
the
"Desculpe a nossa falha - Adaptados
os títulos do filmes sofrem de tudo nas mãos dos
which is characterized by the exaggerated ironical
and unpleasant tone of his comments:
Primeiro, esses tradutores assistem à fita
para saber do que ela trata; depois compSem
aquelas
legendas que explicam o que os
atores
estão
falando
como
se
fossem
maritacas;
e,
finalmente,
escolhem
um
título
que
tornará
o
dito
filme
irresistível
aos
seus
olhos,
seja
nas
marquises dos cinemas ou nas chapeiras das
locadoras. Aliás, a escolha do título é> a
parte mais importante do trabalho deles
C. ..3 Deve ser por isso que os tradutores
brasileiros sofrem, gemem e se descabelam
até inventar um título tão atraente que
muitas vezes, tem tanto a ver com o título
original
quanto um bangue-bangue com um
desenho animado.
Cp. 533
Surprisingly
respondents
translate
who
film
respondents,
enough,
work
at
only
the
titles.
very
television
Generally,
rarely
few
medium are
according
of
the
allowed
to
all
to
the
they are only asked to give about five suggestions
of possible titles for a given film;
they also explain that it
is the distributor’
s and sometimes even an advertising agent's
responsibility to choose the titles.
If, on the one hand,
fact points to the critic's ignorance on the subject,
of
article,
on
the
other
hand,
serves
to
this
this type
increase
the
depreciation of the film translator’
s work to the lay reader.
Owing to the fact
asked
to translate
that
titles,
the respondents
their
answers
are hardly ever
in the questionnaire
about the topic were limited and based on personal observation.
Because
of
that,
I see
no point
in discussing
the
subject
in
76
depth,
and have decided just to make some generalizations based
on the respondents’answers and on my personal
the three-hundred and twenty-six cinema,
observation on
video and TV titles I
have collected from 1Q8Q on.
Whether
or
by
the
translated
translators
translated,
according
translation
of
before
the
which are
cinema
the
by
themselves,
to
60%
film.
the
Cases
when
C4050
re—
translated
for
are
occur
the
kept
titles
titles
and TV
the
mostly
after
are
with
agents
are
respondents,
mainly
video
for
advertising
film
of
translation
titles
distributors,
the
translated
cinema
media
films,
but
public’
s
whose
immediate
identification of the film.
Concerning
titles,
the
the
respondents
that of causing impact.
título
mundo
tem
que
ser
inteiro,
second
criteria
é
criterion
C33SO
used
indicated as
for
translating
the main criterion
SRS completed his answer saying that "o
chamati vo
um
most-
para
critério
mentioned
a
bilheteria,
puramente
é
assim
mercadológico“
.
by the respondents
C22SO
and
no
The
which
is closely connected with the idea of causing impact is that of
producing a creative title.
The
third
and
last
mentioned C17JO
was that of creating a title
the
the
will
message
of
film,
which
again
does
which
not
not have the function of causing impact.
consist
of
proper
main criterion,
the original
names
or
abbreviations,
main
it
For
relates
mean
complete
it
with
a subtitle
my
observation
that
%
to
it
titles which
seems
according to 73% of the respondents,
but
criterion
which
that
the
is to keep
gives
the
idea of the film.
Coincidentally,
in
of
the
film
titles
<
77
col 1ec ted, the gr©ai- majority Ca hundred and sixty—
two? present
a. translation related to the message of the film,
differs
words,
from
their
undoubtedly
romantic
film
originals
aiming
titles,
’
love’ which
is
for
at
by
the
use
calling
of
which usually
more
people’
s
appealing
attention.
example,
generally present
in
original:
absent
the
e.g.
TL
the term
Breathless
Cl983?/A Força do Amor; Out of Africa Cl983?/Entre Dois Amores;
9 1/2 Weeks C1085?/Q e 1/2 Semanas de Amor; Rebel C1088?/Quando
o
Amor
é Mais
related
to
Forte.
TL
’
tragedy’
,
thriller
absent
titles
in
the
always
SL:
present
e.g.
Road
terms
House
C1088?/Matador de Aluguel; Plainclothes
C1888?/Assasssinato em
2° Grau;
que
Everybody
There
are
their
originals
at all:
Ri ta,
even
e.g.
Sue
Wins
titles
do
C1990?/0 Crime
that
not,
at
are
o
suggest ively
least
apparently,
Mundo
Esqueceu.
translated
suggest
while
anything
The Graduate C1967?/A Primeira Moite de Um Ho mem;
and
Bob
too
C1Q87?/Rita,
Sue
e
Bob
nu;
Cousins
Cl088?/Vim Toque de Infidelidade.
The
collected
titles
formed
by
types of different versions:
either
the proper
and a subtitle is added,
another
title
is
proper
names
have
names
two
are kept
or the proper names are left out and
created.
In
abbreviated
titles,
these
two
procedures are also usually used.
I could also observe from my collected data that
is a current tendency to translate titles literally,
with
their
Driving
Ce.g.
styles
Miss
preserved
Daisy
Mo* Better
in
the
Portuguese
C1080?/Conduzindo
Miss
some even
versions
Daisy?,
there
Ce. g.
others
not
Blues C1989? / Mais e Melhores Blues?.
Other minor points observed in the collected titles will
78
not, be discussed once,
for reasons already mentioned,
they are
not relevant to this study.
4.3.
FILM TRANSLATION PROBLEMS AND SOLUTIONS
4.3.1.
INTRODUCTI ON
When asked to mention
the main linguistic difficulties
which are found in films and which have to be dealt with during
the
translating
C1950;
process,
’
slang’
, ’
technical
'cul tur al
’
ambiguous
terms’and
the
respondents
marked:
’
dialects’
terms’
, ’
idiomatic expressions’and
ingui stic differences between SL and TL’C145i each};
terms’ CO 50;
’
polysemous
terms*
C750;
’
obscene
’
rhymes in subtitled songs’C2% each}.
Dialects
apart,
linguistic
difficulties
which
refer
style seem to be evident not only in the high statistics
also in their degree of difficulty.
respondents’answers
translate
and
the
about
type
of
films
to
but
This is corroborated by the
they
considered
difficulty
present
in
difficult
such
to
films,
which again point to style as the respondents’main problematic
area
the
in
film
most
translating,
difficult
followed
by
Together
with
stylistic
’
slang’ and
these
represented
feature
’
literary
stylistic
by
'technical
to
with
C3550,
language’ C15%
each}.
features,
deal
terms’as
’
puns’ were
mentioned by 1554 of the respondents as a linguistic
also
problem of
difficult solution.
Although
’
dialects’comprise all types of style,
it was
70
not mentioned among the most difficult problems to deal with in
the translating process
particular
manner.
translation,
mode
of
translators
the
This
of
goes
translation
of
work
leaving
receptors’ disposal,
characterization
it is handled by
Because
discourse,
captions.
for
the
from
the
dialects
the
fact
the
actors
of
spoken
are
are
the
in
to
the
written
at
the
relevant
to
the
reproduced
in
the
not
Avila’
s words
new
TVA
in a
subtitling
soundtrack
rarely
with Cláudia de
supervisor
that,
original
which
translators
in
C23/07/013,
SSo
Paulo,
who
said that the main criterion for subtitling translations in TVA
was
"deixar
a
transparent’
},
styles
are
reproduced
tradução
C’
to
keep
which means that neither
reproduced.
in
limpa"
Even
subtitling
so,
examples
can
the film The Color Purple CA Cor Púrpura,
features
will
reproduction
be
of
analysed
in
dialectal
4.3.2.
features
be
of
dialects
observed,
as
in
1985} whose dialectal
. But,
is
translation
different dialects nor
some
translations
the
not
in
a
general,
common
the
procedure
among subtitling translators.
Dubbing
translators,
however,
are
more
concerned
about
dialects for their receptors do not have access to the original
soundtrack,
which
makes
impossible
for
these
receptors
identify any linguistic characterization of the actors,
it is reproduced,
A
good
example
at least slightly,
is
the
already
to
unless
in the Portuguese version.
mentioned
TV
serial
Primo
Cruzado.
The
respondents
most difficult
pointed
stylistic
out
’
technical
feature to deal
with.
terms’ as
the
I believe that
the difficulty lies in the relationship time limit/availability
80
of
sources
CEncontr o
t©ach©r
of
Naci onal
at
quickly
information.
USP,
as
performing
do
it
is
the
essential
the
task.
for
the expedictions
information Ci.e.
in
the
subject)
necessary
However,
disposal
-
this
of
not
obliges
the
laboratories
the technical
translator’
s
people
being
terms that
work
even
specialized
dictionaries
respondents
usually
the
short,
a
C63%
for
the
former
of
a
look
task
Because
are two of the four
for
their
film
may
in films
sources
for
of
of
precise
coping
in films
of
makes
the
consulting
and
technical
procedures most used
47%
with
that,
subject
and
as
The time limits imposed
the
given
get,
people specialized
to
frequently appear
in
to
translators’ immediate
translators
harder.
translation
Cousteau), whose
at
Alfarano
language Ce. g.
iinformation in the least possible time.
by
topic
dictionaries or
always
a
information
the
Jacques
technical
are
Regina.
translators
require the use of a highly technical
about
to
Tr adutor o s , 02/04/10003,
possible,
of
According
for
the
in
turn,
by the
latter)
to
solve translation problems.
Consulting English
dictionaries
is,
most common procedure used by the respondents C79JO,
time,
for a different reason:
of situation,
’
slang’
,
Consulting
and
this
with the help of the film context
language’
,
ambiguous
translation
has
the
’
idiomatic
terms’ in
colleagues
used by the respondents C56SO
dictionaries,
but,
first
English dictionaries can easily solve problems of
’
literary
’
polysemous
the
is
also
and which,
advantage
of
very
a
expressions’
,
little
common
together
immediate
time.
procedure
with English
availability.
’
Puns’are also considered difficult to handle for there is no
81
formal
procedure
for
the translation,
which depends
rather
on
the translators’sensitivity and imagination and mainly on the
linguistic
proximity between SL and TL
, which in most
cases
rarely occurs.
Other
in
films
factors.
require different
’
Cultural
T L ’ always
which
problems mentioned by the respondents as frequent
and
require
linguistic
some
adaptations
are
made
well
as
example,
making
on
the
subtitling
adaptations
extremely
which depend on
differences
adaptation
relevance of the SL term,
as
solutions,
in
the
depends
a
TL.
which
"Hyde
adaptation
her
to
dubbed
Herbert
films
Richers
The
message,
only
when
to
make
SL
dubbing
was
laboratory.
doing
translators
changed
to
imposed by either
of
to
of
tend
as
in the example
translation
"Ibirapuera",
and
does
can
especially
from
as
a dubbing
laboratories,
practice,
so
be
the
which
not
a
type
of
recommend
to
nevertheless,
observed
ones
seem
in
many
translated
examples
will
by
be
.
translation
used
Other
Globo,
discussed in Chapter
procedures
the
in
laboratory,
analysed in 4.3. 2.
on
when
a
TV
deal
to
tend to be more cautious
Park"
for
extent
translators
the
and
Avila C23/07/91}
such
and
for
which she disapproves
of
SL
While,
translators at TVA.
approve
The
great
adaptations even when they are unnecessary,
in
between
expression or allusion in the message
translator
necessary,
given by ClAudia de
various
of
’
obscene
3 C3.1.9.},
translate
terms’ has
been
in which it was seen that the
these
terms
follow
the audience or the distributor.
subtitled songs will
already
the
criteria
’
Rhymes’in
not be dealt with in this analysis
for
I
82
observed that most, songs in the films analysed were transiated
literally;
furthermore,
’
songs’constitute a particular area in
the translation field which is not the
concern
of
the
present
study.
It is now time to look at the film translation problems
and thei r soluti ons,
4.3.2.
THE ANALYSIS
Following Nogueira C10842,
who says
that the process of
translating is a process of making decisions,
this
analysis
is
to
look
at
the
decisions
the objective of
which
the
film
translators made when they faced certain translation problems.
In this way,
aspect
part of the translating
- can
be
studied,
still remains a challenge.
C1981; 1 ,
while
its
process - the linguistic
psychoneurological
aspect
This argument is supported by Aubert
who says:
O
processo
engloba
todo
um
aspecto
psiconeurol ógico, sobre o qual 4» difícil
afirmar algo de concreto e comprovável. É
possível,
contudo,
inferir
alguma
coisa
sobre a natureza propriamente linguística
do processo, a partir do confronto entre os
textos inicial em LP e terminal
em LC.
Desse confronto ressalta que na passagem do
texto LP para o texto LC ocorrem, a cada
passo,
desvios dos mais variados tipos,
C ...D
desvios
esses
frequentemente
imbricados numa mesma opção de tradução.
Thus,
ocurred
as
I
a
will
result
decision-making,
that
attempt
of
is,
to
the
look
film
during
the
at
the
"desvios"
which
translators’ process
process
of
encoding
of
the
83
semantic,
pragmatic
into
TL,
the
and
which
may
stylistic
have
contents
been
of
the
influenced
by
characteristics of the film translation process,
SL
message
either
the
or the lack of
Linguistic and/or cultural correspondence between SL and TL, or
by the translator’
s linguistic incompetence.
The
analysis
will
be
divided
according
to
the
problematic areas which characterize the "desvios" found in the
films
analysed.
respondents
and
twenty-six films
Among
those
both
the
randomly
whose problems
for this analysis.
films
chosen
by
I have
suggested
me,
I
have
found most
by
the
selected
interesting
Although most of the films are well known, a
summary of the plot of the most relevant films to the analysis
is
given
in
order
to
better
analysed in their overall
situate
the
parts
of' the
films
context.
a.
All that Jazz / O Show Deve Continuar, Cl9793, video version
translated and subtitled by Audiolar laboratory.
This film is an autobiographical
musical about Bob Fosse,
an American director and choreographer who revalued the jazz
genre in the 60s and 70s. CSet/10: 333
b.
Citizen Kane / Cidadão Kane, C19413, video version; and
cinema version retranslated in 1991 for the celebration of
its 50th anniversary.
Citizen Kane has been considered the best
film in the
cinematographic history and it is classified as a classic.
Mr.
Foster Kane is a press magnate
who gets political
prestige because of his fortune. However, his life begins to
change after he decides to marry, for the second time, an
opera singer. They go to live in a palace in Xanadu, but
their
life there is lonely and
frustrating,
and Susan
decides to leave him. He then stays
alone in Xanadu till
his death.
The film creates a mystery about Kane’
s last
word:
"Rosebud", whose meaning is only discovered at the
very end of the film. CFoi ha de S. Paulo, 22/05/91:5-73
r..
Colors / As Cores da Violência,
C19883,
video version
translated and subtitled by Magnetron S/A laboratory.
This film is about the violence between street gangs in the
suburbs of a big city in the USA.
d.
Dances
with
Wolves
/
Dança
com
Lobos,
Cl9903,
cinema
84
version.
This western is about- a war hero, John Dunbar, who decides
to live in a frontier wasteland, where he meets and, later
on joins the tribe of the Sioux Indians.
e. Down—
by-Law / Daumbai1<5, C19865, cinema version.
This film is considered a cult movie. It is a good-humoured
story about two Americans and one Italian who were put in
the same jail and,
encouraged by the Italian,
they all
decide to escape from prison. The film is, above all, about
the decadence of American society.
f.
Elvira, Mistress of the Dark / Elvira, Rainha das Trevas,
Cl 9895 video version translated and subtitled by Videolar
1aboratory.
This comedy is about Elvira, who works in a horror show for
a
TV
programme
of a big city, and who receives the news
that
she has inherited a property from her aunt in a
small city.
She goes there, but the inhabitants of the
small city do not
approve of her way of being and
dressing, which is that of a
kind of punk witch, and
forbid everyone, mainly the children
who are fond of
Elvira, to have any contact with her.
g.
Henry V / Henrique V, C198Q5, video version translated and
subtitled by TVTEC laboratory.
This second adaptation of Shakespeare’
s play for the cinema
tells the story of the battle of Agi ncourt, in which the
young king Henry V and his few men bravely beat the king of
France, Charles VI, and all his men. CSet/5: 11-135
h.
Play it again, Sam / Sonhos de um Sedutor, Cl9725, video
version.
This comedy is about a cinema critic CWoody Allen5 who,
after being abandoned by his wife, tries to overcome his
insecurity
with
women
helped
by
an
imaginary
advisor:
Humphrey Bogart. The most comic scenes are the ones in which
he
tries
to
seduce some of the friends of his best
friend’
s wife.
As the title in English suggests, this
film is a tribute to
Casablanca. CCinemin/55: 345
i.
Reds / Reds, Cl9815, video version translated and subtitled
by Videolab laboratory.
This historical romantic drama tells the story of John Reed,
a communist journalist and activist who has a romance with
the
feminist
writer
Louise
Bryant
during
the
Russian
Revolution in 1917. CVe ja Sao Paulo, abril 1991:785
j.
Roxanne S Roxanne, Cl9875,
video version translated and
subtitled by TVTEC laboratory; television version translated
and dubbed by Herbert Richers laboratory.
In this romantic comedy C. D. Bales, the head of the fire
brigade of a small town, falls in love with Roxanne,
a
student of astronomy who has just arrived in town. But C. D.
does not want to confess his love because of the complex he
has about his huge nose. Roxanne then falls in love with
85
Chris, a handsome fireman, though not intelligent. He asks
C. D. to help him write
love
letters to Roxanne. C. D. then
expresses all his secret feelings in the letters signed
by Chris. Roxanne loves the letters and thinks Chris is a
poet until she finds out the true author of the letters.
k.
Sammy and Rosie Get Laid S Sammy and Rosie, C1987?, video
version translated and subtitled by TVTEC laboratory.
Also considered a cult movie, this film explores the visit
of a third-world politician CRafi? with a mysterious past to
his estranged son, Sammy, and Sammy's social worker wife,
Rosie. As Rafi attempts to get to know his son again, he
finds out
the true
nature of
Sammy and
Rosie’
s
’
open
relationship’
. But they also find out about him and the
forms of ’
persuasion’ his beliefs have led him to adopt.
C Sammy and Rosi e Get Lai d ^ The Scr it>t and the Di ar y ,
1988: book back cover?
1, SBT FILM,
dubbed version for the TV on 17/09/90
m. SBT FILM, dubbed version for the TV on 06/03/91.
It is a comedy about the disorders caused by
students of a driving school.
the
bad
n. Sea of Love / Vítimas de uma PaixKo, Cl989?, video version
translated and subtitled by Videolar laboratory.
When investigating the murders of two men, which ocurred in
similar circumstances, the police agent Frank
Keller
CPacino?, from New York, finds out that both men
had put
rhymed ads in magazines in order to look
for female
companions. In order to attract the
possible murderer,
supposed to be a woman, Frank and his
colleague Sherman
also put rhymed ads in magazines. But the
divorced Keller
gets affectionately and sexually
involved with one of the
suspects, Helen. CSet?
o. Shy P e o p l e
/ Gente Diferente,
Cl 989?,
video
version
translated and subtitled by Audiolar laboratory.
Grace and her mother live in a big city in the US and decide
to meet some relatives who live in a distant place nearby a
marsh. The relatives are very simple and ignorant people
with strange habits. The situation becomes more and more
complicated
as
Grace
introduces
new
habits
into
her
relatives’lives, which they cannot understand.
p.
Supercarrier
II / Asas de
Aço,
C1988?,
video
version
translated and subtitled by TVTEC laboratory.
This adventure is about the feats of a new group of Air
Force
pilots in simulated attacks.
%
q. The Big Blue / Imensidão Azul, C1988?, video version.
This film is about a businesswoman from New York who meets
and falls in love with Jacques Mayol, a sea diver who cannot
stand living out of the sea, in whose depth he feels like
being at home. But there comes a time when he has to choose.
C Movi e , fevereiro de 89:17?
86
r.
The* Color Purple / A Cor Purpura, C1985), video version
translated and subtitled by Duplitech laboratory.
This film tells the trajectory of a woman since her slavish
position
in
relation
to
her
husband
until
her
total
development
as a human being, in which 40 years of a black
community from the south of the United States are focused.
CS e t :3©7->
s.
The Decline of Western Civilization Part II — The Metal
Years / Os A n o s
do Heavy Metal, Cl988),
video version
translated and subtitled by TVTEC laboratory.
This is a musical documentary in which heavy metal players
talk about their lives, past and future expectations. Their
friends, fans, and mothers also participate in the film.
t.
The Draughtsman
cinema version.
u.
The Man who Likes to Sing, dubbed
Corujão da Globo, September/90.
v.
The Sheltering Sky / O Céu que nos Protege, Cl990), cinema
versi on.
Three Americans arrive in Morocco in the
50s. Kit and Port
are
married
and
their marriage has reached a critical
stage. Turner,
their
friend, just wants to enjoy himself.
As they
travel
through the desert in the north of Africa,
their
lives
change completely.
CFoi ha de S.
Paulo,
22/05/91: 5-6)
Contract
/
O
Contrato
de
version
Amor,
for
the
Cl982),
TV,
on
w. The Silence of the Lambs / O Silêncio dos Inocentes, C1990),
cinema version.
In this film of suspense, Clarice Starling CJodie Foster) is
a young
FBI agent who is in charge of finding a women’
s
murderer,
Buffalo
Bill.
She
is
helped
by
the
clever
psychopathic psychiatrist Hannibal Lecter, who is in prison
for murders characterized by the practice of cannibalism.
CFoi ha de S. Paul o , op.cit.)
x.
When Harry Met Sally / Harry and Sally — Feitos Um para o
Ox.it.ro, C1989),
video version translated and subtitled by
Videolar laboratory.
After
getting
his
degree at the University of Chicago,
Harry
gives
Sally, his
girlfriend’
s friend, a lift to New
York.
During
the trip, they
talk about their different
ideas about
love and
friendship.
Five years later, Harry
C now a
political adviser)
and
Sally Cnow a journalist)
meet
casually
at
an airport, travel together but go their
separate
ways. Another
five
years later, they meet again
in New
York, but
this
time they become friends until they
realize they are in love with each other. CSet/6)
y.
Who
Framed Roger Rabbit ? / Uma Cilada para Roger Rabbit,
C1Q88), video version translated and subtitled by Audiolar
laboratory; video version translated and dubbed by SC São
87
Paulo 1aboratory.
Roger Rabbit- is accused of being t-h© murderer of the owner
of
Toontown, the city of
all
animated cartoons.
Eddie
Valient decides to help Roger to prove his innocence in
spite of the fact that he does not like "toons" very much,
for one of them has killed his brother. The first suspect is
Jessica Rabbit, Roger’
s wife, for she was seen by Eddie with
the Toontown owner on the night of the crime. But she then
helps Eddie and Roger, together with all the other "toons",
to find the true murderer: judge Doom, who wants to destroy
the whole Toontown.
z.
Yellow Submarine / Yellow Submarine, C
3 , video version
translated and subtitled by Duplilab laboratory.
This animated cartoon is about the Beatles’ fantastic trip
on board of the Yellow Submarine to Pepperland, which was
attacked by the blue meanies who wanted to finish off with
all the music there. Defined by the translator as having
"trocadilhos
intraduzíveis e piadas nonsense", this film
is undoubtedly
the most artistic one for its highly
sophisticated language,
which demands time and creativity
from translators.
The
films
is
Sammy
and
analysis
based
on
Rosie
Because of that,
of
the
chosen
auditory
Get
Laid
cinema
perception,
whose
and
video
except
script
I
for
managed
subtitled
the
to
film
find.
there are a few instances in which the English
text of some examples in the analysis
is
not
fully reproduced
and which is indicated by four dots
From now on,
kind
of
error
I will
no matter
use the term d&svio to refer
what
their
source
is.
It
is
to any
possible
that a type of desvio is involved in more than one problematic
area.
In
this
case,
the desvio will
be mentioned
only
in
the
area which best characterizes it.
It is assumed in the analysis that the viewers of these
films are monolingual.
The symbol
y will
be
used
in
the
transcription
Portuguese translations in order to separate captions
not appear at the same moment on the screen.
of
the
which do
88
4.3.2.1.
PROPER NOUNS
As
a general
rule,
film translators
the characters’proper names.
these
names
are
purely
the
not
translate
there are cases in which
metaphorical,
personality and therefore,
nearly
However,
do
part
of
the
character’
s
must be translated into the TL with
same connotative
load of
the
name
in
the
SL.
Some
good examples are;
In Colors,
all the members of the gangs have nicknames,
names’
, as
meaning.
they
In
call
Colors,
them.
their
Nicknames
may
translation
is
have
a
connotative
extremely
for it characterizes the function of each member
’
street
important
in the gangs,
as in:
a.
RocMet:
he is the tough man of the gang,
people
and
trace.
for
disappears
without
leaving
a
The literal translation FogxLG>te> would be satisfactory
it
keep
immediately
the one that shoots
might
the
semantic
suggest
idea
and
in any other
of
the
association
rapidity.
pragmatic
Without
elements
instance in
which
are
a
’
fogo’
/’
shoot’
,
the
and
translation,
unnecessarily
metaphorical
the
lost,
name
is
as
not
translated.
b.
High Top:
this is the gang dealer’
s nickname,
’
high’Cintoxicated with drugs?,
’
on
the
who is always
top’
. At
a moment
in the film he is caught by a policeman who asks his street
name.
you
As he says it,
break
into
the
the policeman
tops
of
ironically asks
buildings
7",
him
translated
"Do
into
89
"Você» arromba coberturas dos
situation
in
in
th©
which
This
th© non-translation of
non-understandi ng
component,
through
and
auditory
the
prédios
of
the
a typical
the nam© results
situation.
the policeman’
s face
component,
is
and
through
The
visual
cynical
smile,
the
policeman’
s
intonation,
can inform the viewer that he is being ironical:
however,
the
captured
in
semantic
the
TL
element
while
partially
captured
for
policeman
is
ironical
being
the
th©
should
is difficult,
keep
the
the
message
pragmatic
element
viewers
but
about the reason of the irony.
however,
of
can
they
not
is
perceive
still
is
only
that
cannot
be
the
sure
The solution to this problem,
once the translation into Portuguese
same
characteristics
of
the
nickname:
be
short and preserve the reference to drugs and to the top of
a place.
Considering that the solution to this problem,
satisfactory one exists,
translators
as
well
requires a lot of imagination from
as
time,
it
is
then
clear
translator opted for not translating High Top.
procedure
omit
the
would
be
if a
to
maintain
policeman’
s
ironical
the
name
why
Another
good
untranslated
utterance,
which
the
is
and
not
relevant in the film,
c.
Facmtxn:
impatient
members,
thi s
is
policeman
sending
problem occurs.
an
erroneous
original
the
name
who
them
al 1
has
to
gangs
no
tact
prison
transcription
of
is Packman,
to
to
deal
whenever
What the translator
transcription
gi ve
the
did here,
the
a
with
whose meaning
and
their
slightest
actually,
nickname,
who packs people or things into a place’or
young
once
is
was
its
’
a man
’
a man who packs
00
a
place’
. However,
add
even
much to the viewer
um
verdadeiro
gangs.
important
gang’
s
to
name
effect
of
uttered
transcription
by
Top,
High
would
some
the
members
translation
not
"Ele é
of
of
the
the
Packman is indispensable once it conveys
information:
members
right
when reading in the captions
Packman",
Opposed
metaphorical
the
towards
the
disapproving
the
young
in
Packman
reaction
policeman.
Portuguese
is,
of
the
Creating
the
nevertheless,
a
difficult task for it is impossible to reproduce its meaning
in just one word.
into
’
Cara
da
’
prison’and
A suggestion would be to translate Packman
cana’
,
in
from which
which
’
cana’ is
the metaphorical
a
metaphor
verb
for
’
encanar’is
der ived.
From
the
examples
translation
sometimes
of
may
of
this
metaphorical
be
rapidly
film,
names
solved
it
is
is
not
Ce. g.
clear
an
easy
Rocket"),
that
task,
which
sometimes
require some modifications in the original text Ci.e.
in order to preserve High Top},
the
may
omissions
and sometimes may require a lot
of imagination owing to the dissimilarities between English and
Portuguese,
It
translator has,
to
decide
is
important,
whether
to
the case of this film,
so
the
However,
does
not
to
mention
that
the
right at the beginning of the film translation,
translate
procedure which s/he will
and
however,
translator
adopt
the
throughout
names
the
should
have
to
creativity,
tried
to
the time
and
non-translation or adaptation of proper
that
or
not,
whole film.
almost all the names are
it cannot be forgotten that
contribute
proper
a
In
metaphorical,
translate
limit
them.
available
sometimes
the
names is a requirement
91
of the laboratories.
Another example in which the proper name characterizes
the characters'
In
a
SBT
personality but is
dubbed
instructor
of
a
film
on
driving
not
translated is:
06/03/91,
school
is
in
which
replaced
authoritarian and scaring female instructor
Savage.
by
the
an
impatient,
whose name is Miss
The translator simply transcribed the proper
Portuguese /Savagi/,
lost.
The
example,
name into
whose meaning and function were completely
translator
instructor's
patient
might
connotative
easily
name
if
it
have
were
reproduced
adapted
the
into,
for
which
the
’
Senhorita Fera',
There
are,
however,
other
examples
situation requires the translation of
in
the proper
noun for
the
pragmatic element of the message may be realized in the TL.
In Henry V,
the king disguises himself in a coat to talk
the men of his
traitor
among
the king,
troop in order
them,
He
to find
approaches
a
man
"My name is Pistol called.
Meu nome <
s
> Pistol.
H:
"It sorts well with your fierceness."
Condiz com sua ferocidade.
the
viewer
proper name,
king's
is
not
aware
who,
not
real
meaning
a
recognizing
comment.
pistols
of
the
of
the
it becomes difficult for him/her to understand the
However,
there
translation of this name for,
set,
there is
treats him angrily and says:
Mi
Since
out whether
with
did
not
exist
is
a
problem
with
the
at the time at which the film is
yet
and
maybe because
translator opted for leaving the name intact.
of
that
the
An adaptation of
02
the
name,
would
have
intended purpose,
In
All
that
a
satisfactory
procedure
for
the
a name such as "Bravo“or "Guerreiro".
Jazz,
choreographer,
been
there
is
a
scene
in
which
Joey,
the
is choosing some dancers to participate in a new
show on Broadway.
All
the dancers are in line and he addresses
one by one asking a few questions.
He asks one of the» men:
C Mis facial expression
Ji “Autumn, is this your name ?"
Autumn, e esse o seu nome ?
shows th& strangeness
of the m a n ’s name> to himD
A:
"Yes"
J:
"Sure you wouldn’
t change your name ?"
Voce nSo quer trocar de nome ?
A:
"If you give me the job I ’
ll change it.
In this case the name could have been literally translated and
so, provide the viewer with its denotative meaning,
then
provide
a link
to
the
pragmatic
element
of
which would
the
message:
Joey’
s dislike of the man’
s name.
Some
names
can
be
left
proximity between SL and TL.
Silence of
learnt
the
that
Lambs
she
psychiatrist Hannibal
the
be
FBI
between
allows
into
the
the
agent
helped
of
the
by
Clarice
the
has
just
psychopathic
in the investigation about Buffalo Bill.
Shocked and frightened she whispers:
translated
because
Such is the case of a scene in The
in which
will
untranslated
"Hannibal,
Portuguese
sound-effect
o
and
"Hannibal,
canibal",
English
whose
words
Hannibal/cannibal
to
the cannibal",
correspondence
cani bal/canni bal
be
preserved
in
the TL.
There
are
also
examples
of
films
whose
proper
names
are translated:
Henry V,
in
which
most
of
the
people’
s names
and
titles
were
93
translated,
as
"Lord
which
of
someti mes
produced
Canterbury "/Lord©
de
weird
combinations,
Cantuâria;
"King
such
Pepine"
transferred to ’
Rei Pepino’
; "Tenent Bardolf"/Tenenie Bardolfo.
Curious
’
Pobre
enough
sir
is
the
translation
.John’
, which
does
not
of
"Poor
follow
sir
the
John"
other
into
procedure
used throughout the film.
In
the
Yellow
Submarine,
the
blue
meanies
who
attacked
Pepperland use the form "Your Blueness" to address their
In "Blueness" two things are implied:
and
the
fact
Portuguese
one
word,
meanings
that
language
the
are
cannot
translator
while
receptor.
they
the
"Sua
other
Azuleza",
sad.
the colour of the meanies
Owing
to
capture these
had
to opt
was
left
I
might
king.
for
to
say,
be
the
fact
that
two meanings
just
one
produced
in only
of
perceived
the
by
a good
and also permitted the association with the idea of
the
the
two
TL
effect
’
realeza’
.
In Who Framed Roger Rabbit 7 the translator opted to translate
just the forms of
"Mr.
and
address,
Moroo'VSr, Moroo,
firms
Ce.g.
such
"Cloverleaf")
’
toons’
, as
of
the difficulty
untranslated,
of
such
except for
the animated
in
"Baby Herman"/Bebê Herman;
leaving names of shops Ce. g.
were not relevant in the film,
of all
as
cartoons
reproducing
a name in Portuguese
and
the film,
which,
actually,
"Toontown",
the town
were called.
the sound-effect
also because
visually and linguistically made explicit
"Red Car")
and
its
Because
meaning
meaning
to the viewer
is
during
its translation becomes unnecessary.
As
regards
translated in
the
names
the dubbed
the subtitled versions.
of
versions
In
the
shops,
and
they
sometimes
film Roxanne,
for
are
generally
translated
example,
in
the
94
owner
of
a
shop
boring stupid
is
interested
person.
screen
and
Roxanne,
accept
his
invitation.
was
not
Roxanne,
him
a
shop,
with
an
In
expression
the
translated
subtitled
and
the
of
disgust,
version,
viewer
could
does
not
the
name
of
not
realize
In the TV dubbed version,
the viewer has the information the video viewer lacks:
"Todas as Coisas
to
finds
The name of the shop appears on the
what was so repulsive about the shop.
however,
who
As one day she was passing by his
he invites her to come in.
the shop
in
stuffed
Mortas" is the name of the shop which refers
animals.
With
this
information,
the
TV
viewer
is
able to conclude that just a boring stupid person like that man
would own a type of shop like that,
and so the function of the
notice is preserved in the translation,
and
its effect on the
TV TL viewer is achieved.
When
literary
works
are
mentioned
in
films,
the
translator must always be very attentive to the fact that their
titles
may
already
have
established
s/he is subject to shameful
mistakes.
translations,
otherwise
A case in point is found
in Roxanne when a man goes to a bookshop and asks:
"Did you do that copy of
Paul Sartre
are
which
, whose translation for the video and for the TV
respectively,
Jean. .
"Fez
"Já separou
the
’
Being and Nothingness’by Jean...Jean
first
aquela
o livro
option
cópia
'O Ser
clearly
do. ../’
Nada
Ser’ de
e o Nada’de Jean. .
shows
the
in
translator’
s
carelessness.
As regards the names of places,
in the films analysed
I observed that they are either transcribed or changed to their
generic names;
therefore,
there is no point in
analysing them.
05
4.3. 2.2.
STYLE / DIALECT
Two
main
typos
of
stylistic
is
the
desvios
wore observed
in
tho translation of films.
Th©
first
typo
that of th© original.
us©
of
a
style
different
from
In a TV dubbed film on SET on 17/00/00,
a
policeman says to another policeman:
P:
G:
"Encontrei ess© gay que pode falar sobre o outro gay. "
"Voc£ tem um
jeito de
usar
as
palavras
!" C the
complains :, of fenclecD
Based
that
on
th©
th©
gay’
s comment
word
is
&ay
a
and
on
gentl©
the
way
well-known
of
gay
convention
referring
to
male
homossexuals, it may be inferred that the policeman was rather
more offensive
In
this
way,
utterance,
preserved
or
pragmatic
the original
the
whose
in
which
elements.
A
its
element
was
translation
’
polite’
.
viado,
than
pragmatic
function
the
’
impolite’ to
bicha
in
for
to
be
the
However,
capture
of
the
policeman’
s
offensive,
style
satisfactory
would
translation suggests.
was
was
not
changed
from
translation
both
the
the fact that this
would
stylistic
be
and
is a film for
television and so might have be©n influenced by the censorship
from the distributor,
reaction
from
the
gay
who in turn might have feared a negative
community,
cannot
be
disregarded
a.s a
possible reason for this inappropriate translation.
In Reds,
during a quarrel between the protagonist couple,
who is very angry,
suggests that
else.
and
This
rud©
"fornicando", although
used by John.
offensive
its
Louise is
word
English form
was
John,
"fucking" somebody
translated
"fornicating"
Since they are a couple and the quarrel
was
into
not
is in an
96
informal
rat-her
insulting
style,
the» formal
or
Biblical
word
f orniccindo, does not seem to be appropriate in this situation.
The translator might have been influenced by the period of time
in
which
the
however,
a
informal
film
is
set,
during
Portuguese
term
which
the
Russian
would
best
Revolution;
preserve
the
style as well as the insulting function of the English
term is "trepar".
The same problem occurs in Sammy and Rosie Get Laid,
quarrel
between Rafi and Rosie,
man about his political
also in a
who is now furiously asking the
forms of persuasion:
RO:
"C.. .5 weren’
t red chillis stuck up their arses 7"
C . .. enfiavam pimenta pelo corpo ?
The
minimization
said,
in
this
censorship
as
minimized
or
of
the
case,
many
informal
to
be
other
omitted,
as
a
and
result
terms
in
a
rude
term
of
in
the
this
ars&s
be
distributor’
s
film
conversation
may
are
between
either
Rosie
and
her friends:
EVA:
"Carrots are certainly more attractive than ding-dongs.
And more prolific in vitamins. .."
Cenouras são mais atraentes / E tem mais vitaminas,
in which the slang ding-dongs,
organ,
Also
to the male sexual
is omitted.
in
this
differently
later
which refer
unmarked
another
reproduced
becomes
name is. ",
film,
Rosie’
s
in
case
in
Portuguese
lover,
is
introduces
which
the
the
way
himself:
style
Danny,
"Danny,
which is an interesting example of a change
thematic
structure,
impact or at giving
himself
which
more
would have been produced with
aims
at
importance.
"Danny,
causing
who
my
in the
a sort
A similar
is
of
effect
é meu nome. ", instead of
"Meu nome é Danny”
, the conveyed translation.
07
If
1080:34?
speech
we
who
in
consider
says
that
common
"translators
must
Eiienne
"the
is useless",
Cin
translation
use",
and
deal
with
constant process of change:
Dolet
Nida
a
Bassnett-McGuire,
should
C1064: 120?
medium
of
use
who
forms
says
of
that
communication
in
language must fit reality unless it
then it must be agreed
that
the style reproduced
in the following translations are out of place and time.
In
Play it
again,
friend’
s wife,
A:
Sam,
when
trying
to seduce
Linda,
his
best
Allan says:
"You really are an unusually beautiful person"
Você é extremamente bela.
"Really, you really are"
Deveras, você é. .. ,
in which Deverotsi is too formal for a conversation between close
friends,
and it could be replaced by "Verdade",
for example.
Other odd instances of the use of inadequate style in
the TL are:
Also in Play it again,
girl Allan,
A:
Sam,
very nervously,
when getting dressed to meet a new
says:
"I wish she’
d seen me before"
Oxalá, ela me conhecesse.
In the cinema version of Citizen Kane , the protagonist says:
K:
"I wish I knew.
Oxalá soubesse...
In Henry V, the French prince says:
H:
"Would it were day"
Oxalá fosse di a
In
these
three
and
a
examples,
distinct
king?,
century?
the
persons
in
use
Can
of
the
ordinary
different
periods
word
Oxalá,
cinema
of
time
mentioned
critic,
C70s,
a
by
magnate
40s,
15th
immediately points to the inappropriatness of the term
used in the three instances,
without
any criterion
related to
08
people,
place or time.
example,
"Gostaria
Satisfaciory translations would be,
que
©la
j&
m©
“
Se
©u
Th© second type of desvio consists in the use of
two
soubesse. . .", and "Quisera foss© dia",
conhecessc",
respectively.
different styles in the translation while the original
characterized
by
original style,
th©
us©
colloquial
of
just
on©
and
full
of slang and
mostly w©l1 reproduced in the TL,
in
which
original,
the
for
the
captions
do
not
styl©.
In
text is
Colors,
the
swearwords,
but ther© are a f©w examples
reproduce
the
style
of
th©
although this does not mar the translation at all.
utterance
"My
bro
was
is
afraid",
the
colloquial
short
In
form
bro is translated into "irmSo" unnecessarily for the Portuguese
language has the word
"mano",
which could fit better
th© style
of the film.
In All
th©
that Jazz,
same
scene
is
Kate,
his
however,
utterance
a
th© mixture of different
produces
conversation
girlfriend.
a
weird
between
He
is
version
Joey,
jealous
dinner with a dancing classmate,
the
in
styles
TL.
Th©
choreographer,
and
because
th©
in
she
will
have
so he asks her about the guy:
J:
"Straight- or gay '?"
Normal ou ’
gay' ?
K: "What do you mean ?"
O que quer dizer ?
J: "I mean is he looking to get laid or is he looking for
Right ? “
Ele quer ir para a cama ou quer ser comido ?
K: "He’
s straight."
Ele 6 normal.
Mr.
It can be observed that in Eie q^/er ir para a cama. ou cfxi&r s&r
comido ? there is a mixture of styles,
obtrusive
while
situation
in
ser
which
comido
this
is
example
ir para a cama is less
informal
occurs
and
as
even
well
as
rude.
the
The
terms
ee
used
in
th©
slang,
original
Mr.
slangy
terms
of
also
th©
male
very well
informal:
slang,
sexual
Janos and Mr.
Mr.
the situation
totally
is
Right
personification
ar©
while
does not
and
organ
Tom, do.
g&t
it
as
d©not©s
th©
Thus,
most
ser
is
th©
usual
fits
comido
Joey’
s real
intention is to
the man intends to have sex with Kate,
understand his intention at first,
direct question,
laid
ir para, a carna also may suggest
the idea of going to bed to sleep.
know whether
to
he
which could have been better
and as she
then makes
the
translated into:
"Ele quer comer ou quer ser comido ?".
Apart from these problems,
which
the
translations
translator
manages
Kane,
very well
Henry
"Go
and
bring
V,
the
the king’
s formal
"Read them and know"/Lede-as
them"/Ide
be before thee"/Lá estarei
mainly
the
elaborate
for
video
the
celebration
version
lexical
"contar-1he-ei";
e
e ficai
trazei-os;
antes de ti. In Citizen
does
and
not
of
syntactical
"m’
a devolva";
Concerning
are found in:
"nao
informal
style,
The Sheltering Sky,
translated
into
"Seu
period of time of the film;
"chicks’
Vminas;
50th
any
of
forms:
lh’
os
anniversary,
these
more
"Tê-las-ia";
direi
outra
vez";
"cabograma".
good
translation
examples
when Kit says to Tunner
fresco",
in
accordance
The Metal Years,
to address the audienc© in a show,
trouxas;
its
present
"Doravante tudo será como você quer";
sissy"
In
the highly refined style is well reproduced in the cinema
version,
while
as in
"see'Vvede;
"There I ’
ll
praiseworthy.
to reconstruct
and refined style,
sabendo;
are
there are many instances in
with
“
You
the
when slang is used
as in "Hello,
suckers!"/Olá,
in Sammy and Rosie Get Laid,
when Rafi
100
says
to
Rosie
"Now you’
re talking
like a damn
dyke",
translated into "sapatão" and not into the formal
As
few
films
regards
whose
dialects
used
dialects,
dialect
in
is
the
The
Color
reproduced
film
are
Purple
in
mainly
the
ciyMe is
"lésbica".
is
one
of
the
subtitles.
The
geographical
and
soci oeconomi c for the film focuses on a poor bl ack communi ty in
the south of the United States. The dialect and its translation
are presented below:
a. phonoloqical1y marked:
The actors sometimes present a pronunciation different from
the standard:
Celie’
s father says to her:
"Celie, you have the ugliest smile I have seen
ages."
Celie, cé tem o riso mais feio do mundo,
in
which
another
the
word
translator
used
to compensate
the
for
non-standard
the
different
/sai
/
for
spelling
of
pronunciation
of seen.
In
"It’
s gonna
could
have
cho-tj<ê>, to
however,
rain
also
/rai
used
represent
the
the
in
/
your
head",
non-standard
deviant
the
translator
spelling,
pronunciation
such
of
as
rcrin;
s/he opted to translate it simply as "Vai chover na
sua cabeça".
The
original
sometimes
did
the
standard
form
even
but,
not
so,
present
the
any
deviation
translator
from
decided
to
represent the dialect also through the different spelling of
'some words:
"Maybe you could give me a sign. " C C & H &
Quem sabe o Sinhõ pode me iluminar.
"It’
s bad luck “
to cut a woman’
s hair. "
is talking to GodL>
101
D4 azar cortar cabelo d©
b. qrammaUcally marked:
Some»
original
different
sentence
from
the
translation
either
spelling
words,
of
structures,
standard
or
characterized
wrong,
phonological1y
or
morpheme combinations,
were
by
grammatically
marked
the
by
as
being
in
the
non-standard
weird
phrase
and
as in:
"Ain’
t you done yet ?'*
N-um acabS ai nda ?
CCelie
to fxer sister Nancy D
"But I say: I ’
ll take care you with God help. "
Mas eu digo: V& cuidar de vocd, c ’a ajuda de Deus.
"Botar
as
galinha
no
galinheiro. **Ccorrect
in
the
original
version}
"Ando precisando dxunas cortina,
mas
fazer." Ccorrec t original version2
num.
tenho
tempo
In Yellow Submarine there is a very peculiar character,
de
Jeremy,
who speaks an idiolect which nobody understands,
but which the
translator
captions:
tries
to
hoc ad hie et qui
reproduce
pro quo".
literally
in
the
As Jeremy also speaks English,
"Ad
the
Beatles find out that he is very talented and highly cultured.
His English spoken style is highly intellectual,
characterized
by the use of sophisticated words and by the use of rhymes.
rhymes should
for
they
are
Nevertheless,
be captured by the translator
Jeremy’
s
the
most
translator
evident
seems
to
whenever
stylistic
have
The
possible
feature.
adopted
the
procedure already mentioned by Cláudia de Avila of keeping th©
subtitling transparent,
leaving such a stylistic
feature to be
102
perceived by the TL receptor.
Thus,
only
meaning
on
the
denotative
the translator concentrated
and,
even
so,
some
misinterpretations occurred:
When the Beatles ask Jeremy who he is, he answers:
C the fact
jxist
by
that
I coxxld not
listening
to
it
understand
did
not
the who le English
affect
the
analysis
text
of
this
example}
“
Eminent physicist,
polyglot,
sub:
catechist,
Prized ....botanist,
high ....satirist,
talented piano ....
Good dentist, too."
The
fact
suggest
that
that
Eminente físico,
poliglota, capitalista
Eminente botânico,
Satirista mordaz,
Pianista talentoso,
Bom dentista também.
was
catechist
the translator
mistaken
for
may
capitalist,
did not receive the script,
which
certainly might solve this phonological problem in little time.
I
myself
had
to
listen
to
the
word
many
catechist
times
in
order to be sure that the conveyed translation was semantically
incorrect.
rhymes,
could
Concerning Jeremy’
s intellectual
at
be
least
in
this
preserved
in
example
the
the
style expressed in
same
translation
stylistic
simply
changing the syntactic structures of the phrases,
"Eminente físico, poliglota,
Eminente botânico,
Mordaz satirista.
Talentoso pianista,
E também, bom dentista."
In
other
style
instances
does
because
of
not
the
of
seem
easy
phonological
means
of
as in:
catequista,
Jeremy’
s
so
by
effect
to
speech,
convey
however,
in
the
non-correspondence
of
his
rhymed
translation
linguistic
items
between SL and TL,
as in the scene in which the Beatles
find
Jeremy again after the battle against the blue meanies:
103
Ringo:
Je:
“
Jeremy, is it you ?"
Jeremy, e vocd ?
"I think you’
d better inquire the guards"
Melhor indagar aos guardas
"For when I was captured they took all my cards."
Tiraram meus documentos.
4.3. 2. 3. CULTURE-SPECIFIC ITEMS
These
are
items
which
are
related
to
the
extralinguistic reality of the SL and which may or may not have
a
counterpart
difficulty
principle
in
for
of
the
the
TL;
because
film
of
that,
translator
equivalent-effect.
In
and
the
they
a
represent
threat
films
a
to
the
analysed,
the
culture-specific items were verified in:
a.
the name of
a game; in a scene
in Supercarrier
II
a pilot
who is at the command of an aircraft says to the other pilot
"Monkey say,
monkey do",
diz,
faz".
macaco
translated
Although
the
literal
satisfactorily guide the TL viewer
the
pilot’
s
utterance,
telling
literally
Brazil
Rei
Dizer".
Mandou
translator
effort
to
would
grasp
The
use
minimize
the
SL
of
the
the
other
can
pilot
who
would
there is a similar type
rendering;
such
TL
message.
an
equivalent
receptor’
s
The
non-use
by
the
unnecessary
of
the
TL
may possibly be due to his/her
little time to perform the task,
literal
translation
which is expressed by the equivalent "O
equivalent by the translator
the
"Macaco
in the interpretation of
give the orders and who should obey,
of game in
into
or
which made him/her
due
to
the
unawareness of the existence of a TL equivalent.
b. the name of a piace used metonymical1v ;
opt for
translator’
s
104
At- th© beginning of Sammy and Rosie G©t Laid,
plan©,
going
captain’
s
pleas©,
to
voice
w©
ar©
is
Heathrow
England
addresses
to
th©
approaching
the
visit
son,
passengers:
down
London
his
to
and
in London.
For
not possess such information,
once,
Rafi
is
peripheral
reproduc©
it
"Atenção,
c.
in
which
is
used
whoever arrives
viewer
may
who
does
mean any city
s/he does not know where
Because of that and also because Heathrow
to
in
TL
Heathrow
up to this point in th© film,
is flying to.
the
The
attention
Heathrow",
airport,
is on a
Sammy.
"Your
metonymical1y , as a reference to London for,
in Heathrow arrives
Rafi
th©
the
context,
caption
th©
only
translator
th©
plac©
opt©d
to
referred
to:
alcohol
and
estamos chegando ©m Londr©s".
proper nouns used metaphor icallv;
When
talking
about
drugs by the metal
the
great
consumption
of
players in Th© M©tal Years,
%
Alic© Cooper
says:
"I’
ve
a
whisky
bottle
of
Building in front of m© all
the
size
of
the
Empire
State
th© tim©", in which h© uses th©
image of one of the highest buildings in the world situated
in New York,
to emphasize both the size of the whisky bottle
and the enormous quantity of
alcohol
he drinks
every show.
Either because some TL viewers might not know the building,
or
because
the literal
translation
would exceed
of characters available on th© video screen,
opted to convert the metaphor
into its sense,
which
resulted
the number
the translator,
about the size of
th© bottl©
a procedure suggested by Newmark
C1981:80?,
in the following
translation:
"Tenho sempre
105
uma garrafa d© uísque» ©norm© na minha frente",
d.
proper nouns used in similes:
In
Roxanne,
telling
noses.
C.D. , the man
the
people
with
there all
the
the
huge nose,
jokes
he
The jokes are divided into topics.
is
knows
in a pub
about
big
One of them is:
"Fashion:
you know you could deemphasize your nose using
something larger"
Moderna:
Sabe,
poderia disfarçar
seu nariz usando algo
maior
Cvideo subtitled version}
Moda: Você podia tirar a atenção do seu nariz se usasse
alguma coisa maior
C7V d u bbed version)
"like Wyoming. "
como Wyoming.
Cvideo subtitled version}
como o estado de /Uaiomen/
CTV dubbed v e r s i o n } ,
in
which
the
simile
something
larger
like
literally reproduced in the video subtitled version,
the TL viewer
counterpart
the
puzzled about
in
translator
the
TL.
In
assists
the word Wyoming
the
the
TV
TL
information that it is a state,
dubbed
for
version,
receptor
by
is
Wyoming
leaving
it has
no
however,
adding
the
thus making it possible for
the TL viewer to understand the simile in C. D. ’
s joke.
©. proper nouns used as qualifiers:
In a scene in Sammy and Rosie Get Laid,
house,
his old girlfriend.
Rafi
is in Alice’
s
Alice asks him:
"Shall I make some more Earl Grey tea ? ”
Quer mais chá *?
“
What about a piece of Jamaica rum cake ?"
Quer um pedaço de bolo ?,
in which Earl
and cake.
Grey and Jamaica rum are English types of tea
Even
if
there
were
counterparts
would not be important for the context,
conveyed above would still be adequate.
in
the
TL,
they
and the translation
106
f . proper nouns used connotati vel y .
Still
and
in Sammy and Rosie Get Laid,
Rosie
lover,
for
Raf i , Rosie
at a party given by Sammy
disappears
with
Danny,
her
new
and Sammy seems to be worried and jealous about this.
As Rafi
notices this,
he goes to Sammy and ironically says:
"And where is Lady Chatterley ?" translated into "Onde está
sua madame
Since
Lady Chatterley’
s story is well
by most film viewers,
there was no
to omit such a name for
of
the
this
name
with
connotative
woman of
Rafi’
s
utterance
for
the translator
the TL shares the connotative load
the SL.
meaning
many men,
need
known
that
Madame,
Lady
but,
even
so,
is
preserved,
nevertheless,
Chat ter ley
the
suggestion that Rosie has disappeared
implies:
a
element
of
pragmatic
and
loses
Rafi’
s
ironical
with a man once more
is conveyed to the TL viewer,
g. proper nouns wi th di fferent referents i n adver bi als:
In Play it again,
Sam,
the hypochondriac Allan is talking to
himself as he walks in the street:
“
My damn analyst is vacationing"
Meu analista está em férias
“
Where do they go every August
No verão...
"They leave the city"
Todos saem da cidade
"Every summer the city is full of crazy till Labour Day"
E a cidade fica cheia de loucos até o outono.
The
nouns
culture,
August,
whose
summer
and
summertime and
Labour
Labour
Day
Day
refer
the
celebration
on dates different from those of the TL culture:
and August and on September 2nd,
to
respectively.
June,
SL
occur
July
Since the TL
107
shares the same reality but- at, different times of
the
translator
reality,
and
adequately
so that © w r y
the celebration
of
the
SL
nouns
to
the
TL
a.\À$-u.Gt was translated into no nerão,
Laboxir Day was
till
adapted
the year,
translated
Labour
into
Day coincides
até
with
o
oxitono once
the beginning
of autumn in the U. S. A. .
h. in the verse of a song:
In Roxanne,
at the first date she has with Chris,
supposes
to
be
the
author
received,
she asks him:
of
the
love
whom she
letters
she
has
R ; "Say something romantic"
Diga uma coisa romântica
At this point the video subtitled version and the TV dubbed
version diverge.
The
video
version
is
literally
translated
while the TV version is presented as follows:
C: Ch&si tat ingr, trying to rG>mts>mb&r some*
"Detal hes tão pequenos de nós doi s são coi sas
grandes p ’
ra esquecer"
R: "Isso não é de uma música '?”
C: ”
É. Transformaram em música. "
R: "E você escreveu a letra ?"
Csh& ironically ashs2
C-. "Não. Mas eu gosto dessa música. "
In the original,
the man mentions a line of an American song
that
is translated literally for
very
difficult
plagiarizing
Roxanne
aspect
hand,
for
an
the
the
TL
American
recognizes
of
mui to
it
viewer
to
romantic
that
situation.
the video,
the
In
TL
the
grasp
which
makes
it
that
Chris
is
song.
It
viewer
grasps
TV
version,
is
on
only
when
the
comic
the
other
the comic effect is immediately understood through the
adaptation
of
the
SL
piece
of
Roberto Carlos’romantic songs.
music
to
a
verse
of
one
of
108
i. foreign nouns:
The
foreign
nouns
"estrangeirismos"
"vocábulos
ou
which
and
are
expressSes
refiram a um conceito,
C t&xto
da
appear
defined
da
LO
falantes da LT C língua, da
TL
by
texts
are
Barbosa
C Iingua
técnica
original 3
língua
in
called
Cl 090:715
as
que
se
original"}
ou objeto mencionado no TLO
que
seja
desconhecido
para
os
tracfruçSoD ". In The Big Blue,
there
is a scene in which the businesswoman’
s boss asks her
about
a workmate,
for
and
tomorrow".
viewer,
dele"
she
The
answers:
first
"His
time
I
son
saw
me
pronunciation,
suppose
that,
owing
find
in
spelling of
made
bourmi tsxiah
film,
satisfied
to
to
its
as
a
Hebrew
spelling
a
TL
me
suppose
which I thought I could
dictionary,
that
word which
yet,
my
I
looked
I
approximated
surprise,
barmi tz-oah. could
fitted
the context
it
in
up
described
and
When trying to
the term to a TL term with a similar
’
batizado’
, a
which,
this
the term had a Hebrew origin.
understand the meaning of the term,
which
being
the translation into "AmanhS é o barmit&vah do filho
made
only
is
an
it
as
spelling,
possibly
perfectly.
English
"a
the
mean
Not
dictionary,
ceremony
and
celebration that takes place on the thirteenth birthday of a
Jewish boy, after which he has the status,
and responsibility of an adult man".
was
found
in
an
English
religious duties,
The fact that this term
dictionary
means
that
this
"estrangeirismo" has been transliterated into English.
Once the term barmi ts-ijah, is not essential to understand
utterance
intention
in
is
the
to
context
tell
the
of
boss
situation,
that
her
as
the
workmate
the
woman’
s
will
not
lOO
com©
to
work
transference
giving
the
require
on
the
procedure
meaning
a
following
larger
seems
of
to
number
of
through
meaning
Hebrew
of
the
term
the
same
in
refers
to
the
the SL.
procedure
a
translator’
s
adequate;
besides,
captions
than
Furthermore,
"estrangeirismo":
which
the
characters
serves to preserve the style of
go
be
barmi tsivah
available on the video screen.
then
day,
the
would
number
the transference
The TL receptor may
as
I
did
inferring
Jewish
to
grasp
that
this
celebration,
the
is
which
seems enough for the intended purpose of the utterance.
if the TL viewer
goes
’
batizado’
,
I
as
understanding
of
further
did,
the
and
this
function
associates
will
of
not
the
a
Even
the term with
impair
his/her
utterance
in
the
context of situation in which it is produced.
4. 3. 2. 4. CONVENTIONAL AND IDIOMATIC EXPRESSIONS
Tagnin Cl989:12-35
expressions;
distinguishes between two types of
conventional
expressions
and
idiomatic
expr essi ons.
Convent ianxxl expressions are those used as a norm,
habit,
depending on each social
transparent,
components,
that
as
is,
for
it
is
situation,
the
instance
sum
"Merry
greeting which is a social
convention
an expression
to
form,
that
is
also
is,
the
conventionalized
said
be
adjective
according
to
of
and whose meaning is
the
meanings
Christmas",
at
Christmas
conventional
Merry
language
a
and
use;
which
of
a
Such
of
its
was
Happy
because
its
is
time.
because
not
of
that,
Happy Christmas is not commonly used as Merry Chris tmas is.
no
There is another typo of expression which is also said
to be conventional owing to its form,
transparent",
that is,
it does not correspond to the sum of the
meanings of its components.
significado"
large",
in
linked
Cp. 13D.
which
by
language
the
use
an
the
She
two
gives
words
conjunction
and
expression Ce.g.
then
This is what Tagnin calls idiomatic
"no momento em que a convenção passa para o nível
expression,
do
but whose meaning is “
not
no
other
’
usualmente’
2 is
not
were
variation
expression
transparent
of
in
“
by
this
its
and
order,
conventionalized
in
the
form
of
large") is accepted.
by or
for
example
. .. Iar$e,
by
and,
large a nd by;
idiomat-ic
the
TL
meaning
and so,
cannot
by
this
It is
C’
em geral ’
,
be translated
word-f or-word.
The
expression
author
is
then
also
concludes
conventional,
that
but
every
that
idiomatic
conventional
expressions are not always idiomatic.
Now the analysis of such expressions in the films may
be
presented.
Although
conventionalsi diomatic
the
espressions
pointed out by critics,
is
translation
one of
the
of
few problems
few were the examples I found in which
the translation was inaccurate.
There
translated
were
cases
literally,
an
in
which
absolutely
idiomatic
inadequate
the meaning of such expressions is not
above.
In
Contract,
the
cinema
"the
heart
coraçSc? da matéria",
version
of
the
of'
expressions
the
matter"
procedure
transparent,
film
is
The
once
as defined
Draughtsman
translated
which is totally out of context.
dubbed version of The Man Who Likes t,o Sing,
were
into
"o
In the TV
there is a scene
Ill
in which the
time.
th©
is
going
As he hesitates,
man
text
man
answers
was
nervous,
"Borboletas".
in
and
my
so
It
is
from
stomach",
it
the stag©
his friend asks him
"Butterflies"
butterflies
to sing on
could
have
that
means
been
?",
th©
expression
which
th© first
"0 que foi
clear
th©
for
and
original
"I’
ve
that
the
translated
got
man
into
is
"Estou
nervoso".
There
translation
was
of
a
th©
case,
however,
idiomatic
in
which
expression
was
the
literal
felicitous.
It
appears in the film Who Framed Roger Rabbit 7 and the scene is
a
conversation
Toontown,
between
watched
by
Eddie
Dumbo,
Valient
the
and
the
well-known
president
animated
of
cartoon
elephant:
P:
"The best of that is they work
for
some> p&oirwAts to Dumbo2
O melhor 4> que eles trabalham
version^
O
melhor
<
£
> que
eles
peanuts" C and h&
por
trabalham
amendoins.
©m
troca
throws
Csubti tied
d©
amendoins.
Cd-ubb^d. vers ion)
E:
"I don’
t work for peanuts"
Eu n§
io trabalho por amendoins. Csubt tiled version)
Mas eu n§
io trabalho por amendoins. Cdubbed version)
The expression n>ork. for
peanuts means
little money’
, which
what
In
spite
of
literally,
throwing
peanuts
the
is
fact
the
visual
peanuts
to
are
the animals,
the
only
the
that
this
which
their
the
shows
to
animated
work.
for
nothing
of Toontown
expression
indicates
payment
receive for
president
component
Dumbo
’
to work
the
tranlated
the
president
TL
viewer
cartoons,
The TL viewer
to the
meant.
was
at
president
that
least
immediately
realizes that this form of payment is unfair and abusive,
is reinforced by Eddie’
s answer
or
of
which
Toontown.
112
Thus,
hand,
the
iranslaiion
if the visual
achieves
its
objective.
the
other
component described were not present or if
the animated cartoon was not an animal
literal
On
but a human figure,
the
translation of the idiomatic expression would fail
and
it would have to be replaced by something like "Eles trabalham
por migalhas" or
"Eles trabalham por muito pouco".
the two translated versions,
preferable for
There
version
cases
in
literally
which
Citizen
Kane
the
idiomatic
translated,
Going on with peanuts,
of
of
troca, de> cxm&ndoirxs: and Mas ev nao. .. .
were
partially
results.
I would say that the dubbed one is
it best explains the meaning of the context
situation through
were
Considering
in
also
expressions
producing
bad
there is a scene in the video
which
he
and
employees
are
Kane’
s newspaper,
and
everybody starts singing a song which was written for Kane,
who
celebrating the success of the Inquirer,
his
comments "You buy a bag of peanuts in this town, you get a song
written about you",
translated into
"6 s6 comprar
amendoins
e
j4 fazem uma cam^So". £ s<5 camprctr cun&ndoins is undoubtedly an
awkward way found by the translator
to express
Kane’
s modesty
in relation to the great success of his newspaper.
sounds neither
good nor
stylistic
pragmatic
and
translation
closer
to
natural
in Portuguese,
elements
the
of
contextual
achieve a better effect on the viewer,
the
which
message
meaning
The sentence
at
would
puts
risk.
the
A
certainly
such as "Basta um pouco
de sucesso e ja fazem uma can9 §
io para vocd".
In Henry V,
the king,
of his few men says
a dice",
feeling desolate about the death of some
"Confident French do the ....
English play
translated into "Franceses jogam os ingleses no dado",
113
in
which
the
contextual
meaning
still
remains
was considered that the English were on
little
bad
to eat
weather,
which
and
and
involves
drink,
that
subject
’
playing
risk,
a
to
a
If
French territory,
illnesses
dice’ is
better
obscure.
a
it
with
because
of
game
chance
translation
of
would
the
be
"Os
confiantes franceses lançam os ingleses à própria sorte".
Although
said
to be
literal
film
the
meaning
transparent,
translation
Yellow
was
there
conventional
were
also cases
inadequate.
Submarine,
Fred,
for
the
the
expressions
in
some
meanies.
As Ringo decides to help him,
help
which
beginning
conductor
band,
R:
Ringo
At
musical
F:
asks
of
to
of
is
their
of
the
Pepperland
beat
the
blue
Fred says:
"God bless you"
Deus te abençSe
"Should I sneeze
Eu espirrei 7
Considering Ringo’
s answer
the translation Deus
to God bless you.,
it is clear
te ccbençQe does not fit this context.
that
God
bless yow is a situational formula used mainly to thank someone
and as a polite formula said
to someone
problem here lies in the fact that
in this context:
who
has sneezed.
both functions
are present
while Fred’
s intention was to thank
having agreed to help him,
Fred that thanking him was
also
him
allow
person
either
to
for
make.
the
sneezes,
’
Saúde’or
The
two
not
necessary,
’
Deus
Portuguese
functions
Brazilian
Ringo for
Ringo’
s intention was to express to
and Ringo expressed
that through a joke which the main functions of G o d
allowed
The
translation
of
God
Portuguese
te crie’or
bless
speakers
’
Deus
te
bless you
should
you.
then
When
usually
ajude’
, or
a
say
even
114
th©
three
together.
Of
these
expressions,
the
closer to the function of thanking is, perhaps,
So,
’
Deus
context,
te
crie’ seems
to
be
the
right
one
which
is
the second one.
choice
in
this
for it can preserve the function of thanking and thus,
the Portuguese text becomes comprehensible to the TL viewer.
Another case in which the literal translation of a conventional
expression did not
seem adequate appeared
Mistress of the Dark.
in the film Elvira,
Elvira is talking to her
boyfriend about
the troubles she has had with the people of the small city who
do not like her.
translated into
an expression
is related,
She then says
"I do better
"Faço melhor com pesadelos".
which is conventional
phenomenon called
This is a case of
due to its
according to Tagnin C19893,
of conventionality.
idiomatic
from
the
sum
Do better, or its simple form do good, is a
"coligação verbal",
expression,
of
its
its
in which the combination
meaning
components;
mean that a literal
translation
the
TL.
message
in
the
The
can
is
not
nevertheless,
will
problem
speakers,
the conventionalized
say it.
Natural
Since this is not
be
easily
this
be appropriate
with
way we,
inferred
does
in Portuguese
Brazilian
not
to convey
Exi /cvço m&lhor
p&scudeloss is that it does not sound natural
this
form and which
to the syntactic level
of a verb and an adjective occurs naturally.
an
with nightmares",
com
for
Portuguese
ways of expressing the same idea in
Portuguese would be "Eu me saio melhor em pesadelos" or "Me dou
melhor
as well
com
pesadelos”
, which
as the ironical
preserve
Elvira’
s disappointment
reference she makes to her acting in a
horror show.
Within idiomatic expressions,
there is another type of
115
expression defined by Tagnin Cp. 472
metaphorical
expressions
whose
Sammy and Rosie Get Laid,
of little footsteps,
as
"less idiomatic";
image
is
such
an
utterance simply as
her
indirect
image
in
"E as
crianças
having
a
way Rafi
baby,
the
asks
which
Instead of creating a
the translator opted to convey the
subtitle,
to
procedure
utterance,
Rosie
points
translating
This
the stylistic element of the original
by the
In
eh '?", in which the image little footsteps
similar image in Portuguese,
of
decoded.
Rafi asks Rosie "What about the sound
is immediately associated with children.
sense
easily
those
about
the
the
fact
the
affects
characterized
possibility of
that
he
did
not
want to sound intrusive.
Also in this film,
with Anna,
there is a scene
his lover.
in which
Sammy is worried because he has
Rafi up at the airport and he is late.
A:
S:
A:
Sammy is
in bed
to pick
Anna then says:
"You’
ll get pimples on your tongue for telling lies, you
couch potato. You mean your wife’
s got the dinner on and
you gotta go home."
NSo acredito numa palavra. Sua mulher o espera para jantar.
"My wife. It’
s funny, Anna, the more Rosie hears about you,
the more she’
s knocked out by you. "
C sxjjbti tie not o/ interest here}
"That’
s another one right there."
Tem outro bem ali.
Again the translator chose to translate the sense of
get
pimples
on
yo^tr
corresponding metaphorical
Besides,
is
without
the
that
Portuguese
expression o seu. nariz
the style used by Anna in the original,
slangy,
that
although
tong-ue
completely
help
of
obliterated
the
visual
the lovers were arguing.
such
a
type
of
It
in
the
translation
worth
can
vai
has
be
could
intimate
even
reminding,
a
demand
the
crescer.
translation,
component,
is
the image
and
which,
suggest
however,
of
the
116
laboratory.
It
translator
is
also
observed
in
this
segment
that
the
rendered Anna’
s second utterance into T&m outro b & m
<xl i , which refers to the image of Anna’
s first utterance which,
in turn,
was not
rendered by the translator.
incoherent piece of text.
Anna’
s second
style
to
utterance
as,
mentiroso. /É
concise;
be
utterance should be omitted.
preserved,
for
I
would
example,"O
sua
mulher
and her
second
nariz já está maior
que
seu
está
translate
nariz
te
utterance as,
vai
examples
in
just
example,
which
the
In The Metal Years,
singer
says
drogas
por
card"
has
a
"We’
ve
tantos
- Sabe,
conventional/idiomatic
hesitates
"Dreams
to
are
used
anos/
dream
tell
my
seu
to
"Olha,
be
seu
drugs
for
"You know,
on
it
cup
many are
expressions
To mention just a
when talking about drugs the Aerosmith
her
to
of
first
Tunner
tea"
so
many
up
-
Usamos
the
punch
In The Sheltering Sky,
Kit
night
she
who,
-
years"
you you blow
você esgota, sva cota,.
strange
first
!
were effectively translated into Portuguese.
few:
an
the
crescer,
esperando",
for
If
Anna’
s
Together with these problematic translations,
the
is
If the translator’
s option were to be
maintained,
were
The result
in
Morocco,
encouraging
Sonhos
me>
but
her,
says
irxt&r&ssam.
In
Supercarrier II and Colors the expression "let’
s rock and roll"
appears,
and
in
both
films
according to the context:
on their
the
it
in the first,
first simulated air attack
second,
a
policeman
Also in Colors,
"Do you think
is
says
to
translated
a pilot says to another
"Vamos d&itar e r o l a r in
the
other
the oldest policeman says
I’
m over
the
hill
7"
adequately
one
"Vamos
agir".
to the youngest
- Acha
que
estou
one
v&lho
&
117
In
Acabado
finished
drain
Play
marriage,
like
Finally,
that"
it.
again,
Allan says
— Dois
Sam,
when
"Two years
anos
de
Rosie says:
actors,
disc jockeys,
Sammy"
-
Ele
of
when
about
his
marriage down
casamento
in Sammy and Rosie Get Laid,
Sammy’
s work,
thinking
por
the
à.g\ia, abaixo.
telling Rafi
about
"He’
s got a lot of freelance work
-
photographers - the cream of the scum use
trabalha
muito/
atores,
músicos,
cantores/
As
/ inas: f lo r e s .
4.3.2.5.
PLAY ON WORDS
Play on words or puns are defined as "the use of words
that
have
sound
more than one meaning,
but
different
Dictionary,
particular
different
meanings,
meanings"
1987D.
choice
so
CColl ins
Once
and
or
this
producing a particular
as well
as on the receptor,
that
that
what
Cobuild
device
arrangement
aims at
words
of
effect
is
no
possible
you
the
say
and
two
Language
characterized
words
same
has
English
by
sounds,
in the conveyed
the
which
message
I took as a guiding principle that
puns should always be reproduced in the TL,
is
have
correspondence
between
SL
except
and
TL
when
or
there
when
the
denotative meaning has priority over the pragmatic one.
When Harry met Sally:
The
first
time
Harry
meets
going to be a journalist.
Sally
S:
H:
tells
him
that
she
is
The second time they meet Harry asks
her:
H:
she
"You were going to be a gymnast"
Voc& ia ser ginasta
"A journalist"
Jornali sta
"That’
s what I said"
Foi o que èu disse
118
In
this
seen©
to
joxurnalist
nature
would
effect,
Harry
something
never
Harry
alike.
conveyed
tone.
in
that is,
fun
her
speaks
a
with
some
very
fast,
characteristics
once
are
could
and
by
changing
conservative
profession.
similar
both
then
they
the translator opted for
intention
Sally
serious
to try as
word
of
To
sounds
words
to
seem
important
define
that
to
Harry’
s
to
be
comic
the denotative meaning
have
been
reproduced
in
The denotative meaning here is partially relevant,
it had to be preserved only in /oyrna I is t , which
information
meaning
which
translation
Harry’
s
Portuguese.
a
he
These
However,
although
as
the
to make
allow her
uses
jovurnal is t, and
sound
intends
already
of
given
on
gymnast,
preserved,
but
only
element
that
scene.
in
sound-effect
with
the
its
any
to
the
other
function,
Jama. I is to.
word
characterized as an unusual
ended
TL
viewer.
hand,
could
profession,
This way,
the TL viewer
effort of
picking up elements
did
which
by
The
not
was
then
the
denotative
have
the
to
be
relevant
produce
suffix
such as
was
a good
and
ista,
’
malabarista’
.
would not have to make the unnecessary
from the original
soundtrack
in
order to appreciate the whole scene.
Sea of Love:
As Sherman thinks his friend Keller
is a lonely man,
to convince him t-o meet his sister-in-law.
used by Sherman
was
"No kids no cats",
he tries
One of the arguments
whose formal
features,
the repetition of no and of the phoneme /k/ in the short words
hidLsy'ca.ts
C al 1iter ati on} ,
information,
Sherman’
s
whose
function
sister-in-law
is
characterize
is
a
of
good
the
impact
reinforcing
’
catch’
.
the
The
of
the
idea
that
translator
no
attempted
to
information,
preserve
the
alliteration
translator
In
in hids
deviated
decide
to
an
men’
s murderer,
K:
could
mentioning
relevant,
the
adequate
also
be
the
reproducing only
Although I
one,
preserved
a little from the denotative
the
if
the
meaning
"sem garotos nem gatos".
of
this
film,
ad
in
magazine
a
in
which
in
Keller
order
supposed to be a woman,
"The girl likes rhyme in it.
it"
Poremos um com rima.
"Moon June spoon sand dune”
Lua, rua, nua
Although this
by
just
an
of
’
garotos’Ca plural generic noun) for filhos Ca
scene
put
option
and cats
male noun?, as in:
another
meaning
features : "sem filhos nem gatos".
translator’
s
and substituted
plural
denotative
which is of much importance here,
one of the formal
consider
the
the
denotative
We put
meaning
Sherman
find
the
two
Keller says:
one with the
is not to be considered a pun,
for
to
and
of
the
rhyme
in
I found it worth
message
is
not
but its sound-effect, which was adequately reproduced
translator
different
through
from the original
the
use
kept
the
of
words
which
sound-effeet
or
though
function
intended in the English version.
Dances with Wolves:
The scene is the first meeting of the American with the tribal
chief.
The chief introduces himself and waits for
the American
to say his name:
A:
I:
"John Dunbar"
John Dunbar
"John Dunbear
?"
C th&
indian
repeats
with
the
wrong
pronunc iat ionS>
A:
John Dunbear ?
"No"
C the American says q u i c k iy as
"John Dunbar"
if he was frightened}
The function of this pun made with the sounds of the American’
s
120
name is to create a funny effect,, caused by the fact that bear
means
food
’
hunt’for
and
about
he
the
clothing
indians,
from
their
these Indians’custom,
would
proper
become
the
noun, it
is
who kill
pelt.
bears
Since
in
the
Indians’ game.
impossible
to
As
this
pun
reproduce
it
which excluded all
italics,
to
get
American
he promptly answered
and the only resource left to the translator
the pun in
order
no,
is
in
was
knew
fearing
made
on
a
Portuguese,
to reproduce
the monolingual
viewers
from the understanding of the situation.
D o w n —b y —Law:
The two Americans
and
the
Italian
are
in
jail,
the Italian knows just a few words of English,
Americans how the word
pronounced
in
impatient.
he asks the two
’
gritar’Che does it through mimics!)
English.
The
two
Americans
As
answered
is
"scream",
which the Italian found a nice sound similar to ’
ice-cream’and
then
he begins
to shout
for an ice-cream",
"I
scream,
you
scream,
we
creating a funny situation.
The Italian’
s words are translated literally,
a procedure which
may express either the translator’
s own initiative,
the
disposal,
literal
"I
viewers
or
constitutes
have
the
the laboratory’
s.
translation
scream,
you
a
scream
which all the men in the prison also started
shouting together with the Italian,
that
all
can
In
we
verse
native-speaking children,
all
soundtrack
spite
be considered
scream,
common
original
considering
of
the
a correct
scream
frequently
for
at
fact
their
that
the
procedure
for
an
uttered
ice-cream"
by
English
it seems fair to affirm that most TL
viewers probably lack this information.
function .of this utterance,
Besides,
concerning the
it is observable that it seemed to
121
show
the Italian’
s pleasure
similar
words in English,
rhymed sentence.
its
literal
It is
meaning,
in
discovering
two
phonological1y
with which he could even construct a
clear
is
then
the
that
most
its
function,
important
and
not
information.
Reproducing this information in the TL would certainly require
some
sort
of
particular
example,
translator
express
would
a
have
the idea of
implicit in
or
deviation
from
great
to
the
deal
find
something
in
original
of
the
and,
in
imagination
TL
delicious
a
to
term
be
for
which
eaten
ice-cream, and which could also rhyme with
’
berrar’
, the TL equivalents of scream.
that
of
grammatical
the
original
and
which
adaptation is ”
Eu grito,
the
could
or
drunk
’
gritar’
The only TL sentence
I could think of which would somehow produce a similar
to
this
would
voce grita,
effect
require
some
ele grita por
uma birita".
Elvira,
Mistress of the Dark:
Feeling sad for having to avoid being with Elvira,
the children
from the small city try to explain to her that they were forced
to act like that.
G:
E:
A girl says:
"It’
s the principal"
£ o diretor
"All right, the principle"
Cert-o, 4> o principio
"Friends should be together"
Amigos devem ficar juntos
Because
of
the
principal
and
conveyed.
In
identical
pronunciation
of
p r i nc ip l e , such a confusing
Portuguese,
however,
the
of
meaning
the
to
above
examples
preserve
the
of
words
could
be
translation
of
The procedure used in
deviating
sound-effect
English
situation
literal
the words cannot produce the same effect.
some
the
from
cannot
the
work
denotative
in
this
122
particular
semantic
case,
and
two
are
element
has
primacy
th©
over
reasons:
the
because there are no counterparts or
first,
pragmatic
synonyms
because
one;
in
the
second,
the TL
which
can express the intended meaning in the intended function.
The
pun is then left intact and expected to be perceived by the TL
viewer through the original
soundtrack.
The Metal Years:
A case similar
to the above occurs in this film.
A woman drum
pi ayer says:
"I have a prescription for a happy life"
Tenho a receita para uma vida feliz
"which is sex, drums and rock’
n roll"
sexo, bateria e rock’
n roll,
in which the minimal pair drugs,
saying,
and drums
made
taken from the original common
the pun possible.
Again
the denotative
meaning is of primary importance in this situation.
Besides, it
would be linguistically impossible to preserve the intention of
the
fond
original.
of
this
Considering
type
of
that
music
people
and
are
who
also
English names of instruments,
which always
of
common
records,
well-known
and
in
that
Brazil,
the
I
believe
see
this
film
are
familiar
with
the
come on the covers
saying
that
this
referred
pun
is
to
is
not
as
difficult to be perceived by the TL viewer through the original
soundtrack as the one in Elvira,
Mistress of the Dark..
Roxanne:
Chris is outside Roxanne’
s house Cshe is at the window),
trying
to excuse himself for saying stupid things about her body.
is hidden,
whispering to Chris
C. D.
what he should say to Roxanne.
123
Both
video
subtitled
transcribed,
R:
CP:
C:
R:
CD:
C:
CD:
C:
R:
In
and
TV
dubbed
versions
ar©
h©r©
subtitles appearing first.
"Why did you say those things 7"
Por qu© disse aquilo 7
Então por qu© disse aquelas coisas 7
"T©11 her you were afraid"
Diga qu© estava com medo
Diga qu© estava com medo
"I was afraid"
Eu estava com medo
Porque eu estava com medo
"Of me 7"
De mim 7
De mi m 7
"What do you mean you were afraid 7 Afraid of what 7"
Como assim com medo, medo de quê 7
Qu© estória ê essa d© medo 7 M©do d© quê 7
"T©11 h©r you were afraid of words"
Diga qu© ©stava com medo dos termos
Diga que estava com medo das palavras
"What, what, what ?"
Ch& cannot h&ar C D w&l
O quê 7
Quê 7 Quê ? Quê 7 Quê ?
"Words"
Termos
Palavras
"Because I was afraid of worms, Roxanne, worms"
Estava com m©do dos vermes, Roxanne. V©rmes.
Eu estava com medo das larvas, Roxann©, das larvas
"Worms 7"
Ver mes 7
Larvas ?
this
seen©
phonological
function
of
th©
funny
similarity
this
situation
between
situation
and
words
is
occurs
to
through
Since
worms.
make
people
the
the
laugh,
counterparts of words and woras had to be found in th© TL for
the sound-effect
to be
achieved.
This
seems
to be
one
of
the
rare cases in which the translator did not have to deviate from
th© denotative meaning so much in order
the
TL.
It
is
observed
that
translators proceeded inversely,
translator
opted
the
to reproduce a pun
subtitling
that is,
and
in
dubbing
while th© subtitling
to slightly chang© th© d©notativ©
meaning of
words and preserve it in w o r m s , the dubbing translator opted to
124
preserve
the denotative» meaning
from
in
it
which,
worms,
in
of
my
and slightly deviate
words
opinion,
produced
a
better
result.
Who Framed Roger Rabbit ?:
In a scene of
the
story;
opposite
this
film,
however,
Eddie tries
the
direction.
animated
Eddie
then
to shoot
cartoon
says
In the dictionary,
that
causes
intention
and
to
bullets
according
the
euphemism for
something as
and
serious
express
ineffective
to
his
through
SIanq
and
’
damn’
; and
dums",
in
the
which
is
and dubbed versions.
to
be
wounds;
however,
disappointment
the
'dums*,
the
Eddie’
s
about
colloquial
Euphemism
"Droga de balas".
imagination
go
in
dum-dums is defined as a type of soft bullet
large
was
bullets
"Dum
equally reproduced in the video subtitled
the villain
those
’
dum’ which,
dictionary C1982D
is
an
’
bullets’
, trying to say
Although this pun requires time
solved,
Cortiano
Cl990:343
proposed a way of expressing it in the TL:
has
already
"Ora, balas".
Y e l l o w Submarine:
At
the
beginning
of
the
Pepperland goes blue",
identical
are
mood,
and
to
sad
and
the
situation,
because
all
Pepperland
the
blue
the
will
and
blew
that
is,
meanies
be
an
translator
one
to
says
"Today
convey
just
, and whose meanings
Pepperland
are
blue
destroyed.
impossibility of reproducing such
opted
meanie
which expresses an ambiguity through the
pronunciation of
related
blue
film,
In
in
the
turn
colour
view
ambiguity in
of
will
of
the
the TL,
meanings:
and
the
"Hoje
Pepperland vai pro espaço".
The same type of ambiguity appears in another scene but,
this
125
time,
th©
Beatles,
translator
J:
mad©
an
inappropriate
choic©.
Th©
Fred and .Jeremy reach the sea of holes Cthe screen is
white full
them,
has
of
black
spots). Since
Jeremy
is
the
genius
among
John asks him:
"Hey Jeremy, what do you know about holes 7"
O que sabe sobre buracos 7
CJeremy ansiiters in a, snobbish tone*}
J:
"There are simply no holes in my education"
Não há buracos na minha educação
"You mean you haven’
t composed a whole book"
Quer dizer que nao compôs um livro inteiro 7
Since
the
ambiguity
caused
by
the
identical
pronunciation
of
hole and whole in the last utterance was impossible to convey
in the TL,
the
the translator
denotative
meaning
of
resulted in a nonsensical
it,
I
would
contextual
would
for
meaning,
compensate
coherent
for
opt
text.
or
for
should not have opted for
second
"um
livro
"um
livro
option
the
captions,
buracos",
esburacado",
would
pun
be
which
If I were to translate
sobre
original
b->xrctcos in all segments and
one,
in
piece of text.
the
Another
the
expressing
and
to
the
which
produce
substitute
more
somehow
a
more
’
furos’
’
um livro furado’in the last
which could express some ambiguity.
Another ambiguity present in the film is in the scene in which
the Beatles are all
travelling in the submarine and Ringo asks
Fred:
R:
F:
R;
In
"What would happen if I pull this lever 7"
O
que acontece se eu puxar essa manivela 7
"You musn’
t do that !"
Nao faça isso !
"C . .. cause I ’
m a born lever puller"
Eu preciso. É de nascença.
th©
allusion
pronunciation
to
of
"Liverpool",
lex>er
the
puller
we
may
Beatles’ place of
find
birth.
a
clear
This
again a pun linguistically impossible to convey in the TL.
is
The
126
translator,
nevertheless,
has
definetely
rendering the utterance simply as É
at
least
s
soundtrack
slight
is,
reference
in this case,
right
when
na,sce>ça, which preserves
to
the
done
Liverpool.
main
The
original
resource available to
help TL viewers grasp the intention of the original utterance.
In another
instance of this film John sees a school
approach the submarine.
"There’
s a school of whales"
Uma escola de balei as
R:
"Don’
t they look they’
re too old for school '?"
São velhas pra escola
J:
"University, then"
Universidade, então
R:
"University of whales"
Universidade de Baleias
in
which
two
meanings
of
the
word
s c h o o l , a place
people go to study and the collective of whales,
possible.
Because
pun in the TL,
of
the
impossibility
the translator
opted for
of
reproducing
the meaning of
observing that a reference to the University of
made through the identical
of
different
pairs},
F:
R:
F:
R:
usual
pronunciations of
where
made t-he pun
which better coheres with the context of situation.
Another
whales
He then says to Ringo:
J:
the
of
such
a
school
It is worth
Wales
is also
and Wal&s.
pattern in this film is formed by the repetition
words
with
similar
sounds
Cgenerally
minimal
such as in:
"You’
ve got to stay clear"
Terá que desviar, certo 7
"Stay clear 7"
Ciesvi ar 7
"Yes, stay. Hear 7"
Ê. Desviar, certo 7
"Yes, dear."
Desviar ... ,
in which the translator
solved
the problem simply by choosing
137
two lexical
Some other
occur
items to play with in th© TL.
minor
puns with th© sounds
of
different
words
also
; some of which achieved a good effect in the TL because
of the correspondence between th© SL and TL words while others
would
certainly
require
more
time
to
find
a
solution.
For
instanc©:
"Beatles to battle!"
Beatles, à batalha!
"Yes,
Sim,
let us mix, Max"
vamos misturar, Max.
"It’
s a pair of kick kick boot beasts"
SSo botas chutadoras.
4. 3. 2. 6. POLYSEMY
According
translations
of
to
Santos
polysemous
"C ..,5quem nSo se acostuma
words
C1986:XXID,
may
be
a desconfiar
de um sentido ou a nao 1evar
due
ineffective
to
two
reasons:
da existência d© mais
em conta o contexto".
Either
one
or the other may then have been responsible for the translation
of audience into audiência, instead of público in th© video and
cinema
subtitled
versions
of
Citizen
Kane,
and
also
for
the
to
the
inadequate translations of the following examples:
In
a
scene
in
Shy
People,
people from the marsh.
try it,
offers
instead
the Walkman to her
of
the man answers
A
“
Quer
different
palavras
her
Walkman
though anxious to
husband first by saying
“
Do
translated into "Quer se uirar,
meu
ouvir
primeiro,
meu bem
to
which
"No".
Santos Cop.cit.3
mas
offers
Grace’
s cousin’
s wife,
you wanna a t urn , honey
bem
Grace
type
of
as those that
cujo
sentido
polysemous
terms,
defined
by
"nSo contém formas polissêmicas
também
será.
determinado
pelo
128
contexto:
podem
apresentam o mesmo sentido em inglês e português mas
não
Submarine.
J:
R:
In
admitir
tradução
literal",
occurs
As the submarine has conked out,
in
Yellow
John says:
"Maybe we should call a road service"
Vamos chamar o serviço de estrada
"We’
re not syi>scrib©rs"
Não somos assinantes.
Brazil,
people
do
not
say
serviço cie e strada but sócios,
Clui>e do
once
it
So,
Brasil.
does
not
that
for
the
are
example,
does
assinantes
express
they
not
assinantes
de
um
sócios do Tour ing
fit
this
Brazilians’ actual
context,
use
of
the
word.
4.3. 2.7.
FALSE COGNATES
Inadequate
undoubtedly the
translations
of
translator’
s fault,
false
either
cognates
because
of
linguistic incompetence or lack of interest to check
Fortunately,
it
characteristic
seems
among
that
film
neither
translators,
of
for
his/her
the terms
these
few
are
is
a
examples
of
inadequate translations of false cognates were found .
In a scene in Sammy and Rosie Get Laid,
Sammy is describing to
Rafi what he and Rosie do in London on the weekends.
He says:
"Then we go to the bookshops and buy novels written by women. "
Depois compramos novelas s escritas por mulheres.
In another scene,
Sammy is talking to Anna.
He asks her:
"What would you do if you discovered that someone close to you,
a. parent
say,
had done some stuff that was horrific and
unforgivable ?" Che is referring to Rafi>
O que faria se descobrisse coisas horríveis sobre um parente ?
Since he does not want to mention Rafi, he uses the word parent
which
refers
to um pai
would
be adequate
ou u ma mãe.
only as
"O que
So,
faria
horríveis sobre seu pai ou sua mãe 7.
the
se
translation
descobrisse
above
coisas
129
When
the
Beatles,
Yellow Submarine,
Fred
and
Jeremy
reach
the
sea
of
holes
in
George asks clever Jeremy:
G : "How many do you think there are at all 7"
Quanto acha que sao ao tocto 7
JE: "Enough to fill the Albert Hall."
O suficiente para encher o Albert Hall.
The translator
was
sentence,
which
literally.
If
translation
deceived
is
the
of
by the
purely
emphatic
at
all
function of at
emphatic,
function
into
and
were
for
afinal,
in
the
translated
it
kept
all
through
example,
the
Jeremy’
s
rhyming style would even be preserved in the TL:
“
Quantos acha que tem, afinal 7"
"G suficiente para encher o Albert Hall."
4. 3. 2. 8. OBSCENE TERMS
Although the translation of obscene terms has already
been discussed under
the head of Censorship CChapter 35,
a few
generalizations will be made here concerning the films analysed,
Video films
that
Jazz,
which
still
show
video and cinema
films
any type of censorship,
The Metal
Years,
the
are older
marks
do not
of
productions,
censorship.
such as All
More
recent
seem to be so much affected
although exceptions are found,
whose language is full
by
such as
of obscene words which
are left out from the subtitles every time they are mentioned.
As an example,
there is a scene in which a heavy metal
player
says:
"In
a
hotel
illegal"
Cliteral
in
Arizona
I
found
out
that
oral
sex
was
translationJ>
"I love to eat pussy"
Eu adoro comer...
In this particular
omission of
example,
an
ambiguity is originated by the
the translation
of
fnussy,
since E m
adoro comer, ..
130
may also mean
’
I love to have sex’in Portuguese.
The problem
with omissions in a film like this,
intended to show the heavy
metal
what they do and think,
that
players’lives,
they
somehow
case is Colors,
defeat
part
of
its
objective.
An
is
opposite
in which all obscene terms are preserved.
Obscene
expected,
who they are,
terms
in
films
for
television
generally minimized or omitted,
are,
as
as could be observed
in the SBT film mentioned in 4. 3. 2. 2.
4. 3. 2. 9. MI SUNDERSTANDINGS
I
are
not
decided to call misunderstandings those errors which
characterized
translation;
They can
noise,
in any part
as
the
all
films
or
etc.
to
difficult
areas
of
they are not predictable errors.
of
the
interference
unclear pronunciation,
of
belonging
on the contrary,
occur
such
as
text,
of
mainly when there is
other
sounds,
the
actors’
If translators received the scripts
if some scripts
were not
incomplete,
I would
say that there is no apparent reason for this type of error to
occur.
However,
it is evident that only the lack of the script
or an incomplete script would make translators commit the types
of
errors
cited
below,
subtleties
of
the
oral
speech
which
could not be grasped through the ear.
In The Met-al Years,
p»ut down
scarves
"For
nSo
que
the interviewer asks the singer
on
pSem
the
esses
microphone
xales
no
stand
?",
mi cr of one
"Why do you
translated
'?",
while
screen the scarf is hanging on the microphone stand.
the
translator
however,
it
is
should
also
have
fair
made
to
use
infer
of
the
that
visual
the
time
into
on
the
Of course
component;
limit
to
131
transi at-© this film may have been quit© short.
In Sammy and Rosi© Get Laid,
th© couple is talking about Rafi’
s
vi si t :
R:
S:
R:
S:
"Your father announced
On© or two ...'*
Uma ou duas
"Weeks"
Semanas
"Y&ars, he said"
Ele que disse
"What ?"
O quê ? ,
in which on© or
of years',
how long h© wants
to
stay
with
us.
two is not Uma ou cLuas but "um ou dois" because
and in which years is understood as yes,
in the subtitle.
not conveyed
The translation conveyed does not then cohere
with Sammy’
s unpleasant surprise.
In
Elvira,
preparing
Mistress
dinner.
of
t-h©
Suddenly,
Dark,
Elvira
she
comes
is
to
in
th©
the
kitchen
door
with
a
covered bowl and says to her boyfriend:
E:
"It’
s up"
B:
"It smells great ! What is it ?"
Cheira bem ! O que é ?,
in
which
So pa,
original,
At
th©
it
is
evident
that
if
Elvira
had
said
her boyfriend would not ask her What
very beginning
of
Yellow Submarine
not
too sure"
mar
C Pepper land)
translator
translated into
ficava/
confused
the
"A dezoito
porquê»,
sounds
of
não
lie
mil
sei
narrator
lay or
léguas
bem",
and
in
the
is it
th©
"Eighteen thousand leagues beneath the sea it
soup
in
lie,
says
I’
m
abaixo do
which
w h y . Also
in
the
this
film there is a scene in which Fred and th© B©atles are on the
submarine and time starts going backwards;
soon w© will disappear
Fred then says "Very
into our own substance »”
, translated into
"Logo desapareceremos em nosso próprio s us pense”.
132
It should b© mentioned that this typ© of error,
I
hav©
cal 1©d
can
mis-urxcl&rs taruding,
effective r©vi©w which,
always
b©
which
r©m©di ©d
by an
at l©ast in thes© cases, does not seem
to have b©©n don©.
4.3.2.10.
MODI FI CATI ONS IN THE ORIGINAL TEXT
Modifications
omissions
or
in
additions
th©
original
which
ar©
t©xt
du©
to
are
th©
©ith©r
technical
characteristics inherent in the film translation process.
Considering subtitling translation,
look
at th© examples
I hav© analysed,
if w© go back and
it can b© observed
that
in every instance of subtitling translation the Portuguese text
is shorter
than its original,
it is summarized.
the already discussed IMD ’
Number
spe©d’ characteristics.
extent
to
analysed
which
in
superficial
such
order
or
to
Get Laid,
se©
important
of Characters’and
evaluating
omissions
should be seen whether
such omissions.
Wh©n
This is due to
are
a
present
whether
information;
the
in
’
Subtitle
translation,
must
be
carefully
translator
the
latter
th©
omitted
case,
it
the content was also altered because of
A good
example
in which Danny
is a scene
in
Sammy
and
Rosie
says to Rafi:
"Danny, my name is. But p©opl© who like m© call me Victoria.
People who don’
t lik© m© call me j©rk-off. I know th©s© tube
lines. Som©tim©s I rid© th© tub© all day. It’
s my office, the
Victoria
Line.
It’
s
where
I do
my
paperwork.
Paperwork
overwhelms m©", translated into:
Meu nome © Danny. Chamam-me d© Victoria / Ou até d© outros
nomes / Conheço b©m estes caminhos. Ando muito por eles,
in which
the translator
original
therefore
about Danny.
exceeded
altering
However, and
th©
th© task
content
fortunately for
of
of
summarizing
th©
th© TL
the
information
vi©wer, this
133
is
not
indispensabl©
information
for
th©
overall
content
of
th© film.
As regards dubbing translation,
dubbed
versions
analysed
Csee
point to th© modifications,
translator
also
IMD
Synchronism’ and
It
same
Wh©n
important
can
had to make to cop© with th© alr©ady discussed
characteristics.
originals.
4. 3. 2. 5. 3
th©
the
to
either
in
additions or omissions,
’
Phonological
almost
Roxanne
an examination of th©
is
observed
length
to
that
and
evaluating
analyse
’
Speaking
th© content did not alter
all
typ©
syllables
of
extent
the
the original
Synchronism’
dubbed versions
stressed
this
which
Length
as
their
translation,
adaptations
message.
have
it
is
made
of
A good example
of such a situation appears in Who Framed Roger Rabbit 7.
scene.
Baby Herman,
an animated
voice and behaves as such,
woman
tries
contempt,
t©l 1s
lik©
th©
buttock.
to light
woman
a
his
cigar.
leav©
in which the dubbed
As
Herman
Eddie
th©m
has
a
man’
s
treats
the
approaches,
alon©
and
slaps
woman
Baby
h©r
with
Herman
on
th©
th© sake of phonological
and
C&xibti tl&cl wrsionJ)
CdvibbecL v&rsionS>
version,
speaking length synchronism,
this
who
Eddi© then comments:
"Th© lady’
s male, ©h 7"
Um homao, heim 7
Belas pernas, heim 7
In
baby
is in a baby buggy while a beautiful
’
macho’
.
to
cartoon
In a
case,
adaptation
was
process as
well
with the overall
it
is
made
for
had th© original
necessary
in
the
to
translating
as to which ©xt©nt
context-.
make
content altered.
sure
or
in
whether
th©
such an adaptation
this
dubbing
coheres
134
Through this analysis it, may be observed that
ocurring
types
of
problems
translating coincide,
apart
I
have
identified
from slight
differences,
the
main
in
film
with
the
most frequent and most difficult types of problems pointed out
by
the
their
respondents.
difficulty
translating
of
According
to
solution,
the
problematic
areas
the
number
of
resulting
identified
examples
hierarchy
in
the
of
analyses
and
the
is
presented as fol1ows:
PI ay
on
words; most
conveyed
in
correspondence
the
examples
TL
were
between
in
due
which
to
English
SL
the
puns
lack
and
could
of
not
be
linguistic
Portuguese
:
either
because the pun was made on a proper noun CDances with Wolves},
or because it expressed an ambiguity impossible to be conveyed
in
the
pxtl ler
TL
CYellow
Submarine,
examples},
or
even
the
61
because
denotative meaning over form CElvira,
principal/principle
be
conveyed
non-relevance
Harry met
in
of
Sally,
example}.
the
the
TL
Ie>u>, school
of
were
the
Mistress of the Dark,
the
in which
characterized
denotative
Down-by-Law}
relevance
lever
of
Examples
the
and
the
pun
mainly
meaning Cthe examples
; however,
the
in all these cases to preserve the denotation,
could
by
the
in When
translator
opted
which may be due
to the criterion adopted by many video laboratories for keeping
the translation transparent,
some film
translation
a criterion which is reinforced by
reviewers,
such as
Rubens
Edwal d Filho,
and critics.
Proper
nouns; the
proper
names,
even
practice
when
of
they
not
are
translating
the characters’
metaphorical , may
either the difficulty this task may imply,
be
due
to
which would require
135
more
time
than
that
available
to
translators,
or,
again,
th©
demand of 1aborator ies.
Culture—
specific items:
culture—
specific
translator's
items
113;
b.
viewers’ cultural
translator’
s own
Get
Laid,
the
lack
of
possibly
the
due
existence
of
to:
TL
a.
the
counterparts
the translator’
s underestimation
of
the
knowledge
or
the
of
and
cultural
decoding
knowledge
ability
CSammy
and
Rosie
Lady Chat terley’s example); c. the technical
characteristic
subtitling
ocurred
unawareness
CSupercarrier
TL
problems of ineffective translations of
of
CThe
the
number
Metal
Building example),
Years,
of
characters
the
whisky
available
hot t le/Empire
which is corroborated by the fact
IMD
for
State
that
the.
translator rendered the image into its correct sense.
St*le
Dialect: problems related to lexical
items which do not
correspond to the current language used in the film COxalA
Henry
V,
sentence
Citizen
Kane
structure
and
Play
it
again,
intended to achieve
a
in
SanO , to
different
particular
stylistic
effect C Danny,
my name is in Sammy and Rosie Get Laid), and to
mixed
CA11
styles
that
translators’ linguistic
Jazz)
were
incompetence.
possibly
Problems
lexical
minimization
in
C/uch
Reds;
arses in Sammy and Rosie Get Laid)
in
gay
to
related
use of TL styles different from those of the SL,
by
due
the
to
the
characterized
the
SBT
film;
and omission Cding-dongs
in
Sammy and Rosie Get Laid) were possibly due to censorship from
either
the
distributor
or
the
audience.
Problems
of
not
reproducing the SI style in the TL, as J e r e m y ’s rhymed style in
Yellow
Submarine,
denotative
meaning
may
be
which
due
did
either
to
the
not
always
relevance
make
of
the
possible
the
136
linguistic correspondence» of stylistic
TL,
or
to
the criterion
adopted
features between SL and
by some laboratories
not
to
reproduce style.
Conventi onal
translated
/
Idiomatic
literally
Likes
to
Sing?,
weird
TL
text
translators’
or
expressi ons;
CThe
Draughtsman
partially
CCitizen
fault.
Kane,
idiomatic
expressions
Contract,
The
bless
Mistress
you
in
of
which
resulted
Henry
were
clearly
Conventional
the
Dark)
Yellow
V?,
expressions
or
the
Submarine?
translators’ inability.
who
literally,
intended
were
However,
the
better in
function
also
in
translated
literally but which did not fit the TL language Cdo
Elvira,
Man
due
metaphorical
to
CGod
the
expressions
translated into their correct senses probably complied with the
demand
of
Laid!) or,
laboratories
Clittle
in
steps
depending on the case,
Sammy
and
with the number
available for subtitling C Y o u ’ll get
Rosie
Get
of characters
pimples on your torxgxie in
Sammy and Rosie Get Laid?.
Polysemy
and
False
translator’
s
Cognates:
linguistic
these
problems
incompetence
as
reflect
well
as
the
his/her
carelessness towards the translating activity.
Obscene terms: minimizations or omissions are clearly a problem
of
censorship
coming
from
the
distributor
influenced
by
the
audience and the medium.
Mi sunderstandi ngs: since
problematic
area
interference
of
but
external
they
do
not
represent
unpredictable
noises,
it
slips
is
fair
or
the lack
of review,
translating
caused
to
they occur probably due to one of these reasons:
absent scripts,
a
by
the
conclude
that
incomplete or
for ..as the reviewers
I
137
interviewed
said
they are given
SL
scripts,
misunderstandings
in reviewed translation products would not be likely to occur.
Modi ficati ons of the ori qinal ; they will
the TL
text
to be
subtitled
available on the screen,
in
stressed
So,
they
the
medium.
syllables
are
due
to
Such
exceeds
and the
and
the
the
number
of
whenever
characters
TL text to be dubbed differs
speaking
length
technical
modifications
always occur
from
the
characteristics
will
represent
a
original.
imposed
problem
by
only
when translators cannot cope with the technical characteristics
and alter important information in the SL text.
Contradicting
translations
literal
critics’
current
which always point
analyses
to the same
types
of
of
film
problem,
translation of idiomatic expressions or wrong choice of
the meaning of polysemous words,
this analysis shows that other
types
also
of
process
than
translating
and
the
that
these
problems
contradicting
problems
that
are
even
critics
critics’ view,
occur
more
the
rendering
and
difficult
frequent
insist
there
in
on
are
pointing
many
out.
Also
factors
which
contribute to the success or failure in the translation of such
problems and the translator’
s linguistic competence is just one
of these factors.
Based
followed
on
all
by critics
this,
I
now
propose
when evaluating
the
a
procedure
translation
of
to
films.
This procedure is not intended to be considered a model,
list of important
translation
therefore
requirements
critic
enriching
in
order
to
comments
translating than the mere
which must
task
on
of
provide
the
be fulfilled
more
listing
but a
by
objective,
specific
errors
area
can
be
of
the
and
film
provide.
138
Requisit.es
which
precede
the
actual
analysis
of
film
translation problems are:
a.
Any translation analyst should have a satisfactory knowledge
of general
translation theory.
b. Critics should view film translation products as a result of
translating processes,
c.
These
variables,
characteristics
translation
in which many variables are involved.
which
or
I
have
specificities,
critic
for
they
called
should
are
in
be
this
known
inherent
in
study
by
every
every
film
translation process.
d.
Aware
of
the
existence
of
such
variables
and
of
the
extent to which they can influence the quality of the final
product,
film
translation
literal
production
as
critics
a
should
primary
dismiss
criterion
the
of
TL
film
translation evaluations.
e.
Film translation critics should then base their
these
variables,
as
well
as
on
the
analyses on
definitions
quality subtitling and dubbing translation products,
of
good
defined
in the light of such variables.
When
engaged
in
the
actual
evaluating
process,
film
translation critics should start from the assumptions that:
f.
The
ILI
working
condition
characteristics
may
have
had
an
active role in the translator’
s film rendering process.
g. The ILD ’
review’characteristic may not have been present in
the translating process of the film in question.
h. Concerning dubbed films,
version
may have been
translating process.
the modifications present in such a
made
in
the dubbing
and
not
in the
130
As
films,
i.
regards
the
desvios
found
in
the
translation
of
critics should:
Identify
the
problematic
area
in
which
the
desvio
appears.
j.
Taking
into
account
subtitling and
the
dubbing
definitions
translation
principle of equivalent
effect,
of
products
classify
good
as
quality
well
as
the
the desvio into
necessary or superf Iuous CAubert, 1981:18?.
k.
Analyse
the
translator’
s
characteristics
inherent
option
in
the
in
the
light
translation
of
process
the
which
may have influenced such an option.
1.
Suggest
other
possible
options
which
might
minimize
the
desvi o.
m.
Finally,
following
Newmark
Cl981:37?,
"discuss
the
generality of the problem for future use".
In
its
this
primary
way,
film
purpose,
translation
stated
by
"improving standards of translation",
to all film translators.
criticism
Newmark
would
achieve
C1981:181?,
and therefore,
as
be useful
CONCLUSION
Through
the
examination
translation criticism,
of
many
articles
on
film
I was able to find out that most of them
are similarly structured:
they basically consist
of
a list
of
errors which the critic subjectively comments on in an ironical
tone,
whose
aim
consequently,
observe
that
is
above
all
to
attack
the
translation
activity.
these
criticisms
are always
translation product,
the
I
translator
was
also
and
able
to
oriented towards
the
the main criterion of evaluation being the
closeness of the TL to the SL text.
I
realized
then
that
criticism should be process-oriented,
were
many
more
variables
translator’
s linguistic
in
translation
I believed that there
process
which
might
also
actively
a systematic study of the film translation activity
order
characteristics,
subtitling
would
and
provide
to
which
its
process,
influence and determine
dubbing
the
understand
translation
the
Therefore,
in
final
besides
the
needed
the
film
influence
was
of
as
this
competence,
quality
effective
translations.
critic
with
more
Thus,
its
the
the
objective
product.
inherent
quality
present
and
of
study
realistic
criteria for the evaluation of film translations.
Although theorists
translation,
just
a
few
have a process-oriented view towards
mention
the
problems
area of film rendering which result in
on
this
topic.
Because of
that
and
the
also
of
lack
because
the
of
my
specific
literature
intention
was to gain insight into the film rendering activity, I decided
V
that the most reliable source of data for this study would be
141
the film translators themselves.
So.
TV,
twenty-one dubbing and/or subtitling translators for
video
into
and
three
answers
parts
to
identify
cinema
the
the
were
given
CAppendix
first
type
13.
part
of
of
a
long
questionnaire
According
the
the
translators’
questionnaire,
professional
translation business at present..
to
who
is
I observed
divided
I
in
that,
tried
the
to
film
in spite of
the fact that they were very heterogeneous in relation to age,
English
them
academic
seemed
background
to
fulfil
and
most-
practical
of
the
experience,
requisites
all
of
a>
of
good
translator as defined by theorists,
According to the respondents’answers to the second part
of the questionnaire I was able to identify the characteristics
of
the
film
separately,
performing
translating
proved
of
their
that,
besides
other
variables
unknown
by
to
the
act
as
task.
which,
constraints
This
fact
when
on
the
reinforced
translators’ linguistic
inherent
critics
process
in
the
contribute
film
translators’
my
or
assumption
competence,
rendering
directly
analysed
process
indirectly
to
many
and
the
success or failure of the translation product.
Based
background,
on
I
these
was
characteristics
able
to
formulate
and
the
on
a
theoretical
definitions
quality subtitling and dubbing translation products,
would
serve
critics
as
the
starting
points
for
of
good
which then
any
film
translation evaluation.
When analysing the film translating process according to
the
respondents’
questionnaire,
I
answers
to
the
third
part
of
the
could again find the wrong and biased ideas
142
reviewers
films.
and
critics
have
Contradicting some
about
the
activity
reviewers’ thought,
is considered by most film translators as
their
film
translating
critics’ thought,
who
process.
blame
Also
of
translating
seeing
the
the
primary step
contradicting
translators
film
for
the
in
some
inadequate
renderings of film titles,
the respondents have proved to have
no
activity
participation
most
of
th©
in
time
this
with
advertising agents.
th©
whose
responsibility
distributors
and
even
This fact shows the critics*
with
lies
th©
unawareness of
the actual film translation process.
In the analysis of the translating problematic areas of
twenty-six
randomly
films,
both
selected
by
suggested
me,
I
by
could
the
put
respondents
into
practice
characteristics of the film translating process as well
and
the
as the
definitions of good quality subtitling and dubbing translation
products,
and
indispensable
once
they
demonstrate
criteria
make
that
for
they
any evaluation
possible
an
or
variables
or
Thus,,
and
the
translating
diverse
than
are
the
attributing
them
listing
to
and
translation
which
of
might
may be concluded
problems
only
film
analysis
which
critics’ evaluations
critics’practice of always
and
it
consistent
the
taking into account, all the
characteristics
influenced such options.
more
of
effective
translator’
s option in translating,
factors
represent
the
the
same
that
many
in
film
occur
suggest.
types
So,
of
translator’
s
have
the
problem
linguistic
incompetence is quite a restricted and out-of-date procedure of
evalnation.
In
view
of
this
and
taking
into
account
all
the
143
information
I
got
from
film
finally proposed a sequence
film translation
critics
providing
realistic
more
translation
of
practitioners,
requirements
aiming
at
to be followed by
assisting
evaluations
I
these critics
of
film
in
translation
products.
As
Arrojo
"dependerá
CO
dos
reconhecimento
abandon
da
easy
of
the
knowledge
of
próprios
film
can
seu
para ele C...)",
will
be
performed
the
idea
language.
that
that
a
is
by
The
revolution and the new UHF TV channels
reinforce
22/6/91:3)
new
da
objeto
translation
be
foreign
Paul o ,
estudiosos
de
research
that
which
a
S.
e
legitimidade
this
idea
activity
de
pesquisadores
abertura de espaços
contribution
Estado
de
área
estudo
I hope
of
an
says
o
e
that
making
the
people
unimportant
anyone
events
who
of
a
has
the
and
some
video
have certainly come to
attitude
towards
the
film
translating activity must be adopted.
In
order
to
contribute
to
the
formation
concept I went through two different stages.
concentrate
the
actual
utmost
mainly
on
film
experts
in
the
topic
for
the
improvement
importance
film
rendering
then
partly
activity.
in
the
practitioners’ viewpoint
will
help
Cop.cit.)
in a different
First,
this
and
whose
of
The
validity
fact
that
about
the
of
are
are
of
the
quality
of
the
this
the
film
linguistic
understood and,
perspective.
who
claims
the
Thus,
new
I tried to
translators’ perspective,
problems they face be known,
rethought
of
research
lies
translation
and
practical
at the same time,
I hope this
study
film translators open the first door to what Arrojo
expresses
as
"mudar
os
destinos
e
as
definiçSes
de
144
seu
trabalho,
colocando-o
It seems fair
no espaço que
merece
na sociedade".
now to cite some of the respondents’suggestions
for the process of revaluing their activity.
According
and
subtitle
condition
to
the
reviewer
starting
’
selection
Rubens
characteristics,
biased view towards
the
respondents
to
Edwald
which
for
films
this
to
be
the
cinema
Filho,
somehow
the film translation
point
of
and
process.
the
reflect
In
film
practitioners suggest that it should be balanced,
that
according
to the translators’experience
films
more
to
genre.
’
Time
to
degree
the
based
on
"qualquer
is,
the
distribution
experienced
of
limits’ should obviously
the
of
difficulty
criterion
melhora
present
stated
qualitativa
’
Remuneration’ should
films
be
in
by
undoubtedly
be
um
the
as MO does in
be
made
difficult
preferences
longer
the
to
translation
more
and
and
always
Cl988; 383
prazo
better
of
and according
film,
Aubert
exige
seem to be
should
Ci.e.
translators!),
current
relation
translated’
,
Videolab,
working
the
activity,
critic
that
adicional".
and
ideally
equivalent to what Aubert Cl988:343 calls "custo de produção":
Dizem respeito à produtividade do tradutor
Crelação
hora/laudas3
e
ao
material
de
consumo
dispendido,
também
à.
sua
infraestrutura
operacional
Clocal,
máquinas, serviços públicos...3, custos de
depreciação
de
suas
ferramentas
de
trabalho, de sua formação profissional
e
cultural, e de sua atualização. Espera-se
que o valor recebido cubra esses custos,
remunerando
adequadamente
sua
hora
de
trabalho, e ainda deixe um saldo mais a ser
investido no aprimoramento qualitativo e
quanti tat-i vo.
Together
with
the
working
conditions
characteristics,
145
the
respondents
scripts
that
point
from laboratories
the
lack
linguistic
is
also
also
of
the
to
script
may
to the
attended
translation
programming
Newmark
should
by
the
supervisor,
Video
temporal
demanding
they emphasize
confused
respondents,
doubt while performing his/her
critic,
be
for
of
with
lack
knowledge in film translation evaluations.
indispensable
meeting
necessity
and distributors
procedure used in TVA as ideal:
a
th©
Arte
in
and
Not
task,
Rubens
only
this
Edwald
kind
then
if
the
TL
receptor
be written
in
a
is
language
de
the
has a
Avila,
Filho,
and
the
the
cinema
director
of
film
review,
but
also
of
review is of great importance for,
C1981?,
suggest
is discussed at
Claudia
reviewer
I
’
Review’
the translator
the doubt
translator,
subtitle
TVA,
whenever
and
of
as commented on by
alive,
the
translation
contemporary
to that
of
the receptor.
Cither important suggestions made by the respondents are:
training
for
the
newly
hired
film
translators
given
laboratories or even courses specialized in this activity;
rigorous
through
selection
admission
tests;
professionals’ work
translators;
and
of
by
professionals
recognition
of
laboratories;
finally,
the
by
the
greater
legal
by
more
laboratories
quality
of
exchange
recognition
good
among
of
the
profession of translating.
During
films,
I
the
tried
to
second
stage,
demonstrate
film translation criticisms,
of
knowledge
problems
of
inherent
the
in
the
on
the
deficiency
analysis
of
the
of
the
present
characterized by the critics’lack
diversity
the
based
film
of
practical
translating
and
activity.
linguistic
Then,
the
146
validity
current
of
this
research
lies
also
film translation criticism,
the incompetent
proves
to
be
basis.
Thus,
practice of
incompetent
this
partly
in
of
its
I hope that this study will
activity,
lack
solving which can bring enlightnment
defined
an
activity
by Newmark
which
as
of
a
itself
realistic
source of
problem
to translation theory and
deserves
Cl981:1825
that
also serve to picture
the activity of translating films as a rich
therefore
fact
which apparently denounces
translating
because
the
the
type
of
"an exercise of
criticism
intelligence
and imagination".
Although I have tried to give an accurate description of
the
film
itself
a
viewed
as
translating
activity,
limitation.
Because
a
general
guide,
its
of
a
wide
scope
that,
this
starting
point
constitutes
study
from
is
to
which
in
be
many
other issues for investigation are proposed.
One
of
characteristic
separately,
these
issues
inherent
in
would
the
be
to
process
of
investigate
translating
each
films
and to make a comparison of the extent to which a
given characteristic acts on the different media in which film
translation is present:
cinema,
video and television.
A second issue for investigation would be a description
of
the
process
subtitling
of
decision-making
translators
go through when
which
the
dubbing
and
rendering a film.
This
description would be possible by means of a tape-recorder which
would
accompany
of
the
translator
process
and,
course,
will
to
contribute
with
task
of
reporting
orally
it
would
this
to
throughout
depend
on
investigation
the
the
the
and
tape-recorder
translating
translator’
s
to
all
accept
the
the
steps
147
s/he
is
going
through
investigation
would
psychoneurological
A
while
third
translating
possibly
a
given
throw
film.
light
This
on
th©
aspect of the translating activity.
issue
would
be
the
researcher’
s
personal
observation of the dubbing process which would allow him/her to
find out to what extent the translated text is modified in this
process
for
the
sake
of
the
phonological
and
speaking
length
synchronisms.
Another
depth
in
this
subtitled
and
observation
which
would
interesting
of
study
TV
topic
would
dubbed
the
the
similar
interesting material
was
of
of
the
one
features,
deserve
the
same
that
it
the
a
same
would
film
also
in
video
film.
The
genre,
constitute
activity
of
film
translation
place in contemporary society,
into
a
more
seriousness
from film translators
discussing
between
specific
would like to restate the importance of
towards
discussed
of investigation.
occupies an essential
attitude
not
comparison
versions
translations
present
Considering
be
which
but
and
which
translation
changing
realistic
respect
they
product.
rarely
It
the present
one,
that
which
critics
make
is
I finally
would
demand
use of
then
the
when
film
translators and researchers’responsibility to make this change
occur,
enabling
practice,
acti vi ty.
and
the
positive
criticism
of
interaction
such
a
among
fascinating
the
theory,
translating
APPENDIX I
THE QUESTIONNAIRE
E l i a n a P. C. F r a n c o
Av. C é s a r Seara, 40
Bloco C
apto 304
C a r v o e i r a CEP 88000
F l o r i a n ó p o l i s - SC
Prezado(a)
tradutor(a),
E s t o u d e s e n v o l v e n d o , n a U n i v e r s i d a d e F e d e r a l de S a n t a C a t a r i n a e
com o a p o i o da CAPES, u m a tese sobre t r a d u ç ã o c i n e m a t o g r á f i c a .
E s t a tese t e m c o m o o b j e t i v o s :
I d e n t i f i c a r os p r i n c i p a i s p r o b l e m a s l i n g u í s t i c o s e n f r e n t a _
dos p e l o t r a d u t o r no p r o c e s s o da t r a d u ç ã o de t í t u l o s e le _
g e n d a s de f i l m e s em inglês;
E x a m i n a r os f a t o r e s e x t e r n o s que p o d e m l i m i t a r e, c o n s e q u e n
temente, p r e j u d i c a r o p r o c e s s o d a tradução;
E, s u g e r i r s o l u ç õ e s p a r a m i n i m i z a r tais p r o b l e m a s .
As v á r i a s c r í t i c a s de j o r n a i s sob r e a t r a d u ç ã o de t í t u l o s e le _
g e n d a s de f i l m e s se m o s t r a m a r t i f i c i a i s a p a r t i r do m o m e n t o
em
que a p e n a s a n a l i s a m o p r o d u t o final, o u seja, o t e x t o t r a d u z i d o ,
r e s p o n s a b i l i z a n d o o t r a d u t o r p o r t o d o s os e r r o s e n c o n t r a d o s
na
tela. M i n h a tese, ao cont r á r i o , v i s a u m a a v a l i a ç ã o d a
tradução
c i n e m a t o g r á f i c a m a i s efe tiva, d i r e c i o n a d a ao p r o c e s s o real
da
tradução, em que f a t o r e s exte r n o s , e n ã o a p e n a s o tra d u t o r , po _
dem t a m b é m ser c o n s i d e r a d o s r e s p o n s á v e i s p e l a "má q u a l i d a d e "
de
a l g u n s t e x t o s t r a d u z i d o s . Assim, este q u e s t i o n á r i o foi e l a b o r a d o
p a r a o l e v a n t a m e n t o dos d a d o s n e c e s s á r i o s p a r a o e s t u d o e c o m o
i n t u i t o de c a p t a r a p e r s p e c t i v a do t r adutor.
Por isso, sua c o l a b o r a ç ã o é e s s e n c i a l p a r a a e x e c u ç ã o d e s t a p e s _
quisa. P e ç o que o p r e e n c h i m e n t o do q u e s t i o n á r i o s e j a f e i t o
com
c u i d a d o e e s p e c i a l m e n t e com m u i t a f r a n q u e z a .. As i n f o r m a ç õ e s in
d i v i d u a i s p e r m a n e c e r ã o a nônimas.
S o l i c i t o que o q u e s t i o n á r i o d e v i d a m e n t e p r e e n c h i d o s e j a d e v o l v i _
do, o m a i s tardar, até d u a s s e m a n a s após o seu r e c e b i m e n t o .
A g r a d e ç o a su a c o l a b o r a ç ã o e p r e s t e z a em r e s p o n d e r .
Muito obrigada
Eliana Paes Cardoso Franco
Tradutora pela Pontifícia
U n i v e r s i d a d e C a t ó l i c a de
são P a u l o e c a n d i d a t a a
Mestre pela Universidade
F e d e r a l de S a n t a C a t a r i n a
Q u e s t i o n á r i o p a r a t r a d u t o r e s de f i l m e s em i n g l ê s
Responda,
c i r c u l e ou m a r q u e c o n f o r m e n e c e s s á r i o :
\
PARTE 1
1. a. N o m e com p l e t o :
b. E m p r e s a p a r a a qual p r e s t a seus s e r v i ç o s a t u a l m e n t e :
2. I d ade
20-25
26-30
31-35
36-40
41-45
45-...
3. N í v e l de estudo:
universitário
( ) sim
pós-graduação
( ) mestrado,
( ) não
área:
( ) doutorado,
área:
( ) p ó s - d o u t o r a d o , área:
4. V o c ê e s t u d o u i n g l ê s em e s c o l a b r a s i l e i r a (I e II graus)
( ) não
?
( ) sim
1 a 2 anos
3 a 4 anos
m a i s de 4 anos
5. V o c ê e s t u d o u i n g l ê s em seu c u r s o u n i v e r s i t á r i o ?
( ) não
( ) sim
1 a 2 semestres
3 a 4 semestres
m a i s de 4 s e m e s t r e s
6 . V o c ê e s t u d o u i n g l ê s em a l g u m c u r s o p a r t i c u l a r ?
( ) não
( ) sim
Qual(is):
1 a 2 anos
3 a 4 anos
m a i s de • anos
7. V o c ê o b t e v e a l g u m c e r t i f i c a d o de i n g l ê s ?
( ) não
( ) sim
Qu a l ( i s ) :
8 . Você está estudando inglês em algum curso p a r ticular atualmente?
( ) não
( ) sim
Qual:
2.
9. V o c ê já v i s i t o u a l g u m p a í s de l í n g u a i n g l e s a ?
( ) não
( ) sim
País
Duração da viagem
Objetivo da viagem
10. C o m o v o c ê a v a l i a s u a h a b i l i d a d e e m
compreender inglês - muito boa
boa
regular
ruim
falar inglês
- muito boa
boa
regular
ruim
le r i n g l ê s
- muito boa
boa
regular
ruim
escrever inglês
- muito boa
boa
regular
ruim
11. C o m o v o c ê a v a l i a su a h a b i l i d a d e g e r a l n o i d i o m a i n g l ê s ?
muito boa
boa
regular
ruim
f
12. Como v o c ê a v a l i a sua h a b i l i d a d e g e r a l no i d i o m a i n g l ê s de
seus c o l e g a s t r a d u t o r e s ?
muito boa
13. Como v o c e
boa
regular
ruim
a v a l i a s u a p r o f i c i ê n c i a em
falar português
- muito- b o a ••• b o a
escrever português - muito boa
boa
. regular: ' ■■■ruim
regular
ruim
14. V o c e a c h a i n d i s p e n s á v e l p a r a o t r a d u t o r de f i l m e s f a z e r um
c ur s o de e s p e c i a l i z a ç ã o em t r a d u ç ã o ?
( ) sim
( ) não
15. Q u a i s os r e q u i s i t o s que você c o n s i d e r a e s s e n c i a i s p a r a o
b o m t r a d u t o r de f i l m e s ? ( a s s i n a l e no m á x i m o 3)
) falar bem o português e o inglês
) compreender bem o inglês
) escrever bem o português
) c u r s a r u m a e s p e c i a l i z a ç ã o em t r a d u ç ã o
) c o n h e c e r os u s o s e c o s t u m e s d os f a l a n t e s d a l í n g u a i n g l e s a
) c o n h e c e r os u s o s e c o s t u m e s de s u a p r ó p r i a l í n g u a
3.
16. V o c ê é t r a d u t o r
( ) de l e g e n d a s
( ) de d u b l a g e m
( ) ambos
17. H a q u a n t o t e m p o v o c ê e x e r c e e s s a a t i v i d a d e ?
m e n o s de 1 ano
de 1 a 2 a n o s
de 2 a 4 anos
de 4 a 6 a n o s
de 6 a 10 a n o s
m a i s de 10 anos
18. A t r a d u ç ã o de f i l m e s é
( ) su a ú n i c a a t i v i d a d e
( ) sua atividade secundária
No s e g u n d o caso, e s p e c i f i q u e s ua p r i n c i p a l a t i v i d a d e :
19. V o c ê t r a d u z f i l m e s p o r q u e
( ) é um trabalho bem remunerado
( ) gosta,
é seu h o b b y
( ) p r e c i s a de u m a s e g u n d a a t i v i d a d e (de p r e f e r ê n c i a sem
h o r á r i o fixo) p a r a g a r a n t i r s u a s u b s i s t ê n c i a
( ) e s p e c i a l i z o u - s e em t r a d u ç ã o
20. Que g ê n e r o de f i lme v o c ê m a i s g o s t a ?
( ) drama
( ) aventura
( ) de g u e r r a
( ) comédia
( ) romance
( ) musical
( ) policial
( ) suspense
( ) infantil
( ) ficção
( ) erótico
( ) documentário
21. V o c ê e s c o l h e os f i l m e s que t r a d u z ?
( ) sim
( ) não
22. E m c a s o n e g a t i v o , v o c ê a c h a que o f a t o de n ã o e s c o l h e r o
filme a s e r t r a d u z i d o p r e j u d i c a s eu d e s e m p e n h o n a t a r e f a ?
( ) sim
( ) não
23. V o c ê a c h a que a q u a l i d a d e d a t r a d u ç ã o de u m f i l m e p o d e ser
m e l h o r se ele for t r a d u z i d o p o r a l g u é m que o a p r e c i e ?
( ) sim
( ) não
4.
24. V o c ê já deve te r t r a d u z i d o f i l m e s de que n ã o gostou. V o c ê
d e f i n i r i a e s s a e x p e r i ê n c i a como
( ) diferente
( ) surpreendente
( ) chata
( ) horrível
25. Q u a l ( i s )
o(s) g ê n e r o ( s )
( ) indiferente
de f i lme que v o c ê m a i s g o s t a de
traduzir ?
( ) drama
( ) aventura
( ) policial
( ) r o m a n c e ( ) de g u e r r a
( ) infantil
( ) comédia
( ) ficção
( ) musical
( ) suspense
( ) erótico
( ) documentário
26. V o c ê s e nte a l g u m t i p o de discr i m i n a ç ã o , p o r p a r t e d a e m p r e s a
p a r a a qual t r a b a l h a , n a d i s t r i b u i ç ã o dos f i l m e s a s e r e m t r a _
duzidos
; por exemplo,
f i l m e s de d i r e t o r e s f a m o s o s são d a d o s
a p e n a s para t r a d u t o r e s m a i s e x p e r i e n t e s o u c o n c e i t u a d o s
( ) sim
( ) não
5.
PARTE 2
27. V o c ê r e c e b e u a l g u m tipo de t r e i n a m e n t o n o local onde
c o m e ç o u a t r a b a l h a r c o m o t r a d u t o r de f i l m e s ?
( ) sim
( ) não
Em c a s o n e g a t i v o , v o c ê a c h a que e s s e t r e i n a m e n t o p o d e r i a
t e r - l h e sido
( ) muito útil
( ) útil
( ) pouco útil
( ) não relevante
28. V o c ê t r a d u z os f i l m e s
( ) sozinho(a)
( ) em equipe
29. V o c ê t r a d u z os f i l m e s
( ) em c a s a
30. Quais,
( ) no local de t r a b a l h o
dos e q u i p a m e n t o s abaixo,
lhe são f o r n e c i d o s p a r a o
c u m p r i m e n t o de s u a t a r e f a ?
( ) sc r i p t
( ) c ó p i a do filme (em f i t a v í d e o o u rolo)
( ) f i t a c a s s e t e com os d i á l o g o s g r a v a d o s
( ) v i s o r de p r o j e ç ã o do filme
( ) m á q u i n a de e s c r e v e r
( ) gravador
( ) pap e l
( ) dicionários
( ) outros
Especifique:
31. V o c ê c o n s i d e r a a q u a l i d a d e do e q u i p a m e n t o f o r n e c i d o
( ) ótima
( ) boa
( ) regular
( ) má
32. Qual é o t e m p o m á x i m o que lhe é p e r m i t i d o p e l a e m p r e s a p a r a
a r e a l i z a ç ã o da t r a d u ç ã o de u m f i lme de c e r c a de 90 m i n u t o s ?
33. V o c ê a c h a que o tempo que lhe é d a d o p a r a
a t r a d u ç ã o de
um filme é s u f i c i e n t e p a r a a r e a l i z a ç ã o de u m b o m t r a b a l h o ?
( ) sim
( ) não
34. Qual é o t e m p o m é d i o em que v o c ê c o s t u m a t r a d u z i r u m f i l m e ?
6.
35. V o e i g o s t a r i a de d i s p o r de m a i s t e m p o p a r a t r a d u z i r u m fil me ?
( ) sim
( ) não
36. Q u a n t o à r e m u n e r a ç ã o de trab a l h o , v o e i c o n s i d e r a que o t r a d u _
t o r de f i l m e s é
( ) muito bem pago
( ) bem pago
( ) razoavelmente bem pago
( ) ma l p a g o
37. V o e i a c h a que a r e m u n e r a ç ã o que r e c e b e p a r a a t r a d u ç ã o de f i l _
m e s influi,
de a l g u m modo, n a q u a l i d a d e de s e u t r a b a l h o ?
( ) sim
( ) nã o
30. Q u a n t o s f i l m e s v o e i c o s t u m a t r a d u z i r p o r m e s ? ___________________
39. V o e i c o n s i d e r a esse n ú m e r o
l.(
) alto
2.(
) suficiente
3.(
) baixo
a. Cas o t e n h a e s c o l h i d o a p r i m e i r a opção,
a que v o e i a t r i b ui
a s o b r e c a r g a de t r a b a l h o ?
( ) n ú m e r o r e d u z i d o de p r o f i s s i o n a i s
( ) baixa remuneração e consequente desinteresse pela ati_
vidade
( ) outros
Especifique:
b. C a s o t e n h a e s c o l h i d o a t e r c e i r a opção, a que v o e i a t r i b u i
a p o u c a q u a n t i d a d e de t r a b a l h o ?
( ) muita competitividade
( ) b o m salário,
( ) outros
o que a u m e n t a a p r o c u r a
Especifique:
40. Nos t r a d u t o r e s s a b e m o s que o e s p a ç o de t e m p o que a l e g e n d a p o d e
f i c a r n a t e l a é um f a t o r l i m i t a n t e n a t r a d u ç ã o de filmes, p o i s
deve o b e d e c e r o t e mpo de f a l a d os p e r s o n a g e n s a s s i m c o m o c o n t e r
to das as i n f o r m a ç õ e s do t e x t o o r i g i n a l . N a s u a o p i n i ã o ,
a in_
f l u ê n c i a d e sse f a t o r s o b r e a q u a l i d a d e do f i l m e t r a d u z i d o é
( ) muita
( ) pouca
( ) muito pouca
( ) não relevante
41. o e s p a ç o da t e l a t a m b é m é c o n s i d e r a d o o u t r o f a t o r l i m i t a n t e
p a r a as l e g e n d a s , que n ã o p o d e m s e r m u i t o longas, porém,
de_
v e m c o n t e r as i n f o r m a ç õ e s do o r i g i n a l . Que g r a u de i n f l u ê n c i a
o e s p a ç o d a t e l a e x e r c e sobre a q u a l i d a d e de s e u t r a b a l h o ?
( ) muita
( ) pouca
( ) muito pouca
( ) não relevante
A s p e r g u n t a s 42 a 47 são d i r i g i d a s s o m e n t e ao t r a d u t o r de
dublagem.
42. V o c ê a c h a que o fato d a t r a d u ç ã o s er d i r i g i d a à d u b l a g e m d i f i _
c u l t a o seu t r a b a l h o ?
( ) sim
( ) não
4 3 . Co m que f r e q u ê n c i a v o c ê se vê o b r i g a d o a f a z e r m o d i f i c a ç õ e s
( a d i c i o n a r ou o m i t i r p a l a v r a s ) n o s t e x t o s o r i g i n a i s p a r a u m a
m e l h o r s i n c r o n i a e n t r a a f a l a dos p e r s o n a g e n s e a t r a d u ç ã o ?
( ) se m p r e
( ) frequentemente
( ) às v e z e s
( ) raramente
( ) nunca
4 4 . As m o d i f i c a ç õ e s m a i s f r e q u e n t e s são
( ) a d i ç õ e s ao tex t o t r a d u z i d o
( ) o m i s s õ e s de p a r t e s do tex t o t r a d u z i d o
4 5 . V o c ê d i r i a que a d u b l a g e m a f e t a a q u a l i d a d e d a t r a d u ç ã o
( ) muito
( ) pouco
( ) muito pouco
( ) n ão r e l e v a n t e
46. V o c ê já n o t o u a l g u m a m o d i f i c a ç ã o n a s u a t r a d u ç ã o f e i t a n a d u _
blagem ?
( ) sem p r e
( ) frequentemente
( ) às v e z e s
( ) raramente
( ) nunca
4 7 . Em caso p o s i t i v o , v o c ê a c h a que e s s a s m o d i f i c a ç õ e s p r e j u d i c a r a m ,
de a l g u m a m a n e i r a ,
( ) sim
( ) não
o c o n t e ú d o do t e x t o t r a d u z i d o ?
,v
3.
As p e r g u n t a s s e g u i n t e s são d i r i g i d a s a todos
40. Qual é a sua p o s i ç ã o em rela ç ã o à d u b l a g e m de f ilmes e s t r a n ^
geiros ?
( ) contra
( ) a favor
49. Você acha que a c e n s u r a d i f i c u l t a ,de a l gum modo, a t a r e f a de
traduzir ?
( ) sim
( ) não
50. Em que a s p e c t o s a c e n s u r a se m o s t r a mais r í g i d a ?
( ) religiosos
( ) políticos
( ) m o r a i s (quanto ao a s p e c t o sexual)
( ) sociais (e x . drogas)
( ) ou tros
Especifiqu e:
51. Na tr ad u ç ã o de p a l a v r õ e s você
( ) omite
( ) t r o c a po r termos m a i s a m e n o s
( ) u s a as i n i c i a i s e r e t i c ê n c i a s
52. Você a c h a que a c e n s u r a i n f l u e n c i a a q u a l i d a d e de s eu trabalho
( ) muito
( ) pouco
( ) muito pouco
( ) não r e l e v a n t e
53. I d e n t i f i q u e - de 1 a 4 - o g r a u de i n f l u ê n c i a que os fatores
e x t e r n o s ao p r o c e s s o de t r a d u ç ã o e x e r c e m sobre a q u a l i d a d e de
seu t rab a l h o ( 1=NÃ0 RELEVANTE; 2 = M U I T 0 P O U C A INFLUÊNCIA;
ruuuft ±vtr íjUí^ímox/i 9 4-wu±ia xímt i j u m o i n
c u rso p r o f i s s i o n a l i z a n t e
t r e i n a m e n t o no local de t r a balho
tempo p a r a a r e a l i z a ç ã o d a t a r e f a
qua l i d a d e do e q u i p a m e n t o
remuneração
n ú m e r o de p r o f i s s i o n a i s
e spaço de tempo da l e g e n d a n a tela
e spaço da tela
dublagem
censura
.
1
?
3
4
3=
9.
PARTE 3
54. Ao t r a d u z i r um filme você u s a o d i c i o n á r i o
( ) m u i t a s vezes, mai s de 1 0 v e z e s p o r filme
( ) f r e q u e n t e m e n t e , de 6 a 1 0 v e z e s p o r filme
( ) às vezes, de 3 a 5 v e z e s p o r filme
( ) raramente, de 1 a 2 vez e s p o r filme
( ) não u s a
55. Voei c o s t u m a ve r todo o filme a n t e s de t r a d u z í - l o ?
( ) sim
( ) não
Em caso negativo, p o r que ?
( ) não tem tempo
( ) não ach a n e c e s s á r i o
( ) depende do filme
Que tipo ?
56. 0 título é g e r a l m e n t e t r a d u z i d o ( ) antes ou ( ) d e p o i s da
trad u ç ã o do filme
57. Qual é o c r i t é r i o m a i s u s ado p a r a a t r a d u ç ã o de títulos de
filmes ?
a. gerais:
( ) ssr fiel ao ori gi n a l (tradução literal)
( ) t r a d u z i r apenas a m e n s a g e m do título o r i ginal (n literal)
( ) não t r a d u z i r o título, mas c r i a r outro que e s t e j a de
acordo com a m e n s a g e m do filme
( ) c r i a r outro título com b o a sonor i d a d e
( ) tor n a r a tradu çã o m a i s c r i a t i v a que o original, caso
este não o seja
( ) tor n a r a traduç ã o mais c u r t a que o original,
caso este
seja longo
( ) c r iar um título que cause impa c t o no p ú b l i c o
( ) outro
Especifique:
b. com p o s t o s apenas de n o m e s p r ó p r i o s ou siglas
( ) m a n t é m o título original
( ) m a n t é m o título original, mas c o m p l e t a com u m sub t í t u l o
que di a idéia do c o n t e x t o do filme
( continua na outra página )
10.
( ) não m a n t é m o tí tulo original, mas c r i a outro que dê
a i d é i a do con t e x t o do filme
( ) out r o
Especifi q u e :
58. H a c a sos em que o tít ul o em i n glês é mantido, e m b o r a ele p o s _
sa ser t r a d u z i d o (ex:
"Rain Man",
"Absolute Beginners",
"Robo
cop"). Como você j u s t i f i c a r i a esse caso ?
59. N a sua opinião, os t í t u l o s m a i s d i f í c e i s de t r a d u z i r são os
que a p r e s e n t a m
( ) expressões idiomáticas
( ) termos ambíguos
( ) metáforas
( ) n o m e s p r ó p r i o s ( i n c l u e m - s e siglas )
( ) textos longos
( ) textos curtos
( ) textos sem impacto
( ) textos não c r i a t i v o s
( ) diferenças linguístico-culturais
( ) outro
Especifique :
60. G o s t a r i a que você m e n c i o n a s s e c i nco títu l o s de f i l m e s que
já t r a d u z i u com seus r e s p e c t i v o s o r i g i n a i s im inglês, e que
j u s t i f i c a s s e sua v e r s ã o e m p o r t u g u ê s p a r a tais origin a i s :
11.
61. Q u a n t o às l e gendas, qu a i s são as p r i n c i p a i s d i f i c u l d a d e s lin
g u í s t i c a s que você e n c o n t r a n a t r a d u ç ã o ?
( ) expressões idiomáticas
( ) metáforas
( ) termos ambíguos
( ) t e r m o s co m v á r i o s s i g n i f i c a d o s
( ) gíria
( ) termos coloquiais
( ) diferentes registros
( ) termoscobscenos
( ) dialeto
( ) diferenças linguístico-culturais
( ) t e r m o s e s p e c í f i c o s de um d e t e r m i n a d o a s s u n t o
( ) palavras com a forma parecida com o português mas com o
significado diferente
( ) outra
(falsos c ognatos)
Especifique:
62. Id en t i f i q u e ,
de a c o r d o c om o c ó d i g o de fre q u ê n c i a , os p r o c e _
dimentos usados por você
ao e n c o n t r a r as d i f i c u l d a d e s lin _
guísticas assinaladas acima
TEMENTE;
(M F =M U I T A F R E Q U Ê N C I A ; F = F R E Q U E N
P F = P O U C A FREQ U Ê N C I A ; M P F = M U I T O P O U C A F R E Q U Ê N C I A
;
N R = N Ã O RELEVA N T E )
MF
c o n s u l t a d i c i o n á r i o s da l í n g u a
inglesa
consulta dicionários especiali
zados
consulta enciclopédias
consulta gramáticas da
inglesa
língua
consulta amigos tradutores
c o n s u l t a p r o f e s s o r e s de c u rsos
de inglês
consulta falantes nativos
língua inglesa
da
consulta pessoas especializadas
no a s s u n t o de que o fil m e t r a t a
c o n s u l t a livros p a r a o b t e r in _
f o r m a ç õ e s sobre o c o n t e x t o do
filme
F
PF
MPF
NR
12.
63. V o c ê se p r e o c u p a em f a z e r a d a p t a ç õ e s c u l t u r a i s ?
( ) sim
( ) não
64. G o s t a r i a que v o c ê m e n c i o n a s s e dois f i l m e s que c o n s i d e r o u di
f í c e i s de t r a d u z i r e o tipo de d i f i c u l d a d e e n c o n t r a d a em ca
da um deles:
65. A l g u m a vez, a e m p r e s a p a r a a qual trabalha, d e v i d o a seus i n_
teresses,
já d e v o l v e u u m filme b e m t r a d u z i d o p e d i n d o que voce
f i z e s s e a l g u m tipo de m o d i f i c a ç ã o (ex. m u d a r o t í t u l o p a r a um
m a i s a t r a e n t e ou a m e n i z a r t e rmos o b s c e n o s n a legenda)
( ) sim
( ) não
Em caso pos i t i v o ,
( ) sim
?
isto r e f l e t i u n a q u a l i d a d e de s u a t r a d u ç ã o ?
( ) não
6 6 . Há, n a e m p r e s a em que v o c ê trabalha, um(a) r e v i s o r ( a ) o u
equipe de r e v i s o r e s p a r a
□es
' a v a l i a r /corrigir'
uma
a t r a d u ç ã o de f i l _
f e i t a p o r você ?
( ) sim
( ) não
Em caso n e g ativo, voc ê s a b e r i a d i z e r a razão p e l a qual sua e n _
p r e s a nã o d i s p õ e desse
s e r v i ç o de r e v i s ã o ?
67. Você a c h a que o s e r v i ç o de r e v i s ã o é n e c e s s á r i o ?
( ) sim
P o r que ?
( ) não
13.
68.
V o c ê sabe que os t r a d u t o r e s de f i l m e s são f r e q u e n t e m e n t e c r i _
t i c a d o s p o r trad u z i r e m : e x p r e s s õ e s i d i o m á t i c a s l i t e r a l m e n t e
(ex. "the h e a r t of the m a t t e r " - "o c o r a ç ã o da m a t é r i a " )
;
p a l a v r a s de f o r m a s s e m e l h a n t e s ao p o r t u g u ê s m a s d i f e r e n t e s no
s i g n i f i c a d o t r a d u z i d a s c om o s i g n i f i c a s o que p a r e c e m
ter
(ex. " a c t u a l l y " - " a t u a l m e n t e " ) , o u p o r n ão f a z e r e m as d e v i _
das a d a p t a ç õ e s cultura i s , a l é m de outros. V o c ê a c h a que isso
é r e s u l t a d o de
( ) f a l t a de c o n h e c i m e n t o l i n g u í s t i c o e c u l t u r a l
( ) f a l t a de t e mpo p a r a a r e v i s ã o
( ) p r e s s a em a c a b a r o trabalho, p o i s h á m u i t o s f i l m e s p a r a
traduzir
( ) outro
Especifique:
69. Você d i r i a que a m á q u a l i d a d e de a l g u m a s t r a d u ç õ e s é c o nse
q u ê n c i a m u i t o m a i s dos f a t o r e s e x t e r n o s já m e n c i o n a d o s (como
' t e m p o 1 , 'remuneração',
'censura',
'dublagem', etc) do
que
dos p r o b l e m a s l i n g u í s t i c o s , ou seja, do i d i o m a em si ?
( ) sim
( ) não
70. Em caso n e g ativo, ent ã o você a t r i b u i a raá q u a l i d a d e de a l g u _
m a s t r a d u ç õ e s de fi l m e s a f a t o r e s de
l i n g uístico,
( ) sim
conhecimento puramente
cujo ú n i c o r e s p o n s á v e l é o t r a d u t o r ?
( ) não
71. As v á r i a s c r í t i c a s de j o r n a i s à q u a l i d a d e d a t r a d u ç ã o g e r a l _
me n t e r e s p o n s a b i l i z a m o t r a d u t o r p o r tod o s os e r r o s e n c o n t r a
dos n a tela. Você c o n c o r d a com e s s a p o s i ç ã o ?
( ) sim
( ) não
72. Qual, das o p ç õ e s abaixo, você i d e n t i f i c a como a m a i o r r e s p o n
sável p e l a m á q u a l i d a d e de a l g u m a s t r a d u ç õ e s ? (1_ opção)
( ) f a l t a de p r o f i s s i o n a i s em t r a d u ç ã o
( ) más c o n d i ç õ e s de t r a b a l h o ( falta de t r e i n a m e n t o , m á q u a _
lidade do equipamen t o ,
tempo limitado, m á r e m u n e r a ç ã o )
( c o n t i n u a n a o u t r a página)
_
14.
( ) f a t o r e s e x t e r n o s que l i m i t a m o texto a ser t r a d u z i d o
b e m c o m o d i f i c u l t a m a t a r e f a de t r a d u z i r (dublagem,
,
cen
sura, e s p a ç o da tela, etc)
( ) f a l t a de c o n h e c i m e n t o l i n g u í s t i c o e c u l t u r a l p o r p a r t e
do t r a d u t o r
73. V o c ê a c h a que a q u a l i d a d e da t r a d u ç ã o de f i l m e s p o d e ser me
lhorada ?
( ) sim
( ) não
Em caso p o s i t i v o ,
a p r e s e n t e aqui suas sugest õ e s :
74. O u t r o s c o m e n t á r i o s e p r o b l e m a s que v o c ê q u e i r a l e v a n t a r :
75. T e l e f o n e p a r a contat o:
Muito obrigada
BIBLIOGRAPHICAL REFERENCES
A COR PÚRPURA.
Cno date).
Set, C5?,
p. 36.
ALFARANO,
R. C1990,April?. A Formação do Tradutor. Lecture
delivered at the IV Encontro Nacional de Tradutores,
São Paulo.
ANDRÊ,
B. Cl991, April 24?. Um herói comunista para o público
americano C Reds? . Ve.Ia São Paul o , p. 78.
ARROJO,
R. Cl986?.
Oficina de Tradução.
__________
Cl991,June 22?,
Teorias
Estado de S. Paulo, p. 3.
e
São Paulo:
Políticas
de
Ãtica.
Tradução.
AUBERT, F.H. Cl978?. ReflexíÜSes sobre o ato tradutório.
Sgm&nti cos C 86-95?. Uboraba: FISTA.
O
Estudos
__________
Cl981?.
Gomunicaçao
13-24.
Etapas
do
Ato
Tradutório.
Tradução
e
^ R^viata Braei1eira de Tradutores, Cl?l ,
__________
Cl987?.
A
Tradução
literal:
impossibilidade,
inadequação
ou
meta
?
In
W. C.
Costa
CEd.?,
Transiation^Traducão, 11ha do Desterro Cl7? Cpp. 13-20?.
Florianópolis: Editora da UFSC.
__________ Cl988?. Fatores Condicionantes do Valor de Mercado
da
Tradução. In R. Arrojo CEd.?, Trabalhos em Linguistica
Aplicada Cll? Cpp.33-42?, Campinas: UNICAMP.
__________
Cl989?.
A Fidelidade no Processo e no Produto do
Traduzir.
In Trabalhos em Linquistica Apli cada Cl 4?
Cl 15-119?. Campinas: UNI CAMP.
__________ Cl990, April?. Linhas de Pesquisa em Tradução. Lecture
delivered
at
the
round-table
of
the
IV
Encontro
Nacional de Tradutores, São Paulo.
AUGUSTO,
S.
Cl988,
March
13?.
Pândega
esquizóide
surrealista ? Foi ha de S. Paulo, see. D, p. 1.
BARBOSA,
H. G. Cl990?. Procedimentos Técnicos
nova proposta. Campinas: Pontes.
BASSNETT-McGUIRE,
Methuen.
BERESIN,
S.
Cl980?.
Translation
da
Tradução:
Studies.
ou
uma
London:
R. Cl990, April?. Experiências do Tradutor Autónomo.
Lecture delivered at the round-table of the IV Encontro
Nacional de Tradutores, São Paulo.
165
CAMPOS. G. C19865. O que é tradução.
__________ Cl 9875. Como fazer tradução.
São Paulo: Brasiliense.
Rio de Janeiro: Vozes.
CASTRO,
R. Cno dat©5. Desculpe a nossa falha - Adaptados ou
recriados, os títulos de filmes sofrem de tudo nas mãos
dos tradutores. Video News, C735, pp. 53-56.
CASTRO,
T. C1980, October 55. Bestialógico nacional
enlatados. Foi ha de S. Paulo, Cno page no. 5 .
CATFORD,
J.C.
Cl 9655.
A Li nquistic
Theory
London; Oxford University Press.
C .B .
Cl978,
June5. Ê
pau,
Auto-Falante, p. 8.
CITIZEN kANE.
C1991, May 225.
é
pedra,
Foi ha de S.
of
hora
é
DUTRA,
H.I.
Cl9905.
Stet, C55,
IMENSIDSO AZUL.
C1989,
e
February5.
o
de
dublar .
the Quality of
Pi ssertation.
pp. 46-49.
W.
Cl990,
Apri15,
A Formação do
delivered
at
the
round-table
of
Nacional de Tradutores, São Paulo.
C1976, February 65. A TV
Paulo, Cno page no. 5 .
Translation.
Paulo, p. 5-7.
CORTIANO, E. J. C19905. A Model for Assessing
Videofilm
Translation.
MASTER
Universidade Federal do Paraná.
DESASTRES LEGENDÁRIOS.
brilha nos
Tradutor. Lecture
the
IV
Encontro
Consumidor.
Foi ha
de
S.
Movie, p. 17.
KUREISHI, H . Cl9885. Sammy and Rosie Get Laid - The Scr ipt and
The Diary. London: Faber and Faber.
LABAKI , A. Cno date5. Henry V, Set, C55,
LAURA,
pp. 11-13.
I, Cno date5. Uma agressão irreparável.
page no.5.
Cno source5
Cno
LEITSO,
P .K . Cl990,
Apri15.
Uma Experiência em Dublaqem ©
Leqendac ão. Lecture delivered at the ComunicaçSes of
the IV Encontro Nacional de Tradutores, São Paulo.
LONGUI ,
J.T.
Cl989,
July 75.
Legendar
filmes
em
vídeo é
trabalhoso e difícil. Foi ha de S. Paulo, sec. G, p.5.
MOREIRA,
I. Cno
p, 34.
date5. Sonhos
de
um
Sedutor.
Ci nemi n , C555,
166
NEIS,
I .A. C ?
3. Linguística
Ho je. Cpp.88-1093.
NEWMARK,
NIDA,
P.
Cl 9813.
Pergamon.
E. C19643.
Brill.
e
Approaches
Towar ds
a
Tradutologia.
to
Science
Letras
Translation.
of
Translating.
de
Oxford:
Leiden;
__________ C19763. A Framework for the Analysis and
Evaluation
of Theories of Translation.
In R. W.
Brielin CEd.3,
Translation: Applications and Research Cpp47-913. New
York; Gardner Press.
NOGUEIRA,
D. A.
C19843.
A Tradução:
Tradução
e
ComunicacSo
Tradutores, C43, 83-90.
0 SHOW DEVE CONTINUAR.
PAES,
Um Processo Decisório.
Revista
Braslleira
de
Cno date3. Set, C103,
p. 23.
J.P. Cl9883. Haroldo de Campos, José Paulo Paes e Paulo
Vizioli
falam sobre traduçXo.
In R.
Arrojo CEd.3,
Trabal hos em Li ngulstica Apl 1cada, C113, Cpp. 53-653.
Campi nas s UNICAMP.
RICHARDS, J. , PLATT, J. & WEBER, H. C19853. Longman Dictionary
of Appl ied Li nctui sties. England; Longman.
ROCHA,
E. F. C1990,
pip, 66—
69.
January3.
VersSo Brasileira.
RÕNAI , P. C19813. A Tradução Vi vida C2a ed. 3.
Nova Fronteira.
Isto é_j_ Senhor,
Rio de Janeiro;
__________ Cl9813. Decálogo do Tradutor. Tradução e Comuni cacao Revista Brasileira de Tradutores, C131 , 87-90.
S Ã T V,
C1988, March 133. Censura e dublagem são os vilSes
filmes. Foi ha de S. Paul o , see. D, p. 1.
SANTOS,
A. S. Cl9863.
Guia
Paul o: Cultrix.
Prático
SANTOYO,
J.C.
Cl 9853.
El_
Universidad de Leon.
SCHILD,
S.
Cl984,
November
83.
espectador muito especial.
p. 1.
de
Del ito
Tradução
de
Inglesa.
Traducir.
Tradutor
Jornal do
dos
São
Espana;
de
filmes,
Brasil, sec.
um
C,
SCHWARTSMAN, A. Cl989, August 23. Rede Globo devolve 4 0 % de
filmes dublados alegando má qualidade.
Foiha de S.
Paulo, sec, E, p.1.
SINCLAIR ,
J.
C l 9873.
C o l 1 i ns
Cobui1 d
English
Language
Dictionary.
London:
Collins.
SPEARS,
R. A.
C19825.
Slang
American Library.
TAGNIN,
S. O. Cl 9895. Expressges
São Paulo: Âtica.
THE SHELTERING SKY.
THE SILENCE OF
p. 5-6.
THEODOR,
Cl991,
THE LAMBS.
E.
Cl9865.
Cul tr ix.
and
Euphemism.
Idiomáii cas
New
©
York:
New
Convenci onai s ■
May 22."). Folha de S,_ Paulo, p. 5-6.
Cl 991,
Tradução:
May 225.
Oficio
e
Fol ha
Arte.
de
S^ Paulo,
São
Paulo:
THIERBERGER,
R.
C19725.
A Linguagem da Tradução.
In:
J.R.
Ladmiral, La Traduction CL. Azuaga, trans. A Tradução e
os seus probl emas Cpp. 118-1315 5. São Paulo:
Empresa
Norte. COriginal work published 19725.
TRADUÇ3ES OU GOZAÇ5ES ? Cno date5. íris Foto, Cno page no. 5.
VÂZQUEZ
- AYORA, G. Cl 9775. Introducción a l_a Traductol oqla.
Washington: Georgetown University Press.
WHEN HARRY MET SALLY.
WITTER,
Cno date5. Set, C65, Cno page no.5.
G. P. Cl990, April5.
Li nhas de Pesquisa em Tradução.
Lecture delivered at the round-table of the IV Encontro
Nacional de Tradutores, São Paulo.
FILM REFERENCES
BEATTY,
W. CDirector?.
BECKER,
H. CDirector?, C198Q?.
BERTOLUCCI,
BESSON,
C1990?.
Waner Brothers.
L. CDirector?.
Cl988?.
K. CDirector?.
J.
Ã
EUA:
COSTNER,
ALLEN,
The
C1958?.
CIC.
Shel terinq
The Big Blue.
C1989?.
C.
CIC.
Sea of Love. EUA:
CDirector?.
R. CDirector?.
COOPER,
Reds. EUA:
England/Italy:
BRANAGH,
BROOKS,
B.
Cl 981?.
France:
Henry V. England:
Sky.
CBS Fox.
Paris Films.
Cat on a Hot Tin Roof. EUA:
CDi rectors?.
Cl 988?.
MGM.
Supercarrier
II_.
VIC Home Video.
K. CDirector?.
C1990?.
Dances with Volves. EUA:
Warner
Brothers.
DEMME,
J.
CDirector?.
Cl990?.
The
Si 1ence
of
the
Lambs. EUA:
Columbia Tri Star Film.
DUMMING,
G.
CDi rector?.
C
?.
7
Yellow
Submarine. England:
Warner Brothers.
C
?.
7
Cl989?.
El vi ra.
Mistress of the Dark. EUA:
C1979?.
All That Jazz. EUA:
Paris
F i1 ms.
FOSSE,
B. CDirector?.
FREARS,
S.
CDirector?.
England:
GODARD,
P.
GUENETTE,
C
CDirector?.
England:
Sammy
and
Rosie
Get
C
7
7
?. O Desprezo. France:
Cl982?.
The
Draughtsman
C
?.
?,
R. CDirector?.
D. CDirector?.
7
Contract.
C1981?.
The Man who saw Tomorrow. EUA:
Warner Home Video.
HOPPER,
Laid.
Alvorada Video.
J .L. CDirector?.
GREENAWAY,
Cl 987?.
Abril Video.
Cl988?.
Colors. EUA:
Globo Video.
169
JARMUSCH,
J. C Direct-orO.
KONCHALOVSKY,
A.
C19863.
CDirector3.
Down-by-Law. EUA:
C19893.
Shy
C..?. .3.
People. EUA:
América
Video Films.
LEE, S. CDirector3. Cl9893.
C
Do the Right Thinq. EUA:
CIC.
“
? 3 . Pri mo Cr uzado. TV G1 obo.
REINER,
R.
CDirector3.
C10803.
When
Harry
met
Cl 9593.
Hi roshi ma, Mon
Sally.
EUA:
Mundi al.
RESNAIS,
A.
CDirector3.
Amour. France:
Sagres.
ROSS,
H. CDirector3.
C
3. C1990, September 173.
7
SCHEPISI,
F.
C19723.
Play it again, Sam. EUA:
CDirector 3.
SBT Film. EUA:
Cl 9873.
C
Roxanne.
7
CIC.
3.
EUA:
Columbia
Pi c tur es.
SPHEERIS,
P.
CDirector3.
Ci vi1izati on Part
C19883.
11
The
- The Metal
Peeline
of
Western
Years. EUA:
Alvorada
Video.
SPIELBERG,
S. CDirector3.
C19853.
The Col or Purple. EUA:
Warner
Home Video.
C
?
3.
C September, 10903.
The
Man
who
Li kes
to
Si ng. USA:
CCor uj So G1obo3 .
WELLES,
O.
CDirector3.
Cl9413.
Citizen Kane. EUA:
OrganizaçSes
Aragao.
ZEMECKIS,
R.
EUA:
CDirector3. Cl9883.
Abril Video.
Who
Framed
Roger
Rabbi t
Z
•
PERSONAL INTERVIEW REFERENCES
&VILA,
C. Personal interview.
,O
DRAGAN,
T.
Personal
interview,
FIKER,
M.
Personal
FILHO,
R.
E. Personal
SILVA,
D. Personal
SPIEGEL,
interview.
29 March
1990.
28 March 1990.
interview.
interview.
S. R. Personal
23 July 1QQ1.
30 October 1990.
9 May 1990.
interview,
il May 1990.