Audiovisual translation – What is it about?

← Posts Posted on 18 November, 2014 By Translation Boutique With 0 Comments

 (Translated from Spanish by our interns.)

As I already explained in a previous post for Translation Boutique, audiovisual translation is just one possible job specialization of many that we can find as professional translators related to translation and interpretation. Although the majority of audiovisual work is in English there are sometimes opportunities to do projects in German, French and other languages too.

This certain kind of translation always caught my attention and I wanted to do some research on its theoretical side. An academic article for researchschool.org by Delia Chiaro describes audiovisual translation as follows:

Audiovisual translation (AVT) is the term used to refer to the transfer from one language to another of the verbal components contained in audiovisual works and products. Feature films, television programs, theatrical plays, musicals, opera, Web pages, and video games are just some examples of the vast array of audiovisual products available and that require translation. As the word suggests, audiovisuals are made to be both heard (audio) and seen (visual) simultaneously but they are primarily meant to be seen.^[1]

Some of the typical characteristics that define audiovisual translation are speech and changing registers:

1. Speech. With this characteristic we refer to the ability to symbolize a previously translated natural and spontaneous dialogue. It might sound easy, but it is not. What is logical to one person in a certain context might seem totally out of place for another person. For that reason, a translator should be able to transfer written language on to the screen without adding strange expressions or demanding an unreasonable, unnatural effort on part of the character who is speaking.
2. Changing registers. Contrary to the other specialized forms, audiovisual translation is characterized by suffering from changes in registers. Instead of working on a well-defined topic we are confronted with a great variety of possible registers. Among these are children’s programs, detective series, horror movies or documentary films on nature. One of audiovisual translation’s advantages is that it permits the translator to learn something new about any possible topic every day. That is why it is not surprising that translators often have a wide and pretty broad cultural and general knowledge. 🙂

Picture from movie “Cloudy with a chance of meatballs”

Whilst I am telling you about the main characteristics, I wouldd also like to mention some of its various modalities:

– Synchronization and subtitles. There has always been a debate about which of the two is the more adequate and appropriate form. From my point of view, both have their pros and cons. Synchronization is the oral adaptation of an audiovisual document in which you do not have any traces of the original language. On some occasions though we will find cultural collocations that simply do not apply. In which case, it is necessary to blend in some kind of image or representation of the words in order to get the best results.

   On the other hand the original language remains present in an audiovisual document that works with subtitles. The targeted language also is represented by subtitles underneath the visual sequences. Due to globalization and the wide availability to access movies and series from other countries, there is a cultural opening in which subtitles gain popularity over the more traditional synchronization.

– Overlaid voices. It is not unusual today to watch a television program in which you can hear the characters speak in their maternal language whilst you hear an overlaid voice that translates what has already been said. This kind of translation can especially be found in reality shows or documentaries, it is said the principal function of an overlaid voice is to introduce the viewer to a different culture and the theme of the programme.

– Audiodescription and subtitles for deaf people. This kind of audiovisual translation consists of subtitling for a hearing-impaired audience. That is why elements like the description of sounds – rather than just conversations between people – need to be included as well. This means that, for example, sighs will be indicated in a different manner from the conversational content-related subtitles. In some programs they tend to mix this kind of translation with the interpretation of sign language.

– Localization. This is probably the most unknown form of audiovisual translation. It’s consists of translating and adapting all elements of websites, video games, software and other audiovisual documents to provide a better consumer approved product in a certain country it is exported to.

The work of an audiovisual translator can be very gratifying and satisfying if you keep to the followinog criteria:

– Avoid the overuse of colloquialism;

– Translate cultural references adequately, and thus know the cultures of your working languages well.

– Translate onomatopoeia with equivalent sounds in the target language (if they exist)

– Become acquainted with sources out of the field (known experts in the area to which you are translating) as well as conventional sources. For example, if translating a text on law it would be beneficial to contact any friends or contacts you have in that field to help with any terminology you are not familiar with.

In some cases the audiovisual translator has to synchronize the shown subtitles. However, this is not necessarily an easy task and sometimes there remain some mismatches in translations.

Just like in any other field of translation, there is always more than one possible translation for every text and that should be kept in mind when you are evaluating any translation’s quality.

Greetings to everyone! 🙂

Nereida Sologuren for TB

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[1]Delia Chiaro: Audiovisual Translation. www.researchschool.org/documents/Chiaro_Audiovisual%20Trl.pdf