This study aims to shed light on the role multilingualism plays in Alfred Hitchcock’s films, by examining the different solutions adopted by Italian audiovisual translators to cope with the multilingual situations represented. The comparative analysis carried out between the original versions of the thirteen multilingual films directed by Hitchcock and their Italian dubbed versions has identified three different macro-strategies: first of all, the neutralisation of the different languages present in the original version via dubbing the entire film into Italian. Secondly, the preservation of the different lingua-cultural identities through a combination of dubbing with other screen translation modalities such as contextual translation, and interpretation performed by one the film’s characters. Finally, a third strategy is the quantitative reduction of the multilingual situations present in the original version of the film, with all the inevitable consequences that this may have on viewers’ suspension of linguistic disbelief.

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No abstract

This paper examines the work of Billy Wilder whose rich cinematic production frequently involves the collision of different languages as well as the clash of dissimilar cultures. As an Austrian living in the USA, the director had the privilege of gaining insight into his adopted culture from the point of view of an outsider – a bilingual ‘other’ who made 25 films in almost 40 years of working in Hollywood. His films recurrently depict foreign characters at which Wilder pokes fun whether they are English, French, German, Italian, Russian or even the Americans of his adopted country. More precisely, the paper offers an overview of the multi-modal portrayals of diverse ‘foreigners’, namely Germans, Russians, French and Italians, with examples taken from a small but significant sample of Wilder’s films. The subtitling of dialogue in the secondary language for the target English-speaking audience and the specific translation solutions are not within the scope of this discussion, instead we focus on the comic collision of two languages and more importantly, on the way Wilder implements humour to highlight the absurdity of cultural difference. In other words, our main goal is to explore two or more languages in contrast when they become a humorous trope.

This study aims to shed light on the role multilingualism plays in Alfred Hitchcock’s films, by examining the different solutions adopted by Italian audiovisual translators to cope with the multilingual situations represented. The comparative analysis carried out between the original versions of the thirteen multilingual films directed by Hitchcock and their Italian dubbed versions has identified three different macro-strategies: first of all, the neutralisation of the different languages present in the original version via dubbing the entire film into Italian. Secondly, the preservation of the different lingua-cultural identities through a combination of dubbing with other screen translation modalities such as contextual translation, and interpretation performed by one the film’s characters. Finally, a third strategy is the quantitative reduction of the multilingual situations present in the original version of the film, with all the inevitable consequences that this may have on viewers’ suspension of linguistic disbelief.