Audiovisual Translation through the Ages

Abstract

translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Innovative Research by Using IoT Applications on Cross-National English Cultural Communication Based on Crowdsourcing Translation Model

“…In correspondence of specialist patient, for instance, progressive versus equalitarian relations [31], level of traditionalism, data trade, and shared navigation [30]; in vulnerability evasion, these could incorporate patient anxiety, uneasiness and feeling ( [31,33], confidence in subject matter experts, specialist's vulnerability aversion, and level of medicalization; in vulnerability aversion, these could incorporate patient emotionality or nervousness and stress, specialist task-direction, inclination for mechanical arrangements [29], confidence in trained professionals, and specialist's vulnerability. Individualism introduces itself in a huge number of ways [7], including patient emotionality, nervousness, and pressure, specialist task-direction, a longing for specialized arrangements, and confidence in trained professionals [9]. From the angle of social hypothesis, the current review takes into consideration the following, of which social factors are connected with clinical correspondence and situational perspectives in the setting of medical services conveyance [38].…”

“…The creator claims that "the Internet offers a platform for finishing obligations the use of the information of a self-decided on network of net volunteers." Large user groups can now interact and collaborate online because to improvements in the Internet and technology [7]. Translation of popular culture, such as fandubbing, in which fans write subtitles for movies or TV shows in another language, subtitles of TED speeches by users of social media platforms, such as Facebook [8].…”

‘A prompt box’: The profile of Polish official audiovisual translators

“…Although the survey was posted on special discussion forums and popular social networking services gathering Polish audiovisual translators with an extra introductory note specifying the purpose of the survey and determining the intended research group, just like in any anonymous and free-access survey it can not be absolutely certain that the information provided by the translators is true, and that the respondents have respected and rigorously adhered to the introductory note. Repetition of the study would also be beneficial in terms of changes taking place in the audiovisual market, especially if the study were to be of a continuous nature, and further studies would reevaluate the profile to form a larger historical and sociological view of the profession (see Perego and Pacinotti 2020). In terms of the Polish translation market, the acquired profile could also be compared with other profiles created for translators specializing in delivering different types of texts and forms of translation, for instance, to set side-byside profiles of audiovisual translators and literary translators, interpreters, sworn translators, etc.…”

Translation of multilingual films in Iran in Persian dubbing

“…According to the approach used in Persian dubbing, as with the Italian norm, MLFs are neutralised and linguistic variations are eliminated (De Bonis, 2014;Dore, 2019;Pavesi, 2005), and is reluctant to maintain the characteristics of the original film which is approved by Ebrahimzadeh Poustchi and & Amirian (2021). It may be influenced by different factors such as viewers' unfamiliarity with languages, reluctance to know other languages and cultures, socio-cultural and religious motivations; as asserted by Bogucki and Díaz-Cintas (2020), that authoritarian regimes tend to censor the original soundtrack (Perego & Pacinotti, 2020). Each translational strategy is believed to have various effects on the perception of a multilingual text and the audience.…”