Insertion or voice-off in rendition of graphic codes: an experiment in Persian dubbing

Abstract

Concerning graphic codes, there are currently three methods for their rendition in dubbing: audio-rendition of the target graphic codes (TGC) with an actor’s voice-off and adding the voice-off when the close shot is on the original graphic code (OGC); subtitling the OGC; and editing and inserting new TGCs replacing the OGCs in the film. The purpose of the current mixed-methods study was to compare the efficiency of voice-off versus insertion, two methods of rendition of graphic codes in dubbing, in terms of viewers’ comprehension and information processing. To this end, the Persian-dubbed versions of the Sherlock TV series broadcast on BBC Persian, using the insertion method, and on Iranian official television, using voice-off, were selected. The findings of the experiment revealed that the participants experienced better information recall and comprehension of the content of the graphic codes when they were translated using the insertion method. In the qualitative phase, the retrospective interview data involved issues in terms of the genre of audiovisual material, dialogue interaction, types of graphic codes, target language cultural references, literacy and viewing ability of the audience as relevant variables in the preference of each of the two methods.

Fiction translation expectancy norms in Iran: a quantitative study of reception

“…While translator studies (Chesterman, 2009) has sparked off much interest among researchers, the audiences of translation products have received insufficient scholarly attention (Brems & Ramos Pinto, 2013). Despite being a relatively new area of investigation, audiovisual translation research has successfully captured the responses and perceptions of some of its audiences (see Di Giovanni & Gambier, 2018), as is the case with several studies on the audience perception and reception of audiovisual programs dubbed in Persian Ameri, Khoshsaligheh, & Khazaee Farid, 2018;Mehdizadkhani & Khoshsaligheh, 2019) or subtilted into Persian (Khoshsaligheh, Ameri, Khajepour, & Shokoohmand, 2019) Literary translation reception has been examined using models borrowed from literary studies, where reception is synonymous with text analysis (Kruger & Kruger, 2017). For Chan (2016), the target receiver represented in most models of translation is "the translator, whose interpretation, or reading, of the source text definitively shapes the translation" (p. 148).…”

Fiction translation expectancy norms in Iran: a quantitative study of reception

“…While translator studies (Chesterman, 2009) has sparked off much interest among researchers, the audiences of translation products have received insufficient scholarly attention (Brems & Ramos Pinto, 2013). Despite being a relatively new area of investigation, audiovisual translation research has successfully captured the responses and perceptions of some of its audiences (see Di Giovanni & Gambier, 2018), as is the case with several studies on the audience perception and reception of audiovisual programs dubbed in Persian Ameri, Khoshsaligheh, & Khazaee Farid, 2018;Mehdizadkhani & Khoshsaligheh, 2019) or subtilted into Persian (Khoshsaligheh, Ameri, Khajepour, & Shokoohmand, 2019) Literary translation reception has been examined using models borrowed from literary studies, where reception is synonymous with text analysis (Kruger & Kruger, 2017). For Chan (2016), the target receiver represented in most models of translation is "the translator, whose interpretation, or reading, of the source text definitively shapes the translation" (p. 148).…”