Netflix likes it dubbed: Taking on the challenge of dubbing into English

Sánchez-Mompeán, Sofía

doi:10.1016/j.langcom.2021.07.001

Cited by 18 publications

(6 citation statements)

References 9 publications

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“…The redub of Money Heist, which has been discussed by Sánchez-Mompeán (2021) and Spiteri-Miggiani (2021), constitutes an anomaly, insofar as other Spanish series were not redubbed. The special treatment of this title is a reflection of its large-scale success.…”

Section: English Dubbing In the Audiovisual-translation Mediascapementioning

confidence: 94%

“…By 2019, Netflix had distanced itself from this incidental strategy and used other accents instead. In the case of Money Heist, the company even replaced the dubs for the first two seasons with dubs that used standard American English and they continued with these accents from the third season onwards (Goldsmith, 2019;Sánchez-Mompeán, 2021).…”

Section: English Dubbing In the Audiovisual-translation Mediascapementioning

confidence: 99%

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(Main)streaming English Dubs

Hayes¹,

García-Escribano²

2022

JAT

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With ‘original’ content from a growing diversity of languages, Netflix has become a playground for audiovisual translation. Given that Netflix outsources its localisation, it has been able to rely on practitioners in consolidated industries to create revoiced and subtitled versions that adhere to industry conventions. Although subtitling has long been the consolidated mode for localising mainstream audiovisual products (films and series) into English, Netflix has initiated new trends in an Anglophone dubbing industry traditionally reserved for niche products, by bringing the dubbing of foreign-language mainstream products into the distribution mainstream. The illusory novelty of English dubs, debuted at the turn of 2017 on Netflix, has facilitated experimentation in dubbing strategies. In the burgeoning English-dubbing industries, located mainly in Los Angeles and London, standardisation, domestication and foreignisation strategies are being used (Hayes 2021; 2022). In order to elucidate emerging norms in English-dubbing strategies, in this article we present a corpus of Netflix’s English dubs of 82 Castilian-Spanish films and TV series and analyse the main dubbing strategies adopted by the studios involved. Lay summary Netflix has original series and films in many languages and the need to translate these into other languages has led to Netflix experimenting with different ways of translating content, such as by creating subtitles or dubbed versions (replacing the original dialogues with voices speaking another language). For importing “foreign” content (e.g. Spanish productions) into the English language, subtitling has traditionally been the mode of translation used for films and series, but dubbing has also been used for products such as cartoons and videogames. As Netflix outsources translation, they have been able to rely on professionals in well-established translation industries; however, in the case of translating into English, dubbing live-action has generally presented a new challenge for English-language translation professionals. Furthermore, most viewers of English dubs were previously unfamiliar with dubbing. Therefore, experimentation in English-dubbing strategies has been possible. Netflix’s English dubs utilise different accents (e.g. standard, regional or foreign) depending on different variables, such as the country where the dubbed version was created or the dubbing director. In this article, we have analysed 82 Spanish films and series on Netflix and their English dubs, in order to determine the presence different accent strategies and developing trends. The films and series studied were released on Netflix between 2017 and 2021 and were available on the platform in Ireland and UK throughout 2021. We ultimately draw conclusions that reveal our observations on current practices in English-language dubbing.

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Section: English Dubbing In the Audiovisual-translation Mediascapementioning

confidence: 94%

Section: English Dubbing In the Audiovisual-translation Mediascapementioning

confidence: 99%

(Main)streaming English Dubs

Hayes¹,

García-Escribano²

2022

JAT

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“…In the specific case of dubbing, an increasing number of territories where previously subtitled foreign-language audiovisual products were consumed are now demanding that they be dubbed into their local languages. A paradigmatic example can be found in Netflix series and films dubbed into English (Hayes, 2021;Sánchez-Mompeán, 2021;Spiteri Miggiani, 2021): the success that these dubbings have reaped in territories where dubbing was not previously consumed has changed the rules of the game (Bylykbashi, 2019). The new countries and territories where OTT services have been Massidda, 2019, p. 263).…”

Section: Audiovisual Translation Needs Today: a Booming Video-on-dema...mentioning

confidence: 99%

Audiovisual translation, translators, and technology: From automation pipe dream to human–machine convergence

Granell,

Chaume

2023

LANS-TTS

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Audiovisual translation (AVT), broadly understood as a synonym for media content localization, and not only as a particular practice of linguistic transfer, is undergoing a revolution that was unthinkable only a few years ago – even in those territories where viewers are less accustomed to localized content. Digitalization and technological changes, which have had such an impact on the way audiovisual texts – whether original, localized, or adapted – are produced, distributed, edited, consumed, and shared have also had a substantial impact on the AVT profession. This article explores the ways in which technology has been evolving as an aid to translators: from being merely a clerical aid for transcribing digital texts to automating tasks and integrating machine translation into human translation processes. This it does by providing a range of tools to assist translators in their work processes, progressively migrating both tools and processes to cloud-based environments. The focus is then on AVT, and more particularly on dubbing, where digitalization has shaped the consumer market and posed several challenges to language technology developments and AVT professional practices. Academia has also paid attention to such developments and has increasingly dealt with a number of matters affecting both practice and training to cater to the needs of current media markets. A final word is devoted to proposing a literacy-based framework for the training of translators that embraces technology so as to incorporate automation as an additional aid and which redefines the audiovisual translator’s workstation.

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“…La investigación también revisa el fenómeno de la resonancia en redes sociales como indicador de éxito (Raya-Bravo y Cobo-Durán, 2020; Ruiz del Olmo y Bustos-Díaz, 2020;Martinez et al, 2021;Higueras-Ruiz y Alberich-Pascual, 2021;Fernández-Torres y Villena-Alarcón, 2021;Benavides-Almarza y García-Béjar, 2021;Syahriyani et al, 2022) y el uso de los Big Data y algoritmos de recomendación (Hill, 2014;Morris, 2015;Fernández-Manzano et al, 2016;Atique, 2018;Murschetz y Schlütz, 2018;Herrero-Subías et al, 2018;Doyle, 2018;Dudoignon et al, 2019;Herranz Donnan, 2019;Montardo y Valiati, 2021;Ríos, 2022;Eklund, 2022;Schaffner et al 2023), destacando aspectos como la fabricación de audiencias a partir de procesos computacionales, la influencia de los algoritmos y de los sistemas de recomendación en las elecciones de los usuarios y el papel de estas compañías como nuevos intermediarios culturales o infomediarios (Morris, 2015;C Lawrence, 2015;Doyle, 2018;Braghini y Montaño, 2019;Lamkhede y Kofler, 2021;Labarta-Postigo, 2022). Asimismo, esta investigación aborda el fenómeno del éxito en el marco de la transnacionalización de los flujos televisivos y la globalización de la audiencia impulsada por las plataformas de streaming (Taneja y Webster, 2015;Doyle, 2016;Doyle, 2018;Turner, 2019a;Limov, 2020;Wayne y Castro, 2020;Lotz, 2021;Meimaridis et al, 2021;Navarro y Monclús, 2021;Sánchez-Mompeán, 2021;Bengesser et al, 2022;Kus...…”

Section: Introductionunclassified

Keys to streaming success

Neira,

Clares-Gavilán,

Sánchez-Navarro

2024

revVISUAL

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Este artículo investiga el concepto de éxito del contenido estrenado en plataformas SVOD (Subscription Video on Demand) desde una aproximación metodológica cualitativa. Gracias al análisis combinado de la teoría académica con las prácticas de uso corriente en la industria se identifican distintos indicadores de éxito, cuantitativos y cualitativos. También se abordan los pros y contras de los datos que vertebran las aproximaciones metodológicas imperantes en el sector: los datos censales y los datos muestrales. La investigación permite concluir la idoneidad de un concepto multidimensional del éxito, que incorpore elementos de consumo, económicos, temporales y de mercado, como fórmula más acorde para capturar la realidad de consumo en SVOD.

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Netflix likes it dubbed: Taking on the challenge of dubbing into English

Cited by 18 publications

References 9 publications

(Main)streaming English Dubs

(Main)streaming English Dubs

Audiovisual translation, translators, and technology: From automation pipe dream to human–machine convergence

Keys to streaming success

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