I. Introduction: Translation is transferring a text or any kind of information from one language into another. It crosses space to allow people share their thoughts. Translation studies improved until it reaches other types of translation; such as the audiovisual translation (AVT). Chiaro defines it as “one of several overlapping umbrella terms that include ‘media translation’, ‘multimedia translation’, ‘multimodal translation’ and ‘screen translation’” (2010, p.141). A lot of studies in translation and linguistics cooperate, producing a logical translation. According to Gottlieb, subtitling is “the rendering in a different language of verbal messages in filmic media” (as cited in Chiaro, 2010, p.8). Cintas and Remael agree on that subtitles …show more content…
The translator transfers “form and message, …accurately” (Michael, n.d., p.117). The translator can use it easily.
d. Deletion strategy and the strategy of condensation: Deletion is “deliberate exclusion” (Michael, n.d., p.117), for the unimportant parts (Hastuti, 2015, p.65). On the other hand, condensation deals with the “reduction” of information “without reducing its meaningful content” (Michael, n.d., p.117).
d. Resignation: Michael defines it in a simple way. He states that resignation is “zero translation” (Michael, n.d., p.117). Also, Hastuti points out that it is used when the translator find any kind of information that is “untranslatable” (Hastuti, 2015, p.65). This is right because a translator sometimes finds songs in a different language so he uses this
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Decimation: Hastuti defines it as “an extreme condensation” (Hastutui, 2015, p.65). Lomheim explains that condensation, deletion, and decimation all dealing with making the text shorter (as cited in Andeman & Roger, 1999, p.201).
f. Transcription strategy and the strategy of dislocation: Transcription is used when a translator faces a word that he does not know, so he transfers it as it is in the SL (Michael, n.d., p.117). It is used when there is a lexical need or when the translator does not know the spoken language. On the other hand, dislocation is used when SL message is not found in TL, to make the message “acceptable” (Michael, n.d., p.117).
g. Expansion: It means more elaboration (Hastuti, 2015, p.64). Translator gives some additional information to give the reader a full meaningful message as one can watch, considering himself has a full background about the event (Ghaemi & Benymin, 2010, p.42). This is a useful strategy for the reader to enjoy watching. To conclude, this paper has tackled the strategies of CDA and Subtitling. Finally, the coming few pages will apply these strategies to a chosen excerpt of an English documentary and its subtitles in
Although the Sci-Fi short story by Ted Chiang and film adaptation, Arrival, share similarities in terms of their plot, they differentiate in terms of their intended audience and application of rhetorical techniques. Contrary to the short story, the film utilized an environment of hostility by including foreign countries that are on a competitive quest to decipher the alien’s language. For instance, in the film, China was ready to launch an attack against the foreign intruders; however, Louise Banks prevents General Shang’s belligerent intentions by reciting his wife’s last words. This source of drama and hostility is, quite evidently, directed towards the general audience that are intersected in an action packed Sci-Fi movie while, on top of
This kind of vocabulary without translation shows the respect and knowledge that Junot Diaz has for his country and his roots and that even though he came to the
“The screen is a magic medium. It has such power that it can convey emotions and moods that no other art form can hope to tackle.” The written word and the moving image have always had their entwining roots deeply entrenched in similar narrative codes, both functioning at the level of implication, connotation and referentiality. But ever since the advent of cinema, they have been pitted against each other over formal and cultural peculiarities – hence engaging in a relationship deemed “overtly compatible, secretly hostile” (Bluestone 2).
When comparing a story to a film, there are three ways that they can be translated. These translations can be a literal translation, traditional translation or radical translation. The literal translation can be defined as, "reproduces the plot and all its attending details as closely as possible to the letter of the book" (Cahir, 16). The traditional translation can be defined as, " maintains the overall traits of the book (its plot, setting, and stylistic conversations) but revamps details in those particular ways that the filmmakers see necessary and fitting" (Cahir, 16-17). A radical translation can be defined as one, "which reshapes the book in extreme revolutionary ways both as a means of interpreting the literature and of making the
In the song, language is used as it would be in an ordinary conversation (colloquial) which is not formally. This is crucial to the song because if it was sung to formally or with much too much slang then there would be less interest by the audience which wouldn’t help them with getting their message across nor with how much money is coming in. An example of this colloquial language usage is when the song says,”Don 't steal don 't cheat don 't lie,” so that shows how language we use in normal convertains is used throughout the song. Another reason why the colloquial english is the so important is how if the song was formal or was all slang, how the song would then make no sense. An example is how, don 't stain don 't punk don 't front, would not be a good/ as appealing to most of his audience as ,”don 't steal don 't cheat don 't lie,” as said in the song.
Throughout the reading, Anzaldúa constantly switched between the Spanish and English language. I believe the switching or languages has a decoding effect on people. The author wants her audience to be more engaged. If the reader doesn’t understand the language, they are more likely to either research or use the surrounding text to understand what Anzaldúa is talking
Storytelling has been a part of people's’ lives since the beginning of time. It started with just verbal communication, then it was translated into written word, and now there hundreds of ways to tell those same stories. Movies and books, for example, are two very different ways to tell stories to an audience. A story can be a book, but not a movie or vice versa. Many books are made into movies, but lose major elements in translation.
I always love to read books and watch their movies, because I get to witness the differences that take place. I prefer the books because they have more detail and really let you decide how the characters look and act. Lots of times, the stories are different than the film versions. The short story, “Most Dangerous Game”, is a very good example of this. The film and the movie have lots of things in common, but this paper is about the complete opposite.
Genre analysis is an approach that attempts to examine the lexico-grammatical tendencies and patterns for particular genres, incorporating discourse analysis and corpus analysis. According to this definition, we gathered 3 exemplars of celebrity interview in order to analyze them using the following criteria. 2.1. Context of Production As it was mentioned before, we are part of this ‘interview society’.
What is deconstruction in literature? According to Merriam Webster, a deconstructionist literary criticism is a “philosophical or critical method which asserts that meanings, metaphysical constructs, and hierarchical are always rendered unstable by their dependence on ultimately arbitrary signifiers” (Merriam). In other words, a deconstructionist literary criticism looks at the book as a whole and deconstructs the pieces of the novel and how they may seem unstable when compared to the whole meaning. This mindset is exhibited in that of The Metamorphosis by Franz Kafka. Franz Kafka leaves many aspects of the novel unexplained and he includes details that are unstable to the meaning of the novel as a whole.
Over the past century, film has served as a powerful means of communication to a global audience and has become a vital part of the contemporary culture in a world that is increasingly saturated by visual content. Due to the immediacy and the all-encompassing nature of film, the process of watching a film, is widely perceived to be a passive activity by the general masses. However, quoting Smith in his article about the study of film, “nothing could be further from the truth.” The study and understanding of film as an art form enhances the way we watch and appreciate films. It requires the audience's active participation and interaction with the film in order to fully comprehend the directors' intention behind every creative decision.
Slowly this spells out words making a sentence. Céline Desmoulins translates for Jean-Do and passes along the message to Inès, “ Each
You need another 20 minutes to translate it in ISL. The SNA are not there to translate and are there for duty of
CHAPTER II LITERATURE REVIEW Introduction Definition and backgrounds of theories and concepts connected to this study are provided in this chapter. Reviews of previous studies on code-switching, bilingualism and computer mediated communication which are homogenous to this study are provided. 2.1. Bilingualism 2.1.1. Definition of bilingualism
CHAPTER I Background and Purpose 1.1. Introduction For a long time, translation has been a controversial issue on whether it can be an instructional tool in language learning classrooms or not. From the beginning of the twentieth century, there has been several arguments against using translation as a language teaching tool. Translation as a language learning activity was considered as being unsuitable within the context of foreign language learning (Brown, 2002).