We have already published many articles on translation and translators, but we have not gone into detail about the discipline of audiovisual translation, which is as old as the advent of radio, cinema and television and which today, thanks to the Internet, has multiplied its specialities and increased its employment opportunities.
What is audiovisual translation?
Audiovisual translation involves intersemiotic translation, i.e. the transformation of what is perceived by the eye and the ear into a target language, which implies an interaction of linguistic and non-linguistic systems.
For the audiovisual translator, it is not only a question of translation, but also of “adaptation to the target audience” which, in most cases, is of a different cultural context. The enormous complexity of this work is further exacerbated by the limitations of a structurally complicated format, in which the message must be reliably adapted to the speakers of the other language.
It is therefore important to be able to translate emotions, rather than words, without losing information, words or references.
What distinguishes audiovisual translation from other types of translation
As a main characteristic, and what differentiates it from other types of translation, the texts and audios in this sector take into account the cultural and personality traits of the sources when they are translated, since they are translated precisely to be interpreted and to maintain the tone of the original.
This implies that the audiovisual translator, in addition to having a knowledge of grammar and vocabulary, must also have a thorough understanding of the colloquial language and jargon of a given language. A paradigmatic case is the audiovisual translation of films, TV series or any other fictional product where translators, for example, need to know how to accurately translate humour, swearing or insults.
What is special about audiovisual translation?
Unlike other types of translation, such as literary translation, audiovisual translation must coexist with images. On the one hand, the fact that it is conditioned to the images on the screen makes the translation limited by these images, by the dialogues and gestures of the actors.
The audiovisual translation must ‘stick’ to the actors’ interpretation and be synchronised with the dialogue. So when in the original version a joke is told and everyone laughs, the dubbed version has to adapt the dialogue and place a joke in exactly the same place to match the actors’ attitude.
Types of audiovisual translation
On the radio
It was the first mass communication tool with audio (sound cinema only arrived in 1929) and allowed translators to create translated texts for news and entertainment programmes by professional voice-over artists or communicators with charismatic voices.
Even today, voice and text translators are indispensable in radio
In film and television
Dubbing
If we talk about translation for dubbing, another very important element to take into account is that the translation will be interpreted by the dubbing actors. The translator must always keep this basic fact in mind and create a translation with natural, flowing dialogue that respects the original work and can be interpreted. We will always seek the most natural language for our characters, whether they are lawyers or high school students.
Subtitling
Subtitling, on the other hand, is a translation made to be read, but it also poses its own challenges. Firstly, and most obviously, the speed at which the viewer reads the film. It is estimated that we can read about 35 characters per second and that the maximum time a subtitle can remain on the screen is two seconds.
The subtitle translator must always take into account this limitation of 35 characters per second so that the viewer can follow the plot of the film. Therefore, if the dialogue is very long, it should decide what is essential to capture in the subtitle and what is unnecessary to omit.
Another challenge of translating subtitles is that we always watch the original version. This forces us to be a little more faithful to the original because there will always be someone who masters both languages and who can detect the loosest translations.
Audio description
Audio description is another form of audiovisual translation and consists of an additional audio track describing what is happening on the screen so that blind or partially sighted people can follow the content.
In the field of video games
Video game localization
Another form of audiovisual translation is video game localisation, which involves adapting video games to the characteristics and customs of other countries. This adaptation goes beyond the language and also focuses on the cultural aspects and the game interface itself.
You could say that video game localisation is a mixture of film translation, software localisation and software testing.
Should the content be dubbed or subtitled?
Alfred Hitchcock said that when we watch a film with subtitles, we miss 80% of the audiovisual information. It is true that it is complex to follow the action while having to continually look down on lines of text in which a lot of information has to be compressed into a small space limited by the speed and reading ability of the viewer.
On the other hand, depending on how these lines are written and where they are placed, you can have a counterproductive effect on the design of the photography and lighting of the film, or even hinder the viewing experience.
This is why it is still common to consume productions dubbed in French, as they do not require extra effort to follow the plot.
However, this trend is rapidly changing as the language skills of new generations improve (remember that the vast majority of non-French language audiovisual production is mainly in English).
With the arrival of new audiovisual platforms and the technical possibilities they offer, we are increasingly used to hearing the original voice of the actors and actresses who appear on screen. In addition, the subtitling process is considerably cheaper and faster than dubbing.
Moreover, if we know the language, viewing the original content allows us to improve our vocabulary and grammar considerably.
Audiovisual translation: a growing speciality
In a world where we consume more and more audiovisual products, both in social networks such as Youtube or Instagram, and in content platforms such as Netflix or Amazon Prime, the translation of this content is essential if we want it to reach other countries and cultures.
As can be seen, the choice is rather complicated and depends more on personal taste and the level of the source language, since both options have their advantages and disadvantages.
In any case, the truth is that thanks to the ever-increasing consumption of audiovisual products (whether series, films, video games or documentaries) and the exponential growth of the offer promoted largely by online platforms the translation sector in France is experiencing a smooth moment and has consolidated itself as a work option to be considered, even if it is true that ironclad confidentiality agreements, the emergence of streaming or the diversification of work mean that it is not developing as quickly as it should.
Do you prefer dubbing or subtitling? Tell us in the comments!
They call on Pop Translation:
Example of audiovisual translations:
Translate your audiovisual documents
We have already published many articles on translation and translators, but we have not gone into detail about the discipline of audiovisual translation, which is as old as the advent of radio, cinema and television and which today, thanks to the Internet, has multiplied its specialities and increased its employment opportunities.
What is audiovisual translation?
Audiovisual translation involves intersemiotic translation, i.e. the transformation of what is perceived by the eye and the ear into a target language, which implies an interaction of linguistic and non-linguistic systems.
For the audiovisual translator, it is not only a question of translation, but also of “adaptation to the target audience” which, in most cases, is of a different cultural context. The enormous complexity of this work is further exacerbated by the limitations of a structurally complicated format, in which the message must be reliably adapted to the speakers of the other language.
It is therefore important to be able to translate emotions, rather than words, without losing information, words or references.
What distinguishes audiovisual translation from other types of translation
As a main characteristic, and what differentiates it from other types of translation, the texts and audios in this sector take into account the cultural and personality traits of the sources when they are translated, since they are translated precisely to be interpreted and to maintain the tone of the original.
This implies that the audiovisual translator, in addition to having a knowledge of grammar and vocabulary, must also have a thorough understanding of the colloquial language and jargon of a given language. A paradigmatic case is the audiovisual translation of films, TV series or any other fictional product where translators, for example, need to know how to accurately translate humour, swearing or insults.
What is special about audiovisual translation?
Unlike other types of translation, such as literary translation, audiovisual translation must coexist with images. On the one hand, the fact that it is conditioned to the images on the screen makes the translation limited by these images, by the dialogues and gestures of the actors.
The audiovisual translation must ‘stick’ to the actors’ interpretation and be synchronised with the dialogue. So when in the original version a joke is told and everyone laughs, the dubbed version has to adapt the dialogue and place a joke in exactly the same place to match the actors’ attitude.
Types of audiovisual translation
On the radio
It was the first mass communication tool with audio (sound cinema only arrived in 1929) and allowed translators to create translated texts for news and entertainment programmes by professional voice-over artists or communicators with charismatic voices.
Even today, voice and text translators are indispensable in radio.
In film and television
Dubbing
If we talk about translation for dubbing, another very important element to take into account is that the translation will be interpreted by the dubbing actors. The translator must always keep this basic fact in mind and create a translation with natural, flowing dialogue that respects the original work and can be interpreted. We will always seek the most natural language for our characters, whether they are lawyers or high school students.
Subtitling
Subtitling, on the other hand, is a translation made to be read, but it also poses its own challenges. Firstly, and most obviously, the speed at which the viewer reads the film. It is estimated that we can read about 35 characters per second and that the maximum time a subtitle can remain on the screen is two seconds.
The subtitle translator must always take into account this limitation of 35 characters per second so that the viewer can follow the plot of the film. Therefore, if the dialogue is very long, it should decide what is essential to capture in the subtitle and what is unnecessary to omit.
Another challenge of translating subtitles is that we always watch the original version. This forces us to be a little more faithful to the original because there will always be someone who masters both languages and who can detect the loosest translations.
Audio description
Audio description is another form of audiovisual translation and consists of an additional audio track describing what is happening on the screen so that blind or partially sighted people can follow the content.
In the field of video games
Video game localization
Another form of audiovisual translation is video game localisation, which involves adapting video games to the characteristics and customs of other countries. This adaptation goes beyond the language and also focuses on the cultural aspects and the game interface itself.
You could say that video game localisation is a mixture of film translation, software localisation and software testing.
Should the content be dubbed or subtitled?
Alfred Hitchcock said that when we watch a film with subtitles, we miss 80% of the audiovisual information. It is true that it is complex to follow the action while having to continually look down on lines of text in which a lot of information has to be compressed into a small space limited by the speed and reading ability of the viewer.
On the other hand, depending on how these lines are written and where they are placed, you can have a counterproductive effect on the design of the photography and lighting of the film, or even hinder the viewing experience.
This is why it is still common to consume productions dubbed in French, as they do not require extra effort to follow the plot.
However, this trend is rapidly changing as the language skills of new generations improve (remember that the vast majority of non-French language audiovisual production is mainly in English).
With the arrival of new audiovisual platforms and the technical possibilities they offer, we are increasingly used to hearing the original voice of the actors and actresses who appear on screen. In addition, the subtitling process is considerably cheaper and faster than dubbing.
Moreover, if we know the language, viewing the original content allows us to improve our vocabulary and grammar considerably.
Audiovisual translation: a growing speciality
In a world where we consume more and more audiovisual products, both in social networks such as Youtube or Instagram, and in content platforms such as Netflix or Amazon Prime, the translation of this content is essential if we want it to reach other countries and cultures.
As can be seen, the choice is rather complicated and depends more on personal taste and the level of the source language, since both options have their advantages and disadvantages.
In any case, the truth is that thanks to the ever-increasing consumption of audiovisual products (whether series, films, video games or documentaries) and the exponential growth of the offer promoted largely by online platforms the translation sector in France is experiencing a smooth moment and has consolidated itself as a work option to be considered, even if it is true that ironclad confidentiality agreements, the emergence of streaming or the diversification of work mean that it is not developing as quickly as it should.
Do you prefer dubbing or subtitling? Tell us in the comments!
