Perspectives

Studies in Translation Theory and Practice

ISSN: 0907-676X (Print) 1747-6623 (Online) Journal homepage: https://www.tandfonline.com/loi/rmps20

Intersections: audiovisual translation at the

crossroads of disciplines

Serenella Zanotti & Irene Ranzato

To cite this article: Serenella Zanotti & Irene Ranzato (2019) Intersections: audiovisual
translation at the crossroads of disciplines, Perspectives, 27:2, 173-181, DOI:
10.1080/0907676X.2018.1557715

To link to this article: https://doi.org/10.1080/0907676X.2018.1557715

Published online: 18 Jan 2019.

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PERSPECTIVES
2019, VOL. 27, NO. 2, 173–181
https://doi.org/10.1080/0907676X.2018.1557715

Intersections: audiovisual translation at the crossroads of

disciplines
a b
Serenella Zanotti and Irene Ranzato
a
Department of Foreign Languages, Literatures and Cultures, Roma Tre University, Rome, Italy; bDepartment
of European, American and Intercultural Studies, Sapienza University of Rome, Rome, Italy

ABSTRACT KEYWORDS
This brief article serves as an introduction to the contributions interdisciplinarity;
collected in the special issue devoted to interdisciplinarity in audiovisual translation;
audiovisual translation. Using the notion of intersection to reflect dubbing; subtitling;
voice-over
on the inherent multidisciplinarity of AVT studies, it offers an
overview of recent studies that explore the fruitful methodological
intersections and cross-contamination between AVT and other
disciplines, stressing ‘the independence of AVT as an autonomous
discipline and its dependence on other related disciplines’
(Romero Fresco 2006). It is argued that multidisciplinary
approaches can show the full range of possibilities of AVT research.

Operating at the crossroads between language, cultural norms and medium-specific

factors, audiovisual translation is quintessentially interdisciplinary. In addition to disci-
plines traditionally close to AVT, such as linguistics, film and television studies, media
and cultural studies, the fruitful intersections of this dynamic area of research with ideo-
logically charged disciplines such as religion, race, gender, feminism, gay and queer
studies, as well as politics, encourage to apply the notion of intersectionality to AVT in
the full spectrum of its most modern connotations.
The concept of intersection also highlights the way in which the context of production,
distribution and process of mediation are bound together, showing that it is impossible to
understand audiovisual translation without considering the influence of social, political,
industrial factors, as illustrated by Natasa Ďurovičová (2009), who invites us to ‘map
the routes by which global power relations intersect with language, pinpointing the extra-
ordinary power wielded by entertainment media and its translation in the exercising of
cultural capital’ (Dwyer, 2017, p. 124). Ďurovičová’s insightful reflection on ‘the political
economy of translation, that is, the mix of economic and political factors deploying
language to regulate much more than the path to comprehensibility’ as a ‘factor determin-
ing and guiding the protocols of linguistic transfer’ (2009, p. 94), encapsulates the vocation
of AVT to attract scholars from different and apparently distant fields (Barra, 2013; Betz,
2001; Dwyer, 2017; Mazdon, 2016; Mingant, 2010; Nornes, 2007; Razlogova, 2014; Whit-
taker, 2012, to mention just a few). As Luis Pérez-González observes, the impact of recent

CONTACT Serenella Zanotti serenella.zanotti@uniroma3.it

© 2019 Informa UK Limited, trading as Taylor & Francis Group
174 S. ZANOTTI AND I. RANZATO

developments in the circulation of audiovisual content in the era of digital cultures is, in
fact, ‘beginning to resonate beyond the confines of AVT and attract attention from scho-
lars who have not been traditionally associated with this field of scholarly enquiry’ (Pérez-
González, 2018, p. 2).
A vocation for interdisciplinarity or multidisciplinarity is of course in the nature of
Translation Studies, ‘an area which, because of its interdisciplinary nature, can present
the inexperienced researcher with a bewildering array of topics and methodologies’ (Wil-
liams & Chesterman, 2002, p. 1) and into which specialists frequently move after being
trained in some other field (Marco, 2009, p. 77). As van Doorslaer (2009, p. 38) argues,
if having a different perspective on a given topic can be a sign of a multidisciplinary
approach, ‘interdisciplinarity flourishes when concepts, tools and methods are shared or
contrasted with each other’.
Interdisciplinarity and independence are not contradictory but perfectly compatible
terms when it comes to AVT, as has been aptly discussed by Díaz Cintas (2009, p. 5),
who quotes Romero Fresco (2006): ‘looking back at what has been written so far, it
seems that the most fruitful studies on AVT include or assume to some extent two
basic notions: the independence of AVT as an autonomous discipline and its dependence
on other related disciplines’ (see also Abend-David, 2014; Agost, Di Giovanni, & Orero,
2012).
Methodological intersections have proven extremely productive in linguistic
approaches, some of which are associated with disciplines that have long nourished
AVT and the wider discipline of translation studies – such as pragmatics, sociolinguistics
and spoken discourse analysis (see Guillot, 2012, 2016, 2017). Descriptive translation
studies, by far the most successful methodological framework adopted in AVT, has inter-
sected corpus linguistics in several instances, as exemplified, among others, by Maria
Pavesi’s work (most recently 2018a, 2018b).
In addition to the intersections between AVT modes, as discussed in some of the
articles in this special issue, which focus on voice-over and hybridisation, in our
opinion some of the most interesting developments from a positive cross-contamination
of disciplines can be found in works that expand the scope of linguistic analysis beyond the
verbal, as in recent investigations on the physicality of the voice (Bosseaux, 2015; Sánchez-
Mompeán, forthcoming), which build on previous research on sound and voice (especially
Chion, 1994, 1999), and in studies on the cultural representation of physical disabilities
(Bruti & Zanotti, 2017, 2018). These approaches can show the full range of possibilities
of AVT research, as the intersection of disciplines in the humanities (from literary to his-
torical approaches as well as linguistic ones) continues to yield precious fruits, and so does
the application of experimental methods to audiovisual research (Di Giovanni & Gambier,
2018; Perego, 2012; Walker & Federici, 2018).
That there are, as Díaz Cintas argues (2009, p. 7), substantial fields of theoretical and
applied research that can contribute to the study of translation in general, and of AVT
in particular, is proven by the heterogeneous but coherent collection of articles included
in this special issue.
The first contribution, ‘Film censorship in Franco’s Spain: The transforming power of
dubbing’, by Jorge Díaz Cintas, deals with the way AVT intersects with censorship and
ideology. Focusing on the effects of censorial intervention on the verbal make-up of
dubbed films in Spain under the Francoist regime, the article analyses the complex
 PERSPECTIVES 175

manipulation at work in the Spanish version of Mankiewicz’s The Barefoot Contessa (USA,
1954), a film featuring Ava Gardner, which became ‘a battleground for ideological
manipulation’, ‘forcing the unleashing of a creative remediation process aimed at shroud-
ing any criticism of Spanish interests or customs and cementing traditional values cher-
ished by the regime’. As Díaz Cintas illustrates, source language dialogues underwent
heavy manipulation through multiple interventions, particularly with regard to the rep-
resentation of femininity, family roles, moral values and religion. The virtual rewriting
of the storyline, thanks to the addition of lines of dialogue that did not exist in the original,
was carried out throughout the film to keep the Spanish version consistent, ultimately
resulting in a new plot. By heavily manipulating both the dialogue and the soundtrack,
the Spanish dubbed version of the film offered what the author terms ‘a travesty of the
original’, which is indicative of ‘the lengths to which translators and censors were prepared
to go’.
Similarly, Serenella Zanotti’s contribution, ‘Investigating the genesis of translated films:
A view from the Stanley Kubrick Archive’, looks at the history of the cinema, but relies on
archival methods and concepts drawn from genetic criticism to explore filmmakers’ role in
the making of foreign language versions. Zanotti seeks to shed light on a largely underex-
plored aspect of film translation, namely the direct involvement of certain film authors in
the complex process of preparation of the target versions of their films, by exploring trans-
lation-related material stored in the Stanley Kubrick Archive in London. Through the
examination of a variety of documents from this extensive collection, she shows the poten-
tialities of archival materials in revealing the genesis of the foreign-language versions of
Kubrick’s films, focusing on the film director’s role and his degree of intervention in
the translation process. The bulk of her analysis is conducted on the film Dr. Strangelove
(1964) and on the director’s notes to the translators and dubbing directors on issues such
as the translation of humour and military jargon and the performance of accents. The con-
tribution ultimately proves how the extant traces of the translation process can be further
used to explore the notion of collective authorship in film translation, and shows the pos-
sibilities of genetic criticism by using archival sources in order to highlight the inherently
collaborative nature of the process and the dynamics of author-translator collaboration.
The intersections between AVT and Film Studies are explored in the articles by Char-
lotte Bosseaux (‘The case of French dubbing: Deconstructing and reconstructing Julianne
Moore’) and Irene Ranzato (‘The Cockney persona: The London accent in characterisation
and translation’), which focus on dubbing. Bosseaux’s article invites us to reflect on the
role of voice in the reception of dubbed films. Looking at the French context, the article
explores the effects of having the same voice shared by different characters and of the
same actor being given different voices. Using Julianne Moore as a case study, Bosseaux
aims to investigate what happens to the voice of foreign actors in the French dubbing
context, to find out more on the uncanniness of the experience as a spectator. She stresses
the importance of carrying voice analysis in the dubbing context, given the centrality of
voice in our understanding of character identity, and the role voice plays in viewers’
experience of a film. Bosseaux addresses crucial issues such as the different filmic experi-
ence provided to audiences who watch dubbed films, as opposed to viewers who consume
subtitled versions; differences and mismatches between original and dubbed versions,
which should nevertheless be always considered in light of the notion of appropriateness;
and the implications of a voice talent’s association with one single actor. She concludes
176 S. ZANOTTI AND I. RANZATO

that research into audience reception has the potential to provide further insights into this
neglected aspect of audiovisual translation.
Irene Ranzato’s article focuses on audiovisual representations of the London accent,
both in its traditional Cockney realisation and its more recent development. Ranzato
applies and further develops two of the dialogue functions identified by Film Studies
scholar Sarah Kozloff in her seminal work Overhearing Film Dialogue (2000), namely
the functions identified as ‘opportunities for star turns’ and ‘exploitation of the resources
of language’. According to Ranzato, this form of ‘embroidery’, one which uses dialect also
as aesthetic means to achieve characterisation, is particularly challenging when it comes to
translation. After introducing the main features of the London accent, as a necessary step
towards establishing the linguistic fact at the basis of any fictional representation, the
article goes on to illustrate the representation of this regional and social variety in films
and TV, where more often than not it is showcased in its most stereotypical features.
Ranzato shows that Cockney, the most traditional form of London accent, is often used
in telecinematic narratives to represent the working class type as opposed to other char-
acters of a higher social class, and to portray characters of dubious moral standing. The
other function analysed by Ranzato is the use of a London accent by actors who can be
defined ‘Cockney stars’, as they are immediately associated by audiences with their distinc-
tive accent. Through the analysis of these dialogue functions, Ranzato argues for the neces-
sity of approaching dialect translation from a fresher perspective, even if the adoption of a
standardisation strategy in dubbing leads to the neutralisation of all linguistic contrasts.
José Santaemilia’s article, ‘The Casual Vacancy, from page to TV screen in Spanish: A
reflection on sex-related language in audiovisual translation’, is centred on the analysis of
the British TV series The Casual Vacancy, based on the novel of the same title by J.K.
Rowling (2012). The article traces the multiple interventions in both the Spanish trans-
lation of the novel (Una vacante imprevista, 2012) and the Spanish version of the BBC-
One series (2015). The Casual Vacancy is the first novel written by Rowling not being
part of the Harry Potter series. As Santaemilia points out, perhaps what has proved
most puzzling for both readers and critics is Rowling’s rather liberal use of sex-related
language, which is carefully reflected in the TV adaptation. In the Spanish version of
The Casual Vacancy, sex-related language is maintained, as both the dubbed and the sub-
titled versions show very similar levels of sexual innuendo, with cases of over-sexualisa-
tion. More generally, what is maintained is the sexualised atmosphere of the original, in
contrast with previous assumptions about the general ‘tendency towards downtoning
and more sanitised versions in the translation of sex-related taboo words’. The author
states that ‘translators no longer adhere to the (traditional and nearly commonsensical)
practice in Spain that sexual swearing has to be downtoned and mitigated in translation
so as to make the translated product more palatable’. Santaemilia concludes that the
case of the TV series The Casual Vacancy and its Spanish version seems to suggest that
‘Spanish-language audiences seem to be exposed to the full potentiality of the sexual
register’.
Intersecting with television studies, Rocío Baños’s article, ‘Translating reality TV into
Spanish: When fast-food TV challenges AVT conventions’, stresses the importance of car-
rying out research into ‘lesser forms’ of AVT. One of the key questions the article attempts
to answer is whether generic hybridisation on television entails the hybridisation of AVT
modes. Baños offers a preliminary study of factual television on Spanish translation,
 PERSPECTIVES 177

observing that, despite the pervasiveness of reality TV and voice-over translation in the
Spanish context, ‘both fields are still widely underexplored in academic circles in
general and in audiovisual translation studies in particular’. Not only does her study
reveal the important role that voiced-over reality TV programmes play on Spanish TV,
but it also shows ‘the chameleonic nature of voice-over translation when it comes to
the translation of reality TV’. Voiced-over reality TV can take the form of traditional
voice-over, traditionally associated with documentaries and which is characterised by
the neutralisation of orality markers and delayed delivery, but it can also take on features
that are typically associated with dubbing, such as isochrony, emotional dimension of the
delivery, and occasional reproduction of the features of spontaneous conversation. As
Baños concludes, the case of Spanish reality TV is revealing of ‘how “fast food TV” has
pushed the boundaries between AVT modes and transgressed AVT conventions’.
The focus of Veronica Bonsignori, Silvia Bruti and Annalisa Sandrelli’s contribution,
‘Paolo Virzì’s glocal comedy in English subtitles: An investigation into linguistic and cul-
tural representation’, is the representation of regiolects, sociolects and idiolects in the
English subtitles of a small corpus of films by Italian director Paolo Virzì, whose trademark
style has been the realistic depiction of characters and their environments. The idiolects
spoken by most of the characters – a blend of regional expressions, slang and colloquial-
isms that are typical of Virzi’s signature style – present difficulties and pitfalls to transla-
tors who are faced with the task of relocating them in a different lingua-culture. As a result
of the condensation strategies employed, the English subtitles tend to ignore discourse
markers and other interpersonal features, thus producing a text deprived of local
flavour, while foul language is partly preserved in translation. Idiolectal traits are as a
rule disregarded, and in general the English subtitles manage to convey the meaning of
the SL dialogues, but tend to standardise most of their non-standard features. Therefore,
all the characters appear to speak a homogeneous variety of English, with a levelling out of
the rich nuances present in the original dialogue lines. Independently of the variety, del-
etion and standardisation seem to be the most frequent strategies in the Italian subtitles.
The study shows that, while markers of orality are generally deleted, dialects and regiolects
are mostly standardised, idiosyncratic usages of the language obliterated or only partly
represented, and the only substandard feature that finds its way into the subtitles,
though with a loss of ‘local flavour’, is foul language.
Situated at the interface between TV and radio, Denise Filmer’s ‘Voicing diversity?
Negotiating Italian identity through voice-over translation in BBC broadcasting’, explores
the transdisciplinary intersections between narrative theory, imagology, critical discourse
analysis and AVT. The study explores the role of voice-over techniques such as revoicing,
narration, and simultaneous interpreting in negotiating Italian cultural identity in non-
fiction BBC broadcasts. Filmer’s contribution relates to the previous two in more than
one way, as it addresses the ideological impact of voice-over translation on the represen-
tation of linguistic diversity and on the negotiation of national and cultural identity, by
examining the construction of Italianness in BBC non-fiction TV and radio genres.
Moving from a consideration of ‘the media’s power to produce and perpetuate stereotypes
about languages and their speakers’, the author’s aim is to point to the ethnotypes that
seem to inform the current British mediatic representation of Italianness. Filmer’s conten-
tion is that imagology may serve as a critical analytical tool to investigate the construction
of cultural images through translation-mediated multimodal texts. She shows that one of
178 S. ZANOTTI AND I. RANZATO

the most recurring stereotyping practices in British media is the strategic use of foreign
accents, which reflects the normativity of the British perspective. By adopting voice-
over strategies rather than subtitling as a means of translation, non-fiction genres seem
to confirm their reluctance to allow foreigners to speak in their own voice. According
to Filmer, in order to study the representation of Italian identity, it is necessary ‘to
uncover not only the possible mis-translations and their ideological consequences but
also the discourse in English that frames the translated utterances’. A second important
point that Filmer’s article raises, is the use of accented voice-over in translating foreign
political speeches and interviews. In particular, the author points to different policies in
establishing which world leaders are to be voiced with foreign accents or with a neutral
British accent by the BBC. In the last part of her essay, Filmer shows how well-established
ethnotypes are also current in radio broadcasting, by examining an audio documentary on
the migrant crisis in Italy, entitled The Cook, the Carpenter and the Migrants, which was
broadcast by BBC World Service in 2015. The study shows how ethnotypes are reproduced
and even reinforced in voice-over translation, pointing to future directions in AVT
research.
The last contribution in this special issue, ‘Translation of digitized filmstrips: Sociocul-
tural aspects and pedagogical potential’, turns our attention to Eastern European media
history, away from today’s dominant audiovisual media. By bringing into the spotlight
a relatively underresearched medium such as filmstrips, rolls of 35 mm films containing
still images and text, Levente Borsos raises a number of questions. As the scholar points
out,
the research conducted on this old media may not only put current trends into historical per-
spective and contribute to our knowledge of how AVT emerged, but may also lead to a better
understanding of the sociocultural significance of technology, and even raise theoretical pro-
blems within the field of AVT that are less prominent in more advanced media.

From the author’s original standpoint, the article highlights some technical aspects of film-
strips digitisation and the phenomenon of fanmade filmstrip translation. By addressing
this arguably lesser known form of AVT, the author describes a class experiment
carried out at the Hungarian Department of the School of Foreign Studies at Osaka Uni-
versity in Japan, demonstrating the potential didactic benefits of filmstrip translation. As
the author argues, given the special characteristics of filmstrip as a medium, the translation
of filmstrips may occupy an intermediate position between the translation of ordinary
texts and common translation practices used in audiovisual media, thus opening up the
possibility of using the translation of this media as a preparatory activity for subtitling
in the foreign language classroom.
Finally, as the intersection with didactics has always been at the forefront of audiovisual
research (Díaz Cintas, 2008; Ghia, 2012; Pavesi, 2015; Ranzato, 2016), it is apt to conclude
an introduction to this dynamic collection of essays by stressing the innate pedagogical
potential of AVT, one that can only be boosted by the proliferation of its multiple inter-
disciplinary connections.

Disclosure statement
No potential conflict of interest was reported by the authors.
 PERSPECTIVES 179

Notes on contributors
Irene Ranzato is a tenured researcher and lecturer in English language and translation at Sapienza
University of Rome. She holds a PhD in Translation Studies (Imperial College London). Her
research focuses on the translation of cultural references, on censorship and manipulation in
dubbing, on the function and translation of regional and social varieties of English, and on the lin-
guistic analysis of film and television dialogue. Her most recent publications include the mono-
graph Translating Culture Specific References - The Case of Dubbing (Routledge, 2016) and
several co-edited collections, including Linguistic and Cultural Representation in Audiovisual
Translation (Routledge, 2018), Reassessing Dubbing: Historical Approaches and Current Trends
(Benjamins, forthcoming), Ideological Manipulation in Audiovisual Translation (special issue of
Altre Modernità/Other Modernities, 2016).
Serenella Zanotti is Associate Professor of English Language and Translation at Roma Tre Univer-
sity, Italy. She has published widely in the fields of audiovisual translation, cross-cultural prag-
matics, translator manuscript genetics and translingualism. Her most recent work focuses on
Stanley Kubrick, archival research and translation. She is the author of Italian Joyce. A Journey
through Language and Translation (Bononia University Press, 2013) and co-editor of numerous
volumes, most recently Linguistic and Cultural Representation in Audiovisual Translation (Routle-
dge, 2018), James Joyce’s Silences (Bloomsbury, 2018), Donne in traduzione (Bompiani, 2018), Reas-
sessing Dubbing: Historical Approaches and Current Trends (Benjamins, forthcoming).

ORCID
Serenella Zanotti http://orcid.org/0000-0001-6622-7775
Irene Ranzato http://orcid.org/0000-0002-9128-850X

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