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This book investigates how language identities are created and represented in animated films, and how they are tackled by dubbing professionals in Italy. The author describes how language variation and varieties contribute to building the language identities of characters in several popular Anglo-American animated films, and analyses how these linguistic characterisations are transposed into Italian. Drawing on a corpus of 30 films produced by Disney, Pixar, Dreamworks, 20th Century Fox and Sony, the book examines linguistic norms, conventions and stereotypes and highlights issues of creativity in translation. It is the first book in English entirely devoted to the translation of animated feature films, and it will be of interest to students and scholars of translation, linguistic variation, film and media. Vincenza Minutella is a researcher and Aggregate Professor in the Department of Foreign Languages and Literatures and Modern Cultures at the University of Turin, Italy. .
This book describes the dubbing process of English-language animated films produced by US companies in the 21st century, exploring how linguistic variation and multilingualism are used to create characters and identities and examining how Italian dubbing professionals deal with this linguistic characterisation. The analysis carried out relies on a diverse range of research tools: text analysis, corpus study and personal communications with dubbing practitioners. The book describes the dubbing workflow and dubbing strategies in Italy and seeks to identify recurrent patterns and therefore norms, as well as stereotypes or creativity in the way multilingualism and linguistic variation are tackled. It will be of interest to students and scholars of translation, linguistic variation, film and media.
Disney and Pixar films are beloved by children and adults alike. However, what linguistic messages, both positive and negative, do these films send to children about gender roles? How do characters of different genders talk, and how are they talked about? And do patterns of representation change over time? Using an accessible mix of statistics and in-depth qualitative analysis, the authors bring their expertise to the study of this very popular media behemoth. Looking closely at five different language features – talkativeness, compliments, directives, insults, and apologies – the authors uncover the biases buried in scripted language, and explore how language is used to construct tropes of femininity, masculinity, and queerness. Working with a large body of films reveals wide-scale patterns that might fly under the radar when the films are viewed individually, as well as demonstrating how different linguistic tools and techniques can be used to better understand popular children's media.
Animating Difference studies the way race, ethnicity, sexuality, and gender are portrayed in recent animated films from 1990 through the present. Ranging from Aladdin to Toy Story to Up, these popular films are key media through which children (and adults) learn about the world and how to behave. While racial and gender stereotypes may not be as obvious as they may have been in films of decades past, they often continue to convey troubling messages and stereotypes in subtle and surprising ways.
Although cartoons are entertaining and worldwide appreciated, studies have demonstrated that they are not neutral, and are likely to convey messages about society linguistic ideologies. This study aims to find out if Disney animated films released in 2016 use accents to express the nature of the characters. A disclosure analysis is conducted with two animated films produced by Disney Studios to examine the language choices concerning accent use. Results show that these films convey language ideologies in animated cartoons through the use of accents, and the portrayal of these accents can reproduce and sustain language-based stereotypes of the groups who used these accents. The study also aims to raise awareness of second lnaguage teachers on how animated films might influence learners' attitudes towards language learning.
This thesis investigates how variational style is used in animated films, and whether this feature of language can withstand the process of translation. Variational style can explain instances of language varieties that appear in modern animated films, which implies a conscious design that confers various semiotic layers to the audiovisual text. We consider the case of four films that have been translated into Catalan and Spanish, and include instances of style with vernaculars in the source and target languages. Shrek 2 (2004), Shark Tale (2004), Madagascar (2005) and Cars (2006) present an opportunity to investigate how style supports the narrative in the original and dubbed versions. To this end, we apply a stylistic analysis to the four films in all three language versions to uncover how this dimension of language interacts. The corpus analysis addresses the local meanings of variation, which are established in relation to the space the variety plays in the narrative. Ultimately, we seek to determine whether the original style has been reproduced in the target texts. Furthermore, we seek to account for the acceptability of these translations by examining the current visibility of language variation in audiovisual media in English, Catalan and Spanish, and determining the extent to which speakers of each language are exposed to variation, and possibly style. Translation is also used to explore the possibilities that are available when transferring style between two languages by means of dubbing. In this context, we highlight the ethical perspective. To further address the acceptability of these translations, the final chapter consists of an empirical study into the perceptions that native audiences have of selected characters. Overall, we are able to conclude that the translation of style is a resource that has been exploited successfully for some of the characters of the corpus, and that it is a feature that can be further applied to similar fantasy films. We nevertheless acknowledge the importance of the genre, fantasy and animation, in creating a desirable situation where distance from reality allows for variation to create meanings that are distinct from their social context, which is the key to their translatability.
This book offers a panoramic view of the emerging eco-paradigm of Translation Studies, known as Eco-Translatology, and presents a systematic study of the theoretical discourse from ecological perspectives in the field of Translation Studies. Eco-Translatology describes and interprets translation activities in terms of the ecological principles of Eco-holism, traditional Eastern eco-wisdom, and ‘Translation as Adaptation and Selection’. Further, Eco-Translatology approaches the phenomenon of translation as a broadly conceived eco-system in which the ideas of ‘Translation as Adaptation and Selection’, as well as translation as a ‘textual transplant’ promoting an ‘eco-balance’, are integrated into an all-encompassing vision. Lastly, Eco-Translatology reinforces contextual uniqueness, emphasizing the deep embeddedness of texts, translations, and the human agents involved in their production and reception in their own habitus. It is particularly encouraging, in this increasingly globalised world, to see a new paradigm sourced from East Asian traditions but with universal appeal and applications, and which adds to the diversity and plurality of global Translation Studies. This book, the first of its kind, will substantially expand the horizons of Translation Studies, a field that is still trying to define its own borders, and will open a wealth of new possibilities. Destined to become a milestone in the field of Translation, Interpretation and Adaptation Studies, as well as eco-criticism, it will introduce readers to a wholly new epistemological intervention in Translation Studies and therefore will open new vistas of thoughts, discussion and criticism.
There are many opinions about what a good translation is, and as my study shows, direct translations are often equated with adequate translations. But should the direct translation strategy be preferred over other microstrategies, and what makes a translator choose one strategy over another? In order to answer this question, I chose to examine one of our time's most beloved animated films, Shrek. By conducting a comparative analysis of the macro- and microstrategies applied to the subtitled and dubbed Danish translations of Shrek, I have investigated which choices the translator made and why. Furthermore, I have estimated whether the applied strategies are suitable or not. The target audience of the study is anybody with an interest in translation strategies. It may be of use to language students or people who in general wonder about translation choices.
Developing a cybernetic model of subjectivity and personhood that honors disability experiences to reconceptualize the category of the human Twentieth-century neuroscience fixed the brain as the basis of consciousness, the self, identity, individuality, even life itself, obscuring the fundamental relationships between bodies and the worlds that they inhabit. In Unraveling, Matthew J. Wolf-Meyer draws on narratives of family and individual experiences with neurological disorders, paired with texts by neuroscientists and psychiatrists, to decenter the brain and expose the ableist biases in the dominant thinking about personhood. Unraveling articulates a novel cybernetic theory of subjectivity in which the nervous system is connected to the world it inhabits rather than being walled off inside the body, moving beyond neuroscientific, symbolic, and materialist approaches to the self to focus instead on such concepts as animation, modularity, and facilitation. It does so through close readings of memoirs by individuals who lost their hearing or developed trauma-induced aphasia, as well as family members of people diagnosed as autistic—texts that rethink modes of subjectivity through experiences with communication, caregiving, and the demands of everyday life. Arguing for a radical antinormative bioethics, Unraveling shifts the discourse on neurological disorders from such value-laden concepts as “quality of life” to develop an inclusive model of personhood that honors disability experiences and reconceptualizes the category of the human in all of its social, technological, and environmental contexts.