Multimedia translation

Dubbing, sometimes known as "lip-synchrony", involves both the translation and its synchronisation as well as dubbing the actors' and actresses' performance.[7] Once considered the most comprehensive form of translation, dubbing follows the "timing, phrasing and lip movement of the original dialogue" as closely as possible.[8] Although this mode is usually interlingual, there are some cases of intralingual dubbing, but it is not very common.[7]

The most extensively studied mode of multimedia translation, subtitling is the linguistic practice showing written text on a screen that conveys "a target language version of the source speech."[8] Consisting of many sub-types, the one most commonly used is interlinguistic subtitling, which is usually displayed in open captions.[7] In places where several languages are spoken, bilingual subtitles are used to show two different language versions of the source text at the same time.[8]

Voice over involves the original soundtrack and the translation being broadcast simultaneously.[7] At the beginning, only the original can be heard, but the volume is lowered while the translated version becomes more noticeable until the end.[8] This mode of multimedia translation gives a realistic effect, so it is usually used in documentaries or interviews.[7] Voice over is considered a "cheap alternative to dubbing" so it is the first choice for translating films in former Communist states and some countries in the Middle East and Asia.[8]

Interpreting is "the oral translation of an audiovisual product by only one speaker."[7] Interpreting consists of many different types, such as simultaneous, live, consecutive or prerecorded.[7] This mode is usually used in live interviews and news broadcasts.[7]

Surtitling is similar to subtitling, however it consists of one continuous line displayed with no interruption.[7] Becoming more frequent in theatres and operahouses, the translation is displayed either above the stage or on the backs of seats.[7] Despite being shown in real time, the translations are prepared in advance.[7]

Free commentary is the variation of an audiovisual source to an entirely new audience and the cultural factors or new goals involved.[7] It is delivered with a spontaneous tone, so the end product is completely different from the original.[8] There is generally no attempt to stay faithful to it, resulting in a translation that usually provides either more details or omissions.[7] This mode of multimedia translation is generally used when literacy is not the main goal, such as in children's television shows, documentaries, humorous videos, film parodies and corporate videos.[7]

Also known as "half-dubbing" or "concise synchronisation", consists of adding a prerecorded spoken text to the original soundtrack.[7] While not being a full translation, it provides the necessary information in the target language.[7]

Narration consists of preparing, translating and condensing a text in advance which is then read by dubbing actors and actresses.[7] The goal is to provide a faithful, scripted summary of the original speech.[8] It can be pre-recorded or performed live.[8] The difference between narration and dubbing is that the text is being read, not performed.[7] Narration is also similar to voice over, but is different in that the final product is more condensed and is not always completely faithful to the original's style.[7]

Also known as "sight translation", simultaneous translation is done on the spot from a prepared script in the target language.[7] It is different from interpretation in that "it takes this second foreign language as a pivot language".[7] It is used when more elaborate methods of audiovisual translation are not an option, due to time or funding constraints.[8] As a result, it is only used in film festivals and film archives.[7]

Also known as "real-time subtitling", it differs from regular subtitling in that the subtitles are not prerecorded and are instead inserted on the spot.[7] This mode of multimedia of translation is used for live broadcasts for those who are hard of hearing.[7] A "respeaker" takes the original sound and dialogue of a live program or event and "respeaks" it into a speech recognition software.[8] This new version includes punctuation marks and specific features for this audience, which is then turned into subtitles with as little delay as possible.[8]

SDH is meant for those who have difficulty hearing the dialogue on a film or television show by helping them to "see" the sound.[7] Although similar to subtitling, SDH adds additional information to complement the verbal dimension.[7] Originally, these subtitles were only available for films and pre-recorded broadcasts.[8] However, the "growing number of legislative and regulatory provisions has set minimum quota requirements" for broadcasters and subtitling companies.[8]

AD is meant for those who are blind, visually-impaired or partially-sighted and assists by providing a narration concerning the visual aspects of a film or television show, for example.[7] The AD track does not interfere with the original dialogue since it is inserted during silent parts.[7] The reader, known as an "audio describer", makes sure to balance what is necessary to the plot while not overwhelming the audience with excessive information.[8] These particular descriptions would be recorded, but they can also be done live, (though still prepared in advance) such as in theatres.[7] This mode of multimedia translation has become important in "ensuring the accessibility of audiovisual products to the visually impaired."[8]

Animation involves translation as well as script writing.[7] The translator takes silent images, such as cartoons, and creates a script from scratch.[7] Although similar to free commentary, it is different in that there is no previous script written in animation.[7]

Double versions are products that involve two or more languages in which each actor and actress plays their role in their own language.[7] The final product is then dubbed and synchronised so that there is only one language.[7]

Remakes contextualise a film so that they are in accordance with the target audience and its culture.[7] These translations focus on values and ideology, so the linguistic aspect of the product is less of a priority.[7] This mode of multimedia translation is mostly used for European films remade for American audiences.[7]