It’s not just a matter of offering subtitles, but providing viewers with quality subtitles that facilitate their social integration. It is a good example of how translators need to find solutions between their commitment to the source product and the audience’s expectations. The Neon Genesis Evangelion controversy shows the complexities of translation. The most contested change involved an exchange between two characters that radically changes a relationship that has been understood as queer. The launch was hugely anticipated – but the new translation was greeted with a heavy backlash on social media from hardcore fans.įans baulked at the way some key themes appeared to have been altered. In June 2019, Netflix re-released the cult classic anime Neon Genesis Evangelion, with new English translations for subtitling and dubbing and a new voice cast. But translation is not neutral translation decisions carry ideological and social consequences. This is a positive trend – up to a point. So distributors such as Netflix are attuned to the benefits of providing flexibility to increase the appeal of their product to different people in different countries speaking different languages. The distributor is also taking pains to make dubbed versions sound more natural and less “dubby”, hiring directors and specialist actors to make dubbed versions of films less like a new recording and more like a new production. “If you want to watch Ghoul, you can watch it dubbed into English, watch it in Hindi with English subtitles or dubbed into English with English subtitles,” Nellin told Forbes magazine in 2018. The distributor offers its content subtitled and dubbed into different languages – 27, for the recent Chilling Adventures of Sabrina, according to vice-president of product, Todd Nellin. Netflix, meanwhile, claims to have “ brought back the lost art of dubbing” for the English speaking audience. While not everyone seemed to be happy at the time, dubbing has become standard for these channels. Warner Channel argued that the decision was in line with industry trends and suited the younger audience’s tendency to multitask while watching TV. But subtitles are now also becoming popular among the wider TV audience.īut since 2015, pay-TV television channels in Latin America, such as Warner Channel and Canal Sony, have decided to switch from subtitling to dubbing for US television series and films. In the UK, for example, subtitles have traditionally been aimed at deaf and hard of hearing viewers and viewers of foreign language cinema. The function of subtitles is also changing, depending on where you are. Subtitles are faster to produce than dubbed versions – and users claim they give a viewing experience that is closer to the original because they maintain the original actors’ voices. My research has shown that even in countries that have traditionally dubbed movies, some viewers prefer subtitles. These days the situation tends to be more fluid. In Latin America, it tended to be the medium that dictated the type of translation: subtitles were popular at the cinema and on cable TV, while dubbed versions reigned on public and free-to-air television. The world used to be divided between those countries using subtitles (including, in Europe, the Scandinavian countries, Portugal, Greece), and those opting for dubbed versions (France, Italy, Spain, Germany). They’re treating the people of Spain like they’re idiots. It’s like if you have an American film showing in the UK and the character says he’s going to the washroom, but the subtitles say he’s going to the loo. As Mexican author Jordi Soler told the New York Times: ![]() According to him, the Spanish audience was capable of connecting with the film without subtitles. Netflix decided to give the Mexican Spanish and Mixtec dialogue subtitles in Iberian Spanish for its audience in Spain.Ĭuarón considered this decision to be “ parochial, ignorant and offensive to Spaniards themselves”. ![]() The movie was shot using Mexican Spanish and Mixtec, a language spoken by about half a million people in the Mexican states of Oaxaca, Puebla and Guerrero, and in California in the USA. But, even as Cuarón was basking in the spotlight, he was outraged at the way Netflix had decided to subtitle the film for Spaniards. Mexican director Alfonso Cuarón’s masterpiece Roma was greeted with critical acclaim and three Oscars at the 2019 Academy Awards.
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