Publicação
From benshi to transmedial mediator
| Resumo: | The transmedial turn, which works as the motto for this conference, is a concept that allows for media crossings foregrounded by technological advancements, perhaps on the verge of becoming the fifth turn to be added to the ones identified by Chaume (2018), namely the descriptive translation studies, the cognitive, the cultural and the technological turns. This understanding focuses on the idea that processes and products are in a continuous movement of media border crossings. In line with this, we aim to investigate some key transmedial practices from a historical perspective, namely from the Japanese benshi (Akihiro 2018) to the present transmedial mediators. In the era of silent movies, the masters of ceremonies would act as the intermediary elements between the new art form and the audience: they read the intertitles and often explained what was going on the screen. With the arrival of sound, this sort of mediation appeared to be at its deathbed, but, after a brief ‘flirt’ with multilingual versions (Gottlieb 1997), the European countries had to choose between subtitling and dubbing and later voice-over, as their national audiovisual translation modes, many of which are still in effect. These interrelations between ‘texts’ and audiences continued and have led to the mushrooming of numerous ‘new’ audiovisual translation modes, apart from the mainstream subtitling and revoicing practices. The fact remains that film directors, producers or simply distributors have always sought to make movies accessible to as many people as possible and if we leave the multiple screens available today, we have a myriad of venues where transmedial mediation could come into play. Bearing this in mind, we seek to reflect upon the evolution of mediation in the field of audiovisual translation, focusing more closely on subtitling, subtitling for the deaf and hard-of-hearing and audiodescription. |
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| Autores principais: | Martins, Cláudia |
| Outros Autores: | Ferreira, Cláudia Maria Pinto |
| Assunto: | Audiovisual translation Subtitling SDH Audiodescription Transmedial mediators Research Subject Categories::TECHNOLOGY::Information technology |
| Ano: | 2020 |
| País: | Portugal |
| Tipo de documento: | documento de conferência |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Instituto Politécnico de Bragança |
| Idioma: | inglês |
| Origem: | Biblioteca Digital do IPB |
| Resumo: | The transmedial turn, which works as the motto for this conference, is a concept that allows for media crossings foregrounded by technological advancements, perhaps on the verge of becoming the fifth turn to be added to the ones identified by Chaume (2018), namely the descriptive translation studies, the cognitive, the cultural and the technological turns. This understanding focuses on the idea that processes and products are in a continuous movement of media border crossings. In line with this, we aim to investigate some key transmedial practices from a historical perspective, namely from the Japanese benshi (Akihiro 2018) to the present transmedial mediators. In the era of silent movies, the masters of ceremonies would act as the intermediary elements between the new art form and the audience: they read the intertitles and often explained what was going on the screen. With the arrival of sound, this sort of mediation appeared to be at its deathbed, but, after a brief ‘flirt’ with multilingual versions (Gottlieb 1997), the European countries had to choose between subtitling and dubbing and later voice-over, as their national audiovisual translation modes, many of which are still in effect. These interrelations between ‘texts’ and audiences continued and have led to the mushrooming of numerous ‘new’ audiovisual translation modes, apart from the mainstream subtitling and revoicing practices. The fact remains that film directors, producers or simply distributors have always sought to make movies accessible to as many people as possible and if we leave the multiple screens available today, we have a myriad of venues where transmedial mediation could come into play. Bearing this in mind, we seek to reflect upon the evolution of mediation in the field of audiovisual translation, focusing more closely on subtitling, subtitling for the deaf and hard-of-hearing and audiodescription. |
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