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Subtitling audiovisual humour: The case of ‘early Almodóvar’ films during la movida in Spain (1980-1984)
| Content Provider | Semantic Scholar |
|---|---|
| Author | García-Escribano, Alejandro Bolaños |
| Copyright Year | 2017 |
| Abstract | espanolLa transferencia del humor para la pantalla responde a las restricciones propias de la traduccion audiovisual. El humor audiovisual impone mayores retos a los traductores por su naturaleza polisemiotica. No cabe ninguna duda de que esto es palpable en aquellas peliculas de autor que se situan en un contexto historico y sociocultural especifico, tales como las peliculas del primer Almodovar. Las cuatro primeras peliculas de Pedro Almodovar (1980-1984) surgen durante la Movida espanola tras la muerte del dictador Franco, tiempo historico correspondiente a la Transicion democratica espanola. Estos filmes han sido tan importantes que hoy se consideran muestras de expresion audiovisual de los cambios que ocurrieron en la Movida. Los elementos de humor expresado verbalmente que aparecen en las peliculas representan retos de traduccion de gran complejidad, tanto por la transferencia del juego de palabras como por el componente cultural de la Espana de los ochenta. Una serie de ejemplos extraidos de los primeros filmes de Almodovar ilustra las dificultades que entrana la transferencia de elementos de humor expresado verbalmente en la subtitulacion. Este estudio senala que los subtituladores consiguen transferir el humor de muchas formas distintas. Las tecnicas de traduccion de los anteriores pueden analizarse siguiendo estudios descriptivos centrados especificamente en la Traduccion Audiovisual. EnglishHumour transfer on screen responds to the inner constraints of audiovisual translation. Audiovisual humour imposes further challenges to translators because of its polysemiotic nature. This can be undeniably observed in auteur films that are specifically contextualised in a historical and sociocultural context, such as the ‘early Almodovar’ films. Pedro Almodovar’s first four films (1980-1984) were created during the Spanish Movida movement after dictator Franco’s death, corresponding historically to the political Transition of Spain towards democracy. These films have been so important that they can now be considered samples of audiovisual expression of Spanish Movida changes. Verbally Expressed Humour elements in these films represent compelling examples of translation challenges that respond to both the complexity of wordplay transfer and the cultural components of Spain in the 1980s. Sets of examples from Almodovar’s first films illustrate the difficulties of transferring Verbally Expressed Humour elements in subtitling. This paper finds that humour transfer is accomplished in many different ways by subtitlers, whose translation techniques can be analysed following descriptive studies specifically focused on Audiovisual Translation. |
| Starting Page | 219 |
| Ending Page | 247 |
| Page Count | 29 |
| File Format | PDF HTM / HTML |
| DOI | 10.6035/MonTI.2017.9.8 |
| Alternate Webpage(s) | https://rua.ua.es/dspace/bitstream/10045/73113/1/MonTI_09_08.pdf |
| Alternate Webpage(s) | https://doi.org/10.6035/MonTI.2017.9.8 |
| Language | English |
| Access Restriction | Open |
| Content Type | Text |
| Resource Type | Article |
