Masaryk University Faculty of Arts Department of English and American Studies

2.4Conclusion

The first part of the thesis characterized AVT and the history of the two most used types of film translation – dubbing and subtitling. Both of these methods have their pros and cons, depending mainly on how much they interfere with the source text. The price of these methods and its preference among the audience also determines how most of the audiovisual material is going to be translated in each country. The thesis also showed the constraints and differences of AVT from other fields of translation, most notably the limitations by time and space. Subtitlers have to keep in mind the average reading speed of the viewers, and translate as much of the speech while not drawing too much attention of the viewer from the visuals to the subtitles. In case of lip-synchronized dubbing, the translated speech should not only maintain the meaning, but also have the same length as the original speech. Other methods of revoicing of the original sound, such as voice-over and narration, require a lesser degree of synchronization, thus being cheaper and less time-consuming.

The second part dealt with the audiovisual translation of ‘A Clockwork Orange’, a film adaptation of the novella of the same name written by Anthony Burgess. Its distinctive language called Nadsat, invented by Burgess himself, proves to be challenging to translate. When analyzed further, the official Czech DVD subtitles showed that Nadsat was not the only problematic part of the film’s translation. There are a number of mistranslations and other mistakes that should not appear in such subtitles, given the fact that it is the only Czech audiovisual translation of the film and the vast majority of the film’s Czech viewers are forced to watch it with these subtitles. Also, a number of subtitle display time violations may harm the reading comfort of some viewers. In other respects, the subtitles correspond with the recommended procedures mentioned in the theoretical part of the thesis relatively well.

Although it is recommended to shorten subtitles in the translation process to ensure minimal distraction of the viewer's eyes, these subtitles were reduced only slightly. However, as the language represents an important aspect of the film, there are cases where otherwise recommended shortening of the subtitles would negatively impact the target audience's perception of the original script.

Burgess, A. (2001). A Clockwork Orange. New York: Norton.

Burgess, A. (2002). Mechanický pomeranč. (L. Šenkyřík, Trans.) Praha: Volvox Globator. (Original work published 1982).

Clockwork Orange Dialogue Transcript. (1997). Retrieved from http://www.malcolmtribute.freeiz.com/aco/acotrans.html

Warner Bros. Pictures (Producer), & Kubrick, S. (Director). (1971). Mechanický pomeranč / A Clockwork Orange [DVD]. UK / USA: Warner Bros. Pictures.

Bajerová, L., Škvorová, K., & Tomíček, V. (2002). Dabing – Zpracování cizojazyčných filmů. Retrieved from http://www.dabing.info/

Betz, M. (2013) Dubbing and Subtitling. Film Reference. Retrieved from http://www.filmreference.com/encyclopedia/Criticism-Ideology/Dubbing-and-Subtitling-SUBTITLING-VERSUS-DUBBING.html

Díaz Cintas, J., & Remael, A. (2007) Audiovisual Translation: Subtitling. Manchester: St. Jerome Publishing

González-Iglesias, J.D., & Toda, F. (2011) "Dubbing or Subtitling Interculturalism: Choices and Constraints". Journal of Intercultural Communication. Retrieved from http://www.immi.se/intercultural/nr25/gonzalez.htm

Ivarsson, J. (2004) A Short Technical History of Subtitles in Europe. Retrieved from http://www.transedit.se/history.htm

Janák, P. (2010). "Burgess, Anthony: Mechanický pomeranč. Potíže s jazykem Týnů". iLiteratura.cz. Retrieved from http://www.iliteratura.cz/Clanek/27357/burgess-anthony-mechanicky-pomeranc/

Jankowska, A. (2009). "Translating Humor in Dubbing and Subtitling". Translation Journal. Retrieved from http://translationjournal.net/journal/48humor.htm

Karamitroglou, F. (1998). "A Proposed Set of Subtitling Standards in Europe." Translation Journal. Retrieved from http://translationjournal.net/journal//04stndrd.htm

Kautský, Oldřich. (1970). Dabing, ano i ne. Praha: Československý filmový ústav.

Paquin, R. (1998). "Translator, Adapter, Screenwriter. Translating for the Audiovisual." Translation Journal. Retrieved from http://translationjournal.net/journal/05dubb.htm

Pérez González, L. (2009). "Audiovisual Translation". In M. Baker & G. Saldanha (Ed.) Routledge Encyclopedia of Translation Studies (pp. 14-19). New York: Routledge.

Pošta, M. (2011). Titulkujeme profesionálně. Praha: Miroslav Pošta - Apostrof.

Szarkowska, A. (2005). "Translator, Adapter, Screenwriter. Translating for the Audiovisual". Translation Journal. Retrieved from http://www.bokorlang.com/journal/32film.htm

Valenta, J. (2009). "Případová studie: Big Lebowski". www.janvalenta.cz. Retrieved from http://www.janvalenta.cz/blog/files/tag-big-lebowski.html

The thesis deals with one of the most distinctive branches of translation called audiovisual translation (AVT), representing the translation of audiovisual materials and thus making foreign films and TV series accessible to target audience. The first part of the thesis characterizes AVT and the history of the two most used types of film translation – dubbing and subtitling. Both of these methods have its pros and cons, depending mainly on how much they interfere with the source text. The price of these methods and its preference among the audience also determines how most of the audiovisual material is going to be translated in each country. The thesis also shows the constraints and differences of AVT from other fields of translation, most notably the limitations by time and space. Subtitlers have to keep in mind the average reading speed of the viewers, and translate as much of the speech while not drawing too much attention of the viewer from the picture to the subtitles. In case of lip-synchronized dubbing, the translated speech should not only maintain the meaning, but also have the same length as the original speech. The second part deals with the audiovisual translation of ‘A Clockwork Orange’, a film adaptation of the novella of the same name written by Anthony Burgess. Its distinctive language called Nadsat, invented by Burgess himself, proves to be challenging to translate and thus worth analyzing. The translator of the book and the subtitlers of the film each choose to translate these Nadsat terms differently, which may be confusing to film viewers familiar with the book and vice versa.

Bakalářská práce se zabývá problematikou audiovizuálního překladu, tedy překladem především filmů a seriálů. První část práce popisuje, jak se dva nejpoúžívanější způsoby filmového překladu – dabing a titulkování – vyvíjely v minulosti, a jaký ze způsobů filmového překladu je preferován v evropských zemích. Tato preference je ovlivněna hlavně cenou překladu a tím, jakému způsobu filmového překladu je většina diváků v dané zemi nakloněna. Práce zmiňuje i to, co překládání filmu obnáší. Překladatel je zejména omezen časem a prostorem. V případě dabingu, přeložený projev musí mít nejen stejný význam, ale měl by i co nejvíce odpovídat pohybu rtů herce na obrazovce. Při tvorbě titulků se musí brát ohled na rychlost čtení diváka – titulky by měly přeložit co nejvíce z původního projevu a zároveň příliš nezatěžovat diváka čtením. Druhá část práce se zabývá českým překladem filmu Mechanický pomeranč s ohledem na český překlad jeho stejnojmenné literární předlohy. Film i kniha obsahují specifický jazyk zvaný Nadsat vymyšlený autorem knihy A.Burgessem, který tudíž v češtině nemá ekvivalenty a překlad je tak o to náročnější.