Languages and the MediaLanguages and the MediaBerlin 25-27 October, 2006Berlin 25-27 October, 2006

The Language of Television The Language of Television Series Series

a study of predictabilitya study of predictability

Chris TaylorChris Taylor

University of TriesteUniversity of Trieste

Talking PointsTalking Points

1.1. Film languageFilm language

2.2. Levels of predictabilityLevels of predictability

3.3. Translation (dubbing, subtitling)Translation (dubbing, subtitling)

Film languageFilm language

• Starting from the premise that film language Starting from the premise that film language is an artificial product “written to be spoken is an artificial product “written to be spoken as if not written” (Gregory, 1992), we can as if not written” (Gregory, 1992), we can agree with Marshall and Werndly (2002) that agree with Marshall and Werndly (2002) that

• ““the only reason that characters talk to each the only reason that characters talk to each other in television texts is so that the viewer other in television texts is so that the viewer can listen to them; not, as in real can listen to them; not, as in real conversation, so that they can listen to each conversation, so that they can listen to each other”,other”,

APSAPS

Thus film language consists of clear-cut cues and Thus film language consists of clear-cut cues and guided discourse (cf. Ochs - planned and guided discourse (cf. Ochs - planned and unplanned discourse).unplanned discourse).The flow of images is created by film directors, The flow of images is created by film directors, cameramen, set designers, etc. in the construction cameramen, set designers, etc. in the construction of an artificial situation. of an artificial situation.

Similarly the language (and grammar) of film is a Similarly the language (and grammar) of film is a scripted construct created by screenplay writers scripted construct created by screenplay writers and editors, altered by directors and actors, and editors, altered by directors and actors, subsequently by dubbing actors, subtitlers, etc. in subsequently by dubbing actors, subtitlers, etc. in the creation of an “artificially produced situation” the creation of an “artificially produced situation” (APS)(APS)

Film language and genreFilm language and genre

• The APS can also be identified in The APS can also be identified in terms of genre.terms of genre.

• The blanket expression ‘film genre’ The blanket expression ‘film genre’ brings to mind such types as brings to mind such types as western, spy story, comedy, etc. western, spy story, comedy, etc.

• But films have their sub-genres and But films have their sub-genres and genrelets.genrelets.

PredictabilityPredictability

• And it is these genrelets that are of And it is these genrelets that are of interest in the tracking down of interest in the tracking down of predictability.predictability.

• E.g., telephone conversations, E.g., telephone conversations, presentations, mealtime dialogue, presentations, mealtime dialogue, bar talk, boy-girl exchanges, etc.bar talk, boy-girl exchanges, etc.

IntertextualityIntertextuality

• In genrelets such as telephone call In genrelets such as telephone call protocols, presentations, service protocols, presentations, service encounters, etc. there is usually little encounters, etc. there is usually little creative language use. The same formulae creative language use. The same formulae are used over and over again, with the are used over and over again, with the same cues and the same response same cues and the same response mechanisms.mechanisms.

Words and expressions are PRIMED (Hoey) Words and expressions are PRIMED (Hoey) to appear in particular environments.to appear in particular environments.

Hotel reception scene Hotel reception scene The Gilmore GirlsThe Gilmore Girls• CUT TO THE INDEPENDENCE INN CUT TO THE INDEPENDENCE INN • [Lorelai walks into the lobby and hands a key to a bellboy.] [Lorelai walks into the lobby and hands a key to a bellboy.] • LORELAI: Oh, here you go. LORELAI: Oh, here you go. • BELLBOY: Thanks. BELLBOY: Thanks. • [Lorelai walks to the front desk, where Michel is on the [Lorelai walks to the front desk, where Michel is on the

phone and sorting mail] phone and sorting mail] • MICHEL: Independence Inn, Michel speaking. [pause] No, MICHEL: Independence Inn, Michel speaking. [pause] No,

I'm sorry, we're completely booked. [pause] We have a I'm sorry, we're completely booked. [pause] We have a wedding party here. [pause] No, there is really nothing I wedding party here. [pause] No, there is really nothing I can do. [pause] Yes, I'm sure. [pause] Positive. [pause] No, I can do. [pause] Yes, I'm sure. [pause] Positive. [pause] No, I don't have to look ma'am, I -- [pause] Yes, of course I'll don't have to look ma'am, I -- [pause] Yes, of course I'll look. look.

• [Michel puts the phone down, continues to sort the mail, [Michel puts the phone down, continues to sort the mail, then picks the phone back up.] then picks the phone back up.]

• MICHEL: No, I'm sorry, we're completely booked.MICHEL: No, I'm sorry, we're completely booked.

Translation MemoryTranslation Memory

At times the predictability is so At times the predictability is so pronounced that an element of pronounced that an element of translation memory technique, translation memory technique, technologically aided or otherwise, technologically aided or otherwise, could prove useful.could prove useful.

At least the predictability factor should At least the predictability factor should be taken into account in order to save be taken into account in order to save time and particularly to ensure time and particularly to ensure consistency.consistency.

Predictability and Predictability and TranslationTranslation

The three strategies of The three strategies of

NEUTRALISATIONNEUTRALISATION

LOCALISATIONLOCALISATION

FOREIGNISATIONFOREIGNISATION

can be associated with predictability can be associated with predictability levels levels

Predictability clinePredictability cline

High predictability (neutralise)High predictability (neutralise)

Medium predictability (localise)Medium predictability (localise)

Low predictability (foreignise)Low predictability (foreignise)

Predictability cont.Predictability cont.

But more or less predictable But more or less predictable subgenres and gernrelets can appear subgenres and gernrelets can appear within a predominantly high within a predominantly high predictability or low predictability predictability or low predictability film.film.

Predictability and GenrePredictability and Genre

There is a general correlation There is a general correlation between predictability and genre. between predictability and genre. The more mundane the genre (many The more mundane the genre (many TV series, soap operas, etc.), the TV series, soap operas, etc.), the more predictable the dialogue.more predictable the dialogue.The more The more serious/intellectual/highbrow the serious/intellectual/highbrow the genre, the less predictable the genre, the less predictable the dialogue.dialogue.

More predictable genres – a More predictable genres – a case studycase study

The Gilmore GirlsThe Gilmore Girls

132 episodes in 6 series132 episodes in 6 series

Desribed in the following terms: Desribed in the following terms:

““nice, warm, charming, feisty”nice, warm, charming, feisty”

Features a single mother, her elitist parents, Features a single mother, her elitist parents, her determined daughter, boyfriends etc.her determined daughter, boyfriends etc.

EpisodesEpisodes

Series TwoSeries Two

Marriage on the wayMarriage on the way

Engagement partyEngagement party

RethinkingRethinking

The debutante’s ballThe debutante’s ball

Like mother, like daughterLike mother, like daughter

Love risksLove risks

Gilmore Girls One Gilmore Girls One videovideo

LORELAI: Well, actually, I came here for a reason. Dad, would you mind sitting down for a minute?

RICHARD: You need money. LORELAI: I have a situation. RICHARD: You need money.

LORELAI: Dad, will you just please let me get this out, okay? Um, Rory has been accepted to Chilton.

EMILY: Chilton? Oh, that's a wonderful school. It's only five minutes from here. LORELAI: That's right, it is. She can start as early as Monday.

Um, the problem is that they want me to put down an enrollment fee plus the first semester's tuition,

and I have to do that immediately or she loses her spot. RICHARD: So, you need money.

LORELAI: Yeah. But it's not for me, it's for Rory. And I fully intend to pay you back every cent. I don't ask for favors, you know that.

EMILY: Oh, yes, we know. RICHARD: I'll get the checkbook.

LORELAI: Thank you. You have no idea. Thank you.

Translation - neutralTranslation - neutral

• L:L: Bè, veramente, ho un motivo per essere qui. Papà, potresti sederti Bè, veramente, ho un motivo per essere qui. Papà, potresti sederti e starmi a e starmi a sentire?sentire?

• R:R: Ti servono soldi.Ti servono soldi.• L:L: Ho un problema.Ho un problema.• R:R: Ti servono soldi.Ti servono soldi.• L:L: Papà, per favore lasciami finire, OK? Rory è stata accettata alla Papà, per favore lasciami finire, OK? Rory è stata accettata alla

Chilton.Chilton.• E:E: Chilton? E’ un’ottima scuola. E’ a cinque minuti da qui.Chilton? E’ un’ottima scuola. E’ a cinque minuti da qui.• L:L: Proprio così. Può cominciare già lunedì. Il problema è che vogliono Proprio così. Può cominciare già lunedì. Il problema è che vogliono

che che paghi l’iscrizione e i corsi per il primo semestre a vogliono che lo paghi l’iscrizione e i corsi per il primo semestre a vogliono che lo faccia faccia subito, altrimenti Rory perderà il posto.subito, altrimenti Rory perderà il posto.

• R:R: Quindi, ti servono soldi. Quindi, ti servono soldi. • L:L: Sì. Ma non è per me, è per Rory. E intendo ripagarti ogni Sì. Ma non è per me, è per Rory. E intendo ripagarti ogni

centesimo. Non centesimo. Non chiedo favori, lo sai. chiedo favori, lo sai. • E:E: Ah, sì, lo sappiamo. Ah, sì, lo sappiamo. • R: R: Prendo il libretto degli assegni. Prendo il libretto degli assegni. • L:L: Grazie. Non hai idea. Grazie.Grazie. Non hai idea. Grazie.

Gilmore Girls Two - Gilmore Girls Two - videovideo

[Rory starts to leave then hugs Lorelai again.] RORY: I love you.

LORELAI: I love you. [Rory leaves.]

LORELAI: My girl's going to Chilton SOOKIE: Yeah. Rory's going to Chilton!

[As Lorelai leaves, Sookie starts a little dance and begins to sing.] SOOKIE: Rory's going to Chilton! Rory's going to Chilton! Rory's going to Chilton!

Translation - localisedTranslation - localised

• [Rory sta per partire poi abbraccia Lorelai di nuovo]

• RORY: Ti voglio bene. • LORELAI: Ti voglio bene. • [Rory parte] • LORELAI: La mia bambina va a Chilton • SOOKIE: Sì. Rory va a Chilton! • [Menre Lorelai sta per uscire, Sookie comincia a

ballare e cantare] • SOOKIE: Rory va a Chilton! Rory va a Chilton!

Rory va a Chilton!

Official translationOfficial translation

• R: Ti voglio beneR: Ti voglio bene

• L: anch’io tesoro. La mia Rory va alla L: anch’io tesoro. La mia Rory va alla ChiltonChilton

Gilmore Girls Three - Gilmore Girls Three - videovideo

LANE: I know I’ve always dreamed that some day a guy would get me a really confusing Czechoslovakian novel.

RORY: I think he’ll appreciate it. LANE: A book sends the wrong message.

RORY: What are you talking about? LANE: You have to look at what a gift says to the other person, not to you.

Remember two years ago, I got my mom that perfume? RORY: Yeah.

LANE: Ok, to me that said, ‘Hey mom, you work hard, you deserve something fancy’. Now to my mother, it said ‘Hey mom, here’s some smelly sex juice,

the kind I use to lure boys with’ and resulted in me being sent to Bible camp all summer.

RORY: Yeah but - LANE: Just imagine that you actually gave Dean something really romantic,

and he gave you a football. Your hypothetical romantic present is saying that you really, really like him.

And his present is saying ‘Hey man, let’s just be friends’. RORY: And you’re saying that this book is - LORELAI: Is a Czechoslovakian football, yes.

TranslationTranslation

L:L: Ho sempre sognato che un giorno un ragazzo mi regalasse un romanzo Ho sempre sognato che un giorno un ragazzo mi regalasse un romanzo cecoslovacco incomprensibile.cecoslovacco incomprensibile.

R:R: Credo che gli farà piacere.Credo che gli farà piacere.L:L: Un libro manda il messaggio sbagliato.Un libro manda il messaggio sbagliato.R:R: Cosa vuoi dire?Cosa vuoi dire?L:L: Devi pensare a ciò che il regalo significa per l’altra persona, non per te. Ti Devi pensare a ciò che il regalo significa per l’altra persona, non per te. Ti

ricordi due anni fa quando ho regalato quel profumo a mia madre?ricordi due anni fa quando ho regalato quel profumo a mia madre?R:R: SìSìL:L: Bè, per me quel regalo voleva dire “Mamma sei sempre che lavori, ti meriti Bè, per me quel regalo voleva dire “Mamma sei sempre che lavori, ti meriti

qualcosa di speciale”. Per mia madre invece voleva dire “Mamma eccoti un qualcosa di speciale”. Per mia madre invece voleva dire “Mamma eccoti un profumo lascivo come quelli che uso per sedurre i ragazzi” e come profumo lascivo come quelli che uso per sedurre i ragazzi” e come ringraziamento mi ha spedito in un Bible Camp estivo.ringraziamento mi ha spedito in un Bible Camp estivo.

R: Sì, ma?R: Sì, ma?L:L: Prova a immaginare di regalare a Dean qualcosa di veramente romantico e Prova a immaginare di regalare a Dean qualcosa di veramente romantico e

che lui ti regali un pallone da football. Il tuo ipotetico regalo romantico che lui ti regali un pallone da football. Il tuo ipotetico regalo romantico vuole dire che lui ti piace davvero un sacco, mentre il suo significa vuole dire che lui ti piace davvero un sacco, mentre il suo significa “Guarda, restiamo solo amici”“Guarda, restiamo solo amici”

R:R: Stai dicendo che il libro è….Stai dicendo che il libro è….L: L: E’ un pallone da football cecoslovacco, già.E’ un pallone da football cecoslovacco, già.

Official translationOfficial translation

campeggio delle suorecampeggio delle suore

pallone da footballpallone da football

Hey, bambolaHey, bambola

The O.C. The O.C.

• In the O.C. much of the dialogue is In the O.C. much of the dialogue is more or less predictable American more or less predictable American high school chat. The register rarely high school chat. The register rarely changes, but one character (Seth) changes, but one character (Seth) deliberately speaks in a sarcastic but deliberately speaks in a sarcastic but linguistically sophisticated way.linguistically sophisticated way.

• Translation must take heed of Translation must take heed of idiolects.idiolects.

The O.C.The O.C.

• Kirsten: First day of school, are you excited? Kirsten: First day of school, are you excited? (Seth gives her a look)(Seth gives her a look) You You know I ask you questions in the hopes of eliciting an actual response. know I ask you questions in the hopes of eliciting an actual response.

Seth: Seth: I feel I convey more with a lookI feel I convey more with a look (makes puppy dog eyes at her) (makes puppy dog eyes at her)

Kirsten: you look adorable! Kirsten: you look adorable!

Seth: no Seth: no

Kirsten: cute? Kirsten: cute?

Seth: no Seth: no

Kirsten: dope? Kirsten: dope?

Seth: no Seth: no

Kirsten: RAD! Kirsten: RAD!

Seth: Seth: PLEASE, please this is so painful PLEASE, please this is so painful

The O.C. translationThe O.C. translation

• Kirsten: primo giorno di scuola, sei emozionato? Vedi, se ti faccio delle Kirsten: primo giorno di scuola, sei emozionato? Vedi, se ti faccio delle domande è perché mi aspetto che tu mi dia delle risposte. domande è perché mi aspetto che tu mi dia delle risposte.

Seth: Il mio sguardo non è più eloquenteSeth: Il mio sguardo non è più eloquente??

Kirsten: Sei adorabileKirsten: Sei adorabile•

Seth: No Seth: No

Kirsten: Carino? Kirsten: Carino?

Seth: No Seth: No

Kirsten: Spento? Kirsten: Spento?

Seth: No Seth: No

Kirsten: Svanito! Kirsten: Svanito!

Seth: PER FAVORE, mi metti in imbarazzo.Seth: PER FAVORE, mi metti in imbarazzo.

Less predictable genres in Less predictable genres in translationtranslation

Even where the language transfer Even where the language transfer involves some kind of semantic or involves some kind of semantic or pragmatic shift (eg. bar protocols in pragmatic shift (eg. bar protocols in English and Italian), matches based English and Italian), matches based on predictability can be easily made.on predictability can be easily made.

But some genres, where cultural But some genres, where cultural mores are involved, prove mores are involved, prove troublesome.troublesome.

At tableAt table

Buonissimo! Eccezionale! Sono la fine del mondo!!Buonissimo! Eccezionale! Sono la fine del mondo!!(at regular intervals)(at regular intervals)Da noi si usa solo aglio e olio.Da noi si usa solo aglio e olio.

Miles: Miles: Just bring him Just bring him an iceberg lettuce and mealy tomato an iceberg lettuce and mealy tomato wedge wedge smothered in French dressingsmothered in French dressing

W: W: And for you?And for you?Miles: Miles: Ham sandwich on stale rye bread lots of mayo easy Ham sandwich on stale rye bread lots of mayo easy

on the on the hamham..

These expressions (not the words) are difficult to translate for These expressions (not the words) are difficult to translate for thethe

simple reason that English/Italian people don’t say them.simple reason that English/Italian people don’t say them.

Il Commissario Montalbano Il Commissario Montalbano (1) Caffè(1) Caffè

Michela: Michela: (bevendo (bevendo il caffèil caffè)) Mhm! Sì! Mhm! Sì!• Mimì:Mimì: (guardando Montalbano (guardando Montalbano

versare versare il caffèil caffè)) Ce Ce n’è n’è magari pe’mmea?magari pe’mmea?

• CM:CM: .. Mi è venuto voglia di una .. Mi è venuto voglia di una bella bella granatina di caffègranatina di caffè

• Fazio:Fazio: Ho portato ilHo portato il……• Donna:Donna: (beve l’ultimo sorso di (beve l’ultimo sorso di

caffècaffè))

Il Commissario MontalbanoIl Commissario Montalbano(2) Pasta con broccoli(2) Pasta con broccoli• CM: CM: Sto mangiando Sto mangiando la pasta con la pasta con

broccolibroccoli, chi è che rompe…, chi è che rompe…• Livia:Livia: Chi ti ha preparato Chi ti ha preparato la pasta con la pasta con

broccoli?broccoli? Scommetto Adelina?... Scommetto Adelina?... Sabato mattina prendo l’aereo Sabato mattina prendo l’aereo

e e vengo giù.vengo giù.• CM:CM: Sabato?Sabato?• Livia:Livia: Sì, sarò a Vigato Sì, sarò a Vigato per l’ora di pranzoper l’ora di pranzo..• CM:CM: Ah, benissimo..ma, sei sicura?Ah, benissimo..ma, sei sicura?• Livia:Livia: Sicurissima. Ho già fatto il biglietto… Vai a Sicurissima. Ho già fatto il biglietto… Vai a

buttare buttare quella pastaquella pasta nella spazzatura! nella spazzatura!

Il Commissario Montalbano Il Commissario Montalbano (3) disturbance!(3) disturbance!

• Mimì:Mimì: Ma che stavi mangiando.Ma che stavi mangiando.

• CM:CM: No, no. Non ti preoccupare.No, no. Non ti preoccupare.

• Mimì:Mimì: E allora t’ho E allora t’ho disturbatodisturbato……

• CM:CM: E ti dico non ti preoccupare…E ti dico non ti preoccupare…

• CM: CM: Sto mangiandoSto mangiando la pasta con la pasta con broccolibroccoli, , chi è che rompechi è che rompe……

Montalbano Montalbano videovideo

Il Commissario Montalbano Il Commissario Montalbano (4) Spigole etc.(4) Spigole etc.• C- Dunque oggi c’ho pe’ vossia C- Dunque oggi c’ho pe’ vossia un risotto a nevuro di un risotto a nevuro di

sicciasiccia ch’è megghio’ e na ch’è megghio’ e na cassatacassata..• M- Per me va bene, per lei?M- Per me va bene, per lei?• B- Anche per me va bene.B- Anche per me va bene.• M- Aggiudicato.M- Aggiudicato.• C- Ah, per secondo carissimo dottore Montalbano ci C- Ah, per secondo carissimo dottore Montalbano ci

sono delle sono delle spigole freschissime pescate stanottespigole freschissime pescate stanotte oppure…oppure…

• M- No, per me va bene M- No, per me va bene le spigolele spigole senza oppure, per senza oppure, per lei?lei?

• B- Anche per me va bene.B- Anche per me va bene.• M- Aggiudicato.M- Aggiudicato.

NeutralisationNeutralisation

(1)(1) Caffè = Caffè = coffeecoffee

(2) (2) Disturbance and seriousness elements Disturbance and seriousness elements translated translated literally, regardless of audience literally, regardless of audience perplexity.perplexity.

(3)(3) Pasta con broccoli = Pasta con broccoli = pasta with broccolipasta with broccoli

(4)(4) Spaghetti con sugo di ricci, risotto a nevuro di Spaghetti con sugo di ricci, risotto a nevuro di siccia, siccia, na cassata, spigole freschissime pescate na cassata, spigole freschissime pescate stanotte, stanotte, ‘spaghetti’, ‘rice’, ‘cake’, ‘fish’.‘spaghetti’, ‘rice’, ‘cake’, ‘fish’.

LocalisationLocalisation

(1)(1) Caffè Caffè must be rendered more English, ironically through the use must be rendered more English, ironically through the use of explicit markers – cappucino, espresso, latte, etc. – depending of explicit markers – cappucino, espresso, latte, etc. – depending on which of these is considered the most universal.on which of these is considered the most universal.

(2) Elements of disturbance and seriousness may be changed or (2) Elements of disturbance and seriousness may be changed or tempered.tempered.

(3)(3) Pasta con broccoli Pasta con broccoli may be changed to something more may be changed to something more recognisably Italian such as ‘spaghetti bolognese’ or ‘lasagne’. It recognisably Italian such as ‘spaghetti bolognese’ or ‘lasagne’. It depends on whether it can be seen.depends on whether it can be seen.

(4)(4)Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, spigole freschissime pescate stanotte, spigole freschissime pescate stanotte, can be changed to can be changed to recognisable English/American dishes – ‘spaghetti with meatballs’, recognisable English/American dishes – ‘spaghetti with meatballs’, ‘sausages’, ‘ice cream’, ‘snapper’.‘sausages’, ‘ice cream’, ‘snapper’.

ForeignisationForeignisation

(1)(1) Caffè Caffè remains – its meaning is known and is always remains – its meaning is known and is always straight ‘espresso’.straight ‘espresso’.

(2)(2) Pasta con broccoli Pasta con broccoli is a leitmotif of the series and can be is a leitmotif of the series and can be left as it is.left as it is.

(3) The disturbance and seriousness factors are part of that (3) The disturbance and seriousness factors are part of that mind set that some of the audience will associate with Sicily mind set that some of the audience will associate with Sicily and others will not be aware of.and others will not be aware of.

(4)(4) Spaghetti con sugo di ricci, risotto a nevuro di siccia, na Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, spigole freschissime pescate stanotte,cassata, spigole freschissime pescate stanotte, can be left can be left and simply understood as Italian dishes. and simply understood as Italian dishes.

The Gilmore Girls – frequency The Gilmore Girls – frequency countscounts

• From watching any TV series one From watching any TV series one becomes aware, consciously or becomes aware, consciously or unconsciously, of certain lietmotifs, unconsciously, of certain lietmotifs, repeated patterns, or more than repeated patterns, or more than usual frequency patterns. usual frequency patterns.

Food and Beverages frequancies - GilmoreFood and Beverages frequancies - Gilmore

Food & Beverages Frequency (Coffe & co. excluded)

Episode n. Env.1: Diner Env.2: Inn Env. 3: Dinner

Env. 4: Others Total Total pages

(Font:Verdana 10) 101 13 23 18 21 76 31 102 4 24 \ 9 37 33 103 4 36 26 9 75 32 104 7 52 \ 27 86 32 105 11 \ \ 24 35 31 106 9 17 23 33 82 34 107 15 \ \ 63 78 33 108 \ 35 14 15 64 32 109 \ \ 9 52 61 41 110 26 \ 9 16 51 32 111 12 4 4 20 40 36 112 13 20 \ 37 70 36 113 \ \ \ 22 22 32 114 1 20 11 77 109 38 115 \ 5 9 7 21 31 116 \ 5 16 35 56 32 117 13 \ \ 42 55 33 118 \ 1 30 27 58 37 119 30 30 4 9 73 40 120 12 1 29 10 52 39 121 1 \ \ 34 35 35

Environment 1: Luke’s Diner Environment 2: Independence Inn / Kitchen Environment 3: Gilmore’s house / Friday Night Dinner Environment 4: Others (Lorelai’s house, Doose Market, Stars Hollow, School, etc)

Coffee frequencies - GilmoreCoffee frequencies - Gilmore

“Coffee” Frequency: Coffee, Espresso, and Decaf Episode n. Frequency Total pages (Font:Verdana 10)

101 10 + 1 31 102 10 +1 33 103 3 32 104 5 32 105 10 31 106 5 34 107 7 33 108 16 32 109 2 41 110 8 32 111 2 36 112 5 36 113 8 32 114 2 38 115 4 31 116 10 32 117 6 33 118 3 37 119 8 40 120 8 39 121 9 35

Statistic Count Frequency ≥ 7 11 out of 21 Frequency ≤ 4 6 out of 21

Cf. British National Corpus - Cf. British National Corpus - coffeecoffee

BNC (100,000,000 words)BNC (100,000,000 words)

Coffee – 6,286 occurrencesCoffee – 6,286 occurrences

Once every 16,000 words.Once every 16,000 words.

Gilmore Girls (20 episodes) 150,000 Gilmore Girls (20 episodes) 150,000 wordswords

Coffee – 160 occurrencesCoffee – 160 occurrences

Once every 1,000 wordsOnce every 1,000 words

BNC spoken corpusBNC spoken corpus

BNC spoken corpus (10,000,000 words)BNC spoken corpus (10,000,000 words)

Coffee – 939 occurrencesCoffee – 939 occurrences

Once every 10,000 words.Once every 10,000 words.

Gilmore Girls (20 episodes) 150,000 Gilmore Girls (20 episodes) 150,000 wordswords

Coffee – 160 occurrencesCoffee – 160 occurrences

Once every 1,000 wordsOnce every 1,000 words

Sign of APSSign of APS

The figures merely show that the series ‘The The figures merely show that the series ‘The Gilmore Girls’ contains a much higher than average Gilmore Girls’ contains a much higher than average use of the word use of the word coffee coffee (and other foodstuffs).(and other foodstuffs).This confirms an intuitive impression, suggesting This confirms an intuitive impression, suggesting that (a) the context governs language use but also that (a) the context governs language use but also (b) that a level of artificiality would seem to be (b) that a level of artificiality would seem to be confirmed.confirmed.The translator must consider whether this context The translator must consider whether this context driven usage should be foreignised (left as it is to driven usage should be foreignised (left as it is to reflect American youngsters’ habits), or localised in reflect American youngsters’ habits), or localised in some way (perhaps tempered to local levels of some way (perhaps tempered to local levels of acceptance).acceptance).

Conclusion 1Conclusion 1

WHERE THE TEXT IS HIGHLY PREDICTABLEWHERE THE TEXT IS HIGHLY PREDICTABLE

there is a place in film translation (in the there is a place in film translation (in the broadest sense), in subtitling but also in broadest sense), in subtitling but also in

dubbing, for the judicious use of some kind dubbing, for the judicious use of some kind of translation memory tool (eg, Atril’s Dejà of translation memory tool (eg, Atril’s Dejà

vu).vu).Although this would require very careful Although this would require very careful

editing it could save a lot of time and editing it could save a lot of time and provide much needed consistencyprovide much needed consistency

Conclusion 2Conclusion 2

WHERE TEXTS ARE NOT VERY PREDICTABLEWHERE TEXTS ARE NOT VERY PREDICTABLE

translation choices may lie between translation choices may lie between foreignisation, localisation and foreignisation, localisation and

standardisation.standardisation.

The choice will depend on such factors as The choice will depend on such factors as the ‘prestige’ of the film or given audience the ‘prestige’ of the film or given audience

tastes.tastes.

Conclusion 3Conclusion 3

WHERE TEXTS ARE GOVERNED BY WHERE TEXTS ARE GOVERNED BY CULTURAL MORESCULTURAL MORES

predictability can be largely discounted, predictability can be largely discounted, firstly in the patterns of the source firstly in the patterns of the source

language, and particularly in translation.language, and particularly in translation.Here the translator is on his/her own in Here the translator is on his/her own in gauging to what extent the audience is gauging to what extent the audience is

attuned to the mind set of the source text attuned to the mind set of the source text culture.culture.

Conclusion 4Conclusion 4

• Practically all films (or TV series, or Practically all films (or TV series, or documentaries, or advertisements, or documentaries, or advertisements, or cartoons…) will contain stretches cartoons…) will contain stretches covered by conclusions 1, 2 or 3. The covered by conclusions 1, 2 or 3. The special skill of the translator lies also special skill of the translator lies also in identifying these stretches and in identifying these stretches and treating them accordingly.treating them accordingly.

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