TheTrafilmConference:MultilingualFilm&AudiovisualTranslation

VenueEspaiUVic/Institutd’EstudisNord-americans(6thand7thFloor)ViaAugusta,12308006Barcelona

A remarkablenumberof films and television showsdisplaymore thanone language (InglouriousBasterds,JanetheVirgin,TheLordoftheRings,GameofThrones…);theyincludedifferentlanguagesoralanguagewithsignificantinternalvariation.Thetranslationofsuchwrittenandaudiovisualtextsposesimportanttheoreticalandpracticalchallenges,sincelanguagevariationcanmanifestitselfindifferentformsandfulfilvariousfunctions,whichmightbestylistic,pragmaticordiscursive.Thesetexts are often referred to as multilingual, polylingual, plurilingual or even heterolingual.TheTRAFILMprojectaimstodescribetherealityofthetranslationofmultilingualaudiovisualtexts.Weaimtodiscoverprofessionalandsocialpracticesalongwiththenormsandcriteriaofthisspecifictranslationchallenge.Wealsohopetovalidateandrefineexistingtheoreticalmodelsonaudiovisualtranslation andmultilingualismby describing and analysing a rich collection of data. The TraFilmConferenceisconceivedofasameetingpointforexchanges,researchexperiencesandproposalsforanincreasinglyimportanttopicwithinTranslationStudies.

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PROGRAMME TheTrafilmConference:MultilingualFilm&AudiovisualTranslationDay1:30thNovember2017

8:30-9:00 Registration9:00-9:15 Welcome9:15-10:15 Keynote1:MartaMateo(UniversityofOviedo)

“Issues,factorsandstrategiesinthetranslationofmultilingualoperas”Chair:EvaEspasa

10:15-11:45 Panel1A:ResearchProjects

Chair:MontseCorrius

MaríaPérezL.deHeredia(UniversityoftheBasqueCountry)IrenedeHiges-Andino(UniversitatJaumeI)“Multilingualismandrepresentationofidentitiesinaudiovisualtexts:IDENTITRA,aresearchproject”

PatrickZabalbeascoa(UniversitatPompeuFabra)StavroulaSokoli(HellenicOpenUniversity)“TheTrafilmproject:Insightsanddevelopment”IreneRanzato(LaSapienzaUniversitàdiRoma)"DialectsinAudiovisuals:regionalandsocialvarietiesofBritishEnglishincinemaandTV"

10:15-11:45 Panel1B:TheCrimesofCodeSwitching

Chair:MiquelPujol

SofiaIberg(UniversitatPompeuFabra)“Multilingualism as narrative device or depiction of reality? Mapping language use andsubtitlinginNarcos”

EnriquetaZafra(RyersonUniversity)MarcoFiola(RyersonUniversity)“’Translatorsalwaystalkaboutloyalty–tilltheirownassesareontheline’:onfaithfulness,vulgarityandequivalenceforthreeaudiencesofNarcos”

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10:15-11:45 Panel1C:DubbingandL3Chair:LauraSantamaria

AnjanaMartínezTejerina(UniversitatPompeuFabra)SamanthaSánchezMartínez(UniversitatPompeuFabra)“ThedubbingofforeignandregionalaccentsinTheSimpsons”

DoraRenna(UniversityofVerona)“Unveilingmulticulturalism,translatingmultilingualism:ChicanoEnglishandItaliandubbingofthemovieBloodInBloodOut(1993)”

11:45-12:15 Coffee-break12:15-13:45 Panel2A:Audiencesandfilmmakers

Chair:MaríaPérezL.deHeredia

IrenedeHiges-Andino(UniversitatJaumeI)EvaDuran-Eppler(RoehamptonUniversity)MathiasKraemer(VSI,London)“WhymakemultilingualfilmsandTVseries?Andhowaretheyperceived?Preliminaryresultsonfilmmakers’intentionsandaudiences’perception”

GonzaloIturregui-Gallardo(UniversitatAutònomadeBarcelona)“Audiosubtitlingmultilingualism:strategiesanduserexperience”

NancyMembrez(UniversityofTexas)“CollaboratingwithArgentineFilmmakerEliseoSubiela”

12:15-13:45 Panel2B:StrategiesWhenTranslatingL3

Chair:IreneRanzato

MonikaWozniak(LaSapienzaUniversitàdiRoma)“GiuseppeinWarsaw:astrangecaseofuntranslatabletranslation”

SimonLabate(UniversityofNamur)“WhereIdiomsChange:TheFrenchdubbedversionofWhereEaglesDare”

HelenaSantiagoVigata(UniversidadedeBrasília)“Totranslateornottotranslate:thechoicetoleaveforeignlinesuntranslatedinafilm”

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12:15-13:45 Panel2C:CodeSwitching Chair:PatrickZabalbeascoa

MargheritaDore(LaSapienzaUniversitàdiRoma)“TranslatingMultilingualHumourinAVT.ModernFamilyasaCaseinPoint”

CarmenPena-Díaz(UniversidaddeAlcalá)“TheUseofCode-switchingasacontextualizationcueinAudiovisualTranslation”

GiuliaMagazzù(UniversityofChieti-Pescara)“‘Dottore,dottore!’Subtitlingdialectsandregionalisms:thecaseofInspectorMontalbano”

13:45-15:15 Lunch(Althoughformallunchisnotincluded,sandwicheswillbeofferedtoparticipants.) 15:15-16:45 Panel3A:DramaandPerformance

Chair:EvaEspasa

ElizabeteManterola(UniversityoftheBasqueCountry)“Thetranslationofaheterolingualnovel:Soinujolearensemea,byBernardoAtxaga”

YuJing(ShanghaiJiaoTongUniversity)“TheissueofgenderandEliza’stwovoices”

15:15-16:45 Panel3B:DubbedSeries

Chair:AnjanaMartínez-Tejerina

JuliaCarbonell-Galindo(UniversityofValladolid)VerónicaArnáiz-Uzquiza(UniversityofValladolid)SusanaÁlvarez-Álvarez(UniversityofValladolid)“Multilingualkaleidoscope:Multilingualproductsrenderedindifferentdubbingscenarios”

IlariaParini(UniversityofMilan)“‘IniziaoggiilpapatodiPioXIII’.MultilingualisminTheYoungPopeanditsItalianversion”

CristinaAlonso-Villa(UniversidaddeRegensburg)“Vikings:renderingofa‘realconstructed’language.ComparativeanalysisoftheSpanishandGermanDVDsofthethirdseason”

16:45-17:15 Coffee-break17:15-18:00 RoundTable:ProfessionalPerspectivesonMultilingualFilms

Chair:LauraSantamaria

IsonaPassola,produceranddirectorÀlexBrendemühl,actorandscriptwriterLluísComes,translatorandadapter

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TheTrafilmConference:MultilingualFilm&AudiovisualTranslationDay2:1stDecember2017

9:00-10:30 Panel4A:SociolinguisticVarietyChair:EvaDuran-Eppler

GuillermoParra(UniversitatPompeuFabra)“Analysingthetranslationofsubstance-inducedL3withtheaidoftheTRAFILMdatabase”

GiuliaPuppo(UniversityofSheffield)“Like Crazy. Bipolar Disorder and Linguistic Speech Patterns in Paolo Virzì’s La PazzaGioia(2016):ChallengesfortheSubtitler”

KristynaDufkova(MasarykUniversity)“DifficultieswiththemeltingBalkanspot:Howtotranslateandhighlightthediversitywithinthesubtitles”

9:00-10:30 Panel4B:SubtitlingandL3

Chair:StavroulaSokoli

HuangBoyi(CentreforTranslation,HongKongBaptistUniversity)“The Multilingualism of Commercial Subtitling and Fansubbing: The Case of the ChineseTranslationsofBigBangTheory”

Mariazell-EugèniaBoschFàbregas(UniversitatdeVic–UCC)“CulturalStereotypingthroughSubtitlinginFamilyGuy”

AnastastiaBeltramello(NationalUniversityofIreland)“Workingwithsubtitledialecticsintheforeignlanguageclassroom:thecaseofBenvenutialSud”

10:30-11:00 Coffee-break11:00-12:00 Keynote2:ReineMeylaerts(KULeuven)

“Multilingualfilmsin/andtranslation:beyondtheparadigmofsimplicity?”Chair:PatrickZabalbeascoa

12:00-13:30 Panel5A:SociolectandIdiolect

Chair:MiquelPujolIreneRanzato(LaSapienzaUniversitàdiRoma)“The‘U’-sociolect:thelinguisticrepresentationoftheBritishupperclasses”

SattarIzwaini(AmericanUniversityofSharjah)“Multilingual Subtitling from and into Arabic: Patterns, features and communicativeoutcomes”

CarmeMangiron(UniversitatAutònomadeBarcelona)“PlayingwithLanguages:LinguisticVariationinGameLocalisation”

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12:00-13:30 Panel5B:CulturalReferences,PoliticalPerspectiveandIdeology

Chair:IrenedeHiges

PatriciaTavaresdaMata(UniversidadedeBrasília)HelenaSantiagoVigata(UniversidadedeBrasília)“Subtitlingmultilingualfilms:thechallengeofpreservinglinguisticdiversity”

AysunKiran(UniversityCollegeLondon/MarmaraUniversity,Istanbul)“LinguisticDiversityandTranslation(orNon-Translation)inTurkishCinema”

ArthurPontesCosta(UniversidadedeBrasília)HelenaSantiagoVigata(UniversidadedeBrasília)“Analysisofmultilingualsubtitles:LesGrandesOndes(àl'Ouest)”

13:30-14:30 Keynote3:MichaelCronin(TrinityCollegeDublin)

“TheNewLanguagesoftheEarth?Translation,CinemaandClimateChange”Chair:MontseCorrius

14:30-15:30 Lunch(Althoughformallunchisnotincluded,sandwicheswillbeofferedtoparticipants.)

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ABSTRACTS Keynote1(Day1.9:30-10:15)MartaMateo(UniversityofOviedo)“Issues,factorsandstrategiesinthetranslationofmultilingualoperas”Plurilingualoperasencouragereflectionontherelationshipbetweentextandmusicinmusicaltextsaswellasonthequestionofmeaning,bothofwhicharekeyissuesinmusic-linkedtranslation(Golomb2005).Whenstudying,ordoing,thetranslationofamultilingualoperaticwork,wemustconsiderhowimportant it istoactuallyunderstandthesemanticcontentofthevariouslanguagesfoundinthelibrettoinordertograspitscommunicativevalueand/orenjoyit,whiletheadvisabilityofneutralisingtheverbaldiversity–integraltothemeaningofthesemusicaltexts–inthetranslationprocessshouldalsobequestioned.Theseissueswillbedealtwithbrieflyinthefirstpartofthelecture,whichwillthenbedevotedtoobservingtheextenttowhichthedeliberatemixoflanguagesthatcomposersandlibrettistsintroduceintheirworks(tovariousdegreesandpurposes)is,orcanbe,conveyedintranslation.Wewill lookintotheintra-andextra-textual factors that may influence translation strategies, and will examine the target texts produced fordifferenttranslationmodalities(DVDsubtitlingandCDinserts)ofsomerelevantlibrettibyP.I.TchaikovskyandI.Stravinsky,showingvaryingfunctionsanddegreesofmultilingualism.Thetextualanalysispresentedwillnotonlyservetoillustratethedifferenteffectsproducedbythevarioustranslationchoicesintheconveyanceofheteroglossia,orthefeaturesandfactorsthatmaydeterminethem,butitwillalsohopefullycontributetoafullerunderstandingofthefunctionoflanguageinmusicaltexts(particularlycomplexinplurilingualones).

MartaMateoisProfessorofEnglishStudiesattheUniversityofOviedo,Spain,wheresheteachesTranslationTheory,LiteraryTranslation,EnglishPhoneticsandPhonologyandEnglishIntonation.Herresearchinterestsincludethetranslationofmultilingualisminmusicaltexts,thetranslationofhumour,dramaandtranslationtheory,aboutallofwhichshehascontributedchapterstointernationalvolumesandpublishedarticlesinbothnational and international journals, such as The Translator, Meta, Linguistica Antwerpiensia, Target orPerspectives.MartaMateoisthecoordinatoroftheTranslationandDiscourseAnalysisResearchGroupattheUniversityofOviedo.ShehasbeenamemberoftheExecutiveBoardoftheEuropeanSocietyofTranslation(1998-2001); she coordinated the Translation Studies Panel of the Spanish Association of Anglo-AmericanStudies(2000-2004),andhasbeenAssociateEditorofPerspectives.StudiesinTranslatology(2011-April2017).ShehasalsobeenHeadoftheLanguageHouseoftheUniversityofOviedo(2009-2013).

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Keynote2(Day2.11:00-12:00)ReineMeylaerts(KULeuven)“Multilingualfilmsin/andtranslation:beyondtheparadigmofsimplicity?”Howusefulareourdisciplinarysubdivisionsandourconceptualdefinitionstounderstandwhatisgoingonintheaudiovisualworld?Howtotransgressthemonolingualbias?Howtoaccountforacollaborativeproductionprocess?Howtodealwithsignificantlevelsofuncertaintyandambiguityintermsofauthorship,translatorship,audience,reception?Withamyriadofcontextualfactors?Howtoconceptualizetherelationbetweenthelocalandthecentral,betweenagencyandstructure?Giventhemulti-semioticnatureofaudiovisualmedia, themanyformsmultilingualismmaytake,thedifferentfunctionsitfulfils,aswellasthetremendousvarietyofreception situations, there can be no single answer, algorithm or protocol that would work in everycircumstance.Inotherwords,weneedtoconceptualizeexceptions,randomness,complexity,changewhenanalyzingmultilingualfilmin/andtranslation.Drawingontheinsightsofcomplexitytheory,thislecturewillcriticallyreflectonwhatinsightswewouldgainifwewouldanalyzemultilingualfilmsin/andtranslationfromacomplexityperspective.ReineMeylaertsisProfessorofComparativeLiteratureandTranslationStudiesatKULeuvenwheresheteachescoursesonEuropeanLiterature,ComparativeLiteratureandTranslationandPlurilingualisminLiterature.ShewasdirectorofCETRA(CentreforTranslationStudies)from2006-2014andisnowboardmember.Hercurrentresearchinterestsconcerntranslationpolicy,interculturalmediationandtransferinmultilingualcultures,pastandpresent.Sheistheauthorofnumerousarticlesandchaptersonthesetopics.SheisalsorevieweditorofTargetInternationalJournalofTranslationStudies.Shewascoordinatorof2011-2014:FP7-PEOPLE-2010-ITN:TIME:TranslationResearchTraining:AnintegratedandintersectoralmodelforEurope.SheisformerSecretaryGeneral(2004-2007)oftheEuropeanSocietyforTranslationStudies(EST)andChairoftheDoctoralStudiesCommitteeofEST.

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Keynote3(Day2.13:30-14:30)MichaelCronin(TrinityCollegeDublin)“TheNewLanguagesoftheEarth?Translation,CinemaandClimateChange”Thelecturewilllookatthequestionsofmultilingualism,translationandcinemafromthestandpointofwhatwearecallinga’terracentric’approachtotranslation.Thechallengeoftheanthropoceneisthechallengeofafundamentalrethinkingofhumanexceptionalismandbyextensionofwhatthehumanitiesdoandhowtheyareperceived.Translationasoneofthedisciplinestraditionallysituatedwithinthehumanitiesisnoexceptionto this rule and this requires looking again at the assumptions which are made about the specificity oftranslation.Wewillbereferringtoanumberofrecentcinematographicproductionsasawayofinvestigatingthenecessaryterracentricturnintranslationanalysis.Michael Cronin is Professor of Translation Studies at Trinity College Dublin, Ireland. Authorof TranslatingIreland: Translation, Languages and Identity (1996);Across the Lines: Travel,Language, Translation (2000);TranslationandGlobalization(2003);TranslationandIdentity(2006);TranslationgoestotheMovies(2009),TheExpandingWorld:TowardsaPoliticsofMicrospection (2012),Translation intheDigitalAge (2013)andEco-Translation:TranslationandEcology intheAgeoftheAnthropocene (2017).MemberoftheRoyal IrishAcademy,theAcademiaEuropeae/AcademyofEuropeandanOfficerintheOrdredesPalmesAcadémiques.Co-editoroftheRoutledgeseriesNewPerspectivesinTranslationStudiesandEditor-in-ChiefofthetranslationjournalMTM.HewasCETRAProfessorofTranslationStudiesin2004andNidaProfessorofTranslationStudiesin2016.HeisanHonoraryMemberoftheIrishTranslatorsandInterpretersAssociation.

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RoundTable:ProfessionalPerspectivesonMultilingualFilms(Day1.17:15-18:00)IsonaPassola(produceranddirector)ÀlexBrendemühl(actorandscriptwriter)LluísComes(translatorandadapter)

Theaimofthisroundtableistogivevoicetoseveralprofessionalsrelatedtotheproduction,direction,acting,translation and dubbing of multilingual films. On the basis of their diverse professional perspectives, thesessionwilldealwithsuchquestionsas:

- Whatfactorsareatstakeindecidingtoproduce/direct/cast/translateamultilingualfilm?- Fromyourexpertise,aremultilingualfilmsmorecomplextomanagethanmonolingualones?Why?- Aremultilingualfilmsmorefrequentinthe21stcentury?- Canyougiveusexamplesofgoodexperiencesyouhavehadinmultilingualfilms?Andexamplesof

not-so-goodexperiences?- Whatpieceofadvice–ifany–wouldyougivetootherprofessionalsinvolvedinmultilingualfilms?

Isona Passola holds a degree in Contemporary History. She founded Massa d’Or Produccions, where shehasproducedfull-length films, documentaries andfilms for television, notablyEl Mar(1999),Mirant al Cel(2008),PaNegre(2010) andIncertaGlòria(2017), and documentaries such asCatalunya-Espanya(2009)andL’Endemà(2014). She is president of theAssociation of Independent Producers of the Mediterranean(AIPMED),headquarteredin Barcelona, andsits on the board oftheOpen University of Catalonia.Sheteachesscreenwritingat the Blanquerna School of Communication Sciences,UniversitatRamonLlull,andisamemberoftheNationalCouncilforCultureandtheArts(2012)andpresidentoftheCatalanAcademyofCinema(2013).

AlexBrendemühlisanawardedfilmandstageactorborninBarcelona.HeholdsadegreeinDramafromtheInstitutdelTeatreofBarcelona.Hestartedhisprofessionalcareerplayingtheater,TVseriesandTVmovies.Hehasworked,amongstothers,inthefollowingprojects:Unbancoenelparque(AgustíVila,1998);Lashorasdeldia(JaimeRosales,2002);EnlaCiudad(CescGay,2002),Inconscientes(JoaquínOristrell,2004)andRemake(RogerGual,2005).HeisalsothecoscriptwriterofthefilmYo(RafaCortes,2007),winneroftheRevelationoftheYearAwardinthe46thSemainedelaCritique,Cannes.ForhisroleinYo,aswellashisworkin53díasdeinvierno(JudithColell)andElsilencioantesdeBach(PerePortabella)heobtainedtheBestActorAward(PremioSant Jordi) in 2008.His first work as a director, the shortfilmWorstward Ho, was selected in the OfficialSelection of the 62th Cannes Film Festival.During the last few years he has been cast in films in differentcountries:inArgentina,Wakolda-TheGermanDoctor(LuciaPuenzo)andIlPapadellaGente(DanieleLuchetti);in France, Le Sanctuaire(OlivierMasset-Depasse),Parisiennes(Slony Sow) andMal de Pierres (directed byNicole Garcia) co-starring French actors Marion Cotillard and Louis Garrel. In Germany, Von Zeit ZuZeit(Johannes Slevert) andWann Endlich Küsst duMich (Julia Ziesche). Hismost recent projects arePetra(JaimeRosales)andLaPrière(CédricKahn).http://www.alexbrendemuhl.com

LluísComesisatranslator,lipsynchroniserandlyricistspecialisinginaudio-visualproducts,andhastranslatedandlip-synchronisedmorethanfivehundredworks,fromvariouslanguagesintoCatalanandSpanish.CatalanprojectshehasworkedonincludeHamlet,Tintin,thesagasofHarryPotter,andTheLordoftheRingstrilogy,aswellasalmostallCatalanversionsofDisneyfilms.HehasalsotranslatedintoSpanishworkssuchasCloudAtlas,CaptainPhillips,andRogueOne.Asalyricist(songadaptor),heisresponsiblefortheCatalanversionsofDumbo,RobinHood,Frozen,andVaiana,amongstothers;alongwiththeSpanishversionofTheHobbit.HehasalsoadaptedsongsforanumberofTV3seriessuchasRanma.Lluíshasbeenaliterarytranslatorsince1984,inwhichtimehehastranslatedmorethantwentybooksintoCatalan,includingTomSharpe'sWilt;TheWomaninWhite,andTheMoonstone,byWilkieCollins,andThomasHardy’sTheMayorofCasterbridge.LluíshasbeenatraineroftheMasterdeTraduccióAudiovisualoftheU.A.Bfor15yearsandalsoteachesregularlyattheMasterdeTraduccióAudiovisualattheU.P.F.

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Panel1A:ResearchProjects(Day1.10:45-12:15)

MaríaPérezL.Heredia(UniversityoftheBasqueCountry)IrenedeHiges-Andino(UniversitatJaumeI)“Multilingualismandrepresentationofidentitiesinaudiovisualtexts:IDENTITRA,aresearchproject”Audiovisual products, surrounding us constantly nowadays, transmit supposed new stereotypes andprejudices.Throughtranslationandnewtechnologiesaudiovisualworksarespreadglobally, leadingtotheconfiguration and consolidation of certain,multilingual andmulticultural, identity rewrites. These identityrewritesmayaimtowreckoldstereotypeswhile,atthesametime,theymayperpetuateothersandevengiverisetonewanddifferentones.Despitethefactthataudiovisualtranslationmaybeconsideredasapowerfulsocial activity (Díaz-Cintas, 2012), the reproduction and representation of multilingual and multiculturalidentitiesinthecontextofaudiovisualproductsisafieldstilltobeexplored(Chaume,2013).Withadynamicconcept of the term "identity" inmind (cf. StuartHall, 1990), this proposal seeks to present our researchproject, which investigate the reproduction and representation of (gender, race, ethnicity, nation, etc.)identitiesandanswerfortheneedtoapproach(para)textualinformationaccompanyingaudiovisualproducts.Asaudiovisualtextsmayassimilateanddisseminatevalues,attitudesandidentitymodelstravellingthroughtheglobalvillage,ourpurpose is toplace thecentreofattention in identity issueswithawiderandmoreinclusiveconceptandwithaspecialemphasisontherepresentationofidentitiesinaudiovisualproducts.Froma descriptive perspective, the project deals with research from a transcultural point of view and with amarkedlyideologicalapproach–inlinewiththemostrecentperspectivesofthediscipline.Itaimstobringtogetherresearchersandresearchthat,fromanewperspective,studytranslationandtherepresentationofidentitiesinmultilingualaudiovisualtextsto(butnotonly)thefollowinglines:•Therepresentationofmultilingualandmulticulturalidentityinvariousgenresandformats.•Thetranslationofmultilingualandmulticulturalidentityandmediaaccessibilityinaudiovisualtexts;•Thereproductionofclichésandstereotypes(involvingmultilingualismandmulticulturalism)inthemedia.•Theideologyintheprocessofrepresentationandtranslationofidentitiesinaudiovisualmultilingualtexts.MaríaPérezL.HerediaholdsaBachelor’sdegreeonEnglishPhilologyandaPhDonTranslationStudiesbytheUniversityoftheBasqueCountry,wheresheiscurrentlylecturinginthedegreeonTranslationandInterpreting.She is amember of the TRALIMA (GIU16-48) research group. Besides, she is leading the research projectIDENTITRA (FFI2012–39012-C04–01T), funded by the MINECO Ministry, focused on the representation ofidentitiesofmultilingualaudiovisualtexts.Hermainresearchinterestsdealwithissuesconcerningliteraryandaudiovisual translation, especially from the perspective of censorship, gender and accessibility. She haspublishednumerousbooks,articlesandbookchaptersinnationalandinternationalpublishinghouses.IrenedeHigesAndino.Bachelor’sdegreeonTranslationandInterpretingbytheUniversitatJaumeI(CastellódelaPlana,Spain)andPhDonTranslationandInterpretingbythissameuniversitywithathesisondubbingand subtitling multilingual films into Spanish (http://hdl.handle.net/10803/144753). She has worked as aproductionassistant inadubbing studioandasa freelance translator specialised inarticlesabout cinema,dubbingandvoiceoverforTV,subtitlingandaudiodescription.Sheisnowafull-timelecturerandresearcheroftheTranslationandCommunicationdepartmentatUniversitat Jaume Iandmemberof the researchgroupTRAMA (Translation and Communication in Audiovisual Media). She is a member of the research projectIDENTITRAand is co-editingwithMaría Pérez L.Heredia special issue 4 ofMonTI on “MultilingualismandRepresentation of Identities in Audiovisual Texts” (forthcoming). Her research interests focus onmultilingualism,identity,audiovisualtranslationandaccessibility.

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Panel1A:ResearchProjects(Day1.10:45-12:15)

PatrickZabalbeascoa(UniversitatPompeuFabra)StavroulaSokoli(HellenicOpenUniversity)“TheTrafilmproject:Insightsanddevelopment”InthispaperwewillgooverthesalientfeaturesoftheTraFilmprojectanddatabase,includingtheconceptualframework, theway the online databaseworks, and some of the findings drawn from exploring the dataintroducedinthesystem.Inparticular,wewillfocusonthemostrelevantvariablesinvolvedintheaudiovisualtranslationofmultilingualfilms,especiallywithEnglishasthemainlanguageofthesourcetext.Wewillalsoshowhowtheoryandempiricaldatacanfeedeachother,ontheonehand,andhowtobeatthesametimetheoreticallyrigorousandaccessibletoprofessionalpractitioners,thusmakingresearchrelevantandreadilyapplicable.Patrick Zabalbeascoa is Full Professor in Translation Studies at Pompeu Fabra University. He lectures intranslationtheoryandaudiovisualtranslation,EnglishintoSpanishandCatalan.Hehasnumerouspublicationsin translation theory,anareawherehehasdevelopedamodelofprioritiesand restrictions,andproposedalternativeapproachestotraditionaltranslationtechniques,orshifts.Someofhismostrecentthinkingandpublications have to do with ‘mapping’ translation solutions through a system of binary branching, and‘mapping’audiovisual text componentson coordinatesdefinedbyanaudio/visual axis, anda verbal /non-verbalaxis.HehasworkedonseveralEU-fundedprojectsandNetworks.Heco-directsPostgraduateDiploma(UPF-BSM)inAudiovisualTranslation.Heco-directsaMastersDegree(UPF-BSM)inAudiovisualandLiteraryTranslation.StavroulaSokoli,PhD,isaresearcheronAudiovisualTranslationandLanguageLearning.Shehasinitiatedandcoordinated the EU-funded projects Learning via Subtitling(2006-2008) and ClipFlair, Foreign LanguageLearning through Interactive Revoicing and Captioning of Clips (2011-2014). She is involved in numerousnationalandEU-fundedprojects,includingtheAcademicandResearchExcellenceInitiativeinGreeceandtheprojectMOOCsforUniversityStudentsontheMoveinEurope(2015-2017).StavroulateachesSpanishattheHellenicOpenUniversity and gives subtitling courses at theUniversitat Pompeu Fabra and theUniversitatAutònomadeBarcelona,besidesherworkasafreelancesubtitlerandinterpreter.

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Panel1A:ResearchProjects(Day1.10:45-12:15)

IreneRanzato(LaSapienzaUniversitàdiRoma)"DialectsinAudiovisuals:regionalandsocialvarietiesofBritishEnglishincinemaandTV"The multifarious function of regional and social dialects in the fictional dialogues included in films andtelevision series is at the core of this research project. A close look at the way dialects are handled inaudiovisual products can reveal the changing attitude of readers and viewers towards this socially loadedlingua-culturalfeature.Initsinitialstage,theaimofthisprojectistorenderaccessiblethroughthiswebsite,forthebenefitofstudentsandscholars,arepositoryoffilesonfilmsandTVserieswhosemainorkeycharactersuseavarietyofregionalor social British English. These are categorised according to their function in the dialogues (Kozloff 2000,Richardson2010,Hodson2014).Dialect“handling”alsoinvolvesareflectiononthewayaccentsanddialectsaretranslated.Filesthusincludeinformationon the translatedversionof films intodubbed Italian,althoughweaimat includingdetailsonotherlanguagepairsandotheraudiovisualtranslationmodesinthefuture.The fictional language used on screen, and that of dubbing in particular, is characterised by a degree ofartificialitythatseemstoplaceitattheoppositeendofBritishcinemaandtelevision’squestforrealism.Itisthisdichotomythatweintendtoexplore,asafirststep,throughanorderlyrationalisationofdatarelativetotheuseofdialectsinaudiovisuals.AlthoughthegatheringandcollectionofmaterialonthevarietiesofEnglishincinemaandTVhasbeenIreneRanzato’sworkofseveralyears,thewaythefilesareorganisedowesagreatdealtothecollaborationandsuggestions of her students and to the inspiration of the Trafilm project on multilingual films by PatrickZabalbeascoaandhiscolleagues(Corrius,Espasa,Pujol,Santamaria,Sokoli)(http://www.trafilm.net)whomwewishtoacknowledge.FilmandTVfilescanbefilteredbytitle,year,dialectandfunction.Thebibliographyincludesworksofreferenceto accents and dialects and to other relevant linguistic, film and television, translation and audiovisualtranslationstudies.https://dialectsinav.wixsite.com/homeIrene Ranzato is a tenured researcher and lecturer in English language and translation at the SapienzaUniversityofRome,wheresheteachestranslation(audiovisualandintersemiotic)andEnglishlanguageforBAandMAcourses.SheholdsaPhDinTranslationStudies(ImperialCollegeLondon).Herresearchfocusesonthetranslationofculturalreferences,oncensorshipandmanipulationindubbing,onthefunctionandtranslationofregionalandsocialvarietiesofEnglish,onthelinguisticanalysisoffilmandtelevisiondialogue.Sheisalsointerested,andhas tried to incorporatemoreandmore intoher research inaudiovisual translation, topicsrelatedtoadaptationstudiesandtofilmandtelevisionstudies.Shehasespeciallyworked–bothinresearchandteaching–withcinemaandtelevisionadaptationsoftheclassicsofEnglishliterature,involvingstudentsin linguistic, translational and intersemiotic analyses. Hermore recent book is Translating Culture SpecificReferences-TheCaseofDubbing(Routledge2016).

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Panel1B:TheCrimesofCodeSwitching(Day1.10:45-12:15)SofiaIberg(UniversitatPompeuFabra)“Multilingualismasnarrativedeviceordepictionofreality?MappinglanguageuseandsubtitlinginNarcos”Television series with frequent foreign-language turns are no longer an exception, as multilingualism inaudiovisualproductshasmovedfromarthousecinematoblockbusterfilmsandtelevision(Naficy2009).Withtheadventofonlinedistributionchannels,newmarketshaveemergedandaudiencesarenowgroupedbyinterestsratherthangeographically,allowingseries’producerstotaketheriskofusingadditionallanguagesinlongerturnsorwholescenes.ThedistinctionbetweenthemainlanguageL1andanyadditionallanguagesL3(CorriusandZabalbeascoa,2011)isnotnecessarilyclearcut,asinthestreaming-video-on-demand(SVOD)seriesNarcos (Bernard,Brancato,andMiro,2015-), that featuresSpanishandEnglishexchanges inalmostequalquantity.Thegoalofthispaperistotracethelanguagesintermsoftheiruseasnarrativestrategyandtoexaminethetranslationstrategiesusedforthestreamedsubtitles.Forthatpurpose,IwillanalyzethefirsttwoseasonsofNarcos,examininghowmultilingualismappearsinthesubtitles,focusingbothontheforcednarrativesubtitles(subtitledL3dialogueinNetflix’terminology)andtheintratextualtranslationinthesourcetext(i.e.instancesofonscreeninterpreting),andcomparingtheresultstotheSpanishandGermansubtitledversionsoftheseries.References

Corrius,Montse,andPatrickZabalbeascoa.2011.“Languagevariationinsourcetextsandtheirtranslations:thecaseofL3infilmtranslation.”Target23(1):113–130.

Naficy,Hamid.2001.AnAccentedCinema.ExilicandDiasporicFilmmaking.PrincetonUniversityPress.

Narcos.CreatedbyCarloBernard,ChrisBrancatoandDougMiro.2015-.Dynamo.

SofiaIbergisaPhDstudentatUniversitatPompeuFabra.Herthesisfocusesonsubtitling,televisionstudies,and multilingualism in audiovisual products. Her other research interests include translation andsociolinguistics,andtheuseofinventedlanguagesinaudiovisualandliteraryworks.SheworkedasaresearchassistantattheUniversityofGraz,andiscurrentlyworkingasafreelancetranslatorandlanguageteacher.

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Panel1B:TheCrimesofCodeSwitching(Day1.10:45-12:15)EnriquetaZafra(RyersonUniversity)MarcoFiola(RyersonUniversity)“‘Translatorsalwaystalkaboutloyalty–tilltheirownassesareontheline1’:onfaithfulness,vulgarityandequivalenceforthreeaudiencesofNarcos TheNetflixseriesNarcosisanattempttodramatizeadarkchapterofColombianhistoryrevolvingaroundtheMedellinandCalidrugcartels.IttellsthestoryofdruglordPabloEscobarandhisinteractionswithotherdruglords, the USA Drug Enforcement Administration, and the Colombian government. In the original versionmeantforanEnglish-speakingaudience,thenarrationisinEnglish,anddialoguesareineitherEnglishand/orSpanish.Narcos’ssuccessrevolvesaroundthemaintenanceofacertainlevelofauthenticity,includinginthepreservationofthisnaturalmultilingualenvironment.Thesubtitlingprojecttakesthreeformsandservesthreedifferent purposes: 1) English subtitling of the Spanish dialogues gives access to the storyline to English-speakingaudiences;2)SpanishsubtitlingoftheEnglishdialoguesandnarrationgivesaccesstotheseriestoSpanish-speakingaudienceswhodonotspeakEnglish;3)and,subtitlingofnarrationanddialoguesintoanyotherlanguagegivesaccesstotheseriestootheraudiences.Ourstudyconsidersthismultilingualandmulti-functioncorpusfromtheperspectiveofthreelanguages,i.e.twothatarealternatelysubtitledintoandfrom,andoneintowhicheverythingissubtitled(French).Thenotionof equivalence in subtitlingwill be analysed through the spectrumof such concepts as language varieties(geographic variations, including standard language varieties), registers (vulgar, popular, and technicalsociolects),diachroniclinguisticfeatures(subtitlingeventsthattookplacedecadesago),andnicknamesasameantoridiculeortoexpressaffection.Findingsshouldhelpanswerthefollowingquestion:Howdosubtitlescomparetooriginaldialoguesintermsofregister,clarityandauthenticity?Isthereanyobviouscensorshipinthesubtitles, ineither language,and ifso, isthereatypology?Arecertain languagesmoreor lessopentovulgarities in subtitles? What factors must be taken into consideration when subtitling a multilingualproductionvsaunilingualproduction?Enriqueta(Ketty)Zafra(ezafra@ryerson.ca)isAssociateProfessorattheDepartmentofLanguages,LiteraturesandCulturesatRyersonUniversity.Zafra’sloveforfilmandlanguagehasbroughthertotheareaofaudiovisualtranslation.Shewasrecently invitedtopresentherfindingsatthe2017PanamaInternationalFilmFestivalwith the talk, This Could Be Fun: Cultural References andHumor in Audiovisual Translation as part of theIndustryandEducationalProgram.MarcoA.Fiola(mfiola@ryerson.ca)isFullProfessorattheDepartmentofLanguages,LiteraturesandCulturesatRyersonUniversity.Hehasbeenteachingtranslationsince2000.Hehaspublishednumerousarticlesandchapters on translation pedagogy, intertextuality and translator subjectivity. He is a Certified Translator(English-French).

1AdaptedfromalinespokenbycharacterStephenMurphy:“Thenarcosalwaystalkaboutloyalty-tilltheirownassesareontheline.”(Season2,episode8)

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Panel1C:DubbinginL3(Day1.10:45-12:15)AnjanaMartínezTejerina(UniversitatPompeuFabra)SamanthaSánchezMartínez(UniversitatPompeuFabra)“ThedubbingofforeignandregionalaccentsinTheSimpsons”Foreignandregionalaccentsareoftenusedinaudiovisualfictionworksincontrastwiththemainaccentoftheaudiovisualproductwhichisusuallya‘standard’accent.ThisstudydeepensontherenderingofaccentsbycomparingtheoriginalversionwiththedubbedversionoftheanimatedseriesTheSimpsons,andanalysing35characterswithanon-standardaccent.Theresearchisalsobasedinthefirst-personexperienceofMaríaJoséAguirredeCárcer,thecurrenttranslatoroftheseries.Thisinvestigationfindsoutthatfactorssuchaslinguisticobstacles, visual restrictions or stereotypes determine the final solution. Despite the close link betweenaccents and identity, the results obtained suggest that most translation techniques imply changes oncharacterisationtoagreaterorlesserextent. AnjanaMartínezTejerinahasbeenteachingTranslationandSubtitlingatUniversitatPompeuFabrasince2009.Shealsoworksas an external tutor and evaluator for other universities suchasUniverstitatAutònomadeBarcelonaandUniversitatObertadeCatalunya.Besides,shehasworkedasafreelancetranslatorspecializedinsubtitlingforthelasttenyears.In2016shepublishedthebookEldoblajedelosjuegosdepalabras(Thedubbingofwordplay).

SamanthaSánchezMartínezobtainedherDegreeinTranslationandInterpretationinEnglishandGermanatUniversitatPompeuFabra.ShewasselectedbythatuniversitytotakepartintheProgramadeMentorías,aformationandtrainingserviceinwhichseniorstudentsteachjuniorstudentsfromthesamedegree.Nowadays,after having studied theMasters on Secondary Education, Language Teaching and Vocational Training atUniversitatPompeuFabraandUniversitatObertadeCatalunyainordertobecomeanEnglishteacher,sheisworkingascoordinatorandteacherinawell-reputedEnglishacademy.

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Panel1C:DubbinginL3(Day1.10:45-12:15)DoraRenna(UniversityofVerona)“Unveilingmulticulturalism,translatingmultilingualism:ChicanoEnglishandItaliandubbingofthemovieBloodInBloodOut(1993)”ThisstudyisaninvestigationontheroleofChicanosingangstermovies,themainpurposebeingalinguisticandtranslationalproduct-basedanalysisofthedubbingofChicanoEnglish.Morespecifically,thestudywillbecentredon the elements that ‘mark’ this variety as different from standardAmerican English, namely theinfluenceofMexicanSpanishandtheoverlappingwithothernon-standardvarieties,suchasAfricanAmericanVernacular English. The observation of the translational strategies adoptedmight shed some light on thepotentialimage-relatedimplicationsofspecificlinguisticchoices.TheresearchresultssuggestthattheoriginalaswellasthedubbedversionofamoviestarringChicanogangstersmighttendtoestablish linksbetweenethno-linguistic identity and inclination to criminalbehaviours, although indifferentwaysand todifferentextents.ThechosenaudiovisualtextfortheanalysisisTaylorHackford’smovieBloodInBloodOut(1993).Inparticular, the speechpatternsofone characterwill be taken into consideration: theprotagonistMiklo, aWASP-lookingChicanowhoslowlybuildshisgangstercredibilityuntilhebecomesthe leaderofapowerfulganginjail.Becauseofhislooks,hecanonlyuselanguagetoreaffirmhisidentityinthebarrioandhisbelongingtolaraza.Throughtheanalysisofhisspeech,itwillbepossibletohighlighthowthecinematicgangsterimageisbuiltfirstofallthroughlanguage,andhowthetranslationcanretaincertainaspectsoftheoriginalwhile,atthesametime,re-inventingitforatargetaudiencethatonlyknowstheChicanogangsterrealitythroughitsaudiovisualrepresentation.DoraRenna isaPhDcandidate inModernForeignLanguages,LiteraturesandCulturesat theUniversityofVeronawithathesisonaudiovisualtranslationofChicanogangstermovies.ShegraduatedinMediaStudiesattheUniversityofBariandholdsaMastersinLanguageandCulturalMediationattheUniversityofSalento.Hermainresearchinterestsconcerntranslationandaudiovisualtranslation,non-standardvarietiesofEnglish(inparticularChicanoEnglishandAfricanAmericanVernacularEnglish),mediastudies,migration.SheisateacherofEnglishLanguageattheUniversityofMantua,HonoraryFellowinEnglishLanguageandTranslationattheUniversity of Bari andmember of the Editing Staff of the online scientificmagazine Iperstoria, directedbyProfessorRobertoCaglieroandProfessorRobertaFacchinettifromtheUniversityofVerona.

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Panel2A:TheFilmmakers’View(Day1.12:15-13:45)NancyMembrez(UniversityofTexas)“CollaboratingwithArgentineFilmmakerEliseoSubiela”InFebruary2000,ImetArgentinescreenwriter-directorEliseoSubiela(BuenosAires,1944-2016),authorofcultclassicsManFacingSoutheastandDarkSideoftheHeart,attheCine-LitVConferenceinPortland,Oregon.Asour friendshipdeveloped,Subielabegansendingmescreenplays forcomment.Then, tohelphimout, IstartedtranslatingblurbsandpitchesintoEnglishforpotentialforeignbackers;Iservedashisinterpreterona number of occasions at Film Festivals. Thatwas the beginning of our professional collaboration. It thenevolvedintomywritingtheEnglishsubtitlesforfourofhisfeaturefilms.Inthispaper,IdiscussworkingwithSubielaforoveradecadeanddetailknottyissuesofsubtitlinghisfilmsandhowweresolvedthem.NancyJ.Membrez,Ph.D.AssociateProfessorofSpanishLiterature,Culture,andFilm,andDigitalFilmmakingDepartmentofModernLanguagesandLiteraturesUniversityofTexasatSanAntonioIeditedtwobooksonSubielaandhavefinishedanewmonographonhisfilms.IfilmedandeditedtwoofthespecialfeaturesandeditedathirdforthenewDVDeditionofHombremirandoalsudeste/ManFacingSoutheastdistributedintheUSandCanada,thefirsttimethefilmhasbeenavailableinthesecountriessince1995.

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Panel2A:TheFilmmakers’View(Day1.12:15-13:45)IrenedeHiges-Andino(UniversitatJaumeI)EvaDuran-Eppler(RoehamptonUniversity)MathiasKraemer(VSI,London)“Whymakemultilingual filmsandTVseries?Andhoware theyperceived?Preliminary resultsonfilmmakers’intentionsandaudiences’perception”This paper presents the first results of a comparative analysis of filmmakers’ intentions and audiences’perceptionoftranslationmodesusedinmultilingualaudiovisualproductions.MultilingualfilmsandTVseriesareontheincreasebothintermsofsuccessandpenetrationofwideraudiencesinaglobalmarket,raisingissuessuchashowfilmmakersconveymultilingualismandhowaudiencesrespondtoit.Whilethetranslationmodesusedinmultilingualproductionshavereceivedsomeattentionfromacademicresearchers,whathasnotbeeninvestigatedtodateisthesuccessorfailureofwhatfilmmakersintendtocommunicatetoaudiencesthroughtheuseofmultilingualism.Thisstudythuscomparestwodatasetsontheissue:interviewsinwhichfilm-directors and scriptwriters outline the intentions they pursuewith the use ofmultilingualism in theirproductions, and survey data on (hearing) viewers’ perception of and response to multilingualism in AVproductions.Theresultsindicatethatfilmmakers’intentionsandtheusetheymakeofforeignizingtranslationmodes–suchasnon-subtitlingandintralingualsubtitles(withorwithoutmarkedfonttypes),are“read”byaudiencesinbothdubbingandsubtitlingcountries.Theresultsofthisstudycanencouragefilm-distributorsandTV-stationsto“make”viewerswatchmultilingualfilmsorTVseries.IrenedeHigesAndino.Bachelor’sdegreeonTranslationandInterpretingbytheUniversitatJaumeI(CastellódelaPlana,Spain)andPhDonTranslationandInterpretingbythissameuniversitywithathesisondubbingand subtitling multilingual films into Spanish (http://hdl.handle.net/10803/144753). She has worked as aproductionassistant inadubbing studioandasa freelance translator specialised inarticlesabout cinema,dubbingandvoiceoverforTV,subtitlingandaudiodescription.Sheisnowafull-timelecturerandresearcheroftheTranslationandCommunicationdepartmentatUniversitat Jaume Iandmemberof the researchgroupTRAMA (Translation and Communication in Audiovisual Media). She is a member of the research projectIDENTITRAandisco-editingwithMaríaPérezLópezdeHerediaspecialissue4ofMonTIon“Multilingualismand Representation of Identities in Audiovisual Texts” (forthcoming). Her research interests focus onmultilingualism,identity,audiovisualtranslationandaccessibility.EvaDuranEpplerisAssociateProfessorinLinguisticsattheUniversityofRoehampton.Shehasbeenworkingonstructuralandprocessingaspectsofmultilingualismforthelasttwentyyearsandhaspublishednumerousrefereedjournalarticlesandauthored,editedandcontributedtoseveralbooksonthesetopics.Withtheriseof research onmultilingualismandhow it is rendered inAVT she hasmoved into this area.Her particularinterestliesinhowforeignizingtranslationstrategiesasperceivedbyaudiences.Aco-authored(withMathiasKraemer)paperonthedeliberatenon-subtitlinginBreakingBadistobepublishedinMetainduecourse.MathiasKraemerisatranslatorandsubtitleratVoice&ScriptInternationalLtd.Heholdsanundergraduatedegree inTranslation fromSaarlandUniversity,Germany,andamaster'sdegree inAudiovisualTranslationfromtheUniversityofRoehampton,UK.Hismainresearchinterestslieintheareasofaudiovisualtranslationand multilingualism. His work on the (non-)subtitling of multilingualism, co-authored by Eva Eppler, waspresented at theLanguages & The Mediaconference in Berlin, Germany, in November 2016 and will bepublishedinMeta:journaldestraducteurs/Meta:Translators'Journalin2018.Heiscurrentlyworkingonaprojectcomparingaudiences’anddirectors’viewsonthetranslationofmultilingualismwith IrenedeHigesAndinoandEvaEppler.

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Panel2B:StrategiesWhenTranslatingL3(Day1.12:15-13:45)MonikaWozniak(LaSapienzaUniversitàdiRoma)“GiuseppeinWarsaw:astrangecaseofuntranslatabletranslation”Whilethepracticeofincludingdifferentlanguagesinthesamefilmseemstobecomemoreandmorepopularnowadays,thepurposeofthislinguisticstrategyisnotalwaysverycomplexanddoesnotnecessarilycreateasignificantchallengetothetranslator.Suchisthecasewhenthelinguisticdifferentiationoccursonthescreentoreflectananalogicalsituationthatwouldtakeplaceintherealworld:intherecentproductionaboutJesseOwens and the Olympic Games in Berlin in 1936 (Race, 2016), Americans speak English and Germans –understandably–German,but translational issuesareeasilyhandledby themeansof the subtitles.Whathappens,however,whenthetranslationandlinguistichavocarethefundamentofthefilm?In1964,manydecadesbeforemultilingualmoviesbecamefashionable,aPolishdirector,StanisławLenartowicz,madeawarcomedycalledGiuseppeinWarsaw.ItnarratestheadventuresofanItaliansoldierwhoonhiswayhomefromtheRussianfrontduringWorldWarIIisstuckinWarsaw.Inacourseoffunnyevents,Giuseppefallsinloveand becomes a hero of the Polish resistance. Translation, mistranslation, pseudo translation and mocktranslationfigureconspicuouslyinthemovie,whichshowsaseriesofclashesbetweenPolish,GermanandItalianlanguagesinthemostunimaginableconfigurations.Therearenosubtitles,becauselinguisticchaosispivotaltoshowingtheabsurdityofthewarthroughthedeforming lensesofthecomedy.Whatmakesthemovie(almost)untranslatableisthefactthatItalianandGermandialogueareintroducedinawaywhichmakesthemeasytodeciphertothePolishaudience,whiletheforeignspectatorsareputinasituationcomparabletothatofthepoorGiuseppe,completelylostinanincomprehensiblecontext.InmypaperIwillanalysetheItaliansubtitlestothefilmandshowthattheysubvertdrasticallythelinguisticdynamicsandthehumouroftheoriginalmovie.ReferencesHeiss,C.(2004).Dubbingmultilingualfilms:Anewchallenge?Meta,49(1),208–220.Meylaerts,R.(2006).Heterolingualismin/andtranslation:Howlegitimatearetheotherandhis/herlanguage?Anintroduction.Target,18(1),1–15.SerbanA.(2012),Translationasalchemy:theaestheticsofmultilingualisminfilm,“MonTi:MonografíasdeTraduccióneInterpretación”N4(2012):MultidisciplinarityinAudiovisualTranslation/Multidisciplinarietatentraduccióaudiovisual.Sternberg,M.(1981).Polylingualismasrealityandtranslationasmimesis.PoeticsToday,2(4),221–239.MonikaWozniakisAssociateProfessorofPolishLanguageandLiteratureattheSapienzaUniversityofRome.HerresearchhasaddressedseveraltopicsinLiteraryTranslation,Children’sLiteratureandTranslationaswellas Audiovisual Translation. She has co-authored a monograph of Italian-Polish translations of children’sliterature (Translations for Children in the System ofMinor Literature, Toruń, 2014), and presently she isworkingonamonographyonItalianandPolishTranslationsofhistoricalfilms.Sheisatranslatorherself,andhastranslatedMoravia,Eco,Camilleri inPolishandPolishclassicsforchildren,suchasJanBrzechwa,JulianTuwimandKornelMakuszyńskiinItalian.

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Panel2B:StrategiesWhenTranslatingL3(Day1.12:15-13:45)SimonLabate(UniversityofNamur)“WhereIdiomsChange:TheFrenchdubbedversionofWhereEaglesDare”Where EaglesDare is a 1968British SecondWorldWar filmdirected by BrianG.Hutton, starring RichardBurton,ClintEastwoodandMaryUre.TheplotrevolvesaroundagroupofsoldierswhosemissionistorescueanAmericangeneralwhohasbeen imprisonedby theNazis inan inaccessible castle in theBavarianAlps.However,theoperation’srealgoalistounmaskGermandoubleagentswhoarepartofthecommando.Chaosensues,featuringmanyplottwists,shootings,explosions,chasesandevenafightonacablecar.Intheoriginalversionof the film,allcharactersspeakEnglish,sometimeswithaGermanaccent,withtheexceptionofaminoramountof lines inGermanheardinthebackground,thereforecombiningstrategiesof ‘elimination’,‘evocation’andlimited‘presence’forforeign languages(Bleichenbacher2008).TheFrenchdubbedversion(Quandlesaiglesattaquent,releasedinMarch1969),however,tookaradicallydifferentapproach,herebycreatingaremarkablecaseinFrenchdubbing.Indeed,whilethescenesinwhichthecharactersaresupposedtospeakEnglisharedubbedintoFrench,Germanisusedinthesequenceswhereitwouldlogicallybespokeninthestoryworld.Thedubbedversion,whichinfactborrowsexcerptsfromtheGermandub,thereforegivesmore prominence to a foreign language than the original does by using the strategy of ‘presence’wherenecessary.Using concepts and taxonomiesput forwardbyBleichenbacher (2008), Corrius& Zabalbeascoa(2011)andDelabastita(2010),thispaperexaminesthestrategiesandoperationsappliedbythefilmmakersand translators in order to represent language difference, also referred to as ‘heterolingualism’ (Grutman2006),dependingonthecommunicativeconfigurations(i.e.speechparticipants,context).Theanalysisshowsthesizeableinfluenceofthosestrategiesoncharacterization,plotandoverallsuspensemanagement.SimonLabateobtainedaBachelorinGermanicLanguagesandLiteratures(DutchandEnglish)attheUniversityofNamurbeforecompletingaMasterinLanguagesandLiteraturesatKULeuven,includingathesisdealingwiththeFrenchtranslationofintertextualreferencesandpunsinthecartoonseriesTheSimpsonsandFamilyGuy. Next to second-language teaching activities at the University of Namur, he is working on a PhDdissertationontheuseoflanguagesinacorpusofSecondWorldWarfilmsandtheirFrenchdubbedversions.

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Panel2B:StrategiesWhenTranslatingL3(Day1.12:15-13:45)HelenaSantiagoVigata(UniversidadedeBrasília)“Totranslateornottotranslate:thechoicetoleaveforeignlinesuntranslatedinafilm”The translation of films where more than one language is spoken requires thoughtful analysis aimed atidentifyingwhatroleseachlanguageplaysbothinthefilmandwithinthemultilingualsituationsitrenders.Suchanalysiscaninvolvedifferentperspectives,suchas:therelationsbetweenthefilmcharactersandthelanguagestheyuse(whetherasamothertongue,whetherasanadditionallanguage–whichusuallycomestogetherwithaforeignaccent);thelinguisticsituationofthecountryorcommunitywherethecharactersare(itcanbeacountrywithseveralofficiallanguages,aborderareawithhighlanguagecontactoreventhefilmcharactersmaymove between different countries and cultures); the power relationsmanifested throughlanguage(somelanguagesholdmoreprestigethanothers,somedialectsmaybestigmatized);the identitytraitspresentinthecharacters’wayofspeaking;andtheworld-viewsportrayedbythecharacters’discourses.Thispaperaimstoanalyse the linguisticsituationofDavidTrueba’s filmVivires fácil con losojoscerrados(2013).Themotivationtostudythisfilmisthat,althoughit isnotofficiallyconsideredamultilingualfilm–Spanishistheonlylanguageaccordingtothetechnicalfile–theEnglishlanguageplaysanessentialroleintheplotanditisusedinsomepeculiarsituationsduringthefilmthatmayforcethetranslatorstousedifferentstrategiesineachparticularcase:insomecases,itwillbemoreappropriatenottotranslatetheforeignlines,evenifthetranslatorknowswhattheymean,almostasanactofsurrender.Afterananalysisofthelanguagevariation (CorriusandZabalbeascoa,2011;VoellmerandZabalbeascoa,2014), someconsiderationswillbemade about its implications for the translation process both for dubbing and subtitling the film intoPortuguese.Someexampleswillbegivenfromexistingtranslations.HelenaSantiagoVigatagraduatedinTranslationandInterpretingattheUniversitatAutònomadeBarcelona,whereshealsoattendedtothefirsteditionoftheAudiovisualTranslationMastercourse.Shehasworkedasafreelancesubtitlerand,since2011,sheisalectureroftheBachelor’sDegreeinAppliedForeignLanguagesattheForeignLanguagesandTranslationDepartment(LET)ofUniversityofBrasilia(UnB),Brazil. In2016,shefinishedherPhDonSocialCommunicationby theUniversityofBrasilia (UnB).Her thesiswasaboutartisticexperienceandaccessibilitytocinemas,museumsandtheatres.SheisamemberoftheresearchgroupsAcessoLivreandNesecom.Hermainresearchinterestsareaudiovisualtranslationandaccessibility.

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Panel2C:CodeSwitching(Day1.12:15-13:45)MargheritaDore(LaSapienzaUniversity)“TranslatingMultilingualHumourinAVT.ModernFamilyasaCaseinPoint”Audio-visual productions are increasingly featuring multi-ethnic communities which also reflect today’sglobalisedwold.CharactersinbothfilmandTVseriesareoftendepictedashavingabilingualbackgroundandheavily relying on code-switching to express their bicultural identity (Monti 2016: 69). As such, thisphenomenonbringsaboutimportantchallengesforitstranslation,especiallywhendubbingisinvolved.UsingthisAVTmodeleadstoanecessarytechnicalmanipulationbutisalsomayleadtotheideologicalmanipulationofthetext(Díaz-Cintas2012:284-285).AsforItaliandubbing,multilingualismhasoftenundergoneaprocessofneutralization(Pavesi2005:56)orlocalstandardization(Ulrych2000:410)althoughrecentdubbedfilmshavedemonstratedtobegearingtowardsmorefaithfulrenderingofthisimportantfeatureoftheST(Monti2016:90).However,contextualfactors,suchasgenres,mayplayafundamentalroleindecidingwhethertoretainorneutralisemultilingualisminAVT.Forinstance,whendealingwithhumorousfilmsorTVcomedy,theperlocutionary function of the ST should be considered (Hickey 1998; cf. also Zabalbeascoa 2012: 322). AstrikingexampleinthissenseistheAmericanmockumentary(ordocucomedy)ModernFamily,whichhasbeenrunningsince2009andfollowsthelivesofJayPritchettandhisfamilyinsuburbanLosAngeles.Linguisticallyspeaking, themost interesting character is Pritchett’s secondwifeGloriaDelgado, a young and extremelybeautiful Colombian woman who often code-switches or code-mixes English and Spanish, thus creatingmoments of pure comedy. Hence, this study seeks to investigate how Gloria Delgado’s humorous andmultilingual persona has been transferred into Italian. Through this analysis, I also suggest that whenmultilingualism is used for humorous purposes, dubbing may resort to what I propose to call functionalmanipulation.MargheritaDoreholdsaPhDinLinguistics(AudiovisualTranslation)fromLancasterUniversity(2008),anMScinTranslationandInterculturalStudiesfromUMIST,UK(2002)andaBAinEnglishandLatin-AmericanStudiesfromtheUniversityofSassari,Italy.SheisanAdjunctLecturerintheDepartmentofEuropean,AmericanandInterculturalStudiesandtheDepartmentofOrientalStudiesattheUniversityofRome“LaSapienza”,Italy.SheistheeditorofAchievingConsilience.TranslationTheoriesandPractice(CPS,2016);shehasalsopublishedaseriesofpapersrelatingtotheAVTofhumourofTVseriessuchasFriendsandTheSimpsons,MisfitsandtheItalianTVseriesMontalbano.

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Panel2C:CodeSwitching(Day1.12:15-13:45)CarmenPena-Díaz(UniversidaddeAlcalá)“TheUseofCode-switchingasaContextualizationCueinAudiovisualTranslation”Linguistic identitiesareconstantlyopentoreconstruction,renegotiationandreinterpretationandlanguageserves as one of the vehicles to expressmulticultural differences and thus expose those identities. Codeswitchingisfrequentlyusedasacontextualizationcue,thatis,asanelementofcommunicationwhichaddstosharedunderstandingandmeaning-makingandwhich,ifnotshared,cancausemisunderstanding,withtheultimateaimofrepresentingthesediversemulticulturalidentitiesinfilms.Thepurposeofthispaperwillbethestudyoftheconversationalfunctionsfulfilledbycode-switchinginfilmsinwhichinterculturaldifferencesplayan importantrole.Dialogues fromdifferentmulticultural filmswillbeanalyzedby lookingatboththeoriginalandthedubbedversion,andthetranslationstrategiesactivatedtodealwiththedifferenttypesofcode-switchingwillbestudied.CarmenPenaDíaz is a translation Professor at theDepartment ofModern Philology at Alcalá deHenaresUniversity (Madrid, Spain). She has previously taught at Vigo University (Spain) and at Louisiana StateUniversity (USA). Her research areas are bilingualism, translation and ESP. She is member of the FILWITresearchgroupwhichresearchesnewtechnologiesinlanguageandtranslationteaching,leaderofanationallyaccreditedresearchgroupInterMedandcoordinatestheEnglish-SpanishsectionoftheEuropeanPublicServiceInterculturalCommunication,TranslatingandInterpretingMaster'sDegreeatAlcaláUniversity.

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Panel2C:CodeSwitching(Day1.12:15-13:45)GiuliaMagazzù(UniversityofChieti-Pescara)“‘Dottore,dottore!’Subtitlingdialectsandregionalisms:thecaseofInspectorMontalbanoDíaz Cintas and Remael (2007:185) underline that “subtitling, being a hybrid language formwith its ownlimitations,isthereforefacedwithaformidablechallenge;howdoesonetranslatethesophisticationofspokenlanguagevariantsintoaregimentedwrittenform?”Dialectsarenotsimplyamatteroflexicon,they“arecharacterizedbynon-standardgrammar,specificlexicalfeatures and a distinctive accent” (ibidem:191). The dialogue found in the Montalbano saga (an ItaliantelevisionseriesproducedandbroadcastbyRAIsince1999,basedonthedetectivenovelsofAndreaCamilleri)isrichinregistervariation,fromthe“macaroniclanguage”ofCatarella,withitslinguisticjokesandgrammaticalerrors, to the use of the local dialect (adopted by peasants and lower classes), to Montalbano’s mixedinterlanguageusedwithaphaticfunction,toLivia’sperfectlysoundingItalian.Thecode-switchingandcode-mixingusedbyCamillerirepresentagreatchallengeforthetranslatorwhohastomakespecificchoices inorder to render the translation intelligible to the target audience (De Rosa, 2015). Starting from Taylor’s(2000:153)definitionofsubtitlesas“conveyorsofmeaningandguardiansofculture”,theaimofthispaperisto analyse the subtitling strategies adopted to translate into English the dialect and regionalisms in twoepisodes of “Inspector Montalbano” broadcast on BBC4 in 2008 and 2012, focusing on the factors oftransculturalityandextratextuality(wheretheformerreferstohowfamiliarthesourceandtargetculturesareandthelatterhastodowithwhethertheconcepttobetranslatedexistsoutsidethesourceculture)thataffectthechoicesofatranslatorwhenitcomestothetranspositionofaspoken,sociolinguisticallymarkeddialogueintoasubtitlethatshouldconveythemeaningofthesourcetext.References

DíazCintasJ.,RemaelA.(2007)AudiovisualTranslation:Subtitling,St.JeromePublishing,Manchester.

Taylor,C.(2000)InDefenceoftheWord:SubtitlesasConveyorsofMeaningandGuardiansofCulture,inR.M.BollettieriBosinelli,C.Heiss,M.Soffritti,S.Bernardini(eds.),Latraduzionemultimediale:qualetraduzioneperqualetesto?,CLUEB,Bologna.

De RosaG. (2015) “Audiovisual Translation and Sociolinguistic Adequacy” in Perego E. and Bruti S. (eds.),SubtitlingToday:ShapesandTheirMeanings,CambridgeScholarsPublishing,NewcastleuponTyne,pp.15-32.

GiuliaMagazzù,PhD,worksascontractlecturerat“GabrieleD’Annunzio”UniversityofChieti-Pescara,Italy,wheresheteachesEnglishlinguisticsandTranslationatundergraduatelevel.Herresearchinterestsare:CorpusLinguistics applied to Translation Studies, Audiovisual Translation and Sociolinguistics.She has worked as a translator from English into Italian at a number ofeventsandadvertisingcampaignsinItaly.HerspecializationandareaofexpertiseisinthefieldofEnglishtoItalianaudiovisualtranslation(subtitlinganddubbing).

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Panel3A:DramaandPerformance(Day1.15:15-16:45)ElizabeteManterola(UniversityoftheBasqueCountry)“Thetranslationofaheterolingualnovel:Soinujolearensemea,byBernardoAtxaga”Bilingualandmultilingualauthorsofferaninterestingresearchareafromthepointofviewofliterarycreationandtranslation.DrawingontheBasquenovelSoinujolearensemea(2003),writtenbyBernardoAtxaga,anditstranslationsintoSpanish,Catalan,Galician,English,French,GermanandItalian,IwillanalyzethechallengesposedbythetranslationofanovelcreatedinacontextwhereBasqueandSpanishcoexistwithinaterritorysituated next to the boundary with France, and in a world where English is also increasingly present.HeterolingualismisverypresentintheoriginalversionastheBasquetextcontainsmanySpanishandEnglishwordsandfragments,andthereisaconsiderableuseofBasquedialectsaswell.ThispaperwillfirstreflectonthepresenceandthepragmaticfunctionofthevariousL3thatappearinthesourcetextandthenwillobservehowtheyhavebeentransferredtothetargettexts.Oneofthechallengesposedbymultilingualtextsoccurswhentheoriginalhastobetranslatedintooneoftheembeddedforeignlanguagesofthesourcetext.ThispaperwillpayspecialattentiontotheSpanishversion,whichhappenstobeacollaborativeself-translationthatservedassourcetextfortheothertargettranslationsunderstudy.Inthisregard,thispaperwillstudytheroleplayedbytheauthor-translatorinpreservingheterolingualisminthefirsttargettext,whilstgaugingtowhatextentheterolingualismiskeptintheothertargettextsthatweretranslatedfromthepivotversioninSpanish.ElizabeteManterolaAgirrezabalagaislecturerofTranslationandInterpretingattheUniversityoftheBasqueCountryUPV/EHU.ShecompletedherPhDin2012,whichfocusedonthetranslationofBasqueliteratureintoforeignlanguages.SheistheauthorofthebooksLaliteraturavascatraducida(PeterLang,2014)andEuskalliteraturaitzulia.BernardoAtxagarenlanakerdaretan(EHU,2014).ShealsocreatedtheCatalogueofBasqueLiteratureinTranslation(ELICatalogue,http://www.ehu.eus/ehg/eli/).Shehaspublishedvariouspapersandparticipated in many international conferences. Her research interests include translation within minoritylanguagecontexts,Basqueliteratureandtranslation,diglossia,self-translation,collaborativeself-translation,indirecttranslation,orcorpus-basedtranslationstudies.

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Panel3A:DramaandPerformance(Day1.15:15-16:45)YuJing(ShanghaiJiaoTongUniversity)“TheissueofgenderandEliza’stwovoices”CockneyplaysacentralroleinShaw’sPygmalionforcharacterizationandsocialsatire.ItstranslationposesproblemsforChinesetranslatorsduetothelackofsocialstatusdialectinChina.WithacasestudyofthetwomostinfluentialandcanonizedtranslationsofPygmalioninChina,thisstudyintendstorevealhowdifferenttranslationstrategiesfortherepresentationofthesocialOthermayreversethepowerdynamicandchangethethemeoftheplay.Thecomparativeanalysisismadeonthreelevels:lexical,grammatical,anddiscoursalwithaspecialemphasisonhowbothsidesofthevariationhavebeentranslated,andhowthesestrategiesrestructurethepowerdynamicinthetranslations.Inthe1945translationbyLinYutang,twosetsofvoiceswerecreated:thecorrectChinesevsthebrokenChinese,andtheelevatedChinesevsthevulgarChinese.Thesocialsatireagainstthesnobbishupperclassinthesourcetextwaserased,andtheplaywastransformedintoastoryabout“TheFlowerGirl”whowasstrugglingtofindherwayoutofthegenderdilemmafacingChinesewomenatthetime.Inthemostreprinted1956translationbyYangXianyi,Elizawasgivenalinguisticliftandanmainstreamvoice,thusreversingthepowerstructureinthesourcetext.WithElizaportrayedasasmart,confidentandpoliteworkingclasswoman, thesocial satire in thesource textwas restructuredasa socialaccusationagainsttheupperclasssociety.Theshiftfromadefectedgenderedvoiceinthe1945translationtoacompetentungenderedmainstreamvoiceinthe1956translationreflectedtheelevationofwomen’ssocialstatusinChinaontheonehand,andalsotheobliterationoftheirgenderidentityontheotherhandfromthe1950s. YuJingisanAssociateProfessorofShanghaiJiaoTongUniversityinChinawithaPhDdegreeinTranslationandInterpreting Studies. Her research interests are literary translation, dialect translation and sociology oftranslation.

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Panel3B:DubbedSeries(Day1.15:15-16:45)JuliaCarbonell-Galindo(UniversityofValladolid)VerónicaArnáiz-Uzquiza(UniversityofValladolid)SusanaÁlvarez-Álvarez(UniversityofValladolid)“Multilingualkaleidoscope:Multilingualproductsrenderedindifferentdubbingscenarios” Multilingualism(ML),understoodasalinguisticphenomenon,isinmostcasesaculturalaspect,asitisaresultofbothglobalizationandmigration(UNESCOInstituteforStatistics,2012).SinceMLshowsarealityofourworldnowadays,itseemscrucialtopreservethisphenomenon,sothatitcanreflectthattoday’ssocietyismultilingual,andtherefore,multicultural.Themostprolificandillustrativerepresentationsofthisdiversityinsocietyarerenderedinanaudiovisualformat,alreadysubjecttospecifictranslationtechniques.Inthiscontext,when it comes to translating thecoexistenceof languages intoa target language -andculture-,difficultiesemergenotonlyinthetranslationprocess(DeHiges,2014)butalsointhereceptionoffinalproducts.Thenumberoflanguagesinvolvedinthesourcetext,thepresenceofhumour,thecoincidenceand/orproximityofthelanguagesintheaudiovisualproductandinthelanguageofthetargettext(Zabalbeascoa,2014),andtheculturalreferencesrelatedtoMLareamongthemostcommondifficultiesinmultilingualaudiovisualtexts.Thisalreadykaleidoscopiccontextisadditionallyconditionedbyculturally-basedtranslationtechniques-andtraditions-,resultinginanevenmorediversescenario,withdifferentculturesadoptingdifferentapproaches.ThispaperaimstocomparethetechniquesappliedinanumberoflanguageswhenMLispresent.Inordertoachievethatgoal,wecomparedtheoriginalandthreedubbedversionsoftheAmericansitcomModernFamily(Lloydand Levitan,2009), andmanyof itsmultilingual scenes in these languages / linguistic contexts -thedubbingintoSpanishandintoFrenchandItalian-wereanalyzed.ThisstudyallowedustodemonstratethatML translation techniques do vary depending on the language / culture, aswell as their purpose and thecontextinwhichtheyareapplied.ReferencesDeHiges,I.(2014).Estudiodescriptivoycomparativodelatraduccióndefilmesplurilingües:elcasodelcinebritánicodemigraciónydiáspora.(DoctoralThesis).Castellón:UniversitatJaumeI.Lastaccessed28/01/2017:http://www.tdx.cat/bitstream/handle/10803/144753/idehiges.pdf?sequence=1&isAllowed=y

UNESCOInstituteforStatistics.(2012):FromInternationalBlockbusterstoNationalHits.Analysisofthe2010UIS Survey on Feature Film Statistics, Information Bulletin, 8. Last accessed 14/04/2017http://www.uis.unesco.org/culture/Documents/ib8-analysis-cinema-production-2012-en2.pdf

Zabalbeascoa,P.(2014).“Lacombinacióndelenguascomomecanismodehumoryproblemadetraducciónaudiovisual”.InG.DeRosa,F.Bianchi,A.DeLaurentiisandE.Perego,TranslatingHumourinAudiovisualTexts.Bern:PeterLang,25-27. Julia Carbonell-Galindo is a Translation and Interpreting student at the University of Valladolid (Spain).Althoughsheisinterestedinmanyofthefieldsherdegreeinvolves,thisyearshehasfocusedonAVTresearch.Sheiscurrentlyworkingonherend-of-degreeproject,astudyofthedifferentapproachestomultilingualisminanaudiovisualproduct.Shecanbecontactedatjulia.carbonellgalindo@gmail.com.

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VerónicaArnáiz-Uzquiza,PhD,isalecturerattheFacultyofTranslationandInterpretingattheUniversityofValladolid(Spain).Herresearchinterestsinclude,butarenotlimitedto,AVT,Specialized/TechnicalTranslationand the Didactics of Translation and SLL. She has participated inmany national and international fundedprojects,andhaspresentedanumberofpapersatinternationalconferences.SheisamemberoftheresearchgroupsITNTandCAIAC-TransmediaCatalonia.Shecanbecontactedatveronica.arnaiz@uva.es.Susana Álvarez-Álvarez is a PhD researcher and lecturer in EN-ES Specialized Translation in the Faculty ofTranslation and Interpreting of the University of Valladolid, Spain. Her research interests are translationteachingandlearning(especiallyinblendedlearningenvironments),ProfessionalAspectsofTranslationandInterpreting,SpecialisedTranslationandtheuseofinformationandcommunicationtechnologiesintranslatortraining. She is author and coauthor of several publications on didactics of translation and interpreting innationalandinternationaljournals(Academia.eduprofile:https://uva-es.academia.edu/Susanalvarez).SheisamemberoftheresearchgroupITNT.Shecanbecontactedatsusanalv@lesp.uva.es.

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Panel3B:DubbedSeries(Day1.15:15-16:45)IlariaParini(UniversityofMilan)“‘IniziaoggiilpapatodiPioXIII’.MultilingualisminTheYoungPopeanditsItalianversion”Itisafactthatthenewmillenniumhasseenariseintheproductionofmultilingualfilms,whichrepresentamore realistic depiction of modern society from a socio-linguistic perspective, reflecting the increasingmulticulturalismoftheglobalisedworld.Suchtendencyhasstartedtospreadalsototelevisionproducts.TheYoungPopeisa2016ItaliandramatelevisionseriescreatedanddirectedbyPaoloSorrentinoforSkyAtlantic,HBO,andCanal+.TheseriesstarsJudeLaw,DianeKeatonandSilvioOrlandoandisaboutthefirst(fictional)Americanpope,LennyBelardo(whoadoptsthepapalnameofPiusXIII).Froma linguisticperspective, theseriesischaracterizedbythepresenceofmultiplecodes.Interestingly,eventhoughtheeventsmostlytakeplaceintheVaticanCity,whoseofficiallanguageisItalian,theprevailinglanguageoftheseries(L1)isEnglish:LennyBelardoisAmericanandhemainlyuseshisnativelanguagetocommunicatewiththeothercharacters(evenwiththecardinalsandthepersonnelworkingatthePapalPalacewhodonotsharethesameorigins,and whose English is characterized by some very discernible accents). He speaks English even when hecelebratesHolyMassorgiveshishomiliesinfrontofacrowdmainlycomposedofItalianfaithful,which,interms of “realistic rendering” (De Bonis 2014a, 2014b and 2015), seems to be rather unnatural. Italian,however,issometimesusedasL3:indeed,severalofthecharacters’mothertongueisItalian,andthisisthelanguage theyusewhenspeaking toeachotherwhen thepope isnotamong them(CardinalVoielloevenspeaks inNeapolitandialect,occasionally). Italiansometimesalsoservesa functionof“postcarding”(Wahl2005),aswecanhearitontheradioorTV.Furthermore,somescenesaresetinHonduras,wherethelanguagespokenisSpanish(whichactsasL3aswell).Lastbutnotleast,thedialoguesoccasionallypresentformulaicphrasesandsentencesalsoinLatin,asthisisthelanguageusedwhenthePopereciteshisprayersorontheoccasionof some religious celebrations, suchas christeningornamingnewcardinals. The serieshasbeenbroadcast in Italy on Sky Atlantic with the double possibility of vision: in its original version (as explicitlysuggestedbymeansofanoticeshownbeforetheopeningcredits)orinitsdubbedversion.Consistentlywithtradition,andcontrarytothelatesttendenciesobservedinItaly,wheremultilingualismtendstobeatleastpartiallypreserved (seeCaielli2016;DeBonis2014a,2014b,2015;Diadori2003;Parini2015), thedubbedversionneutralizedmostofthisdiversity,dubbingalllanguagesintostandardItalian(L2),theonlyexceptionbeingtheformulaicsentencesinLatin.Linguisticflattening,therefore,seemstobethepreferredstrategyofItaliandubbingprofessionals.However, justasanAmericanpopecelebratingMass inEnglish inSt.Peter’sSquareseemstobeincontrastwithrealisticrendering,sodoesanAmericanpopespeakingItalianwithnotraceofhisamericanness.

ReferencesCaielli, Matteo, 2016. Il problema del doppiaggio dei film multilingue. Il caso di Inglorious Basterds.UnpublishedMAthesis,UniversityofMilan.

DeBonis,Giuseppe,“Dubbingmultilingual filmsbetweenneutralisationandpreservationof lingua-culturalidentities:acriticalreviewofthecurrentstrategiesinItaliandubbing”inMariaPavesi,MaicolFormentelli&ElisaGhia(eds)TheLanguagesofDubbing,Bern:PeterLang,pp.243-266.

DeBonis,Giuseppe,2014b,“AlfredHitchcockpresents:Multilingualismasavehiclefor…suspense.TheItaliandubbing of Hitchcock’s multilingual films”, Linguistica Antverpiensia, New Series – Themes in TranslationStudies,n°13,pp.169-192.

DeBonis,Giuseppe,2015,“Translatingmultilingualism in film:AcasestudyonLeconcert”,NewVoices inTranslationStudies,n°12,pp.50-71.

Diadori,Pierangela,2003,“Doppiaggio,sottotitoliefenomenidicode-switchingecode-mixing:latraduzionedeitestimistilingui”,Italica,Volume80n°4,pp.531-541.

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Parini,Ilaria,2015,“Culturalandlinguisticissuesatplayinthemanagementofmultilingualfilmsindubbing”,inBogucki,ŁukaszandDeckert,Mikołaj(eds),AccessingAudiovisualTranslation,Bern,PeterLangEdition,pp.27-50.

Wahl,Chris,2005,“DiscoveringaGenre:thePolyglotFilm”inCinemascope–Independentfilmjournal,vol.1,pp.1-8.

IlariaParini,PHD,isacontractlecturerinEnglishLanguageandTranslationattheStateUniversityofMilanandatIULMUniversity,Milan,Italy.ShegraduatedinTranslationStudiesandholdsaPhDinEnglishLinguisticsandTranslation.ShehaspublishedthebookItalianAmericanGangsterspeak(LAP2013)andmanyarticlesinbooksandjournals,mainlyonthetranslationofgeographicallyandsociallyconnotedvarieties,especiallyinaudiovisualproducts,andhaspresentedpapersatnumerousinternationalconferences.

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Panel3B:DubbedSeries(Day1.15:15-16:45)CristinaAlonso-Villa(UniversidaddeRegensburg)“Vikings: rendering of a “real constructed” language. Comparative analysis of the Spanish andGermanDVDsofthethirdseason”MultilingualisminFilmisnotasrareasitmayseem.Thereisalongtraditionoffilmsinwhichatleasttwolanguagesareused: fromWesterns toNarco films, inwhichSpanishutterancesare scattered through theconversations.Thisphenomenonhasbeenlargelyomittedfromthedubbingprocessofthesefilms.Sciencefictionandfantasygenresposedifferentchallengestothetranslator,whoisoftenconfrontedwithconstructedlanguages,whichhavedifferentfunctionaleffectsinthediegesis.Thesefunctionaleffectswillgiveahintofhowtodealwiththeselinguisticvarieties.Thoughnotascommonastheothertwo,thereisyetathirdkindofmultilingualisminfilmthatappearsforinstanceintwoMelGibsonfilms:ThePassionoftheChrist(2004)andApocalypto (2006). In both films, characters speak a variety of real languages that were common in thehistoricalsettingofthestory.However,thereisnotrealrecordofhowtheselanguageswouldhavesounded,whichmakesthempartly“constructed”.Forthesereasons,wewillcall these languages“realconstructed”languages.Inordertoanalysetheuseandtranspositionof“realconstructed”languages,wewillresorttoVikings(2013),ahistoricalfictionseriesproducedbyHistoryChannel.Thisseriesisyetanewpieceinthispuzzle,asinthenarrative the “real constructed” languages of the ancient Scandinavian regions share protagonism withmodernEnglish,thelanguagemostprominentlyusedbythecharactersoftheseries.Inmycontribution,Iwillexplorehow this “real constructed” language isusedandhow it is rendered in thedubbedversionof theSpanishandGermanDVDs.Ihavechosenthethirdseasonoftheseriesbecauseitalsofeaturesother“realconstructed” languages, such as old English andold French, bothofwhichwill alsobe considered for theanalysis.Cristina Alonso-Villa, M.A. is lecturer of Audiovisual Translation and Intercultural Communication at theUniversityofRegensburg(Germany).SheiscurrentlyinherlastyearofherPhDdissertation,whichdealswiththedepictionofwomenandgenderrolesinactioncinemaandtheirperceptionbytheaudiences.Sheconductsresearch in Cultural Studies, Film Studies, Gender and Sociology, focusing especially on visual languages,theoriesofrepresentationandthefilmicexperiencefromtheviewer’spointofview.OtherareasofinterestareTVseriesandVideogames.Shehaspublished“The‘post-’intheBones:TemperanceBrennanasapostmodern(post)feminist subject”, in Literatur amRand. Perspektiven der Trivialliteratur vomMittelalter bis zum 21.Jahrhundert (2013). “Female heroes of the 21st century. New bodies, new feminities: the case of GinaCarano/MalloryKaneinHaywire(Soderbergh,2011)”,inMultidisciplinaryviewsonpopularculture(2014)andatthemomentisco-editingthevolumeElMundoSigue,redescubrimientodeunclásico(2017).

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Panel4A:SociolinguisticVariety(Day2.9:00-10:30)

GuillermoParra(UniversitatPompeuFabra)

“Analysingthetranslationofsubstance-inducedL3withtheaidoftheTRAFILMdatabase”

L3theory(Corrius&Zabalbeascoa,2011)isoneofthemostfruitfulapproachestodatetotheanalysisofavastarrayofphenomenarangingfrommultilingualismtoanyformoflanguagevariation,includingwhatIcalldisorderlyspeech,orDIS(Parra,2014,2016).Thisconceptmakesreferencetotheportrayaloftheeffectsofalcoholordrugabuseonfictionaldialogueandhasproventobeespeciallyrelevantforaudiovisualtranslation.ThepresentpaperisdevotedtothestudyofEnglish-speakingmoviesandtheirSpanishdubbedandsubtitledversionswiththeaidoftheTRAFILMdatabase,apowerfulandopen-accesstoolcreatedforthehomonymousproject.Althoughthedatabasehasbeendiscussedindetailinpastevents,thefocushereisonitspracticalapplication to theanalysisof instancesofDISobtained fromfilmssuchasBeerfest (Chandrasekhar,2006),JohnnyEnglish(Howitt,2003),ortherenownedTheWolfofWallStreet(Scorsese,2013).ApartfromreflectingonthenatureofDIS,theaimistoshowresearchershowexamplesofthisphenomenoncanbeenteredinthedatabase so they can be easily analysed, filtered, and compared, thus offering them the possibility ofcontributingtothispromisingnewresearchtopicintranslationstudies. ReferencesCorrius,M.,&Zabalbeascoa,P.(2011).LanguageVariationinSourceTextsandTheirTranslations:TheCaseofL3inFilmTranslation.Target:InternationalJournalofTranslationStudies,23(1),113–130.

Parra,G.(2014).Ellenguajealteradoysutraducción:miedoyascoentreletras.Master’sdegreethesis.UPF,Barcelona.Retrievedfromhttp://hdl.handle.net/10230/22797

Parra, G. (2016). Disorderly speech and its translation: Fear and loathing among letters. InM. Dore (Ed.),Achievingconsilience:Translationtheoryandpractice.Cambridge:CambridgeScholarsPublishing.

GuillermoParra López is anaudiovisual translator and teachingassistant in the Translationand LanguageSciences Department of the Pompeu FabraUniversity (UPF), in Barcelona. He teaches Translation and theMedia and Fundamentals of Translation, forwhich he received theUPF Social Council Award for TeachingQualityin2015.GuillermoholdsaBachelor’sDegreeinTranslationandInterpretingandaMaster’sDegreeinTranslation Studies and is currently doing a PhD on the topic of disorderly speech applied to audiovisualtranslationunderthesupervisionofPatrickZabalbeascoaandEduardBartoll.HeisamemberoftheTRAFILMprojectandtheauthoroftheMaster’spaperDisorderlyspeechanditstranslation:fearandloathingamongletters,recentlypublishedbyCambridgeScholarsPublishing(Dore,2016).

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Panel4A:SociolinguisticVariety(Day2.9:00-10:30)

GiuliaPuppo(UniversityofSheffield)

LikeCrazy. BipolarDisorder and Linguistic SpeechPatterns in PaoloVirzì’sLaPazzaGioia (2016):ChallengesfortheSubtitler

Theaimofthisresearchisthatofanalysingthechallengesofconveyingthefeaturesof“pressuredspeech”,acommonsideeffectofthebipolardisorder,intosubtitles.Thepresentationwillstartbyidentifyingthewaysinwhich thebipolardisordercanaffect linguistic speechpatterns,drawingonexamples fromPaoloVirzì’smovieLaPazzaGioia(2016)centredaroundaprotagonistaffectedbythiscondition.Afteranalysingthemainfeaturesofthecharacter’sspeechpatternduringhermanicepisodes-includingrapidspeechdelivery,unclearthought process, repetitions, speechdisorganization, and inability to stop speaking - the presentationwilldiscuss the challenges of conveying this kindof filmic dialogue, closelymimicking theoralmode, into thewritten,condensedformofsubtitles,whicharesubjecttoseveraltechnicalconstraints.Despitethechallenges,itwillultimatelybearguedthat,duetothecentralityofdialogueincharacterisation,anattemptshouldbemadetomaintainthesametoneandintentioninthesubtitles.ReferencesO’Bannon,Dan(2013)TheElementsofSubtitles:APracticalGuidetotheArtofDialogue,Character,ContextandStyleinFilmandTelevisionSubtitling,(3rdedition).Blackstock,SC:TranslationStudiesPress.

Cassidy,Frederick,BernardJCarroll,ElizabethMurryandKaraForest.(1998)Signsandsymptomsofmaniainpureandmixedepisodes.JournalofAffectiveDisorders50/2,187-201.

Chaume,Frederic.(2012)AudiovisualTranslation:Dubbing,Manchester:St.JeromePublishing.

De Linde, Zoe. (1995) ReadMy Lips. Subtitling Principles, Practices, andProblems.Perspectives. Studies inTranslationTheoryandPractice3/1,9-20.

Díaz Cintas, Jorge and Aline Remael. (2009) Audiovisual Translation: Subtitling. Manchester: St. JeromePublishing.

Goodwin,FKandKRJamison.(1990)ManicDepressiveIllness.NewYork:OxfordUniversityPress.

Gottlieb,Henrik.(1994)Subtitling:DiagonalTranslation.Perspectives:StudiesinTranslatology,2/1,101-121.

Halliday,M.A.K.(1998)SpokenandWrittenLanguage,(2ndedition),Oxford:OxfordUniversityPress.

GiuliaPuppoisaperspectivePhDstudentattheUniversityofSheffieldholdingaMaster’sDegreeinScreenTranslation.HermainareaofresearchisAdaptationStudies,thestudyoffilmictranspositionofliteraryworks.InherMaster’sdissertationsheanalysedthecaseofthecross-culturaladaptationofStephenAmidon’snovel‘Human Capital’ (2004,) turned into a film by Italian director Paolo Virzì, within the framework of thedomestication strategy. She presented her dissertation project at the 5th Postgraduate Colloquium inTranslationStudiesheldatDurhamUniversityinFebruary,2017.

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Panel4A:SociolinguisticVariety(Day2.9:00-10:30)

KristynaDufkova(MasarykUniversity)

“Difficultieswith themeltingBalkans pot:How to translate andhighlight thediversitywithin thesubtitles”

Languagesnotonlyexpresstheidentity,butalsocontributetocognitionandperceptionofthesocialstatusofthecharactersinthefilms.ThefilmsfromtheBalkansusuallyincludemorethanonelanguageormorethanone language variant. Some speakers can completely or almost completely understand each other (thespeakersofSouthSlaviclanguagesasCroatian,Serbian,Macedonian,BulgarianandSlovenianetc.),butsomefor theof themcannot (thespeakersofSlavic languagesvs.Greekvs.Albanianvs.Romanianvs.OttomanTurkishetc.).Someofthemarelinkedtoaristocracyandnobility(YiddishinTheThirdHalf,2012),fromusageofsomeofthemwecanobservethesuperiorityofthecharacter(OttomanTurkishinTotheHilt,2014),andfromusagesomeofthemwecanmakesomelanguagejokes(somelanguagesareridiculousfortheothers,e.g.SlovenianforSerbo-CroatianspeakersinPunk’snotDead,2011).Somecharacterscanintentionallyhidesecretsintheir‘ununderstandablelanguage’fortheothers(AlbanianorOttomanTurkishforSlavicspeakersinThreeDaysinSeptember,2015).Inourarticlewetrytoanswerthefollowingquestions:Howcanwehighlightthedifferencebetweenlanguagesmentioned above by subtitling? How to preserve uniqueness and identity of characters? Is it possible tomaintainitinsuchabriefandquickwayasthemediumofsubtitlesare?Isitimportantfortheviewerstolearnabout different sociocultural levels of languages in question?We discuss it by resorting to some specificexamplesdrawnfromcontemporary‘Balkan’films.

Kristýna Dufková is a PhD student of the Comparative Indo-European linguistics at the Department ofLinguisticsandBalticLanguagesattheFacultyofArtsofMasarykUniversityinBrno,CzechRepublic.Herfieldof study is primarily Slavic languages and their comparison, onomastics and Czech studies. She translatesofficial subtitles for films from the Balkan Peninsula. As an intern PhD student she teaches courses ofOnomastics, Languagesof theBalkans,Macedonian languageandTranslating for studentsofMacedonianstudies.

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Panel4B:SubtitlingandL3(Day2.9:00-10:30)

HuangBoyi(CentreforTranslation,HongKongBaptistUniversity)

“TheMultilingualismofCommercialSubtitlingandFansubbing:TheCaseoftheChineseTranslationsofBigBangTheory”Commercialtranslationsarenolongertheonlysourceforpeopletoaccessforeignaudiovisualtexts,forwhichpoliticaltotalitarianismandtechnologicaldevelopmentformdecisivecauses.InChina,strictcensorshiphasplanted‘theseedofanewtypeofsubtitlingforthedigitalera’(Díaz-CintasandMuñoz2006:52),knownasfansubbing.Thepopularizationofdigitaltechnologyempowersthe‘demotic’audiovisualtranslations(Perez-Gonzalez2014) to standagainsthegemonic censorship. Theseactivist fansubbershave takenconsiderableresponsibilitiestocaterforthemassivedomesticdemandforforeignaudiovisualproducts.Fromadifferentsetting,fansubsusuallydeviateconsiderablyfromcommercialsubtitles.Fromalinguisticperspective,fansubscanbedeemedasa‘linguisticvariation’(Ellender2015)comparedwithcommercialsubtitlesthatareoftenconsideredas ‘standard’. Thecoexistencebetweencommercial subtitlingand fansubbinghasdrawnmuchattentionfromacademia.However,almostnosystematiccomparisonsofthesubtitlingstrategiesofthetwomodesinChinahavebeenconductedtodate.ThisstudyaimstoinvestigatetheChinesesubtitlingstrategiesofboththecommercialsubtitlersandthefansubbersoftheBigBangTheory,Season9,fromthreeaspects:linguacultural,multimodal, and technical. The study further examines the extent towhich fansubs forma‘linguisticvariation’incontrasttocommercialsubtitlesandtheextenttowhichthesetwomodesofsubtitlingconstitutemultilingualoptionsforaudiences.HUANG Boyi is a MPhil candidate from the translation programme at Hong Kong Baptist University. HecompletedaBAinEnglishLanguageandLiteratureatHubeiUniversityofArtsandSciences,China,in2016.Heworked at the International Poverty Reduction Centre in China as a liaison interpreter and consecutiveconference interpreter before embarking his postgraduate research degree. His current research interestsincludesubtitler’svisibilities,activistsubtitling,andtheAVTrelatedtominorities.

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Panel4B:SubtitlingandL3(Day2.9:00-10:30)

Mariazell-EugèniaBoschFàbregas(UniversitatdeVic–UCC)

“CulturalStereotypingthroughSubtitlinginFamilyGuy”

FamilyGuy(1999–)isanAmericansituationalcomedycreatedbySethMacFarlane.Itisfamousforitsuseofsatirewhendealingwithcontroversialsocialissues(suchashomophobia,immigration,religion,prostitution,rape, gender violence).Apart froma critical intentionbehind, the repetitionofhumourwhen tackling theabove-mentionedtopicscontributestothestereotypingofspecificroles,attitudes,languageandjobssociallyandculturallyassociatedtoacertaingender,culturalandsocialgroup.This series is very interesting as regards tomultilingualismand audiovisual translation. Themain and firstlanguageof communicationamong the characters isAmericanEnglish (L1).However, theuseof a secondlanguage(L2)orevenathirdlanguage(L3),suchasItalian,Korean,BritishEnglishorLatinAmericanSpanishisalsocommonwithinsomeepisodes.WhiletheL1isusedasacommunicationpathforcharacters,theL2andL3arecommonlyusedintheepisodesinordertomakejokes,remarks,andmostofthetimes,stereotypeagroupofpeopleorculture.Inthisway,itseemsthattheuseotherlanguages(notAmericanEnglish)isreducedtoframeandstereotypecertaingroupsofpeoplewhosetraitsendupbeingcharacterizedbythelanguagethattheyspeakandthesocialandculturalconnotationsthatitbrings.ThereareveryinterestingepisodesfromtheperspectiveofSpanishsubtitling,sincetheL2featuredinthem(LatinAmericanSpanish)isthesamelanguage(SpanishfromSpain)inthesubtitling.EventhoughtherearesomedifferencesbetweenSpanishandLatinAmericanSpanish,itisworthstudyingtheextenttowhichthesubtitlingmaintainsandreflects(ornot)thestereotypingandculturalreferencesfromtheL2(LatinAmericanSpanish)betweensomeoftheuncensoredDVDandtelevisionepisodesofFamilyGuy.

Mariazell-EugèniaBosch Fàbregas is currentlydoingaPhDongender, humourandaudiovisual translation(subtitling)ofFamilyGuywithintheprogramofTranslation,GenderandCulturalStudiesatUniversityofVic.

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Panel4B:SubtitlingandL3(Day2.9:00-10:30)

AnastastiaBeltramello(NationalUniversityofIreland)

“Workingwithsubtitledialecticsintheforeignlanguageclassroom:thecaseofBenvenutialSud”

Thispaperdiscussestheversatilityofsubtitlesasaninstructionaltooltopromotelanguageawarenessamongstudents of Italian as a foreign language (Caimi, 2006; Díaz-Cintas & Fernández Cruz, 2008; IncalcaterraMcLoughlin&Lertola,2011).TheparticipantsinthisprojectarecollegestudentswithanA2/B1levelofItalianwhoarerequiredtosubtitlethreevideostakenfromdifferentItalianmovies.ThemovieexaminedinthispaperisBenvenuti al Sud, a comedy that dealswith cultural differences between the North and South of Italy.Studentsreceivedtrainingwiththesubtitlingsoftware,however,duetotheirlowlevelofL2proficiencyandtothefactthattheywereapproachingtranslationforthefirsttime,theywerenotrequiredtosubtitlescenesthat witness dialect. Nevertheless, these scenes were not discarded but shown to students with Englishsubtitlesinordertogivecontextandtoallowthecreationofvariouslearningtasks.Intheselectedscenes,thesubtitler has skilfully rendered in English instances of Italian dialecticisms and linguistic elements that areintrinsictotheItalianculture.TheviewingofthesesubtitledscenesprovesbeneficialtoelicitclassdiscussiononvariousaspectsofspokenItalianandtoencouragestudentstoreflectonthelinkbetweenlanguageandculture. In the context of this project, the advantages ofworkingwith subtitledmovies thatwitness suchlinguisticvarietyaremanifold:

• Theyofferanopportunityforinterculturallearning(Borghetti&Lertola,2014).• Theyallowforthecreationoftaskssuchaslisteningcomprehensionsordiscoursecompletiontasks

thatcanimproveavarietyoflanguageskills.• They can increase students’ motivation towards subtitling which is seen as a challenging yet

stimulatingtask.• Theycanenhancestudents’creativityaswellastranslationskillsinasmuchasitallowsthemtocreate

alternativeversionsforagivensubtitle.

AnastasiaBeltramelloisaPhDcandidateinDepartmentofItalianattheNationalUniversityofIreland,Galway.Herresearchinterests includeaudiovisualtranslation,dubbing,subtitling,andforeignlanguagelearning. In2015,shewasawardedtheIrishResearchCouncilPostgraduateScholarship,whichfundsherresearchproject“audiovisualtranslationandlanguagelearning:acomprehensivestudyontheeffectsofcombinedaudiovisualpractices and on learners’ communicative performance”. She holds a BA in Languages and Cultures forPublishingfromUniversitàdegliStudidiVerona,andaMAinTranslationStudies(Italian,EnglishandSpanish)fromtheNUIGalway.

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Panel4B:SubtitlingandL3(Day2.9:00-10:30)

GonzaloIturregui-Gallardo(UniversitatAutònomadeBarcelona)“Audiosubtitlingmultilingualism:strategiesanduserexperience”Accessserviceshavereceivedalotofattentioninaudiovisualtranslationresearchinrecentyears.However,therearestillsomemodalitiessuchasaudiosubtitlingandparticularlysomeofitsfeaturesthathavenotbeenanalysedindepth. IndubbingcountriessuchasSpain,multilingualismisoftenmaintainedinfilmsbyusingsubtitlesforsecondarylanguages.Forcertainaudiences,though,suchasvisuallyimpairedpeopleorpeoplewithreadingdifficultiesanaudioversionofthesubtitlesissometimesprovided.AudiosubtitlingisatechniquethatdragscharacteristicsfromAVTstrategiessuchasdubbing,voice-overorsubtitling.ThispresentationwillbedevotedtotheapplicationofSternberg’spolylingualismtheory(1988)tothedifferentstrategiesthatcanbetakeninAST,inthesamewaySzarkowskaetal.(2013)didwithsubtitlesforthedeaf(SDH).Thesestrategiesfollowa scale inwhich translation strategies are categorised from themost to the leastheterolingualism-revealing,orinotherwords,fromthemostdomesticatingtothemostforeignisingapproach.Thistaxonomyleadstothediscussionoftechnicalcharacteristicssuchassynchronisation,characterrecognition,audibilityandtheuseofvoice(actingoftheaudiosubtitles).Fromthisformaldescriptivecategorisationofthestrategies,twomainones(referredtoas“effects”):dubbingandvoice-overarepresentedasbeingthemainones.Thepresentationwillfollowtheproposalforexperimentsonuserexperience(UX)inwhichbothstrategieswillbeput to the test by means of questionnaires on emotion arousal and psychophysiological measures. Suchexperiment aims at (1) the comparison of the impact of these the aforementioned effects and (2) thecomparisonbetweentheexperienceofsightedandvisuallyimpairedaudienceswhenexposedtoamultilingualfilm.GonzaloIturreguiGallardoholdsaB.A.inEnglishandFrenchStudieswithminorinGermanfromtheUniversitatAutònomadeBarcelonaandhewasawardedaSantanderScholarshiptostudyanM.A.inTranslationStudiesattheUniversityofLeicester,UK.DuringhisBachelorandMasterdegreeshefocusedonthestudyofdubbingand its phonetic and linguistic aspects. He has shortly worked in theatre subtitling as well as legal andjurisdictional translationand is currentlyamemberof theTransMediaCatalonia researchgroup,wherehecollaboratesintheprojectNewApproachestoAccessibility(NEA).TheCatalanGovernmenthasawardedhimaPh.D.grantandheisdoingaPhDinTranslationandInterculturalStudiesattheUAB,focusingonthedeliveryandimplementationofaudiosubtitlesfortheblindandvisuallyimpaired.Hisareasofinterestaredubbing,subtitling,phoneticsandmediaaccessibility.

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Panel5A:SociolectandIdiolect(Day2.12:00-13:30)IreneRanzato(LaSapienzaUniversity)“The‘U’-sociolect:thelinguisticrepresentationoftheBritishupperclasses”Fromasociolinguisticpointofview,thegenericallycalled‘upperclasses’arecharacterisedbytheirinsularity,astheirmembersareaself-recognisedgroupofpeoplewho“frequentlymeetface-to-faceinsocialinstitutionsoftheirown”(Kroch1995:24).Theresultofthislimitedaccessibilityisthatalthoughupperclassvoicesareoftenunmistakable,theyareseldomthefocusoflinguisticstudies:thelittleresearchonthesubjectgenerallyhasasitsupperlimitthe‘uppermiddleclasses’(Mesthrieetal.2005:104)andthequestionofwhetherandhowupperclassspeakerscanbedistinguishedfromwell-educatedmembersoftheuppermiddleclasshasalsoattractedlimitedinterestintherelevantliterature(butseeagainKroch1995).The‘U’/non‘U’(standingfor‘upperclass’and‘non-upperclass’)fascinatingbutratherimpressionisticlate1950sdebate(seeMitford2002),whichfocusedonthelexiconoftheprivilegedclassesofBritain,isstillcitedinlinguisticstudies,afactwhichperhapsputsinevidencethelackofmorescientificallygroundedworks.Forwhatconcernsaudiovisualtranslationinparticular,thesubjecthasattractedspecificinterestonlyrecently(seeBrutiandVignozzi2016;Sandrelli2016).ThiscontributionwillapproachthethemeofthelinguisticrepresentationoftheBritishupperclassesinfilmsandtelevision,andoftheirtranslationfordubbing,byexploringboththerealisticportrayalspresent in audiovisual products of recent years and themore stereotypical characterisations inwhich theBritishupperclasscharacteractsandspeakswithinaNorth-Americancontext,orwhereBritishandAmericancharactersarejuxtaposedsoastoputintoreliefthelanguagevariationsandthelinguistic,socialandculturalnuancesatplayinawhatisdefactoamultilingualenvironment.Irene Ranzato is a tenured researcher and lecturer in English language and translation at the SapienzaUniversityofRome,wheresheteachestranslation(audiovisualandintersemiotic)andEnglishlanguageforBAandMAcourses.SheholdsaPhDinTranslationStudies(ImperialCollegeLondon).Herresearchfocusesonthetranslationofculturalreferences,oncensorshipandmanipulationindubbing,onthefunctionandtranslationofregionalandsocialvarietiesofEnglish,onthelinguisticanalysisoffilmandtelevisiondialogue.Sheisalsointerested,andhas tried to incorporatemoreandmore intoher research inaudiovisual translation, topicsrelatedtoadaptationstudiesandtofilmandtelevisionstudies.Shehasespeciallyworked–bothinresearchandteaching–withcinemaandtelevisionadaptationsoftheclassicsofEnglishliterature,involvingstudentsin linguistic, translational and intersemiotic analyses. Hermore recent book is Translating Culture SpecificReferences-TheCaseofDubbing(Routledge2016).

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Panel5A:SociolectandIdiolect(Day2.12:00-13:30)SattarIzwaini(AmericanUniversityofSharjah)“MultilingualSubtitlingfromandintoArabic:Patterns,featuresandcommunicativeoutcomes”Somedialoguesinscreenproductionscanbeinadifferentlanguage(s)otherthanthatofthefilm.Subtitlingof such films tends to level out the features of the dialogue. Language variation, dialect, accent andgeographicalaffiliationofcharactersthusdisappearinArabicsubtitling,giventhenatureofthemode.ThispaperaddressestheissueoftransferringlinguisticvariationviasubtitlinginArabiccontext,focusingonregisterandthepragmaticsofthesubtitles.WhenthetranslationdirectionisintoArabic,dialoguesinalanguageotherthan themain communicationmedium, say English, are usually subtitled with no hint that they are in adifferentlanguage,thusanimportantaspectoftheinteractionislost.Insomefilms,arelaysubtitlingofsuchdialoguesiscarriedoutfromamediatinglanguage,resultinginthelinguisticvariationbeinglevelledoutasbothsourcelanguagesaretranslatedintoonestandardtargetlanguage.InArabicspeakingfilms,andnexttothemaincommunicationmedium, i.e.Arabic,aconversation ina foreign language isusuallysubtitled intoArabic.Consequently,dialogues inother languages thataresubtitled intoArabic fail to reflect theregisterassociatedwiththecharacters.TherearealsocasesofparodysubtitlingofforeigndialoguesspeciallyauthoredforsomeArabicspeakingfilms.ThesubtitlingutilizesacolloquialvarietyofArabic,mostlyforcomicpurposes.Whenthere iscodeswitching,nosubtitling isprovidedasthis isconsideredan indicatorofthecharacter’ssociolect or idiolect. In this paper, I will discuss and analyze the patterns, features and communicativeoutcomes of different settings of subtitling multilingual film dialogues from and into Arabic, providingexamplesofrepresentativecases.SattarIzwainiearnedhisPhDinTranslationStudiesfromtheUniversityofManchesterInstituteofScienceandTechnology, UMIST (now theUniversity ofManchester), UK. He is an Associate Professor at the AmericanUniversity of Sharjah, United Arab Emirates, where he acted as the coordinator of the MA program intranslation (2011-2014). He has taught languages, linguistics and translation at undergraduate andpostgraduate levels in Britain and the Arab World. His research interests include audiovisual translation,corpus-based translation studies, contrastive linguistics& translation, localization,machine translationandterminology.

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Panel5A:SociolectandIdiolect(Day2.12:00-13:30)CarmeMangiron(UniversitatAutònomadeBarcelona)“PlayingwithLanguages:LinguisticVariationinGameLocalisation”Linguisticvariationisanarrativedeviceoftenusedinvideogamesinordertocreatevirtualworldsthatareculturallyandlinguisticallyrichandarepopulatedbyamyriadofcharactersfromdifferentoriginsandlinguisticbackgrounds. Language varieties contribute to character portrayal and comic relief, fostering a moreimmersive andengaging gameplay experience.However, the translationof linguistic variation, particularlywithrespecttodialects,posesachallengetothetranslator,astheuseofagivendialectoftenhasculture-specificconnotationswhichmaybedifficulttoreproduceinthetargetlanguage.Thispaperfocusesonthetreatmentoflinguisticvarieties,mainlydialectsandidiolects,ingamelocalisation.Anumberofexamplesofmainstreamgameswillbepresentedinordertoanalysethetranslationstrategiesusedbylocaliserstodealwithlinguisticvariety,suchasneutralisationoftheoriginaldialectorsubstitutionbyatargetlanguagedialect.Inaddition,thestrategyoftranscreation,bymeansofintroducingtargetlanguagedialectsinthetranslatedversionwhen the languageof theoriginal is notmarked,will alsobe analysed. This phenomenon is quiteuniquetogamelocalisation,particularlyfromJapanesetoEnglish,anditreflectsthedegreeoffreedomandcreativity that can be applied by game translators, as well as the tendency towards domestication thatpredominates in the localisation of Japanese games. Finally, the response of the target audience to thetranslationofdialectsinvideogameswillalsobeexaminedbyanalysingreviewsandcommentsinspecialisedwebsitesandforums.Carme Mangiron, PhD, is a lecturer and a member of the research group TransMedia Catalonia at theUniversitat Autònoma de Barcelona (UAB). She is the Chair of theMA in Audiovisual Translation and hasextensive experienceas a translator, specializing in softwareandgame localization.Her research interestsincludegamelocalization,gameaccessibilityaudiovisualtranslationandaccessibilitytothemedia.Shehaspublishedextensivelyininternationaljournalsandparticipatedinseveralresearchprojects.Sheisco-authorofGameLocalization:TranslatingfortheGlobalDigitalEntertainmentIndustry(O’HaganandMangiron,2013),oneoftheeditorsofFunforAll:TranslationandAccessibilityPracticesinVideoGames(Mangiron,Orero&O'Hagan,2014)andthemainorganizeroftheFunforAll:TranslationandAccessibilityinVideoGamesandVirtualWorldsConference,whichstartedin2010andrunseverytwoyears.

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Panel5B:CulturalReferences,PoliticalPerspectiveandIdeology(Day2.12:00-13:30)PatriciaTavaresdaMata(UniversidadedeBrasília)HelenaSantiagoVigata(UniversidadedeBrasília)“Subtitlingmultilingualfilms:thechallengeofpreservinglinguisticdiversity”This paper aims to reflect upon the translation of linguistic variation in the Brazilian documentary filmCatadoresdeHistória(2016),directedbyTâniaQuaresma.Thefilm,whichfollowstheactivistorganizationofrecyclablematerialcollectors,wassubtitledinSpanishaspartofatraineeshipagreementmadebythedirectorwithUniversityofBrasilia.ThesubtitleswerewritteninstandardcorrectSpanish,accordingtotheprofessionalsubtitlingguidelines.Asaresult,theoralitymarksofthecollectors’speechwereerased.Themainobjectiveof this research project is to propose a new translation which considers the linguistic varieties withoutundervaluingorstigmatizingthelocaldialectsfoundinthesourcetextorestablishingfakeequivalencesinatarget culture that could mix up different cultural realities. Although the documentary is spoken only inPortuguese, it doesnot restrict us from including it in the categoryofmultilingual films.AsWoellner andZabalbeascoa (2014) explain, fictionalmultilingualismdoes not only refer to thepresenceof languages asEnglish,JapaneseandGerman,butalsoincludesfilmswithintralingualvariation.Thus,afilmthatintegratesseveral dialects, sociolects and idiolects which differ from the standard language can also be defined asmultilingual. The documentary was filmed in different states of Brazil and it portrays several varieties ofPortuguese.ConsideringtheenormouslinguisticdiversityofBrazil,thatoccurredduetoitshistoricalandsocialformationprocessfromthecolonialperioduntilthecurrentdays,thereisagreatdistancebetweenspokenandwrittenPortuguese.CatadoresdeHistóriacontainsmultiple languageusesthatdeviate fromStandardBrazilian Portuguese and which seem to characterize a specific sociolect – spoken by recyclablematerialcollectors–whichmanifests regionalvariations.This researchproposesananalysis,underasociolinguisticapproach,thelinguisticdeviationsfromtheStandardBrazilianPortugueseinthedocumentaryandthentriestofindlinguisticpatternswhichcouldindicatethepresenceofacollectors’sociolectinSpanish.Thereby,suchdeviationswillbeconsideredascharacteristicsoflinguisticvariationandnotasmereidiosyncraticerrorsofthespeakers.Thetheoreticalframeworkwillbeconstructedthroughreadingsabouttranslationofmultilingualfilms.Theempiricalpartwillstartwiththeanalysisofthedocumentaryandidentificationoflinguisticpatternsamongthespeakers,basedonbibliographicalreferencesaboutlinguisticvariationinBrazil.Then,twovideoswill beusedasa corpus toanalyze the speechesofHispanic collectors. Finally, anewpossible translationstrategywillbepresentedforthesubtitlingofthedocumentary.PatriciaTavaresdaMataisanundergraduatestudentofAppliedForeignLanguagestoMultilingualismandtheInformationSociety(LEA-MSI)attheUniversityofBrasilia(UnB).HelenaSantiagoVigatagraduatedinTranslationandInterpretingattheUniversitatAutònomadeBarcelona,whereshealsoattendedtothefirsteditionoftheAudiovisualTranslationMastercourse.Shehasworkedasafreelancesubtitlerand,since2011,sheisalectureroftheBachelor’sDegreeinAppliedForeignLanguagesattheForeignLanguagesandTranslationDepartment(LET)ofUniversityofBrasilia(UnB),Brazil. In2016,shefinishedherPhDonSocialCommunicationby theUniversityofBrasilia (UnB).Her thesiswasaboutartisticexperienceandaccessibilitytocinemas,museumsandtheatres.SheisamemberoftheresearchgroupsAcessoLivreandNesecom.Hermainresearchinterestsareaudiovisualtranslationandaccessibility.

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Panel5B:CulturalReferences,PoliticalPerspectiveandIdeology(Day2.12:00-13:30)AysunKiran(UniversityCollegeLondon/MarmaraUniversity,Istanbul)“LinguisticDiversityandTranslation(orNon-Translation)inTurkishCinema”Turkishcinemahas,sincethe late1990s,witnessedtheemergenceofpoliticallyengagedmultilingualfilmswhich dealwith the country’s taboo topics thatwent unexplored until then. Focusing on one such taboosubject,thispaperexplorestheimplicationsoflinguisticdiversityinselectedfilmsontheKurdishconflictinterms of censorship, presence or absence of subtitles and translation and non-translation of minoritylanguages. These stylistic and functional effects of multilingualism are discussed with a reference to thelanguagepolicyanddominantpresentationof theconflict inTurkey.Four filmsexaminedhereareGüneşeYolculuk(JourneytotheSun,1999),BüyükAdam,KüçükAşk(BigMan,LittleLove,2001),İkiDilBirBavul(OntheWaytoSchool,2009)andGelecekUzunSürer(FutureLastsForever,2011).Inanalysingthesefilms,thepaper draws on Meir Sternberg’s two ‘poles’ of linguistic representation: homogenization and vehicularmatching.Theformersignifiestheunexceptionaluseofone languageas linguafrancaandthedismissalofvariationsinthelanguagespokenbythecharactersasirrelevant.Incontrast,thelatterinvolvestheemphasisontherepresentationoflanguagesinanauthenticmannerasreflectiveofethnicandnationaldifferences.Thepaperutilizestheseconceptstoexplorehowtheconflictfindsexpressiononthelinguisticlevelinthefilms.Tothisend,itfirstidentifieshowthehierarchicalrelationshipbetweenTurkishandKurdishplaysoutthroughthevaluesassigned toeach language. Second, thepaper focuseson thedepictionof ‘translator’ characters intermsoftheirrolesandfunctionsinthestoryrelatedtotheconflict.Theanalysisdemonstratesthatvehicularmatchingsurpassesitsrepresentationalaimandservesasa(re)framingtoolinthesemultilingualfilmstobothhighlighttheexclusionaryaspectsofthe languagepolicyandsubvertthe dominantrepresentationoftheconflict.AysunKırancompletedherBAdegreeinTranslationandInterpreting,andherMAdegreeinModernTurkishHistory at Boğaziçi University, Istanbul, Turkey. She is a facultymember in the Department of TranslationStudies at Marmara University, Istanbul, Turkey. She is currently a PhD candidate at the Centre forMultidisciplinaryandInterculturalInquiry(CMII)atUniversityCollegeLondon,UK.HerPhDthesisinvestigatesthe thematic relationsof transmission, transformationandsubversionbetween filmsandmainstreamprintmediabymeansofAndréLefevere’sconceptof‘rewriting.’Herresearchinterestsincludetranslationstudies,intertextuality,discourseanalysisandmultilingualcinema.

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Panel5B:CulturalReferences,PoliticalPerspectiveandIdeology(Day2.12:00-13:30)ArthurPontesCosta(UniversidadedeBrasília)HelenaSantiagoVigata(UniversidadedeBrasília)“Analysisofmultilingualsubtitles:LesGrandesOndes(àl'Ouest)” Nowadays,adeeperunderstandingofthetechniquesinvolvedinthetranslationofmultilingualaudiovisualmaterial is necessary due to the increasingly commonmultilingual reality. These techniques bring to lightquestionsconcerninglinguisticandculturaldiversity.Thus, inconsonancewiththegrowthofresearchesinthisfield,theaimofthispaperistoanalysethepreservationofculturalreferencesintheEnglish,SpanishandPortuguesesubtitlesofLionelBaier’sfilmLesGrandesOndes(àL'ouest)(2013),showedinBrazilasLongwave–NasOndasdaRevolução.ThefilmdepictstheattemptbytheSwissRomanschRadioofreportingthefinancialaidsenttoPortugalbytheSwissGovernment.However,whenthereportingteaminvestigatestheallegedinvestments,nothingisfound.WithapredominanceofFrenchandPortugueseandsporadicusesofGerman,SpanishandEnglish,referencestogastronomy,celebritiesandprejudicesofthetimearepartofcharacters’vocabulary. The corpus of the study consists on theBrazilian Portuguese, Castilian Spanish, andAmericanEnglishsubtitlesobtainedfromanInternetmultilingualgroupcalledArtSubs,specialisedinsubtitlesforso-called "alternative", "art", "independent" or "cult" films. Such subtitleswere analysed altogetherwith theFrenchtranscriptionofthefilm.Themainobjectsofanalysisarethetranslationofculturalelements(Berman1992),thetransactionofGerman,SpanishandEnglishasL3(Bartoll,2006;CorriusandZabalbeascoa,2011)andlinguisticinterferenceinthespeechofcharacters.Inaddition,theworkpresentsalternativessubtitlesforabetterrenderingofthefilm’smultilingualism.Arthur Pontes Costa is a student of Social Communication – Cinema sinceMarch 2017. Before, hewas anAppliedForeignLanguages’studentinthesameuniversity,buthedidnotconcludethefirstdegree.Hespeaksaltogether Portuguese, Spanish, French and English,whatmade possible the analyses of the subtitles anddetectionofculturalsigns.HeisamemberofaresearchandworkgroupfocusedinaccessibilityofBrazilianSignLanguage.HelenaSantiagoVigatagraduatedinTranslationandInterpretingattheUniversitatAutònomadeBarcelona,whereshealsoattendedtothefirsteditionoftheAudiovisualTranslationMastercourse.Shehasworkedasafreelancesubtitlerand,since2011,sheisalectureroftheBachelor’sDegreeinAppliedForeignLanguagesattheForeignLanguagesandTranslationDepartment(LET)ofUniversityofBrasilia(UnB),Brazil. In2016,shefinishedherPhDonSocialCommunicationby theUniversityofBrasilia (UnB).Her thesiswasaboutartisticexperienceandaccessibilitytocinemas,museumsandtheatres.SheisamemberoftheresearchgroupsAcessoLivreandNesecom.Hermainresearchinterestsareaudiovisualtranslationandaccessibility.

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LISTOFSPEAKERSAlonsoVilla,Cristina Panel3B Day1:15:15-16:45(p.37)ÁlvarezAlvarez,Susana Panel3B Day1:15:15-16:45(p.33)ArnáizUzquiza,Verónica Panel3B Day1:15:15-16:45(p.33)Beltramello,Anastastia Panel4B Day2:9:00-10:30(p.43)BoschFàbregas,MariazellEugènia Panel4B Day2:9:00-10:30(p.42)Brendemühl,Àlex Roundtable Day1:17:15-18:00(p.14)CarbonellGalindo,Julia Panel3B Day1:15:15-16:45(p.33)Comes,Lluís Roundtable Day1:17:15-18:00(p.14)Cronin,Michael Keynote3 Day2:13:30-14:30(p.13)DeHigesAndino,Irene Panel1A Day1:10:45-12:15(p.16)

Panel2A Day1:12:15-13:45(p.24)Dore,Margherita Panel2C Day1:12:15-13:45(p.28)Dufkova,Kristyna Panel4A Day2:9:00-10:30(p.40)DuranEppler,Eva Panel2A Day1:12:15-13:45(p.24)Fiola,MarcoA. Panel1B Day1:10:45-12:15(p.20)Huang,Boyi Panel4B Day2:9:00-10:30(p.41)Iberg,Sofia Panel1B Day1:10:45-12:15(p.19)IturreguiGallardo,Gonzalo Panel4B Day2:9:00-10:30(p.44)Izwaini,Sattar Panel5A Day2:12:00-13:30(p.46)Kiran,Aysun Panel5B Day2:12:00-13:30(p.49)Kraemer,Mathias Panel2A Day1:12:15-13:45(p.24)Labate,Simon Panel2B Day1:12:15-13:45(p.26)Magazzù,Giulia Panel2C Day1:12:15-13:45(p.30)Mangiron,Carme Panel5A Day2:12:00-13:30(p.47)Manterola,Elizabete Panel3A Day1:15:15-16:45(p.31)MartínezTejerina,Anjana Panel1C Day1:10:45-12:15(p.21)Mateo,Marta Keynote1 Day1:9:30-10:15(p.11)Membrez,Nancy Panel2A Day1:12:15-13:45(p.23)Meylaerts,Reine Keynote2 Day2:11:00-12:00(p.12)Parini,Ilaria Panel3B Day1:15:15-16:45(p.36)Parra,Guillermo Panel4A Day2:9:00-10:30(p.38)Passola,Isona Roundtable Day1:17:15-18:00(p.14)PenaDíaz,Carmen Panel2C Day1:12:15-13:45(p.29)PérezL.deHeredia,María Panel1A Day1:10:45-12:15(p.16)PontesCosta,Arthur Panel5B Day2:12:00-13:30(p.50)Puppo,Giulia Panel4A Day2:9:00-10:30(p.39)Ranzato,Irene Panel1A Day1:10:45-12:15(p.18)

Panel5A Day2:12:00-13:30(p.45)Renna,Dora Panel1C Day1:10:45-12:15(p.22)SánchezMartínez,Samantha Panel1C Day1:10:45-12:15(p.21)SantiagoVigata,Helena Panel2C Day1:12:15-13:45(p.27) Panel5B Day2:12:00-13:30(p.48)

Panel5B Day2:12:00-13:30(p.50)Sokoli,Stavroula Panel1A Day1:10:45-12:15(p.17)TavaresdaMata,Patricia Panel5B Day2:12:00-13:30(p.48)Wozniak,Monika Panel2B Day1:12:15-13:45(p.25)Yu,Jing Panel3A Day1:15:15-16:45(p.32)Zabalbeascoa,Patrick Panel1A Day1:10:45-12:15(p.17)Zafra,Enriqueta Panel1B Day1:10:45-12:15(p.20)

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