Cover not available
Part of
Reassessing Dubbing: Historical approaches and current trends
Edited by Irene Ranzato and Serenella Zanotti
[Benjamins Translation Library 148] 2019
► pp. 79–100

Chapter 4
Auteur dubbing

Translation, performance and authorial control in the dubbed versions of Stanley Kubrick’s films

Stanley Kubrick was one of the few film directors who took an active role in the creation of foreign-language versions. From A Clockwork Orange onwards, he personally chose the dubbing director for all the dubbed versions and had an active part in the voice casting (Chiaro 2007, Nornes 2007). By looking at a variety of sources, this chapter aims to illustrate the genesis of the dubbed versions of Kubrick’s films, focusing on the film director’s role and degree of intervention in the production process. It will be argued that, by overseeing all aspects of the dubbing process, Kubrick conferred a special status on the foreign-language releases of his films, which are to be regarded as authorized versions on which an unusually evident authorial imprint was imposed.

Keywords: dubbing, film translation, authorial control, Stanley Kubrick, archival research
Article outline
  • 1.Introduction
  • 2.Stanley Kubrick and foreign-language versions
  • 3.Auteur dubbing
    • 3.1Shooting with a view to foreign-language versions
    • 3.2Choosing the dubbing director
    • 3.3Finding good translators
    • 3.4Controlling the translations
    • 3.5Voice casting
    • 3.6Mixing
    • 3.7Authorial choices
  • 4.Kubrick and dubbing
  • 5.Conclusions
  • Notes
  • References
  • Filmography
Published online: 6 August 2019
DOI logo
https://doi.org/10.1075/btl.148.04zan
References
Adams, Mark
2001 Mike Hodges: The Pocket Essential Guide, Summersdale Publishers LTD – ROW.Google Scholar
Arias, Jesús
2011 “Cuando Kubrick me eligió para doblar ‘El resplandor’, me dio un subidón” [When Kubrick chose me to dub ‘The Shining’]. 4 November. [URL] (last accessed November 5, 2017).Google Scholar
Ascheid, Antje
1997 “Speaking Tongues: Voice Dubbing in the Cinema as Cultural Ventriloquism.” The Velvet Light Trap 40: 33–41.Google Scholar
Betz, Mark
2009 Beyond the Subtitle: Remapping European Art Cinema. Minneapolis/London: University of Minnesota Press.Google Scholar
Bogdanovich, Peter
1999 “What They Say About Stanley Kubrick.” The New York Times, July 4. [URL] (last accessed November 5, 2017).Google Scholar
Chiaro, Delia
2007 “Not in front of the children? An analysis of sex on screen in Italy.” In A Tool for Social Integration? Audiovisual Translation from Different Angles, ed. by Aline Remael and Josélia Neves. Linguistica Antverpiensia. New Series 6: 255–276.Google Scholar
Ciment, Michel
2001 Kubrick. The Definitive Edition. Translated from French by Gilbert Adair. New York: Faber and Faber.Google Scholar
Díaz Cintas, Jorge
2001 “Striving for quality in subtitling: the role of a good dialogue list”. In (Multi)Media Translation: Concepts, Practices and Research, edited by Yves Gambier and Henrik Gottlieb, 199–211. John Benjamins: Philadelphia. DOI logoGoogle Scholar
Durant, Philippe
2017 Jean-Louis Trintignant. Paris: Editions Générales First.Google Scholar
Heymann, Danièle
2005 “Stanley Kubrick’s Vietnam.” In The Stanley Kubrick Archives, ed. by Alison Castle, 476–479. Hong Kong: Taschen. [originally published as “Le Vietnam de Stanley Kubrick: Un entretien avec le réalisteur de Full Metal Jacket”, Le Monde, 20 October 1987.]Google Scholar
Hill, Rodney and Gene Phillips
(eds) 2002 Encyclopedia of Stanley Kubrick: From Day of the Fight to Eyes Wide Shut. New York: Facts On File.Google Scholar
Hodsdon, Barrett
2017 The Elusive Auteur: The Question of Film Authorship Throughout the Age of Cinema. Jefferson: McFarland.Google Scholar
Hooton, Christopher
2015 “Read the alternative phrases to ‘All work and no play makes Jack a dull boy’ Stanley Kubrick considered for The Shining .” The Independent. 11 June. [URL] (last accessed November 3, 2017).Google Scholar
Hughes, David
2000 The Complete Kubrick. London: Virgin.Google Scholar
Lachat Leal, Christina
2012 “Visual perception and audiovisual translation: directed vision.” MonTI 4trans (2012): 1–12.Google Scholar
Laudadio, Felice
1999 “Quando m’impose di dare i suoi film in italiano.” [When he forced me to exhibit his films in Italian] L’Unità, 8 March.Google Scholar
Maldesi, Mario
2007 “Intervista a Mario Maldesi.” [Interview with Mario Maldesi] aSinc. Rivista in rete di critica del doppiaggio. [URL] (last accessed November 3, 2017).Google Scholar
McAvoy, C
2015 “Creating The Shining: Looking Beyond the Myths.” In Stanley Kubrick: New perspectives, ed. by T. Ljujic, P. Krämer & R. Daniels, 282–307. London: Black Dog Publishing.Google Scholar
McDougal, Stuart
2003 Stanley Kubrick’s A Clockwork Orange. Cambridge: Cambridge University Press. DOI logoGoogle Scholar
McQuiston, Kate
2013 We’ll Meet Again: Musical Design in the Films of Stanley Kubrick. Oxford: Oxford University Press. DOI logoGoogle Scholar
Milon, Colette and Jean-Philippe Renouard
1999 “Les yeux grand fermés : à propos du doublage de Eyes Wide Shut– entretien avec Pascale Ferran.” [Eyes Wide Shut: On the dubbing of Eyes Wide Shut – interview with Pascale Ferran] VACARME 10 (Winter). [URL] (last accessed November 5, 2017). DOI logoGoogle Scholar
Mira, Alberto
2010 The A to Z of Spanish Cinema. Lanham, MD: Scarecrow Press.Google Scholar
Molina Foix, Vicente
1980 “An Interview with Stanley Kubrick.” In The Stanley Kubrick Archives ed. by Alison Castle, 460–464. Hong Kong: Taschen. [originally published [El Pais– Artes, December 20, 1980.]Google Scholar
1999 “El artista maniático.” [The obsessive artist] El País, 8 March. [URL]Google Scholar
2005 “El Director Exquisito.” [The exquisite director] El País, 6 March. [URL] (last accessed November 5, 2017).Google Scholar
Nornes, Abé Mark
2007 Cinema Babel – Translating Global Cinema. Minneapolis: University of Minnesota Press.Google Scholar
O’Sullivan, Carol
2013 “Images Translating Images: “Dubbing” Text on Screen.” L’Écran traduit 2: 123–142.Google Scholar
Pérez-González, Luis
2014 Audiovisual Translation: Theories, Methods and Issues. New York: Routledge.Google Scholar
Raspiengeas, Jean-Claude
2001 Bertrand Tavernier. Paris: Flammarion.Google Scholar
Reitz, Edgar
2004 “ ‘Our Work Was an Exception’: Directing the Dubbing of Eyes Wide Shut. Interview with Edgar Reitz.” In Stanley Kubrick, edited by Hans-Peter Reichmann and Ingeborg Flagge (Deutsches Filmmuseum Frankfurt am Main, Deutsches Architekturmuseum: Frankfurt am Main). Kinematograph 20: 244–249.Google Scholar
Renouard, Jean-Philippe
1999 “La fin de Babel.” [The end of Babel] Vacarme, 10: 47. [URL] (last accessed 3 November, 2017). DOI logoGoogle Scholar
Riou, Alain
1987 “Une étincelle inimitable!” [An inimitable spark!] Le Nouvel observateur 1196 (9–15 October): 52–54.Google Scholar
Rota, Alessandra
1999 “Le voci per Stanley? Un lavoro bellissimo.” [The voices for Stanley? A beautiful job] La Repubblica 1 September 1999. [URL] (last accessed November 3, 2017).Google Scholar
Szarkowska, Agnieszka
2013 “Auteur Description: From the Director’s Creative Vision to Audio Description.” Journal of Visual Impairment & Blindness 107 (5): 383–387.Google Scholar
Tornabuoni, Lietta
(ed.) 1995 Federico Fellini. Milano: Rizzoli.Google Scholar
Ulivieri, Filippo
2002 “Conversazione con Mario Maldesi” [Conversation with Mario Maldesi]. Archivio Kubrick. [URL] (last accessed November 3, 2017).Google Scholar
Weinraub, Bernard
1972 “Kubrick Tells What Makes ‘Clockwork Orange’ Tick”. The New York Times, January 4: 26. [URL] (last accessed November 3, 2017).Google Scholar
Whitman-Linsen, Candace
1992 Through the Dubbing Glass. The Synchronization of American Motion Pictures into German, French and Spanish. Frankfurt am Main: Peter Lang.Google Scholar
Whittaker, Tom
2012 “Locating “la voz”: The space and sound of Spanish dubbing.” Journal of Spanish Cultural Studies 13 (3): 292–305.Google Scholar
Zabalbeascoa, Patrick, Natalia Izard and Laura Santamaria
2001 “Disentangling Audiovisual Translation.” In (Multi) Media Translation: Concepts, Practices, and Research, ed. by Yves Gambier and Henrik Gottlieb, 101–112. Amsterdam and New York: Benjamins. DOI logoGoogle Scholar

Filmography

2001: A Space Odyssey
. Stanley Kubrick. UK/USA 1968.Google Scholar
Barry Lyndon
. Stanley Kubrick. UK/USA 1975.Google Scholar
Dr. Strangelove
. Stanley Kubrick. UK/USA 1964.Google Scholar
Eyes Wide Shut
. Stanley Kubrick. UK/USA 1999.Google Scholar
Full Metal Jacket
. Stanley Kubrick. USA/UK 1987.Google Scholar
Lolita
. Stanley Kubrick. UK/USA 1962.Google Scholar
The Shining
. Stanley Kubrick. USA/UK 1980.Google Scholar
Spartacus
. Stanley Kubrick. USA 1960 (Restored edition 1991).Google Scholar
Cited by

Cited by 2 other publications

Minutella, Vincenza
2021. Dubbing Animated Films: A Complex Collaborative Process. In (Re)Creating Language Identities in Animated Films, ► pp. 19 ff. DOI logo
Zanotti, Serenella
2020. Translaboration in a film context. Target. International Journal of Translation Studies 32:2 ► pp. 217 ff. DOI logo

This list is based on CrossRef data as of 23 april 2024. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers. Any errors therein should be reported to them.