Article published In:
Audiovisual translation in context: Granting access to digital mediascapes
Edited by Jorge Díaz-Cintas, Alessandra Rizzo and Cinzia Giacinta Spinzi
[Translation and Translanguaging in Multilingual Contexts 9:3] 2023
► pp. 419449
References
ADLAB guidelines
n.d.). “Pictures Painted in Words. ADLAB Audio Description Guidelines.” Accessed June 30, 2023. [URL]
Appiah, Kwame Anthony
1993 “Thick Translation.” Callaloo 16 (4): 808–19. DOI logoGoogle Scholar
BBC iPlayer
Call the Midwife. Episode 1. Accessed June 30, 2023. [URL]
Bittner, Hansjörg
2015 “Audio Description Guidelines. A Comparison.” Accessed June 20, 2023. [URL]
Bosseaux, Charlotte
2001 “A Study of the Translator’s Voice and Style in the French Translations of Virginia Woolf’s The Waves .” CTIS Occasional Papers 11: 55–75.Google Scholar
Braun, Sabine
2008 “Audio Description Research: State of the Art and Beyond.” Translation Studies in the New Millennium 61:14–30.Google Scholar
Cambridge Dictionary Online
n.d.). [URL]
Chaume, Frederic
2018 “Is audiovisual Translation Putting the Concept of Translation up against the Ropes?Journal of Specialised Translation 301: 84–104.Google Scholar
Chen, Ya-Mei
2011 “The Translator’s Subjectivity and Its Constraints in News Transediting: A Perspective of Reception Aesthetics.” Meta 561: 119–144. DOI logoGoogle Scholar
Chiaro, Delia
2008 “Issues of Quality in Screen Translation: Problems and Solutions.” In Between Text and Image: Updating Research in Screen Translation, ed. by Delia Chiaro, Christine Hiess, and Chiara Bucaria, 183–193. Amsterdam: John Benjamins Publishing. DOI logoGoogle Scholar
Chmiel, Agnieszka, and Iwona Mazur
2014Audiodeskrypcja [Audio Description]. Poznań: Wydział Anglistyki UAM.Google Scholar
Cho, Jinhyun
2021 “Squid Game and the ‘Untranslatable’: The Debate around Subtitles Explained.” Accessed June 30, 2023. [URL]
Díaz Cintas, Jorge
2018 “ ‘Subtitling’s a Carnival’: New Practices in Cyberspace.” Journal of Specialised Translation 201: 127–149.Google Scholar
Díaz Cintas, Jorge, and Aline Remael
2021Subtitling. Concepts and Practices. London: Routledge.Google Scholar
Dong-hyuk, Hwang
director Squid Game. TV series, 9 Episodes (Netflix). Siren Pictures Inc 2021.Google Scholar
Dwyer, Tessa
2017Speaking in Subtitles. Revaluing Screen Translation. Edinburgh: Edinburgh University Press.Google Scholar
Groskop, Viv
2021 “Lost in Translation? The One-inch Truth about Netflix’s Subtitle Problem.” The Guardian. Accessed June 30, 2023. [URL]
Hatim, Basil, and Ian Mason
1997The Translator as Communicator. London: Routledge.Google Scholar
Hewson, Lance
2016 “Creativity in Translator Training: Between the Possible, the Improbable and the (Apparently) Impossible.” Linguaculture 21: 9–25. DOI logoGoogle Scholar
Holst, June Lyngbak Fogh
2010 “Creativity in Translation – A Study of Various Source and Target Texts.” Bachelor’s thesis. Institut for Sprog og Erhvervskommunikation: Aarhus School of Business. Accessed June 30, 2023. [URL]
Jankowska, Anna, and Agnieszka Szarkowska
2016 “Strategie opisu kulturemów waudiodeskrypcji.” [Strategies for audio describing culture]. Między Oryginałem a Przekładem 311: 136–152.Google Scholar
Jankowska, Anna, Michał Milc, and Louise Fryer
2017 “Translating Audio Description Scripts… into English.” Skase. Journal of Translation and Interpretation 10 (2): 2–16.Google Scholar
Jankowska, Anna
2022 “AD and Culture-specific Elements.” In The Routledge Handbook of Audio Description, ed. by Christopher Taylor, and Elisa Perego, 107–126. London: Routledge. DOI logoGoogle Scholar
Katan, David
2008 “Culture.” In The Routledge Encyclopedia of Translation Studies, ed. by Mona Baker, and Gabriela Saldanha, 70–73. Oxford: Routledge.Google Scholar
Katan, David, and Mustafa Taibi
2022Translating Cultures. An Introduction for Translators, Interpreters and Mediators. London: Routledge.Google Scholar
Kruger, Jan-Louis
2010 “Audio narration: Re-narrativising film.” Perspectives: Studies in Translatology 18 (3): 231–249. DOI logoGoogle Scholar
Lee, Hye-Kyung
2022 “Rethinking Creativity: Creative industries, AI and Everyday Creativity.” Media, Culture & Society 44 (3): 601–612. DOI logoGoogle Scholar
Leppihalme, Ritva
1994Culture Bumps: On the Translation of Allusions. Helsinki: University of Helsinki, Department of English.Google Scholar
Luque Colmenero, Maria Olalla, and Silvia Soler Gallego
2020 “Metaphor as Creativity in Audio Descriptive Tours for Art Museums: From Description to Practice.” Journal of Audiovisual Translation 3 (2): 64–78. DOI logoGoogle Scholar
McClarty, Rebecca
2012 “Towards a Multidisciplinary Approach in Creative Subtitling.” Monti, 41:133–153. DOI logoGoogle Scholar
Maszerowska, Anna, and Carme Mangiron
2014 “Strategies for Dealing with Cultural References in Audio Description.” In Audio Description: New perspectives illustrated, ed. by Anna Maszerowska, Anna Matamala, and Pilar Orero, 159–78. Amsterdam: John Benjamins Publishing. DOI logoGoogle Scholar
Matamala, Anna, and Naila Rami
2009 “Analisis comparativo de la audiodescripción española y alemana de ‘Good-bye Lenin.’” Hermēneus. Revista de Traducción e Interpretación 111: 1–13.Google Scholar
Mayer Youngmi
2021 Accessed June 30, 2023. [URL]
Namkung, Victoria
2021 “Translator, Experts Weigh in on ‘Squid Game’ Subtitle Debate.” News. Culture Matters. Accessed June 30, 2023. [URL]
Netflix
n.d.). “Creative Excellence in Dubbing – Guidelines.” Accessed June 30, 2023. [URL]
Pedersen, Jan
2005 “How is culture rendered in subtitles?MuTra – Challenges of Multidimensional Translation: Conference Proceedings: 1–18.Google Scholar
Pérez-González, Luis
2012 “Co-creational Subtitling in the Digital Media: Transformative and Authorial Practices.” International Journal of Cultural Studies 16 (1): 3–21. DOI logoGoogle Scholar
Pięta, Hanna, Laura Ivaska, and Yves Gambier
Ramos Caro, Marina
2016 “Testing Audio Narration: The Emotional Impact of Language in Audio Description.” Perspectives: Studies in Translatology 241: 1–29.Google Scholar
Ramos, Marina, and Ana Mária Rojo
2020 “Analysing the AD process: Creativity, Accuracy and Experience.” Journal of Specialised Translation 331: 212–232.Google Scholar
Remael, Aline, and Gert Vercauteren
2010 “The Translation of Recorded Audio Description from English into Dutch.” Perspectives: Studies in Translatology 181: 155–171. DOI logoGoogle Scholar
Rizzo, A.
2018 “Transcreating the Myth: “Voiceless Voiced” Migrants in the Queens of Syria Project.” In Translation or Transcreation? Discourses, Texts and Visuals, ed. by Cinzia Spinzi, Alessandra Rizzo, and Marianna Lya Zummo, 150–179. Newcastle-upon-Tyne: Cambridge Scholars Publishing.Google Scholar
Romero-Fresco, Pablo
2021 “Creative Media Accessibility: Placing the Focus Back on the Individual.” In Universal Access in Human-Computer Interaction. Access to Media, Learning and Assistive Environments, ed. by Margherita Antona, and Constantine Stephanidis, 291–307. Cham: Springer. DOI logoGoogle Scholar
Romero-Fresco, Pablo, and Frederic Chaume
2022 “Creativity in Audiovisual Translation and Media Accessibility.” Journal of Audiovisual Translation 381: 75–101.Google Scholar
Rudvin, Mette
2006 “The Cultural Turn in Community Interpreting. A Brief Analysis of Epistemological Developments in Community Interpreting Literature in the Light of Paradigm Changes in the Humanities.” In Taking Stock: Research and Methodology in Community Interpreting ed. by Erik Hertog, and Bart van der Veer, special issue of Linguistica Antverpiensia 51: 21–41.Google Scholar
Sanz-Moreno, Raquel
2017 “The audio Describer as a Cultural Mediator.” RESLA, Revista Española de Lingüística Aplicada 30 (2): 538–558. DOI logoGoogle Scholar
Schjoldager, Anne Gram, Henrik Gottlieb, and Ida Klitgård
2008Understanding Translation. Århus: Academica.Google Scholar
Schleiermacher, Friedrich
1938/1992 “On the Different Methods of Translating.” In Theories of Translation. An Anthology of Essays from Dryden to Derrida, ed. by Rainer Schulte, and John Biguenet, 36–54. London: The University of Chicago Press.Google Scholar
Spinzi, Cinzia
2020 “(Re)creating actuality in environmental documentaries. The case of Before the Flood .” Bridge. Trends and Traditions in Translation and Interpreting Studies 1 (2): 107–131.Google Scholar
Spiteri Miggiani, Giselle
2019Dialogue Writing for Dubbing. An Insider’s Perspective. Cham: Palgrave Macmillan. DOI logoGoogle Scholar
Szarkowska, Agnieszka
2013 “Auteur Description: From the Director’s Creative Vision to Audio Description.” Journal of Visual Impairment and Blindness 107 (5): 383–387. DOI logoGoogle Scholar
Szarkowska, Agnieszka, and Jankowska, Anna
2015 “Audio Describing Foreign Films.” Journal of Specialised Translation 231: 243–269.Google Scholar
Udo, John Patrick, and Deborah Fels
2009 “’Suit the Action to the Word, the Word to the Action’: An Unconventional Approach to Describing Shakespeare’s Hamlet .” Journal of Visual Impairment and Blindness 1031: 178–183. DOI logoGoogle Scholar
Venuti, Lawrence
1995The Translator’s Invisibility. London: Routledge.Google Scholar
Vercauteren, Gert
2007 “Towards a European Guideline for Audio Description.” In Media for All -Subtitling for the Deaf, Audio Description, and Sign Language, ed. by Pilar Orero, Aline Remael, and Jorge Díaz Cintas, 139–149. Amsterdam: Rodopi. DOI logoGoogle Scholar
2021 “Insights from Mental Model Theory and Cognitive Narratology as a Tool for Content Selection in Audio Description.” Journal of Audiovisual Translation 4 (3): 6–24. DOI logoGoogle Scholar
Walczak, Agnieszka, and Louise Fryer
2017 “Creative Description: The Impact of Audio Description Style on Presence in Visually Impaired Audiences”. British Journal of Visual Impairment 35 (1): 6–17. DOI logoGoogle Scholar
Zabalbeascoa, Patrick
Declining dichotomies in Translation Studies. Creativity and other unresolved issues.” Paper presented at the conference Translators as Authors 2: Creativity in Media Localisation, University of Rome ‘Sapienza’, May 10th, 2023.