The representation of African American identity on screen for a Spanish audience: A multimodal approach to the dubbing of Luke Cage, Bamboozled, and Tropic Thunder

Abstract

Existing studies of translations of audio-visual productions that explore African American issues focus exclusively on African American Vernacular English and culturally specific references, the standardisation or omission of which are seen to compromise the originals’ critique of race and their value for in-group identity. This article takes a multimodal approach to three such productions dubbed for a Spanish audience. Firstly, it examines how characters’ African American identity is rendered not only by language but also visually and aurally. Comprehension in dubbed versions is more likely to be affected by non-linguistic matters, such as casting of voice talent. Secondly, it is shown how translations shape the audio-visual creation of a fictional world and extra-diegetic elements that address a particular audience and thus enable in-group identification along ethnic lines. Lastly, an alternative translation strategy is outlined that targets audiences from the international Black diaspora to whom such productions might appeal.

Keywords:
Publication history
Table of contents

As Black History Months come around each year in the USA and UK, many cinemas, broadcasters, and streaming services now prioritise feature films, documentaries, series, and programmes that spotlight moments of Black history and explore the life experiences of Black people, both real and fictional. A great many of these have been made in recent years, as Black directors, scriptwriters, and actors have started to command the artistic freedoms for which they have spent many decades calling. Many of these productions are from the USA and focus on African American characters and stories in order to examine specific collective concerns, such as slavery (Emancipation; Fuqua 2022) and the intersections of race and class (Black-ish; Barris 2014–2022), and/or to commemorate significant figures and forms of cultural expression, as in the biographical drama Till (Chukwu 2022) and the documentary Summer of Soul (Thompson 2021). Such productions may be of interest to a general audience, as attested by the broad critical acclaim and substantial commercial success that many of them have enjoyed. Yet, they also perform a crucial role in reinforcing the ethnic identity and in-group identification of those who identify as African American. This can be for the simple fact that they prominently feature actors and characters of the same ethnicity, because of the connections that viewers establish with such characters on account of having had similar experiences and possessing similar values, and by offering positive role models that boost one’s concept of self (Behm-Morawitz 2020).

Full-text access is restricted to subscribers. Log in to obtain additional credentials. For subscription information see Subscription & Price. Direct PDF access to this article can be purchased through our e-platform.

Filmography

Barris, Kenya
Chukwu, Chinonye
dir. 2022Till. Universal City, CA. Universal Studios, on Amazon Prime. https://​www​.amazon​.co​.uk​/Till​-Danielle​-Deadwyler​/dp​/B0B8QNJHFB
Coker, Cheo Hodari
creator 2016a Luke Cage. Season 1, episode 1, “Moment of Truth.” Written by Cheo Hodari Coker. Directed by Paul McGuigan. Aired September 30, 2016. https://​www​.disneyplus​.com​/en​-gb​/video​/95befc5b​-5a12​-41b5​-8729​-94cb2b5704f4
creator 2016b Luke Cage. Season 1, episode 2, “Code of the Streets.” Written by Cheo Hodari Coker. Directed by Paul McGuigan. Aired September 30, 2016. https://​www​.disneyplus​.com​/en​-gb​/video​/0aaf9eda​-a13d​-4d4d​-a972​-9f836c7d396b
creator 2016c Luke Cage. Season 1, episode 3, “Who’s Gonna Take the Weight?” Written by Matt Owens. Directed by Guillermo Navarro. Aired September 30, 2016. https://​www​.disneyplus​.com​/en​-gb​/video​/aae6df6f​-7095​-4160​-b3c3​-166422abf1be
Coogler, Ryan
dir 2018Black Panther. Burbank, CA. Walt Disney Studios Motion Pictures, on Disney+. https://​www​.disneyplus​.com​/en​-gb​/movies​/black​-panther​/1GuXuYPj99Ke
dir 2022Black Panther: Wakanda Forever. Burbank, CA. Walt Disney Studios Motion Pictures, on Disney+. https://​www​.disneyplus​.com​/en​-gb​/movies​/black​-panther​-wakanda​-forever​/7MAONYZ92wDT
Goddard, Drew
creator 2015–2018Daredevil. Burbank, CA. Marvel Television, on Disney+. https://​www​.disneyplus​.com​/en​-gb​/series​/daredevil​/5jKSWL7ZMg50
Fischer, Peter S., Richard Levinson, and William Link
Fuqua, Antoine
dir 2022Emancipation. Cupertino, CA. Apple TV+, on Apple TV+. apple​.com​/apple​-tv​-plus/
Hyman, Fracaswell
dir 2020Bookmarks. Season 1, episode 9, “Common Reads ‘Let’s Talk about Race’.” Aired September 1, 2020 on Netflix. https://​netflix​.com​/gb
Lee, Spike
dir Bamboozled 2000Madrid, Spain: Aurum Producciones 2005 DVD.Google Scholar
Manor, Arnon, and Timothy Ware-Hill
dirs 2020Cops and Robbers. Beverly Hills, CA. Lawrence Bender Productions, on Netflix. https://​netflix​.com​/gb
Murphy, Ryan, Brad Falchuk, and Ian Brennan
Nicholl, Don, Michael Ross, and Bernie West
Philips, Todd
dir 2010 Salidos de cuentas [European Spanish title of Due Date]. Burbank, CA. Warner Bros Pictures 2016 DVD.Google Scholar
Prince-Bythewood, Gina
dir 2022The Woman King. Culver City, CA. Sony Pictures Releasing, on Amazon Prime. https://​www​.amazon​.co​.uk​/Woman​-King​-Viola​-Davis​/dp​/B0B8PXJSDV
Rae, Issa, and Larry Wilmore
Simon, David
creator 2002–2008The Wire: The Complete Series. New York City, NY. HBO Entertainment 2008 DVD Box Set.Google Scholar
Singleton, John
dir 1991Boyz n the Hood. Culver City, CA. Columbia Pictures, on Netflix. https://​www​.netflix​.com
Stiller, Ben
dir 2008Tropic Thunder ¡una guerra muy perra!. Madrid: Paramount Spain 2009 DVD.Google Scholar
Tarantino, Quentin
dir 2012Django Unchained. New York City, NY. The Weinstein Company 2013 DVD.Google Scholar
Thompson, Ahmir K.
dir 2021Summer of Soul. Century City, CA. Searchlight Studios, on Apple TV+. apple​.com​/apple​-tv​-plus/
Whedon, Joss
creator 1997–2003Buffy the Vampire Slayer. Los Angeles, CA. 20th Century Fox Television 2004 DVD.Google Scholar

Discography

Alaska y Dinarama, performers
1986 “A quién le importa”, on No Es Pecado. Pozuelo de Alarcón. Parlophone Music, Spain 2006 Spotify.Google Scholar
Ernie and the Top Notes, performers
1972 “Dap Walk”, on The Funky 16 Corners. Los Angeles, CA. Now-Again Records 2019 Spotify.Google Scholar
Frank T, vocalist and composer
1998 “El tiempo de los intrusos,” on Discografía básica. Madrid. Zona Bruta 2005 CD.Google Scholar
Hayes, Isaac, vocalist and composer
1971 “Theme from Shaft ”, on Shaft. London. Rondor Music 1989 CD.Google Scholar
Kamer, Cyril
, vocalist and lyricist 2020 “Somos”, ft. Moha the B. Los Rebeldes. Spotify.Google Scholar
Moha the B, vocalist and lyricist
2019 “Negrata”, ft. Godss Lurex. No publisher. Spotify.Google Scholar
2020 “Spain”. No publisher. Spotify.Google Scholar
Saadiq, Raphael
vocalist and composer 2011 “Good Man”, co-composed by Taura Stinson, on Stone Rollin’. New York City, NY. Columbia 2011 LP.Google Scholar
Wonder, Stevie
vocalist and composer 2000 “Misrepresented People”, co-composed by Gary Byrd, on Additional Singles and Rarities. Hilversum, Netherlands. UMG Recordings 2019 Spotify.Google Scholar
Wu-Tang Clan
performers 1993 “Bring Da Ruckus”, ft. RZA, Ghostface Killah, Raekwon and Inspectah Deck, on Enter the Wu-Tang (36 Chambers). New York City, NY. Sony Music Entertainment. Spotify.Google Scholar

References

Adami, Elisabetta, and Sara Ramos Pinto
2020 “Meaning-(Re)Making in a World of Untranslated Signs: Towards a Research Agenda on Multimodality, Culture, and Translation.” In Translation and Multimodality: Beyond Words, edited by Monica Boria, Ángeles Carreres, María Noriega-Sánchez, and Marcus Tomalin, 71–93. Abingdon: Routledge.Google Scholar
Allende-González, Carlos, Karen E. Shackleford, Lauren N. Keller, Cynthia Vinney, and Lawrence M. Drake
2020 “Watching Black Panther with Racially Diverse Youth: Relationships between Film Viewing, Ethnicity, Ethnic Identity, Empowerment, and Wellbeing.” Review of Communication 20 (3): 250–259. DOI logoGoogle Scholar
Arampatzis, Christos
2013 “Las variedades no estándar en la comedia de situación estadounidense y su doblaje al español: un estudio descriptivo [Non-standard varieties in the US sitcom and their dubbing into Spanish: A descriptive study].” TRANS 17: 85–102. DOI logoGoogle Scholar
Barlowe, Jamie
2003 “ ‘You Must Never Be a Misrepresented People’: Spike Lee’s Bamboozled .” Canadian Review of American Studies 33 (1): 1–15. DOI logoGoogle Scholar
Behm-Morawitz, Elizabeth
2020 “Media Use and the Development of Racial and Ethnic Identities.” In The International Encyclopedia of Media Psychology, edited by Jan Van den Bulck. Hoboken, NJ: John Wiley. DOI logoGoogle Scholar
Bernado, Laurena
2021 “Whitewashing Diverse Voices: (De)constructing Race and Ethnicity in Spanish-Language Television Dubbing.” Media, Culture and Society 43 (7): 1297–1310. DOI logoGoogle Scholar
Bosseaux, Charlotte
2015Dubbing, Film and Performance: Uncanny Encounters. Bern: Peter Lang. DOI logoGoogle Scholar
2018 “Investigating Dubbing: Learning from the Past, Looking to the Future.” In The Routledge Handbook of Audio-Visual Translation, edited by Luis Pérez-González, 48–63. Abingdon: Routledge. DOI logoGoogle Scholar
2019 “Voice in French Dubbing: The Case of Julianne Moore.” Perspectives 27 (2): 218–234. DOI logoGoogle Scholar
Corrizzato, Sara
2012 “The Lingua-Cultural Importation of African American Identity in the Italian Dubbed Version of Spike Lee’s Bamboozled .” Word and Text: A Journal of Literary Studies and Linguistics 2 (2): 110–120.Google Scholar
Elan, Priya
2021 “Nine Years after Trayvon Martin’s Killing, Hoodies Still Spark Debate.” The Guardian, February 27, 2021. https://​www​.theguardian​.com​/fashion​/2021​/feb​/27​/trayvon​-martin​-hoodies​-black​-young​-people
Estebas-Vilaplana, Eva
2014 “The Evaluation of Intonation: Pitch Range Differences in English and in Spanish.” In Evaluation in Context, edited by Geoff Thompson and Laura Alba-Juez, 179–194. Amsterdam: John Benjamins. DOI logoGoogle Scholar
Faloppa, Federico
2012 “Nero, negro e di colore.” Accademia della Crusca, October 12, 2012. https://​accademiadellacrusca​.it​/it​/consulenza​/nero​-negro​-e​-di​-colore​/734
Fowler, A. C.
2016 “The Violent Police Officers in Netflix’s Luke Cage Are Black and It Illuminates an Important Point about Black Lives Matter.” Insider, October 12, 2016. https://​www​.insider​.com​/luke​-cage​-black​-cops​-commit​-police​-brutality​-2016​-10
Gilroy, Paul
1993The Black Atlantic: Modernity and Double Consciousness. Cambridge: Harvard University Press.Google Scholar
Green, Stuart
2011 “¿Cómo puedes ser tan negro? Rap y racismo en España. Entrevistas con Frank T y El Chojín [How can you be so black? Rap and racism in Spain. Interviews with Frank T and El Chojín].” Arizona Journal of Hispanic Cultural Studies 15: 165–186. DOI logoGoogle Scholar
Huet, Justine
2020 “Les super-pouvoirs du doublage français de Luke Cage ou l’art de desservir la communauté afro-americaine [The superpowers of the French dubbing of Luke Cage or the art of doing a disservice to the African American community].” Francophone Convergences 6 (2): 105–122. http://​mrujs​.mtroyral​.ca​/index​.php​/cf​/index DOI logo
Krims, Adam
2000Rap Music and the Poetics of Identity. Cambridge: Cambridge University Press.Google Scholar
Leon, Melissa
2017 “ ‘Luke Cage’ Creator on Black Lives Matter and Bringing the N-Word to the MCU.” Daily Beast, July 12, 2017. https://​www​.thedailybeast​.com​/luke​-cage​-creator​-on​-black​-lives​-matter​-and​-bringing​-the​-n​-word​-to​-the​-mcu
MacDonald, J. Fred
1992Blacks and White TV: African Americans in Television since 1948. 2nd ed. Chicago: Nelson-Hall.Google Scholar
Martínez Sierra, Juan José
2014–2015 “La traducción de nigger en Django Desencadenado: un enfoque ideológico [The translation of ‘n*****’ in Django Unchained: An ideological approach].” Prosopopeya: Revista de crítica contemporánea 9: 81–98.Google Scholar
McCarthy, Justin, and Whitney Dupreé
2021 “No Preferred Racial Term Among Most Black, Hispanic Adults.” August 4, 2021. https://​news​.gallup​.com​/poll​/353000​/no​-preferred​-racial​-term​-among​-black​-hispanic​-adults​.aspx
McMillen, Samuel
2020 “Re-Envisioning Black Masculinity in Luke Cage: From Blaxploitation and Comic Books to Netflix .” The Journal of Popular Culture 53 (2): 454–472. DOI logoGoogle Scholar
Méndez-Silvosa, Natalia, and Alicia Bolaños-Medina
2019 “La traducción al español del inglés afroamericano para doblaje: El caso de la serie Insecure [The translation into Spanish of African American English for dubbing: The case of the series Insecure ].” Parallèlles 31 (2): 32–46.Google Scholar
Meyer-Dinkgräfe, Daniel
2006 “Thoughts on Dubbing Practice in Germany: Procedures, Aesthetic Implications and Ways Forward.” Scope: An Online Journal of Film Studies 5. https://​nottingham​.ac​.uk​/scop​/documents​/2006​/june​-2006​/thoughts​-on​-dubbing​-practice​-in​-germany​.pdf
Mignant, Nolwenn
2010 “Tarantino’s Inglorious Basterds: A Blueprint for Dubbing Translators?Meta: Journal des Traducteurs 55 (4): 712–731.Google Scholar
Munday, Jeremy
ed. 2009The Routledge Companion to Translation Studies. Rev. ed. Abingdon: Routledge. DOI logoGoogle Scholar
Naranjo Sánchez, Beatriz
2015 “Translating Blackness in Spanish Dubbing.” Revista Española de Lingüística Aplicada 28 (2): 416–441. DOI logoGoogle Scholar
Navarro Andúgar, Juan, and Purificación Meseguer Cutillas
2015 “La identidad social a través del lenguaje: Estudio del doblaje de The Wire al español [Social identity through language: A study of the dubbing of The Wire into Spanish].” Opción 31 (5): 642–665.Google Scholar
Nwoko, Uzochi P.
2018 “Why Non-Blacks Rapping the ‘N Word’ Is Cultural Appropriation.” The Harvard Crimson, February 14, 2018. https://​www​.thecrimson​.com​/column​/where​-rap​-meets​-race​/article​/2018​/2​/14​/whererapmeetsrace​-installment1/
Pavesi, Maria
2020 “Dubbing.” In Routledge Encyclopedia of Translation Studies, 3rd ed., edited by Mona Baker and Gabriela Saldanha, 156–161. Abingdon: Routledge.Google Scholar
Queen, Robyn
2004 “ ‘Du hast jar keene Ahnung’: African American English Dubbed into German.” Journal of Sociolinguistics 8 (4): 515–537. DOI logoGoogle Scholar
Rahman, Jacquelyn
2012 “The N Word: Its History and Use in the African American Community.” Journal of English Linguistics 40 (2): 137–171. DOI logoGoogle Scholar
Ramos Pinto, Sara
2009 “How Important Is the Way You Say It? A Discussion on the Translation of Linguistic Varieties.” Target 21 (2): 289–307. DOI logoGoogle Scholar
Rhym, Darren
1998 “An Analysis of George Jefferson and Heathcliff Huxtable.” Journal of African American Men 3 (3): 57–67. DOI logoGoogle Scholar
Romano, Aja
2020 “How Voice Actors Are Fighting to Change an Industry that Renders Them Invisible.” Vox, December 1, 2020. https://​www​.vox​.com​/2020​/7​/22​/21326824​/white​-voice​-actors​-black​-characters​-cartoons​-whitewashing
Sargent, Andrew
2017 “How to Get Away with Blackface: Performances of Black Masculinity in Tropic Thunder .” The Journal of Popular Culture 50 (6): 1400–1420. DOI logoGoogle Scholar
Thomas, Erik R., and Jeffrey Reaser
2004 “Delimiting Perceptual Cues Used for the Ethnic Labeling of African American and European American Voices.” Journal of Sociolinguistics 8 (1): 54–87. DOI logoGoogle Scholar
Whitten, Sarah
2022 “ Black Panther: Wakanda Forever Scores $180 Million Opening Weekend, Highest November Debut Ever.” November 13, 2022. https://​www​.cnbc​.com​/2022​/11​/13​/black​-panther​-wakanda​-forever​-opening​-weekend​-box​-office​.html
Zanotti, Serenella
2011 “ ‘You Got to Git Realistic’: The Dubbing of African American English into Italian.” In Challenges for the 21st Century: Dilemmas, Ambiguities, Directions. Papers from the 24th AIA Conference, Vol. II: Language Studies, edited by Gabriella Di Martino, Linda Lombardo, and Stefani Nuccorini, 129–139. Rome: Edizione Q; Dipartimento de Letterature Comparate, Università degli Studi Roma Tre.Google Scholar