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a. Dubbing 1. Definition of Dubbing
As stated by Finlay 1971: 81, there are two ways of translating a film; dubbing and subtitling. As stated by Cintas in Budianto, 2005 dubbing is the process
of recording or replacing voices of the original soundtrack containing the actor’s dialogue with the TL recording that reproduces the original message, while at the same
time ensuring that the TL sound and the same actor’s lip movements are more or less synchronized. By using dubbing, the translation is covert and the target audiences will
hear the TL dialogue only.
2. Problems in Dubbing
The main problem in this type is caused by the difference between the speed of the spoken language and the speed in reading. Besides, it needs a translator and a
dubber to read the translated script. Nida states that the translation of titles is no great task, but ‘dubbing’…is difficult and complicated 1964: 178. It can be seen that
dubbing is not an easy work. In dubbing, the translator has to be faithful not only in the theatrical sense but
also in terms of phonological synchronization. Here, the aim of dubbing is to make the audiences feel as if they were listening the actors speaking in their language TL.
Further, Nida 1964: 177 mentions some factors that should be considered by the translator in doing the dubbing system;
- Timing, both the syllables and breath group
- Synchronization of consonants and vowels with obvious lip movements
by the actors ‘lip sync’.
xxxviii -
Words appropriate to the gestures some words just do not fit a shrug of the shoulders
- Characteristic differences of dialect in the various actors
- Timing of humor or expressions which produce special responses from
other actors.
3. Strategies for Dubbing
There are some strategies to get a successful dubbing. First, the performed translation must match, as closely as possible, the lip movements of the speaker on the
screen in order to seem natural or authentic. Moreover, there should be a strict, though easy to achieve, equivalence of extra-linguistic features of voice, especially
gender and age. The matching of other markers of speech such as personality, class, and ethnicity is most difficult because these features are not universally available or
comparable. The second is the compatibility of the dubbers voice with the facial and body
expressions visible on the screen. Here, lip synchronization is usually considered as the strongest constraint on the accuracy of the translation.
The third is the use of a method called ‘rythmo band’ or ‘lip-sync band’. This band provides a more precise guide for the actors, directors and technicians and can be
used to complement the traditional headphone method because the lip-sync band is projected in studio and scrolls in perfect synchronization with the picture.
b. Subtitling 1. Definition of Subtitling
According to Gambier in Budianto, 2005: 57,
xxxix “Subtitling is one of two possible methods for providing the translation of
a movie dialogue, where the original dialogue soundtrack is left in place and the translation is printed along the bottom of the film.”
Here, the translator puts the translation in form of text, put under the scene, to
translate the dialogues of the actors. As stated by Nida 1964: 178, “there are ‘titles’ reproduced along with the picture sequence, and exhibited immediately below the
picture itself”. Here, subtitles are usually placed below the picture itself to enable the viewers to understand what the characters are saying.
2. Problems in Subtitling
Subtitling is extremely difficult and complex work since it is not only bringing the message of the dialogue but also the culture of the source language. It means that the
subtitler has a responsibility to transfer the culture, semantic and pragmatic meaning of the SL. Here, the foreign identity of the SL is highlighted. The result of subtitling is
that the audience is not allowed to forget about the foreignness of a translated film. The difficulties that may appear in doing the subtitling process can be divided into two
categories, taken from Hariyanto 2005: v
Culture and Language Aspects.
This category consists of several problems: a. Cultural references
It becomes a problem if the subtitler did not know the custom of the SL b.
Idiomatic meanings c. WordplaysPuns
Sometimes, it is difficult to find out the equivalence of it. d. ‘Heavy Humor’
xl It is difficult to translate because heavy humor is related to the culture
of the SL. e. Pragmatic meanings
v
Media Aspects
There are two problems from this category; they are time limitation and layoutplace to put the subtitle. Below are the criteria of layout to put the
subtitle on the screen: a. The position of the subtitles is under the screen.
b. A single subtitle showing must be two lines c. The position of the text is in the middle of the screen
d. A line of subtitles should less than 35 characters. e. Type of font is without sheriff usually Helvetica or Arial.
f. The color and background of the font is white or transparent. The criteria of time limitation are:
a. The duration for two full lines: 3-6 second b. The duration for single line 7-8 words: 3.5 second
c. The duration for one single subtitle: 1.5 second d. The subtitles come up after the dialogue of the character approximately
about 0.25 second e. The subtitles end up after the dialogue of the character approximately about
2 second f. The time between two sequence subtitles is 0.25 second
g. Overlay, add-ons, cumulative text
xli h. The subtitles should be ended before cut because it indicated the thematic
changes. In conclusion, a subtitler should consider the aspects above carefully. Since the
viewers should read the subtitles in few seconds, the translator must consider the length and duration of time of that available no matter how long the original dialogue
is. However, in the same time the subtitler should also consider the cultural and language aspects both the SL and TL.
3. Strategies in Subtitling
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