Chapter 9. More than words can say
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Sofía Sánchez-Mompeán
Abstract
Prosodic choices enable on-screen characters to express more than words can say. The pragmatic content attached to their utterances needs to be grasped and reflected in dubbing. Given that the denotative meaning of words can be modulated and even altered by prosodic cues, the role of prosody in audiovisual discourse cannot be neglected in dubbing research and practice. This chapter sets out to explore the relevance of four prosodic systems, namely pitch-direction, pitch-range, loudness and tempo, and their pragmatic implications for English-Spanish dubbed dialogue. The examples provided within each category aim to illustrate via a qualitative analysis how variations in prosody can be used by the original characters to show their attitudes and intentions and how practitioners can reproduce this underlying content by drawing upon their own linguistic resources while complying with dubbing conventions.
Abstract
Prosodic choices enable on-screen characters to express more than words can say. The pragmatic content attached to their utterances needs to be grasped and reflected in dubbing. Given that the denotative meaning of words can be modulated and even altered by prosodic cues, the role of prosody in audiovisual discourse cannot be neglected in dubbing research and practice. This chapter sets out to explore the relevance of four prosodic systems, namely pitch-direction, pitch-range, loudness and tempo, and their pragmatic implications for English-Spanish dubbed dialogue. The examples provided within each category aim to illustrate via a qualitative analysis how variations in prosody can be used by the original characters to show their attitudes and intentions and how practitioners can reproduce this underlying content by drawing upon their own linguistic resources while complying with dubbing conventions.
Chapters in this book
- Prelim pages i
- Table of contents v
- The dubbing revolution 1
-
Part I. Historical approaches
- Chapter 1. Undoing dubbing 17
- Chapter 2. When the Thief of Bagdad tried to steal the show 41
- Chapter 3. Locked into dubbing 63
- Chapter 4. Auteur dubbing 79
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Part II. New trends in dubbing research and practice
- Chapter 5. Audiovisual translation in the age of digital transformation 103
- Chapter 6. Are we all together across languages? 125
- Chapter 7. Fandubbing across time and space 145
- Chapter 8. To Europe with love 169
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Part III. The linguistics of dubbing
- Chapter 9. More than words can say 191
- Chapter 10. Representing orality through questions in original and translated film dialogue 211
- Chapter 11. English films vs Italian films 229
-
Part IV. Identity construction in dubbing
- Chapter 12. Sleeping with the fishes 245
- Chapter 13. Constructing youth identities in dubbed movies 263
- General Index 281
- Name Index 283
Chapters in this book
- Prelim pages i
- Table of contents v
- The dubbing revolution 1
-
Part I. Historical approaches
- Chapter 1. Undoing dubbing 17
- Chapter 2. When the Thief of Bagdad tried to steal the show 41
- Chapter 3. Locked into dubbing 63
- Chapter 4. Auteur dubbing 79
-
Part II. New trends in dubbing research and practice
- Chapter 5. Audiovisual translation in the age of digital transformation 103
- Chapter 6. Are we all together across languages? 125
- Chapter 7. Fandubbing across time and space 145
- Chapter 8. To Europe with love 169
-
Part III. The linguistics of dubbing
- Chapter 9. More than words can say 191
- Chapter 10. Representing orality through questions in original and translated film dialogue 211
- Chapter 11. English films vs Italian films 229
-
Part IV. Identity construction in dubbing
- Chapter 12. Sleeping with the fishes 245
- Chapter 13. Constructing youth identities in dubbed movies 263
- General Index 281
- Name Index 283