Publication Title
Learning to subtitle online. Learning environment, exercises, and evaluation
Publication Type
Book chapter
Editor(s)
Title of edited book
The Didactics of Audiovisual Translation
Year of publication
2008
Pages
105-114
Publisher
City
Language(s)
English
Modalities
Abstract
Voice-over is one of the less known modalities of audiovisual translation (AVT), although a new boost has been given to this transfer mode thanks to researchers such as Franco (2000a, 2000b, 2001a, 2001b) and Orero (2004b,
forthcoming). Not as popular as dubbing or subtitling, it is used to revoice fictional TV programmes in many Eastern European countries, as well as children films and series in Scandinavia, and it is also used to revoice nonfictional programmes in most countries all over the world. This market should not be neglected and future professionals should be trained in this field, but the reality is that despite the boom of courses on AVT, both at undergraduate and postgraduate levels, hardly any of them prepare their students for voice-over (Díaz Cintas and Orero, 2003). A certain number of articles have discussed AVT from a teaching
perspective: AVT in general (Díaz Cintas et al., 2006; Kovačič, 1998); subtitling (Brondeel, 1994; Díaz Cintas, 2001b; Gottlieb, 1994 and 1996); 222 dubbing (Bartrina, 2001; Chaume, 1999; Espasa, 2001); new technologies (Chaume, 2003; Matamala, 2006); AVT in language teaching (Díaz Cintas, 1995 and 1997; Neves, 2004); online training (Amador et al., 2004), and script analysis (Remael, 2004b). However, very few references can be found on the teaching of voice-over, apart from the description of brief activities within general AVT courses (Agost and Chaume, 1996; Bartrina and Espasa, 2003), in which the translation of documentaries is generally considered a first step. In the following pages I propose to describe the curricular design of a course on voice-over offered by the Universitat Autònoma de Barcelona (UAB) within their MA in Audiovisual Translation (MTAV). The article starts with an overview of this successful MA and then focuses on two key issues: the curricular design and the methodology implemented. Finally, a series of sample exercises which are aimed at developing specific skills for voice-over is included. Voice-over is one of the less known modalities of audiovisual translation (AVT), although a new boost has been given to this transfer mode thanks to researchers such as Franco (2000a, 2000b, 2001a, 2001b) and Orero (2004b, forthcoming). Not as popular as dubbing or subtitling, it is used to revoice fictional TV programmes in many Eastern European countries, as well as children films and series in Scandinavia, and it is also used to revoice nonfictional programmes in most countries all over the world. This market should not be neglected and future professionals should be trained in this field, but the reality is that despite the boom of courses on AVT, both at undergraduate and postgraduate levels, hardly any of them prepare their students for voice-over (Díaz Cintas and Orero, 2003).
A certain number of articles have discussed AVT from a teaching perspective: AVT in general (Díaz Cintas et al., 2006; Kovačič, 1998); subtitling (Brondeel, 1994; Díaz Cintas, 2001b; Gottlieb, 1994 and 1996); (Bartrina, 2001; Chaume, 1999; Espasa, 2001); new technologies (Chaume, 2003; Matamala, 2006); AVT in language teaching (Díaz Cintas, 1995 and 1997; Neves, 2004); online training (Amador et al., 2004), and script analysis (Remael, 2004b). However, very few references can be found on the teaching of voice-over, apart from the description of brief activities within general AVT courses (Agost and Chaume, 1996; Bartrina and Espasa, 2003), in which the translation of documentaries is generally considered a first step.
In the following pages I propose to describe the curricular design of a course on voice-over offered by the Universitat Autònoma de Barcelona (UAB) within their MA in Audiovisual Translation (MTAV). The article starts with an overview of this successful MA and then focuses on two key issues: the curricular design and the methodology implemented. Finally, a series of sample exercises which are aimed at developing specific skills for voice-over is included.
forthcoming). Not as popular as dubbing or subtitling, it is used to revoice fictional TV programmes in many Eastern European countries, as well as children films and series in Scandinavia, and it is also used to revoice nonfictional programmes in most countries all over the world. This market should not be neglected and future professionals should be trained in this field, but the reality is that despite the boom of courses on AVT, both at undergraduate and postgraduate levels, hardly any of them prepare their students for voice-over (Díaz Cintas and Orero, 2003). A certain number of articles have discussed AVT from a teaching
perspective: AVT in general (Díaz Cintas et al., 2006; Kovačič, 1998); subtitling (Brondeel, 1994; Díaz Cintas, 2001b; Gottlieb, 1994 and 1996); 222 dubbing (Bartrina, 2001; Chaume, 1999; Espasa, 2001); new technologies (Chaume, 2003; Matamala, 2006); AVT in language teaching (Díaz Cintas, 1995 and 1997; Neves, 2004); online training (Amador et al., 2004), and script analysis (Remael, 2004b). However, very few references can be found on the teaching of voice-over, apart from the description of brief activities within general AVT courses (Agost and Chaume, 1996; Bartrina and Espasa, 2003), in which the translation of documentaries is generally considered a first step. In the following pages I propose to describe the curricular design of a course on voice-over offered by the Universitat Autònoma de Barcelona (UAB) within their MA in Audiovisual Translation (MTAV). The article starts with an overview of this successful MA and then focuses on two key issues: the curricular design and the methodology implemented. Finally, a series of sample exercises which are aimed at developing specific skills for voice-over is included. Voice-over is one of the less known modalities of audiovisual translation (AVT), although a new boost has been given to this transfer mode thanks to researchers such as Franco (2000a, 2000b, 2001a, 2001b) and Orero (2004b, forthcoming). Not as popular as dubbing or subtitling, it is used to revoice fictional TV programmes in many Eastern European countries, as well as children films and series in Scandinavia, and it is also used to revoice nonfictional programmes in most countries all over the world. This market should not be neglected and future professionals should be trained in this field, but the reality is that despite the boom of courses on AVT, both at undergraduate and postgraduate levels, hardly any of them prepare their students for voice-over (Díaz Cintas and Orero, 2003).
A certain number of articles have discussed AVT from a teaching perspective: AVT in general (Díaz Cintas et al., 2006; Kovačič, 1998); subtitling (Brondeel, 1994; Díaz Cintas, 2001b; Gottlieb, 1994 and 1996); (Bartrina, 2001; Chaume, 1999; Espasa, 2001); new technologies (Chaume, 2003; Matamala, 2006); AVT in language teaching (Díaz Cintas, 1995 and 1997; Neves, 2004); online training (Amador et al., 2004), and script analysis (Remael, 2004b). However, very few references can be found on the teaching of voice-over, apart from the description of brief activities within general AVT courses (Agost and Chaume, 1996; Bartrina and Espasa, 2003), in which the translation of documentaries is generally considered a first step.
In the following pages I propose to describe the curricular design of a course on voice-over offered by the Universitat Autònoma de Barcelona (UAB) within their MA in Audiovisual Translation (MTAV). The article starts with an overview of this successful MA and then focuses on two key issues: the curricular design and the methodology implemented. Finally, a series of sample exercises which are aimed at developing specific skills for voice-over is included.