A brief history study of cinematography and cinematic translation, definition of concepts such as film language, film translation and subtitled text. After that, a phenomenon like film translation in translation theory was considered in more detail. Also explore the various classifications of film translation, many of which are similar, and some of which differ only in that they combine accompanying and voice-over interpretation into one group. Further study of dubbing and subtitling in the context of film translation. A detailed study of this issue began by comparing this type of film translation with another common form of film translation — subtitling.
The main principles of dubbing and subtitling were considered in the same paragraph. In addition, the topic of translating military vocabulary and military jargon was touched upon, since competence in this field should contribute to the achievement of the ultimate goal of this work. Some aspects of working with subtitles are also described. The first stage of working with the text is to conduct a pre-translation analysis and gather background information for better translation and prepare the film for repetition. After that, various types of text changes during editing were shown with examples. The translator's difficulties in working with the text were also shown.
The practical value of this work is not only that the result of this work can be used when repeating one episode of the selected series that was not previously subtitled and dubbed into Kazakh, but also that this work reveals many details. aspects of the translation service that affect the translation of texts for further dubbing and subtitling. A film translator preparing a film must have a wide range of skills in order to produce a quality translation. The translator's involvement in the subtitling process is maximized. The translator helps to match the length of the text lines on the screen to the length of the original lines after translating the first stages of subtitling, i.e. English subtitles. After working out the theoretical knowledge on this topic, it becomes clear that this topic has not yet been fully studied, since film translation appeared relatively recently. The question of determining the status of film translation in the context of domestic and foreign translation theory is especially interesting.
Introduction
Many people call our time the «Cinema Age», and it's hard to disagree with them. Every year, hundreds of films and series are released in the world, new genres of cinema appear, new filming technologies are invented, actors perform unimaginable things on the screens. Today, the quality of films has increased significantly. We can also talk about the translation quality of these films, because, for example, in the case of Kazakhstan, most of the films are produced in Asia (mainly Korea). Therefore, it is necessary to make quality translation of these films and TV series.
The theoretical value of this work is the systematization of existing knowledge about dubbing as a type of cinematographic translation necessary for the translator to work in this field.
The practical value of this work is that dubbing is a labor-intensive process and involves many different aspects, and this work addresses the main challenges in film translation and, in particular, subtitling.
The purpose of this work is to study the peculiarities of subtitling as a type of cinematographic translation, as well as to study the basic methods necessary for self-translation of the preparation of a film product for dubbing.
Relevance of research work
The relevance of the study of this work is that the problem of achieving the translation of this particular work from English to Kazakh has not been sufficiently studied. Interest in film translation appeared relatively recently. The emergence of different types of film translation has led to a deeper study of this issue. The development of modern filming and voice-acting technologies, as well as dubbing, contributed to the emergence of a form of film translation. Today, this type of film translation is considered one of the most widespread in Kazakhstan. This is the reason for the relevance of this work.
Material and research methodology
The subject of research is the Korean-language series «Crash landing on you» of the «Dragon» film studio. The subject of research is the features of subtitles as a type of cinematic translation.
Research results and their discussion
I reviewed a brief history of cinematography, as well as the history of film translation, definition of film translation, film language and audiovisual text, various classifications of film translation and features of each type were shown and considered. Dubbing as a type of cinematographic translation was studied in more detail, as well as the theoretical component of military vocabulary and military jargon translation was analyzed. The collected theoretical base contributed to the achievement of the main goal of this work, i.e. to independently translate one episode of the series «Mahabbat Apaty» and subtitle the selected series into Kazakh. prepared to do.
Various changes during subtitling processing were considered, as well as solutions to translation difficulties associated with the dubbing process.
But the ultimate goal of this work is to prepare a high-quality subtitle for the series, so the technical component of the film production was the main goal, despite the fact that it made the work of the translator easier. achieving maximum synchronicity between the original English subtitle series and the translation. In this work, three-column tables were used to show the changes in the translated text. The first column is «Original», which contains the original English subtitle used from the Korean series into English. The second column is «Translation», where the translated version of the warning is written before it is changed during processing. And the third column is «Translation for subtitles», where the version approved after editing and included in the editing list is written. The second and third columns highlight the changed locations.
The main difficulty in translating this series lies in the difference between the English and Kazakh languages. Kazakh and English speakers are known to express their emotions in different ways. Often, the translation of an emotional expression into the Kazakh language gives the impression that something is missing.
The whole problem is that, looking at the translation of a certain phrase, it turns out that a person who speaks Kazakh cannot express his emotions using the same phrases. According to some researchers, Kazakh people tend to use a lot of vocabulary when expressing such emotions. In the process of working with subtitles, the importance of extralinguistic information and the context of using emotionally colored vocabulary were emphasized. Given these factors, it is easy to find a suitable equivalent in the target language, and it is common to find that the same word can be translated in different ways. For example, the phrase «The Combat Site» has been translated in various cases as «Battlefield», «Battleground», «Base»; and the word «Troops» is translated as «troops», «soldiers», «squads». In these examples, we can see the maximum permissible equivalents of emotionally colored vocabulary that can be used in translation.
Thus, the main difficulties encountered by translators and editors when creating subtitles in the translated language were considered.
Conclusion
During the writing of this work, a brief history of cinematography and cinematographic translation was studied, definitions of concepts such as film language, film translation and subtitled text were found. After that, a phenomenon like film translation in translation theory was considered in more detail. Various classifications of film translation have also been studied, many of which are similar, and some of which differ only in combining accompanying and voice-over interpretation into one group. Further, dubbing was studied in more detail within the framework of film translation. A detailed study of this issue began by comparing this type of film translation with another common form of film translation — subtitling. The main principles of dubbing and subtitling were considered in the same paragraph. At the end of the first chapter, the topic of translating military vocabulary and military jargon was touched upon, since competence in this field should contribute to the achievement of the ultimate goal of this work.
The second chapter describes some aspects of working with subtitles. The first stage of working with the text is to conduct a pre-translation analysis and gather background information for better translation and prepare the film for repetition. After that, various types of text changes during editing were shown with examples. The translator's difficulties in working with the text were also shown.
The practical value of this work is not only that the result of this work can be used when repeating one episode of the selected series that was not previously subtitled and dubbed into Kazakh, but also that this work reveals many details. aspects of translation services that affect the translation of texts for further dubbing and subtitling. A film translator preparing a film must have a wide range of skills to produce quality translations. The translator's involvement in the subtitling process is maximized. The translator helps to match the length of the text lines on the screen to the length of the original lines after translating the first stages of subtitling, i.e. English subtitles.
After developing theoretical knowledge on this topic, it became clear that this topic has not yet been fully studied, since film translation appeared relatively recently. The question of determining the status of film translation in the context of domestic and foreign translation theory is especially interesting.
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