SUBTITLING VS. DUBBING TRANSLATION CHALLENGES IN AUDIOVISUAL MEDIA

Аннотация

This paper describes the features of audiovisual translation, as well as: translation problems in audiovisual media Keywords: audiovisual translation, dubbing, subtitles, translation errors, translation quality. Translation of various texts has always been in demand, as international relations with various countries are becoming more and more relevant every day. Recently, audiovisual translation has become popular, namely, translation of feature films. Nowadays, it is quite common to find a professional translation of a feature film that meets all the language standards. However, this type of translation is still often carried out by non-professional translators. For many years, cinematography has been the focus of attention of scientists from various fields of scientific knowledge. Their opinions converge on one thing: “Like any form of art, cinema has its own specific language, the elements of which are heterogeneous, but together form a harmonious whole, actualizing themselves in a specific cinematographic work” [3]. The task of translation is to establish equivalence relations between the source and target texts so that both texts have the same meaning and perform the same function. To evaluate translation as a result of activity, it is necessary to use the translation correspondence model, which was identified by the team of authors D.M. Buzadzhi, V.V. Gusev, V.K. Lanchikov in their work “A New Look at the Classification of Translation Errors” [1]. According to this model, it is possible to identify the categories and causes of typical translation errors and create methods for their “prevention”. This model is the correspondence of analogies of certain parts of the original to certain parts of the translation. This correspondence can be at three levels. The first is pragmatic. Equivalence at this level is the most important, since it is associated with such communication factors as communicative intention, attitude towards the addressee. If there is no equivalence at this level, then the translation cannot be considered a full- fledged “substitute” for the original. However, pragmatic equivalence can be achieved at another, semantic level. This equivalence implies that pragmatic equivalence is achieved while preserving the semantic structure of the original. 77 ACADEMIC RESEARCH IN MODERN SCIENCE International scientific-online conference Translation can be pragmatically equivalent at the syntactic level. In this case, equivalence is achieved while preserving the syntactic structure of the original. But sometimes a pragmatically equivalent translation may not be equivalent to the original at the semantic and syntactic levels. In such cases, it is often necessary to resort to changes at both levels. An example of such a case is the phrase wet-painted – painted, where there is a clear departure from the semantics and syntax of the original. When assessing the quality of a translation, one should proceed from the adequacy criterion, which implies an analysis of the text from the point of view of its successful perception in the host culture. In addition, when assessing the quality of a translation, one should proceed from the adequacy criterion, which, unlike the equivalence criterion, which implies establishing semantic and stylistic accuracy to the original, implies an analysis of the text from the point of view of its successful perception in the host culture. Based on this, we can highlight the main requirements of adequacy: firstly, the translation must comply with the language norms accepted in the host culture, secondly, the translation must be aimed at the same target audience and convey the communicative effect of the original. The peculiarities of audiovisual translation, as opposed to other types of text, are various specific aspects of the object of this type of translation - audiovisual text. The transmission of verbal and non-verbal information in this type of text is simultaneously carried out in acoustic and visual directions, and the linguistic aspect ceases to play a decisive role. In the translation of a feature film, a number of features can be noted. However, the text when translated from English into Russian tends to increase in volume, and the time of its sounding is limited by the time of the original. Therefore, phrases must be formulated more compactly, using the compression technique. Films with subtitles can serve as material for studying a foreign language, thereby also performing an educational function [2]. According to D.M. Buzadzhi et al., the first group of errors includes violations in the transmission of meaning, which are associated with the denotative content of the text - semantic errors. An example of this group of errors is: "I'm just saying you gotta look like a plastic surgeon's wife (“Я хочу, чтоб ты выглядела как жена”; "Men sizni xotinga o'xshatishingizni xohlayman)" In the translation, the translator unmotivatedly omits part of the utterance. In IT, it is abo