Cover not available
Part of
Reassessing Dubbing: Historical approaches and current trends
Edited by Irene Ranzato and Serenella Zanotti
[Benjamins Translation Library 148] 2019
► pp. 1–14

The dubbing revolution

Published online: 6 August 2019
DOI logo
https://doi.org/10.1075/btl.148.00ran
References (65)
References
Ameri, Saeed, and Masood Khoshsaligheh. 2018. “Exploring the Attitudes and Expectations of Iranian Audiences in Terms of Professional Dubbing into Persian.” Journal of Language and Communication in Business 57: 175–190.Google Scholar
Ameri, Saeed, Masood Khoshsaligheh, and Ali Khazaee Farid. 2018. “The Reception of Persian Dubbing: A Survey on Preferences and Perception of Quality Standards in Iran.” Perspectives. Studies in Translation Theory and Practice 26(3): [URL] (accessed October 29, 2018).Google Scholar
Baños Piñero, Rocío, and Jorge Díaz Cintas (eds). 2015. Audiovisual Translation in a Global Context: Mapping an Ever-changing Landscape. Basingstoke: Palgrave Macmillan.Google Scholar
Barra, Luca. 2009. “The Mediation is the Message: Italian Regionalization of US TV Series as Co-Creational Work.” International Journal of Cultural Studies 12(5): 509–25. DOI logoGoogle Scholar
. 2013. “Invisible Mediation: The Role of Adaptation and Dubbing Professionals in Shaping US TV for Italian Audiences.” Journal of European Television History & Culture 2(4): 101–111.Google Scholar
Bernal-Merino, Miguel. 2014. Translation and Localisation in Video Games: Making Entertainment Software Global. New York: Routledge. DOI logoGoogle Scholar
Betz, Mark. 2001. “The Name above the (Sub)Title: Internationalism, Coproduction, and Polyglot European Art Cinema.” Camera Obscura 46 (16): 1–44. DOI logoGoogle Scholar
Bogucki, Łukasz, and Krzysztof Kredens (eds). 2010. Perspectives on Audiovisual Translation. Bern: Peter Lang.Google Scholar
Boillat, Alain. 2013. “Versions originales ou doublées: Le contexte suisse de l'exploitation - Entretien avec Cédric Bourquard”. Décadrages 23-24: 142-146.Google Scholar
Borges, Jorge Luis. 1988. “On Dubbing.” In Borges in/ and/ on/ Film, ed. by Edgardo Cozarinsky, trans. Gloria Waldman and Ronald Christ, 62–64. New York: Lumen Books.Google Scholar
Bosseaux, Charlotte. 2015. Dubbing, Film and Performance: Uncanny Encounters. Oxford: Peter Lang. DOI logoGoogle Scholar
Chaume, Frederic. 2004. “Film studies and translation studies: Two disciplines at stake in audiovisual translation.” Meta 49 (1): 12–24. DOI logoGoogle Scholar
. 2012. Audiovisual Translation: Dubbing. London/New York: Routledge.Google Scholar
. 2016. “Audiovisual translation trends: growing diversity, choice and enhanced localization.” In Media Across Borders, ed. by Andrea Esser, Miguel Ángel Bernal-Merino, and Iain Robert Smith, 68–84. London/New York: Routledge.Google Scholar
. 2018. “Is Audiovisual Translation Putting the Concept of Translation up Against the Ropes?” Jostrans 30 (July): 84–104.Google Scholar
Chan Takhung, Leo. 2018. “The Dialect(ic)s of Control and Resistance: Intralingual Audiovisual Translation in Chinese TV Drama.” International Journal of the Sociology of Language 251: 89–109. DOI logoGoogle Scholar
Chion, Michel (1999). The Voice in Cinema. Trans. Claudia Gorbman. New York, Columbia University Press.Google Scholar
Díaz Cintas, Jorge (ed). 2009. New Trends in Audiovisual Translation. Bristol: Multilingual Matters.Google Scholar
. 2012. “Clearing the smoke to see the screen: ideological manipulation in audiovisual translation”. Meta 57 (2): 279–293. DOI logoGoogle Scholar
Díaz Cintas, Jorge, and Gunilla Anderman (eds). 2009. Audiovisual Translation: Language Transfer on Screen. Basingstoke: Palgrave Macmillan. DOI logoGoogle Scholar
Díaz Cintas, Jorge, Anna Matamala, and Josélia Neves (eds). 2010. New Insights into Audiovisual Translation and Media Accessibility: Media for All 2. Amsterdam/New York: Rodopi.Google Scholar
Díaz Cintas, Jorge, and Josélia Neves (eds). 2015. Audiovisual Translation: Taking Stock. Newcastle upon Tyne: Cambridge Scholars Publishing.Google Scholar
Díaz Cintas, Jorge, and Kristijan Nikolić (eds). 2017. Fast-Forwarding with Audiovisual Translation. Bristol: Multilingual Matters. DOI logoGoogle Scholar
Díaz Cintas, Jorge, Ilaria Parini, and Irene Ranzato (eds). 2016. Ideological Manipulation in Audiovisual Translation, special issue of Altre Modernità–Rivista di studi letterarie e culturali .Google Scholar
Di Giovanni, Elena. 2016. “Dubbing and Redubbing Animation: Disney in the Arab World.” Altre Modernità. Special issue: Ideological Manipulation in Audiovisual Translation, ed. by Jorge Díaz Cintas, Ilaria Parini, and Irene Ranzato: 92–106.Google Scholar
Dwyer, Tessa. 2017. Speaking in Subtitles. Revaluing Screen Translation. Edinburgh: Edinburgh University Press.Google Scholar
Gill, James. 2018. “Netflix doubles down on dubbing with new series The Rain – but is it the right strategy?”. Radiotimes.com, 4th May 2018. [URL] (accessed October 29, 2018).Google Scholar
Fraser, Ryan. 2010. “ What’s Up, Tiger Lily? On Woody Allen and the Screen Translator’s Trojan Horse.” TTR 23(1): 17–39. DOI logoGoogle Scholar
Freddi, Maria, and Maria Pavesi (eds). 2009. Analysing Audiovisual Dialogue: Linguistic and Translational Insights. Bologna: Clueb.Google Scholar
O’Hagan, Minako, and Carmen Mangiron. 2013. Game Localization. Translating for the Global Entertaining Digital Industry. Amsterdam/Philadelphia: John Benjamins. DOI logoGoogle Scholar
Kenevisi, Mohammed Sadegh, Hasuria Che Omar, and Ali Jalalian Daghigh. 2016. “The Translation of English-language Films into Persian.” Altre Modernità. Special issue: Ideological Manipulation in Audiovisual Translation, ed. by Jorge Díaz Cintas, Ilaria Parini, and Irene Ranzato: 201–214.Google Scholar
Kilborn, Richard. 1993. ‘“Speak My Language”: Current Attitudes to Television Subtitling and Dubbing,’ Media, Culture and Society 15: 641–60. DOI logoGoogle Scholar
Koshsaligheh, Masood, and Saeed Ameri. 2016. “Ideological Considerations in Official Dubbing in Iran.” Altre Modernità. Special issue: Ideological Manipulation in Audiovisual Translation, ed. by Jorge Díaz Cintas, Ilaria Parini, and Irene Ranzato: 232–250.Google Scholar
Lembach, Joachim. 2003. The Standing of the German Cinema in Great Britain after 1945. Lewiston, N.Y.: Edwin Mellen Press.Google Scholar
Matamala, Anna. 2017. “Mapping audiovisual translation investigations: research approaches and the role of technology”. In Audiovisual Translation – Research and Use, ed. by Mikołaj Deckert, 11–28. Oxford: Peter Lang.Google Scholar
. 2018. “Voice-Over: Practice, Research and Future Prospects.” In The Routledge Handbook of Audiovisual Translation, ed. by Luis Pérez-González, 64–81. New York: Routledge.Google Scholar
Mazdon, Lucy, and Catherine Wheatley. 2010. Je t’aime moi non plus: Franco-British Cinematic Relations. New York: Berghahn Books.Google Scholar
. 2013. French Film in Britain: Sex, Art and Cinephilia. New York: Berghahn Books.Google Scholar
Mazdon, Lucy. 2016. “‘Kings of the Middle Way’: continental cinema on British screens.” In Middlebrow Cinema, ed. by Sally Faulkner, 181–195. New York: Routledge.Google Scholar
Mereu Keating, Carla. 2016. The Politics of Dubbing: Film Censorship and State Intervention in the Translation of Foreign Cinema in Fascist Italy. Oxford: Peter Lang. DOI logoGoogle Scholar
MESA News. 2017. “Study: EMEA Content Localization Service Spending Hits $2 Billion”. M&E Connections, June 27, 2017. [URL] (accessed October 18, 2018).Google Scholar
Moore Matthew. 2018. “Netflix dubbing has viewers lost for words.” The Times. May 18, 2018. [URL]Google Scholar
Munday, Jeremy. 2012, 2016. Introducing Translation Studies: Theories and Applications. London/New York: Routledge.Google Scholar
Nornes, A. M. (2007). Cinema Babel: Translating Global Cinema. Minnapolis and London: University of Minnesota Press.Google Scholar
O'Sullivan, Carol. 2011. Translating Popular Film. Basingstoke: Palgrave Macmillan.Google Scholar
O’Sullivan, Carol, and Jean-François Cornu. 2018. “History of Audiovisual Translation.” In The Routledge Handbook of Audiovisual Translation, ed. by Luis Pérez-González, 15–30. New York: Routledge.Google Scholar
Pavesi, Maria, Maicol Formentelli, and Elisa Ghia (eds). 2014. The Languages of Dubbing: Mainstream Audiovisual Translation in Italy. Bern: Peter Lang.Google Scholar
Pérez-González, Luis. 2009. “Audiovisual Translation.” The Routledge Encyclopedia of Translation Studies, ed. by Mona Baker and Gabriela Saldanha, 13–20. New York: Routledge, 2nd ed.Google Scholar
Ranzato, Irene. 2016. Translating Culture Specific References on Television: The Case of Dubbing. London/New York: Routledge.Google Scholar
Ranzato, Irene, and Serenella Zanotti (eds). 2018. Linguistic and Cultural Representation in Audiovisual Translation. London/New York: Routledge. DOI logoGoogle Scholar
Remael, Aline, Pilar Orero, and Mary Carroll (eds). 2012. Audiovisual Translation and Media Accessibility at the Crossroads: Media for All 3. Amsterdam/New York: Rodopi.Google Scholar
Rich, Ruby. 2004. “To Read or Not to Read: Subtitles, Trailers and Monolingualism.” In Subtitles: On the Foreignness of Film, ed. by Ian Balfour and Atom Egoyan, 153-169. Cambridge, Mass.: Cambridge MIT Press.Google Scholar
Rodriguez, Ashley. 2018. “The best discoveries Netflix made while researching how people watch TV.” Quartz. March 26. [URL] (accessed October 18, 2018).Google Scholar
Roettgers, Janko. 2018. “Netflix’s Secrets to Success: Six Cell Towers, Dubbing and More.” Variety. March 8, 2018. Available at: [URL] (last accessed October 18, 2018).Google Scholar
Sánchez Mompeán, Sofía. 2017. The Rendition of English Intonation in Spanish Dubbing. Unpublished PhD Thesis. University of Murcia. March 2017.Google Scholar
Szarkowska, Agnieszka, and Monika Laskowska. 2015. “Poland – A Voice-over Country No More? A Report on an Online Survey on Subtitling Preferences among Polish Hearing and Hearing-impaired Viewers.” In Accessing Audiovisual Translation, ed. by Łukasz Bogucki and Mikołaj Deckert, 179–197. Bern: Peter Lang.Google Scholar
Wilinsky, Barbara. 2001. Sure Seaters: The Emergence of Art House Cinema. Minneapolis: University of Minnesota Press.Google Scholar
Whittaker, Tom. 2012. “Locating ‘la voz’: the space and sound of Spanish dubbing.” Journal of Spanish Cultural Studies 13(3): 292–305. DOI logoGoogle Scholar
Yahiaoui, Rashid. 2016. “Ideological Constraints in Dubbing The Simpsons into Arabic.” Altre Modernità14. Special issue: Ideological Manipulation in Audiovisual Translation, ed. by Jorge Díaz Cintas, Ilaria Parini, and Irene Ranzato, 232–250.Google Scholar
Filmography
Allen, Woody, and Senkichi Taniguchi. 1966. What’s Up, Tiger Lily? USA.Google Scholar
Almodóvar, Pedro. 1988. Mujeres al borde de un ataque de nervios. Spain.Google Scholar
Donen, Stanley, and Gene Kelly. 1952. Singin’ in the Rain. USA.Google Scholar
Mujeres al borde de un ataque de nervios. Pedro Almodovar. Spain. 1988.Google Scholar
Singin' in the Rain. Stanley Donen and Gene Kelly. USA. 1952.Google Scholar
What's Up, Tiger Lily? Woody Allen and Senkichi Taniguchi. USA. 1966.Google Scholar
Cited by (2)

Cited by two other publications

Ogea Pozo, Mª del Mar & Carla Botella Tejera
2023. La traducción inversa de los elementos culturales en el doblaje: una propuesta didáctica con énfasis en el flujo de trabajo profesional . Estudios de Traducción 13 ► pp. 3 ff. DOI logo
Cover, Rob, Rosslyn Prosser & Duc Dau
2022. The corporeality of sound: drag performance, lip-synching and the popular critique of gendered theatrics in Australian film and television. Media International Australia 182:1 ► pp. 81 ff. DOI logo

This list is based on CrossRef data as of 28 june 2024. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers. Any errors therein should be reported to them.