Publication Cover
Perspectives
Studies in Translation Theory and Practice
Volume 27, 2019 - Issue 2: Audiovisual Translation: Intersections
671
Views
8
CrossRef citations to date
0
Altmetric
Articles

Investigating the genesis of translated films: a view from the Stanley Kubrick Archive

ORCID Icon
Pages 201-217 | Received 25 Jan 2018, Accepted 14 Jun 2018, Published online: 05 Jul 2018

References

  • Antonini, R., & Chiaro, D. (2009). The perception of dubbing by Italian audiences. In J. Díaz-Cintas & G. Anderman (Eds.), Audiovisual translation: Language transfer on screen (pp. 97–114). New York: Palgrave Macmillan.
  • Artegiani, I., & Kapsaskis, D. (2014). Template files: Asset or anathema? A qualitative analysis of the subtitles of The Sopranos. Perspectives. Studies in Translation Theory and Practice, 22(3), 419–436. doi: 10.1080/0907676X.2013.833642
  • Bathfield, V. (2000). Translating Hollywood - interview with Vanessa Bathfield. Language International, 12(3), 34–37.
  • Bliddal, H. (2013). The joke’s on you: International relations and Stanley Kubrick’s Dr. Strangelove. In H. Bliddal, P. Wilson, & C. Sylvest (Eds.), Classics of international relations: Essays in criticism and appreciation (pp. 118–127). London: Routledge.
  • Bollettieri, R. M., & Zanotti, S. (2017). Translations avant-textes: A study of Umberto Eco’s interaction with his translators. Translation Studies, 10(3), 263–281. doi: 10.1080/14781700.2017.1326314
  • Broderick, M. (2016). Reconstructing Strangelove: Inside Stanley Kubrick’s nightmare comedy. New York: Columbia University Press.
  • Ciment, M. (2001). Kubrick: The definitive edition. (G. Adair, Trans.). New York: Faber and Faber.
  • Cordingley, A., & Frigau Manning, C. (2016). Collaborative translation: From the Renaissance to the digital age. London: Bloomsbury.
  • Cordingley, A., & Montini, C. (Eds.). (2015). Towards a genetics of translation. [Special issue] Linguistica Antverpiensia New Series, 14.
  • de Higes-Andino, I. (2014). The translation of multilingual films: Modes, strategies, constraints and manipulation in the Spanish translations of it’s a free world … Linguistica Antverpiensia, New Series. Themes in Translation Studies, 13, 211–231.
  • De los Reyes Lozano, J. (2015). Genética del doblaje cinematográfico. La versión del traductor como proto-texto en el filme Rio. Linguistica Antverpiensia, New Series: Themes in Translation Studies, 14, 149–167.
  • Díaz Cintas, J. (2001). Striving for quality in subtitling: The role of a good dialogue list. In Y. Gambier & H. Gottlieb (Eds.), (Multi)media translation: Concepts, practices and research (pp. 199–211). Philadelphia: John Benjamins.
  • Díaz Cintas, J., & Remael, A. (2007). Audiovisual translation. Subtitling. Manchester: St. Jerome.
  • Dwyer, T. (2005). Universally speaking: Lost in translation and polyglot cinema. Linguistica Antverpiensia, New Series – Themes in Translation Studies, 4, 295–310.
  • Hodsdon, B. (2017). The elusive auteur: The question of film authorship throughout the age of cinema. Jefferson: McFarland.
  • Ivarsson, J. (1992). Subtitling for the media: A handbook of an art. Stockholm: Transedit.
  • Jansen, H., & Wegener, A. (2013). Multiple translatorship. In H. Jansen, & A. Wegener (Eds.), Authorial and editorial voices in translation 1: Collaborative relationships between authors, translators, and performers (pp. 1–38). Montreal, QC: Éditions québécoises de l’œuvre, collection Vita Traductiva.
  • Krämer, P. (2014). Dr. Strangelove or: How I learned to stop worrying and love the bomb. Houndmills, Basingstoke: Palgrave MacMillan.
  • Krämer, P. (2015). ‘Complete total final annihilating artistic control’: Stanley Kubrick and postwar Hollywood. In T. Ljujic, P. Krämer, & R. Daniels (Eds.), Stanley Kubrick: New perspectives (pp. 48–61). London: Black Dog.
  • Kubrick, S. (1962). Lolita. UK and USA: Seven Arts.
  • Kubrick, S. (1964). Dr. Strangelove or: How I learned to stop worrying and love the Bomb. UK and USA: Hawk Films.
  • Kubrick, S. (1971). A Clockwork Orange. UK and USA: Polaris Production, Hawk Films.
  • Kubrick, S. (1987). Full Metal Jacket. USA and UK: Hawk Films.
  • The Letters of Stanley Kubrick. (2008, July 7). The Telegraph. Retrieved from http://www.telegraph.co.uk/culture/film/3555933/The-letters-of-Stanley-Kubrick.html
  • Ljujic, T., Krämer, P., & Daniels, R. (Eds.). (2015). Introduction. In Stanley Kubrick: New perspectives (pp. 12–19). London: Black Dog.
  • LoBrutto, V. (1997). Stanley Kubrick: A biography. New York: Da Capo.
  • Mather, P. (2015). A portrait of the artist as a young man: The influence of look magazine on Stanley Kubrick’s career as a filmmaker. In T. Ljujic, P. Krämer, & R. Daniels (Eds.), Stanley Kubrick: New perspectives (pp. 20–47). London: Black Dog.
  • McAvoy, C. (2015). Creating The Shining: Looking beyond the myths. In T. Ljujic, P. Krämer, & R. Daniels (Eds.), Stanley Kubrick: New perspectives (pp. 282–307). London: Black Dog Publishing.
  • McClarty, R. (2012). Towards a multidisciplinary approach in creative subtitling. MonTI, 4, 133–153. doi: 10.6035/MonTI.2012.4.6
  • McQuiston, K. (2013). We’ll meet again: Musical design in the films of Stanley Kubrick. Oxford: Oxford University Press.
  • Molina Foix, V. (2005, March 6). El director exquisito. El País. Retrieved from https://elpais.com/diario/2005/03/06/eps/1110094011_850215.html
  • Munday, J. (2013). The role of archival and manuscript research in the investigation of translator decision-making. Target, 25(1), 125–139. doi: 10.1075/target.25.1.10mun
  • Nornes, A. M. (2007). Cinema Babel—translating global cinema. Minneapolis: University of Minnesota Press.
  • Paolinelli, M., & Di Fortunato, E. (2005). Tradurre per il doppiaggio. La Trasposizione linguistica dell’audiovisivo: teoria e pratica di un’arte imperfetta [Translating for dubbing. the linguistic transfer of audio visuals: Theory and practice of an imperfect art]. Milano: Hoepli.
  • Perego, E. (2007). Le strategie comunicative della sceneggiatura annotata per adattatori stranieri [Communicative strategies in annotated scripts for dubbing translators]. In G. Massara (Ed.), La lingua invisibile. Aspetti teorici e tecnici del doppiaggio in Italia [The invisible language. Theoretical and technical aspects of dubbing in Italy] (pp. 65–86). Rome: Nuova Editrice Universitaria.
  • Perrine, T. (1998). Film and the nuclear age: Representing cultural anxiety. New York: Garland.
  • Pérez-González, L. (2014). Audiovisual translation: Theories, methods and issues. New York: Routledge.
  • Richart-Marset, M. (2014). La caja negra y el mal de archivio: defensa de un análisis genético del doblaje cinematográfico [Dubbing black box and archive fever: In defense of a genetic analysis of film dubbing]. TRANS. Revista de traductología, 17, 51–69. doi: 10.24310/TRANS.2013.v0i17.3227
  • Romero Fresco, P. (2013). Accessible filmmaking: Joining the dots between audiovisual translation, accessibility and filmmaking. The Journal of Specialised Translation, 20, 201–223.
  • Romero Fresco, P. (2014). Accessible filmmaking. Retrieved from https://migratingtexts.wordpress.com/2014/10/19/accessible-filmmaking-by-dr-pablo-romero-fresco/
  • Vasey, R. (1997). The world according to Hollywood, 1918–1939. Wisconsin: University of Wisconsin Press.
  • Whitman-Linsen, C. (1992). Through the dubbing glass. The synchronization of American motion pictures into German, French and Spanish. Frankfurt am Main: Peter Lang.
  • Whittaker, T. (2016). Woody’s Spanish “double”: vocal performance, ventriloquism and the sound of dubbing. In T. Whittaker, & S. Wright (Eds.), Locating the voice in film: Critical approaches and global practices (pp. 119–136). Oxford: Oxford University Press.
  • Zabalbeascoa, P., Izard, N., & Santamaria, L. (2001). Disentangling audiovisual translation. In Y. Gambier, & H. Gottlieb (Eds.), (Multi) media translation: Concepts, practices, and research (pp. 101–112). Amsterdam and New York: Benjamins.
  • Zanotti, S. (2014). Translation and transcreation in the dubbing process: A genetic approach. Cultus, 7, 107–132.
  • Zanotti, S. (under review). Auteur dubbing: Translation, performance and authorial control in the dubbed versions of Stanley Kubrick’s films. In I. Ranzato, & S. Zanotti (Eds.), Reassessing dubbing: Historical approaches and current trends.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.