Seminario: "Corpora: Seminar and Workshops" Università di Padova, Centro Linguistico di Ateneo,...

Seminario: "Corpora: Seminar and Workshops"Seminario: "Corpora: Seminar and Workshops"Università di Padova, Centro Linguistico di Ateneo, aula Università di Padova, Centro Linguistico di Ateneo, aula

EF9,EF9,

March 29-31, 2007March 29-31, 2007

Predictability in film Predictability in film language: corpus assisted language: corpus assisted

researchresearch

Chris TaylorChris Taylor

University of TriesteUniversity of Trieste

Talking PointsTalking Points

1.1. Film LanguageFilm Language

2.2. GenreGenre

3.3. PredictabilityPredictability

4.4. Translation (dubbing, subtitling)Translation (dubbing, subtitling)

5.5. Corpus assistanceCorpus assistance

Film LanguageFilm Language

The thesis that film language differs The thesis that film language differs appreciably from ordinary, everyday, appreciably from ordinary, everyday, spontaneous language has been spontaneous language has been recognised, and little criticised, since recognised, and little criticised, since the beginnings of the cinema.the beginnings of the cinema.

APSAPS

The flow of images in a film was (and is) The flow of images in a film was (and is) created by film directors, cameramen, set created by film directors, cameramen, set designers, etc. in the construction of an designers, etc. in the construction of an artificial situation. artificial situation.

Similarly the language (and grammar) of film Similarly the language (and grammar) of film was (and is) a scripted construct created by was (and is) a scripted construct created by writers, altered by directors and actors, in the writers, altered by directors and actors, in the creation of an “artificially produced situation” creation of an “artificially produced situation” (APS)(APS)

TalkiesTalkies

With the advent of talking films, film With the advent of talking films, film language became a reality though language became a reality though initially it remained theatrically initially it remained theatrically influenced.influenced.

John WayneJohn Wayne

• "No great trail was ever blazed "No great trail was ever blazed without hardship...and you gotta without hardship...and you gotta fight! That's life..and when you stop fight! That's life..and when you stop fightin', that's death."fightin', that's death."

Who writes a film?Who writes a film?

A film is a team effort, with a A film is a team effort, with a consequent downplaying of its consequent downplaying of its paternity. The ‘authors’ of a film (and paternity. The ‘authors’ of a film (and its translated version) consist of: its translated version) consist of: screenplay writers, directors, screenplay writers, directors, cameramen, editors, actors, cameramen, editors, actors, translator/adaptors, dubbing directors, translator/adaptors, dubbing directors, dubbing actors, subtitlers, producers... dubbing actors, subtitlers, producers...

An open textAn open text

It is an open text: written to be acted and It is an open text: written to be acted and synchronised with the visual.synchronised with the visual.

A film lacks a single text of reference A film lacks a single text of reference (unlike theatre and radio discourse), in (unlike theatre and radio discourse), in that various transpositions succeed one that various transpositions succeed one another (subject, scriptanother (subject, script,, dialogue list, dialogue list, transcription, translation, etc.)transcription, translation, etc.)

Film text componentsFilm text components

• There is a co-existence of written There is a co-existence of written language features (no hesitation, no language features (no hesitation, no repetition, no self-correction, no repetition, no self-correction, no unarticulated sounds, no overlapping unarticulated sounds, no overlapping speech, etc.) and spoken discourse speech, etc.) and spoken discourse (eg. recourse to para and (eg. recourse to para and extralinguistic elements). extralinguistic elements).

Language Written Oral Film dialogue

Uniformity of pragmatic

and textual units(turns, clauses,

utterances)

- - +

Tendency tomonologism

+ - +/-

Extension of the units (turns,

clauses, utterances)

+ - -

Overlapping, fuzziness and

other dialogical acidents

- + -

Planning, coherence and

cohesion

+ - +

Recourse to para and extralinguistic

elements

- + +

Morphosyntactic complexity

+ - +/-

Lexical density + - +/-

Presence of dialect - + +/-

Filmese?Filmese?

• Compare the language of film with a Compare the language of film with a spoken corpus of English.spoken corpus of English.

• Bank of EnglishBank of English

Examples chosenExamples chosen

• NOWNOW

• WELL WELL

• RIGHTRIGHT

• SOSO

• OKOK

• YESYES

Realistic films - totalRealistic films - total

• Words 995,746Words 995,746

• nownow 377377

• wellwell 11791179

• rightright 260260

• yesyes 238238

• OKOK 670670

• soso 10321032

Bank of EnglishBank of English

• Words 1,000,000 circaWords 1,000,000 circa

• nownow 620620

• wellwell 29902990

• rightright 36503650

• yes yes 38303830

• OK OK 11501150

• so so 48004800

Comparison realistic/corpusComparison realistic/corpus

0

1000

2000

3000

4000

5000

realistic corpus

now

well

right

yes

OK

so

Tag questions - totals Tag questions - totals comparedcompared

• Total tag questions in FilmsTotal tag questions in Films

– 488488• Total tag questions in CorpusTotal tag questions in Corpus

–1,1941,194

Cobuild corpus – concordances of hedge ‘could you’Cobuild corpus – concordances of hedge ‘could you’

• <ZGY> <F0X> <ZGY> <tc text=pause> Could you keep your head <tc text=pause><ZGY> <F0X> <ZGY> <tc text=pause> Could you keep your head <tc text=pause>• I just want to tie a knot in that so could you hold that. Thank you. <F0X> I just want to tie a knot in that so could you hold that. Thank you. <F0X> • me about that. <F02> <ZGY> <F01> Erm could you just say those again please? me about that. <F02> <ZGY> <F01> Erm could you just say those again please? • we are erm <tc text=pause> Morning. Could you help yourself to a course we are erm <tc text=pause> Morning. Could you help yourself to a course • capital ratio's been roughly. <M09> Could you <000> er <M01> Okay now. <M09> capital ratio's been roughly. <M09> Could you <000> er <M01> Okay now. <M09> • Okay now. <M09> Sir? <M01> Yes? <M09> Could you just repeat the whole thing Okay now. <M09> Sir? <M01> Yes? <M09> Could you just repeat the whole thing • <M0X> Well <ZF1> can <ZF0> can you could you investigate that? <F0X> Yeah I' <M0X> Well <ZF1> can <ZF0> can you could you investigate that? <F0X> Yeah I' • than stimulate that <ZGY> <F02> Could you also use your hands then? <F01> than stimulate that <ZGY> <F02> Could you also use your hands then? <F01> • many many many books of <ZGY> <F09> Could you give me the name again? <F01> many many many books of <ZGY> <F09> Could you give me the name again? <F01> • on both feet. <F10> <ZF1> Could <ZF0> could you tell just by <ZGY> <F01> <000> on both feet. <F10> <ZF1> Could <ZF0> could you tell just by <ZGY> <F01> <000> • <tc text=background talk> <F0X> Could you cook <ZGY> leave <ZGY> <F01> <tc text=background talk> <F0X> Could you cook <ZGY> leave <ZGY> <F01> • <ZGY> leave <ZGY> <F01> Yes. <F0X> Could you <ZGY> <F01> Right so that's <ZGY> leave <ZGY> <F01> Yes. <F0X> Could you <ZGY> <F01> Right so that's • <ZGY> which one you want <ZGY> <F01> Could you pass that to me please and I'll <ZGY> which one you want <ZGY> <F01> Could you pass that to me please and I'll • MX it looks like you again. Could you <ZF1> the <ZF0> the point <ZGY> MX it looks like you again. Could you <ZF1> the <ZF0> the point <ZGY> • a dee. <ZZ1> accent ends <ZZ0> <M01> Could you translate that please FX? <F08> a dee. <ZZ1> accent ends <ZZ0> <M01> Could you translate that please FX? <F08> • lots of letters from people saying Could you play your signature tune in lots of letters from people saying Could you play your signature tune in • on Saturday the twentieth of April could you please play it for me and let on Saturday the twentieth of April could you please play it for me and let • trouble at the bottom of division one could you actually arrange for Derby trouble at the bottom of division one could you actually arrange for Derby • <M02> Four and in four letters could you describe Joe <PN1> Vengloss <M02> Four and in four letters could you describe Joe <PN1> Vengloss • a thousand pounds. <M14> Yes. <F06> Could you lose the whole lot? <M14> Erm. a thousand pounds. <M14> Yes. <F06> Could you lose the whole lot? <M14> Erm. • my memory I've had a request you know could you play <ZF1> a <ZF0> a record my memory I've had a request you know could you play <ZF1> a <ZF0> a record • and it says Ìf you do play it please could you play it on your show between and it says Ìf you do play it please could you play it on your show between • a begging letter saying please could you send us some money. <F01> Which a begging letter saying please could you send us some money. <F01> Which • <M01> Okay Ray. Nice to <M06> Er could you send me a photo John. My wife <M01> Okay Ray. Nice to <M06> Er could you send me a photo John. My wife • or something like that. <F02> Could you really. <M01> No. <F02> Now I or something like that. <F02> Could you really. <M01> No. <F02> Now I • <tc text=pause> switch it off. <M01> Could you just turn it down a bit? <M04> <tc text=pause> switch it off. <M01> Could you just turn it down a bit? <M04> • Hello there. <M01> Yes MX. <M17> Could you er ask Tom Ross how er the next Hello there. <M01> Yes MX. <M17> Could you er ask Tom Ross how er the next • All right? <M01> Yes MX? <M08> Er could you tell me please what is going on All right? <M01> Yes MX? <M08> Er could you tell me please what is going on • m toying around with Birmingham City could you explain to me why is it I've m toying around with Birmingham City could you explain to me why is it I've • <ZG1> is coming up <ZG0> <M01> Well could you sort of erm <F01> I'll let you <ZG1> is coming up <ZG0> <M01> Well could you sort of erm <F01> I'll let you • And all the time thank you very much could you actually leave the jug <ZGY> And all the time thank you very much could you actually leave the jug <ZGY> • Could that be your word list and could you then start with the number the Could that be your word list and could you then start with the number the • <ZGY> on-screen <ZGY> <F0X> Well could you try it to start with and see <ZGY> on-screen <ZGY> <F0X> Well could you try it to start with and see • Could be semantic <F0X> Mm. <M0X> could you know like my semantic Could be semantic <F0X> Mm. <M0X> could you know like my semantic • <ZZ1> on phone <ZZ0> <ZGY> Erm so could you possibly speak to MX? And if it' <ZZ1> on phone <ZZ0> <ZGY> Erm so could you possibly speak to MX? And if it' • <ZZ1> on phone <ZZ0> Hello it's FX. Could you tell erm MX that we've reached <ZZ1> on phone <ZZ0> Hello it's FX. Could you tell erm MX that we've reached • <M0X> Mm. <F0X> There's <M0X> Yeah could you could <PN1> Grep <PN0> <ZZ1> <M0X> Mm. <F0X> There's <M0X> Yeah could you could <PN1> Grep <PN0> <ZZ1> • <ZZ1> spelt thus throughout <ZZ0> could you not Grep excluding I mean and <ZZ1> spelt thus throughout <ZZ0> could you not Grep excluding I mean and • s type-token ratio couldn't we. <M0X> Could you? <F0X> <tc text=pause> Well ' s type-token ratio couldn't we. <M0X> Could you? <F0X> <tc text=pause> Well ' • get the number of <ZGY> hapax <ZG0> could you? <tc text=pause> Because <F0X> get the number of <ZGY> hapax <ZG0> could you? <tc text=pause> Because <F0X> • think of <tc text=pause> you know could you pass suggestions to FX <F0X> think of <tc text=pause> you know could you pass suggestions to FX <F0X> • is rather unnecessary. <F0X> Er yes. Could you just hold on a minute? <F0X> MXis rather unnecessary. <F0X> Er yes. Could you just hold on a minute? <F0X> MX•

2 Use of parataxisAnd: 1,864 (186,400) r.o. and 413 (41,300) d.o. out of 2,277 (227,700) t.o. taken into

account[1]1.in it. <F0X> Mm. Yes. <F01> And it had a Greek delicatessen. <F02>2.<F0X> Well I'm doing a bit of Brahms and some Schubert and some Wolfe that's 3.it always seem to be nice and friendly and <ZF1> they are <ZF0> they are doing 4.smoking as our New Year's resolution and he said but I thought I said I'd 5.I grabbed him grabbed his collar and he just slipped it and I was just 6.was after yeah. <F0X> Really. <F0X> And this American journalist was saying 7.centre and so we said oh let's go and give some blood <ZGY> lot actually. 8.he said Yeah I think so I'm not sure and it was all like this and I was 9.<ZG0> <ZF1> I'll <ZF0> I'll try and <tc text=pause> be less greedy have 10.er <ZG0> <F01> Dave said Ìt's Graham and he's got three people with him". 11.<F0X> <tc text=laughs> <F0X> and so <ZF1> they <ZF0> they sort of 12.eighteen plus group. We're going to go and record their talk on snakes. Erm 13.the year she's absolutely brilliant" and she's not spoddy brilliant she's you 14.I think three things will come and flow one from another. I think the 15.thirty million I mean <ZF1> and <ZF0> and in that I'm including Andrew's 16.set up or black box environment and it's as easy to do and easier to do 17.run through <ZGY> Edgbaston out here and it tails out towards Solihull. And 18.decision making body of Chamber and they discuss really important 19.er the private part of his anatomy. And what it had been is like he'd gone 20.and then you can come and come along and say `well I don't understand this on 21.interest we can pay or earn let's go and take our money elsewhere" so they 22.they can invest there in interest and they can pay you more. So you shop 23.account the interest that's being paid and then you discount the increase in 24.consume the whole bang shoot today and have nothing for tomorrow or you can 25.A much easier way is just sit back and let the bank do it for you okay well 26.made <ZF0> made no difference <ZGY> and still had <ZF1> the <ZF0> the 27.then if you could pursue that sort of and get a result on it within the next 28.and also let's snub the rest of Europe and the Commonwealth and the rest of the 29.phone calls or having video links and carrying out their business from 30.and then overnight it just changed and it was you know flash buses and 31.rate of growth in the money supply and what you will find if <ZF1> you 32.does it stands for? <ZGY> <M01> The B and the C are just numbers <ZGY> for 33.by the contrast in `well I had to" and the more you know meditated 34.I'd had enough <ZGY> <F01> Yeah. <F02> And I <tc text=laughs> hadn't been <ZG0> rubbing on her head you see. And then I had to use the chart to show

NOTTING HILL – SUMMARY OF RESULTS

DISCOURSE MARKERS

SCRIPT FILM SUBTITLES Now 24 28 25

Okay/Ok 21 24 22 Right 67 93 87

So 47 67 67 Um 0 99 94 Well 59 82 73

Yeah/Yeh 5 64 56 Yes 63 48 48

You know 23 33 25 You see 3 6 5

Total 312 514 502

HEDGES

SCRIPT FILM SUBTITLES Could you 3 4 4

Do you mind 2 2 2 If you don’t mind 0 2 1

May I 3 1 1 Please 5 9 7 Sorry 30 40 39 Total 43 58 54

PARATAXIS

SCRIPT FILM SUBTITLES And 171 173 166 An’ 0 0 0 ‘n’ 0 0 0 But 64 74 71

Total 235 247 237

TAG QUESTIONS

SCRIPT FILM SUBTITLES

Is it? 2 4 4 Isn’t it? 3 8 6

Aren’t they? 1 1 1 Haven’t I? 1 1 1 Have you? 1 1 1 Does it? 0 1 1 Do they? 0 1 1

Did I? 1 0 1 Could you? 1 1 1 Wouldn’t it? 1 1 1

Shall I? 1 1 1 Total 12 20 19

VAGUE LANGUAGE

SCRIPT FILM SUBTITLES Kind of 2 2 2 Kinda 0 1 1 Sort of 11 9 9 Total 13 12 12

USE OF DISCOURSE MARKERS

A. SCRIPT

Ahm: 20 r.o. (20 t.o., 0 d. o.)

N Concordance Word No.

File %

1 lowed in. You abide by rules like that? Ahm... Heck no -- other people do -- but 1.414 script.txt 15 2 re the ones you didn't write down from? Ahm let's see -- ahm. No. Gone completel 1.514 script.txt 17 3 idn't write down from? Ahm let's see -- ahm. No. Gone completely. Oh no, wait. T 1.517 script.txt 17 4 d enough... Hello. May I help you, sir? Ahm, look this is a very odd situation. 1.615 script.txt 18 5 i. Hi. Oh hi. It's William Thacker. We, ahm I work in a bookshop. You played it 1.765 script.txt 19 6 So I'll just fire away, shall I? Right. Ahm... the film's great... and I just wo 2.050 script.txt 23 7 thought of having more... horses in it? Ahm -- well -- we would have liked to -- 2.068 script.txt 23 8 ter in the summer. Oh yes -- excellent. Ahm -- any horses in that one? Or hounds 2.177 script.txt 24 9 uppose in the dream scenario. I just... ahm, change my personality, because you 2.272 script.txt 25 10 rmously. Well, fire away. Right, right. Ahm -- did you enjoy making the film? I 2.404 script.txt 26 11 d I'll tell you if I enjoyed making it. Ahm right, right, I liked the bit in spa 2.435 script.txt 27 12 r? Yes? Have you got a moment? Come in. Ahm. That thing I was doing I'm not doin 2.537 script.txt 28 13 is over. Max. This is Anna. Hello, Anna ahm... Scott -- have some wine. Thank yo 2.730 script.txt 30 14 your brother has brought this girl, and ahm... Hi guys. Oh holy fuck. Hun -- thi 2.749 script.txt 30 15 can be best friends. What do you think? Ahm... I think that sounds -- you know - 2.828 script.txt 31 16 lowed in. You abide by rules like that? Ahm... Heck no -- other people do -- but 3.908 script.txt 43 17 om. Your boyfriend? Yes... Who is this? Ahm... room service. How you doing? I th 4.571 script.txt 50 18 Ah -- no. It's fine. What's your name? Ahm... Bernie. Thank you, Bernie. Hey -- 4.705 script.txt 51 19 a fruitarian. I don't realize that. And ahm -- what's a fruitarian exactly? We b 5.049 script.txt 55 20 of announcements ... I've also got one, Ahm... I've got engaged. I've found myse 7.260 script.txt 80

I mean: 11 r.o. (11 t.o., 0 d.o.)


File %

1 it… It was sort of sweet actually – I mean, I know she’s an actress and all 1.281 script.txt 14 2 t no, I’m sure I can get out of it. No, I mean, if it’s fine with you, I'll, you 2.595 script.txt 29 3 t’s a pretty tough job, though, acting. I mean the wages are a scandal, aren’t t 3.005 script.txt 33 4 id. Well done. How’s the pay in movies? I mean, last film you did, what did you 3.062 script.txt 34 5 e has said “whoopsidaisies,” do they – I mean unless they’re… There’s no “unl 3.949 script.txt 43 6 y. I never fancied you much actually… I mean I loved you – you were terribly 5.240 script.txt 58 7 s writer’s pretty damn good too. Yes – I mean – you never get anyone in ‘Wings 5.796 script.txt 64 8 terested in them? Well… No seriously. I mean, they’re just breasts. Every seco 6.271 script.txt 69 9 minutes. Our perspective are different. I mean – today’s newspapers will be lin 6.919 script.txt 76 10 ly let you through then, sir. Oh right. I mean, I am a friend – I’m not a lunat 7.478 script.txt 82 11 it… It was sort of sweet actually – I mean, I know she’s an actress and all 8.602 script.txt 94

4 Summary of results7

HEDGES

r.o. d.o. t.o.

Could you 538 143 681

Do you mind 95 0 95

If you don’t mind 42 0 42

May I 88 16 104

Please 1,960 35 1,995

Sorry 2,619 357 2,976

Total 5,342 551 5,893

PARATAXIS

r.o. d.o. t.o.

An’ 0 1 1

And 186,400 41,300 227,700

‘n’ 0 19 19

Total 186,400 41,320 227,720

VAGUE LANGUAGE

r.o. d.o. t.o.

Kind of 3,796 2,591 6,387

Kinda 5 0 5

Sort of 13,070 4,330 17,400

Total 16,871 6,921 23,792

7 Out of 9,300,000 words.

USE OF VAGUE LANGUAGE – RESULTSA. CSITab. no. 1: CSI – kind of (9 r.o. + 17 d.o. = 26 t.o.)

N Concordance Word

No.

File %

1 ll dies. JACK This guy thinks it's some kind of a joke, using a voice like that.

260

e:\robert~1\corpus~1\tvcorp~1\scripts\csi\csi-03.doc

5

2 at, James was nervous, you know. He was kind of a shy guy. I mean he wanted to p

2.050


25

3 ent had to be slightly curved with some kind of sereated edge, like crocodile te

737


11

4 king lot, he starts kissing on me. I, I kind of laughed it off, but then he grab

2.364


29

5 ide. First reports indicate he had some kind of episode. SHERIFF Give me a littl

473


8

6 Second voice, guy in 2F. PRESTON He was kind of far away. WARRICK Max. GRISSOM T

3.761


48

7 this was your day off. CATHERINE We're kind of busy here, Nick. NICK I know tha

1.706


33

8 on the news. They're saying it was some kind of a hit. Where are Erin and Alice?

1.305


21

9 of the victim on the towel. DR. ROBBINS Kind of a forensic smoking gun. GRISSOM

1.121


17

Tab. no. 3: CSI – kinda (6 r.o. + 2 d.o. = 8 t.o.)


File %

1 ft... What's a matter? HOLLY GRIBBS I'm kinda light headed. GRISSOM Here. Sit do

782 e:\robert~1\corpus~1\tvcorp~1\scripts\csi\csi-01.doc

10

2 need to know what you saw. JERROD I was kinda taking a break. Hanging out in thi

2.570


32

3 would have remembered. So this film is kinda hard to detect -- because it disso

4.065


49

4 . WARRICK Not if we have these. They're kinda outa place. A walking stride up to

1.174


16

5 BRASS It's old and it's heavy and it's kinda stuck there. Anything else? EMILY

3.011


39

6 M What spider web? WARRICK Right there. Kinda hard to get a baby out the window,

863 e:\robert~1\corpus~1\tvcorp~1\scripts\csi\csi-17.doc

15

GenreGenre

Genre analysis (Swales, Halliday, Genre analysis (Swales, Halliday, Hatim & Mason, Ventola, Aston et al) Hatim & Mason, Ventola, Aston et al) has produced some interesting work has produced some interesting work on classifying language use. on classifying language use.

At a macro-level we can talk of At a macro-level we can talk of literary language, the language of literary language, the language of journalism, scientific discourse, etc.journalism, scientific discourse, etc.

SubgenreSubgenre

But genres generate subgenres:But genres generate subgenres:

novels, poetry, detective stories…novels, poetry, detective stories…

tabloids, qualities, magazines….tabloids, qualities, magazines….

nuclear physics, medicine, nuclear physics, medicine, biochemistrybiochemistry

..and little fleas have littler ..and little fleas have littler fleasfleas GenreletsGenrelets

instances or instantiations of language use instances or instantiations of language use associated with very particular sub-sub associated with very particular sub-sub genres:genres:

love story dialoguelove story dialogue

weather forecastweather forecast

medical conference abstractmedical conference abstract

““a social occasion enshrined in language”a social occasion enshrined in language”

Film genresFilm genres

• Of course the expression ‘film genre’ Of course the expression ‘film genre’ will bring to mind such types as will bring to mind such types as western, spy story, comedy, etc. western, spy story, comedy, etc.

• But films too have their sub-genres But films too have their sub-genres and genrelets.and genrelets.

Film genres 2Film genres 2

• And it is these genrelets that are of And it is these genrelets that are of interest in the question of interest in the question of predictabilitypredictability..

• E.g., telephone conversations, E.g., telephone conversations, presentations, mealtime dialogue, presentations, mealtime dialogue, bar talk, etc.bar talk, etc.

PredictabilityPredictability

‘‘breakdown in public transport system scenario’breakdown in public transport system scenario’

““On these occasions (English) passengers On these occasions (English) passengers suddenly seem to become aware of each other. suddenly seem to become aware of each other. Our actions are always the same and minutely Our actions are always the same and minutely predictable, almost as though they had been predictable, almost as though they had been choreographed”choreographed”(Fox).(Fox).

““Huh, typical!” Huh, typical!” ““What is it this time?”What is it this time?”““Wrong kind of leaves, I suppose”.Wrong kind of leaves, I suppose”.

IntertextualityIntertextuality

• In genrelets such as love scenes, In genrelets such as love scenes, telephone call protocols, telephone call protocols, presentations, service encounters, presentations, service encounters, etc. there is little room for creative etc. there is little room for creative language use. The same formulae language use. The same formulae are used over and over again, with are used over and over again, with the same cues and the same the same cues and the same response mechanisms.response mechanisms.

PrimingPriming

Hoey: words and expressions are Hoey: words and expressions are PRIMED to appear in particular PRIMED to appear in particular environments.environments.

e.g., I love you too.e.g., I love you too.

And …And …

• In winter … In winter …

• During the cold season …During the cold season …

• In the winter months …In the winter months …

• When frost’s tentacles do wrap us …When frost’s tentacles do wrap us …

Film languageFilm language

• The language of film tends to accentuate The language of film tends to accentuate the aspects outlined in the previous the aspects outlined in the previous slides.slides.

• Especially in stylised genres (traditional Especially in stylised genres (traditional westerns, medieval dramas, quickly westerns, medieval dramas, quickly produced cop and sci-fi series, etc.) but produced cop and sci-fi series, etc.) but even in more realistic genres, language even in more realistic genres, language use is that much more cued and crafted use is that much more cued and crafted and thus more PREDICTABLE. and thus more PREDICTABLE.

TranslationTranslation

In translation, all this becomes In translation, all this becomes ever more apparent.ever more apparent.

Translation processTranslation process

• Subject Subject – treatmenttreatment– screenplay screenplay – script [script [written dialogues]written dialogues]

• Spoken dialogue Spoken dialogue • Continuity script (transcription and Continuity script (transcription and

postsynchronization) postsynchronization) • TranslationTranslation

– adaptationadaptation– dubbingdubbing– mixagemixage– translated spoken dialoguetranslated spoken dialogue– subtitlessubtitles

Translation of Dawson’s Translation of Dawson’s Creek.Creek.

• Given the original’s stated intention Given the original’s stated intention of not aiming at authentic dialogue of not aiming at authentic dialogue the dubbed version on Italian the dubbed version on Italian television, follows suit … only more television, follows suit … only more so. so.

‘‘Dawson’s Creek’ in ItalianDawson’s Creek’ in Italian

• According to Zandegù:According to Zandegù:The language can be given the labelThe language can be given the label

ZERO ORALITY ZERO ORALITY

referring to the reduction in variation at referring to the reduction in variation at a stylistic, sociocultural and dialectal a stylistic, sociocultural and dialectal level.level.

Translation MemoryTranslation Memory

At times the predictability is so At times the predictability is so pronounced that an element of pronounced that an element of translation memory technique, translation memory technique, technologically aided or otherwise, technologically aided or otherwise, could prove useful.could prove useful.

At least the predictability factor should At least the predictability factor should be taken into account in order to save be taken into account in order to save time and particularly to ensure time and particularly to ensure consistency.consistency.

Testing predictabilityTesting predictability

Various films have been analysed in Various films have been analysed in terms of their genre structure, and terms of their genre structure, and sub-genres and ‘genrelets’ have sub-genres and ‘genrelets’ have been identified.been identified.

A corpus of such data is beiong A corpus of such data is beiong painstkingly constructed.painstkingly constructed.

Centro Linguistico d'Ateneo

Universita' degli Studi

di Trieste

Trieste Movie Database

eCoLinguaitalian version

english version

version 0.1a last update 01/02/07

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TITOLO Stregata dalla luna

TITOLO

ORIGINALEMoonstruck

TYPE OF SCENE BEGIN END DURATION NOTES

Restaurant (ordering) 0.04.190.04.4

5 0.00.26

Public row (man -woman) 0.04.470.05.1

0 0.00.23

Restaurant (ordering) 0.06.000.06.1

5 0.00.15

marriage proposal 0.06.250.08.4

0 0.02.15

At the airport 0.09.040.09.5

5 0.00.51

At the airport 0.10.00

0.11.05 0.01.05

Public row (husband -wife) 0.12.300.13.1

5 0.00.45

Father and son 0.15.10

0.16.55 0.01.45

Mother and daughter 0.17.10

0.18.07 0.00.57

Mother and daughter 0.20.50

0.28.50 0.08.00

On the phone 0.21.430.23.1

8 0.01.35

On the phone

Title Languages Ch. Begin End Notes

Quasi famosi Eng/Ita 8 0.33.50 0.34.50









Kramer contro Kramer

Eng/Fra/Ger/Ita/Spa

2 0.05.15 0.05.28

Kramer contro Kramer

Eng/Fra/Ger/Ita/Spa

2 0.07.52 0.08.17

Kramer versus KramerKramer versus Kramer (phone conversations compared with (phone conversations compared with

corpus findings)corpus findings)

• Yeah, hi, Ted KramerYeah, hi, Ted Kramer• Listen … OK?Listen … OK?• Yeah, OK, you too, thanks a lot.Yeah, OK, you too, thanks a lot.

• Hi Margaret, this is Ted. Is my wife there?Hi Margaret, this is Ted. Is my wife there?• Yeah, yeah …Yeah, yeah …• If she comes, tell her to come over or just give me If she comes, tell her to come over or just give me

a ring …yeaha ring …yeah• If she comes, tell her to give me a ringIf she comes, tell her to give me a ring• Thanks a lotThanks a lot

Kramer versus KramerKramer versus Kramer

• Yeah, hi, Ted KramerYeah, hi, Ted Kramer

• Listen … OK?Listen … OK?

• Yeah, OK, you too, thanks a lot. Yeah, OK, you too, thanks a lot.

• Sì, pronto, Ted KramerSì, pronto, Ted Kramer

• Senti … OK?Senti … OK?

• Ah, OK, anche tu, grazie tante.Ah, OK, anche tu, grazie tante.

(to be compared with Italian corpus) (to be compared with Italian corpus)

Other genres analysed in their Other genres analysed in their original and translated original and translated versionsversions• PresentationsPresentations

• Girl-boy rows (cf. When Harry met Sally)Girl-boy rows (cf. When Harry met Sally)

• Marriage proposalsMarriage proposals

• At the airport, railway station, hairdressers, At the airport, railway station, hairdressers, etc.etc.

• Father and son, mother and daughter, etc.Father and son, mother and daughter, etc.

• SackingsSackings

• Chat up routinesChat up routines

• Trailer monologuesTrailer monologues

Presentazioni

Title Languages Ch. Begin End Notes

Quasi famosi

Eng/Ita 5 0.24.12 0.24.32

Quasi famosi

Eng/Ita 17 1.15.20 1.15.35

Quasi famosi

Eng/Ita 23 1.48.20 1.48.35

Notting Hill Eng/Ita/Spa 5 0.33.08 0.34.26

Annie Hall Eng/Fra/Ger/Ita/Spa

10 0.23.33 0.23.43

Moonstruck Eng/Fra/Ger/Ita/Spa

27 1.25.06 1.25.14

Moonstruck Eng/Fra/Ger/Ita/Spa

27 1.25.43 1.26.05

Artificial Intelligence

Eng/Ita/Spa 17 1.12.12 1.13.54

My beautiful Laundrette

Eng/Ita 6 0.12.30 0.13.30

Less predictable genres in Less predictable genres in translationtranslation

Even where the language transfer Even where the language transfer involves some kind of semantic or involves some kind of semantic or pragmatic shift (eg. bar protocols in pragmatic shift (eg. bar protocols in English and Italian), matches based English and Italian), matches based on predictability can be easily made.on predictability can be easily made.

But some genres, where cultural But some genres, where cultural mores are involved, prove mores are involved, prove troublesome.troublesome.

FoodiesFoodies

One minute it’s sun-dried tomatoes with One minute it’s sun-dried tomatoes with everything, the next minute these are everything, the next minute these are passé,and it’s raspberry vinegar,or garlic passé,and it’s raspberry vinegar,or garlic mash, or ‘delicate layers of potato rosti wth mash, or ‘delicate layers of potato rosti wth goat-cheese filo parcels and horseradish goat-cheese filo parcels and horseradish sabayon’.sabayon’.

Such concepts are difficult to translate into Such concepts are difficult to translate into cultures that don’t regard these ingredients cultures that don’t regard these ingredients as exotic, and where ‘foodies’ are just normal as exotic, and where ‘foodies’ are just normal people.people.

Invitati a cenaInvitati a cena

• Buonissimo!Buonissimo!• Ma come riesci a fare questi fagiolini?Ma come riesci a fare questi fagiolini?• Da noi si usa solo aglio e olio.Da noi si usa solo aglio e olio.• Sono la fine del mondo!!Sono la fine del mondo!!

• These expressions (not the words) are These expressions (not the words) are difficult to translate for the simple reason difficult to translate for the simple reason that English people don’t say them.that English people don’t say them.

……from one extreme to the from one extreme to the otherother• Between the extremes of total disdain Between the extremes of total disdain

and novelty obsession lie the pitfalls and novelty obsession lie the pitfalls for the translator, as neither position for the translator, as neither position is taken up in Italian contexts. is taken up in Italian contexts.

• This is not a question of culture-bound This is not a question of culture-bound terms – polenta, mushy peas – but of terms – polenta, mushy peas – but of cultural mind sets.cultural mind sets.

Il Commissario Montalbano: Il Commissario Montalbano: coffeecoffee

• Michela: Michela: (bevendo (bevendo il caffèil caffè)) Mhm! Sì! Mhm! Sì!• Mimì:Mimì: (guardando Montalbano (guardando Montalbano

versare versare il caffèil caffè)) Ce Ce n’è n’è magari pe’mmea?magari pe’mmea?

• CM:CM: .. Mi è venuto voglia di una .. Mi è venuto voglia di una bella bella granatina di caffègranatina di caffè

• Fazio:Fazio: Ho portato ilHo portato il……• Donna:Donna: (beve l’ultimo sorso di (beve l’ultimo sorso di

caffècaffè))

Pasta con broccoliPasta con broccoli

• CM: CM: Sto mangiando Sto mangiando la pasta con la pasta con broccolibroccoli, chi è che rompe…, chi è che rompe…

• Livia:Livia: Chi ti ha preparato Chi ti ha preparato la pasta con la pasta con broccoli?broccoli? Scommetto Adelina?... Scommetto Adelina?...

Sabato mattina prendo l’aereo Sabato mattina prendo l’aereo e e vengo giù.vengo giù.

• CM:CM: Sabato?Sabato?• Livia:Livia: Sì, sarò a Vigato Sì, sarò a Vigato per l’ora di pranzoper l’ora di pranzo..• CM:CM: Ah, benissimo..ma, sei sicura?Ah, benissimo..ma, sei sicura?• Livia:Livia: Sicurissima. Ho già fatto il biglietto… Vai a Sicurissima. Ho già fatto il biglietto… Vai a

buttare buttare quella pastaquella pasta nella spazzatura! nella spazzatura!

Classic scene: elements of Classic scene: elements of predictabilitypredictability• C- Dunque oggi c’ho pe’ vossia C- Dunque oggi c’ho pe’ vossia un risotto a nevuro di un risotto a nevuro di

sicciasiccia ch’è megghio’ e na ch’è megghio’ e na cassatacassata..• M- Per me va bene, per lei?M- Per me va bene, per lei?• B- Anche per me va bene.B- Anche per me va bene.• M- Aggiudicato.M- Aggiudicato.• C- Ah, per secondo carissimo dottore Montalbano ci C- Ah, per secondo carissimo dottore Montalbano ci

sono delle sono delle spigole freschissime pescate stanottespigole freschissime pescate stanotte oppure…oppure…

• M- No, per me va bene M- No, per me va bene le spigolele spigole senza oppure, per senza oppure, per lei?lei?

• B- Anche per me va bene.B- Anche per me va bene.• M- Aggiudicato.M- Aggiudicato.

TranslationTranslation

No dubbing (yet) attempted.No dubbing (yet) attempted.

The question arises firstly as to whether to The question arises firstly as to whether to foreignise, localise or standardise. This foreignise, localise or standardise. This decision can be helped by reference to decision can be helped by reference to specific databases (eg the entire specific databases (eg the entire Montalbano series) and comparisons with Montalbano series) and comparisons with corpora of similar series in the target corpora of similar series in the target language/culture.language/culture.

ForeignisationForeignisation

• CaffèCaffè remains – its meaning is known but remains – its meaning is known but is not always clear (what kind of coffee?)is not always clear (what kind of coffee?)

• Pasta con broccoliPasta con broccoli is a leitmotif of the is a leitmotif of the series and can be left as it is.series and can be left as it is.

• Spaghetti con sugo di ricci, risotto a Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, spigole nevuro di siccia, na cassata, spigole freschissime pescate stanotte,freschissime pescate stanotte, can be left can be left and simply understood as Italian dishes. and simply understood as Italian dishes.

LocalisationLocalisation

• CaffèCaffè must be rendered more English, ironically through the must be rendered more English, ironically through the use of explicit markers – use of explicit markers – cappucino, espresso, latte, etccappucino, espresso, latte, etc. – . – depending on which of these is considered the most depending on which of these is considered the most universal.universal.

• Pasta con broccoliPasta con broccoli may be changed to something more may be changed to something more recognisably Italian such as ‘spaghetti bolognese’ or recognisably Italian such as ‘spaghetti bolognese’ or ‘lasagne’. It depends on whether it can be seen.‘lasagne’. It depends on whether it can be seen.

• Spaghetti con sugo di ricci, risotto a nevuro di siccia, na Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, spigole freschissime pescate stanotte, cassata, spigole freschissime pescate stanotte, can be can be changed to recognisable English/American dishes – changed to recognisable English/American dishes – ‘spaghetti with meatballs’, ‘sausages’, ‘ice cream’, ‘spaghetti with meatballs’, ‘sausages’, ‘ice cream’, ‘snapper’.‘snapper’.

StandardisationStandardisation

• Caffè = coffeeCaffè = coffee

• Pasta con broccoli = pasta with broccoliPasta con broccoli = pasta with broccoli

• Spaghetti con sugo di ricci, risotto a Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, spigole nevuro di siccia, na cassata, spigole freschissime pescate stanotte, freschissime pescate stanotte, ‘spaghetti’, ‘rice’, ‘cake’, ‘fish’.‘spaghetti’, ‘rice’, ‘cake’, ‘fish’.

Conclusion 1Conclusion 1

• The collection of massive amounts of The collection of massive amounts of text on computer, and the creation of text on computer, and the creation of corpora and databases allow us to corpora and databases allow us to create concordances and compare create concordances and compare language use between film and language use between film and spontaneous dialogue.spontaneous dialogue.


• The analysis of concordances, word The analysis of concordances, word counts and statistical calculations counts and statistical calculations enable us to observe patterns of enable us to observe patterns of language use which may prove language use which may prove useful in the translation of film and useful in the translation of film and television texts.television texts.


WHERE THE TEXT IS HIGHLY PREDICTABLEWHERE THE TEXT IS HIGHLY PREDICTABLE

there is a place in film translation (in the there is a place in film translation (in the broadest sense), in subtitling but also in broadest sense), in subtitling but also in

dubbing, for the judicious use of some kind dubbing, for the judicious use of some kind of translation memory tool (eg, Atril’s Dejà of translation memory tool (eg, Atril’s Dejà

vu).vu).Although this would require very careful Although this would require very careful

editing it could save a lot of time and editing it could save a lot of time and provide much needed consistencyprovide much needed consistency


WHERE TEXTS ARE NOT VERY PREDICTABLEWHERE TEXTS ARE NOT VERY PREDICTABLE

translation choices may lie between translation choices may lie between foreignisation, localisation and foreignisation, localisation and

standardisation.standardisation.

The choice will depend on such factors as The choice will depend on such factors as the ‘prestige’ of the film or given audience the ‘prestige’ of the film or given audience

tastes.tastes.


WHERE TEXTS ARE GOVERNED BY WHERE TEXTS ARE GOVERNED BY CULTURAL MORESCULTURAL MORES

predictability can be largely discounted, predictability can be largely discounted, firstly in the patterns of the source firstly in the patterns of the source

language, and particularly in translation.language, and particularly in translation.Here the translator is on his/her own in Here the translator is on his/her own in gauging to what extent the audience is gauging to what extent the audience is

attuned to the mind set of the source text attuned to the mind set of the source text culture.culture.


• Practically all films (or TV series, or Practically all films (or TV series, or documentaries, or advertisements, or documentaries, or advertisements, or cartoons…) will contain stretches cartoons…) will contain stretches covered by conclusions 1, 2 or 3. The covered by conclusions 1, 2 or 3. The special skill of the translator lies also special skill of the translator lies also in identifying these stretches and in identifying these stretches and treating them accordingly…treating them accordingly…


……and it is the corpus which can assist and it is the corpus which can assist the translator in pinning down those the translator in pinning down those stretches more accurately.stretches more accurately.

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