Researchers at the UJI x-ray the map of dubbing and subtitling in Spain for the first time



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## Researchers at the UJI x-ray the map of dubbing and subtitling in Spain for the first time A good lip synchronisation and making movies sound natural are the priorities in all Spanish regions

25/02/2014 |
SCP

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![TRAMA research group](/com/noticies/2014/02/1q/doblatge-subtitulacio/Not_Grupo_Trama_cas.jpg "No video playback capabilities, please download the video below")
](/com/noticies/2014/02/1q/doblatge-subtitulacio/Not_Grupo_Trama_cas.jpg)](http://www.svideo.uji.es/svideo_flash/minut/Not_Grupo_Trama_cas_1min.mp4)

Differences among Spanish territories are fewer in subtitling processes than in dubbing processes, a practice that presents more variable conventions. However, in dubbing, professionals in every Spanish community agree to prioritize adequate lip synchronization, as well as the fact that dialogues sound natural. These are some of conclusions drawn in the first x-ray about the situation of dubbing in different Spanish territories. Researchers of the Translation and Communication in Audiovisual Media Group (TRAMA) at the UJI have interviewed professionals of 25 dubbing studios in its development. They will continue now with the elaboration of a map of subtitling in Spain.

“Until now, lecturers in translation and dubbing studies have worked guided by their experience, but there hadn’t been a research to bring to light processes and conventions that are used in translation for dubbing in Spain”, explains Frederic Chaume, professor in Translation and Interpretation. The results of the researches, funded by the Spanish Ministry of Science and Innovation, were presented in magazines and conferences with a big repercussion among professionals in this sector. In 2014, a manual on dubbing conventions will be published in Spain. It searches to be useful for professionals, students, lecturers, and recording studios.

According to the conclusions of the study, Frederic Chaume highlights that “in Spain, the main priority is to *lip-sync* the translation and to get a natural utterance. There is an agreement with these aspects in all communities. Nevertheless, other countries focus in different questions; for example, that a translation has to be faithful to the original script, or that linguistic correction is prioritized, although the final text is not synchronized, or it does not sound natural”.

Once the dubbing map has been traced, the group has started a new research to draw the subtitling map in Spain. They tell in advance that subtitling variations are fewer, since it is a field in which there seems to be more standardised guidelines, even at an international scale. Besides, subtitling counts with a large tradition in many countries and there is less professional secretims, due to its more technical than artistic status and so, there are many academic studies in that regard, while dubbing has been a less transparent field, as well as less used in relation to subtitling. The fact that less people participate in the subtitling processes had also contributed to have more standardised work conventions. “It is a process with fewer intermediaries. Normally, it is a translator who carries out subtitles and synchronises them, and then a technician only has to introduce them into the audiovisual product”, explains Beatriz Cerezo.

Digital Terrestrial Television, DVDs, and the biggest preoccupation for accessible contents, has led subtitling to exponentially increase the last decades in Spain. For this reason, the x-ray of the situation in this sector is also of great interest. In this case, researchers trust they will be able to present their first conclusions in different specialised conferences in the sector of the audiovisual translation this year.

**An invisible profession**

The TRAMA group, made up by a dozen of researchers, works since its creation in 2003 to visualize the profession of the translator in the audiovisual field, “that many times has even more repercussion in this field than in others. Translating a movie or a series through dubbing o subtitling has a large economic and social repercussion, because it is the only way to export those products. Audiovisual productions increase their benefits thanks to the fact that they make them understandable in other languages. However, the translator is still invisible, and the economic investment in translation, for example in the United States, is no more than 1%, while some three-fourths of the money that this industry collects comes from countries where this production was commercialized with some kind of translation”, regrets Chaume.

In the same way, the professor at the UJI defends the role of the translator in the production of accessible audiovisuals. “In the BBC, 100% of the contents are subtitled for deaf people and there are many that are audio described for blind people, too. In Spain, the new legislation stated that by the end of 2013, 90% of contents of the public service channels and 75% of free-to-air and regional or autonomous television channels should be subtitled for deaf people. Despite the fact that these percentages could be delayed with the current crisis, we are in a point of no return, and accessible versions will be more present each time”.

As a university group, TRAMA members also carry out teaching tasks in the Bachelor’s Degree in Translation and Interpreting and in the Bachelor’s Degree in Video Game Design and Development. In this regard, Chaume highlights the big potential of the translation that is present in the field of video games.

Video subtitled in English: <http://blogs.uji.es/cienciatv/en/2014/02/14/researchers-uji-x-ray-map-dubbing-subtitling-spain-first-time/>

More information (in Spanish): <http://www.trama.uji.es/>

Published articles:

Cerezo Mechán, B., 2013. “La formación de traductores audiovisuales en España. Aspectos curriculares”, *TRANS: Revista de Traductología*, 16. Publicaciones de la Universidad de Málaga.

Chaume Varela, F., 2012. *Audiovisual Translation: Dubbing*. Manchester: St Jerome (Translation Practices Explained).

Marzà i Ibáñez, A., G. Torralba and Grup TRAMA, 2013. “Las normas profesionales de la traducción para el doblaje en España”, *TRANS: Revista de Traductología*, 16. Publicaciones de la Universidad de Málaga.

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