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Course description. RuFilms School of Audiovisual Translation joined efforts with representatives of most prominent Centers of Audiovisual Translation research and teaching at European Universities as well as major employers to deliver a unique online course. The course “Profession of Audiovisual Translator: from A to Z” will run on weekends in the mornings from February 10 to April 13, 2018.
The goal of the course is to give students the fullest possible understanding of the role of audiovisual translation in all its applications in the modern world and to explain theoretical foundations as well as key competencies and skills AV translators need. The course will also outline current and prospective workflows for the coming decade such as the rapid rise in digital accessibility services, translations for immersive environments, etc. The course will feature lectures on the specific requirements by major employers to translations for dubbing, subtitling, games and online videos. There will be practical exercises to analyse AV productions (plot, scenes, semantic systems involved and visual elements) and translation from various languages. There will be a module dedicated to Audio description which is in high demand in Russia and is a standard service offered by TV providers in the UK. Students wishing to pursue careers in AV translation and Audio description will have a chance to take practical exams on modules of their choice in their language pairs which will be evaluated by representatives of employer companies.
The course modules will be delivered in English and Russian, and students will be able to choose to have simultaneous translation into Russian or English respectively.
The course consists of seven modules.
Module 0 – Key terminology of various types of audiovisual translation.
This module is the conceptual basis of the course and will give/explain necessary terminology specific to audiovisual translation. The module is essential for students to familiarise themselves with such terms as cueing, reading speed, voiceover vs dubbing, etc.
February 10, 2018
Key terminology of audiovisual translation (in Russian) delivered by Alexey Kozulyaev – co-founder of RuFilms Group, RuFilms School of Audiovisual translation director, AV translator with more than 25 years of experience, author of several university courses of AV translation, Member of the Centre for Research in Translation and Transcultural Studies of University of Roehampton (Great Britain), ESIST member.
Key notions and terms of dubbing and voiceover processes (in Russian) delivered by Stanislav Strelkov – leading Russian dubbing actor and director, author of the unique Russian-language course for theatre academies “Voiceover, lip sync, full dubbing acting”, the only voiceover actor in Russia who summed up his 25 years of dubbing experience in his textbooks “The Art of Dubbing” and “Dubbing: Looking for Artistic Truth”.
February 11, 2018
Key subtitling terminology (in Russian) delivered by Daria Astashina – head of RuFilms Subtitling Department. She worked on multiple Netflix, Amazon, and Universal projects.
Key Audio description terminology (in Russian) by Ivan Borshchevsky – head of RuFilms Digital Accessibility Department, Member of the Audio Description Association (UK).
Module 1 – Audiovisual Translation Theory Basics. History and modern development trends.
The module objectives are:
- To help students understand why AVT is regarded worldwide as a separate type of translation (majority of Russian linguists still think otherwise);
- To define basic units of AV translation analysis and objectives of an AV translator in various translation scenarios.
- To build a coherent vision of the types of AV translation.
February 17, 2018
History of audiovisual translation and AVT translation basics (in Russian) by Roman Matassov - Assistant Professor (Ph.D.) of Language Acquisition and Language Teaching Psychology of the Faculty of Psychology of the Moscow State University. Head of the Programme of academic exchanges between the MSU and University of Canterbury Te Whare Wananga o Waitaha (New Zealand), teacher of the Higher School of Translation.
Structure of AV discourses and audiovisual translation analysis basics (in Russian) – by Alexey Kozulyaev
February 18, 2018
An overview of cultural and linguistic issues in AVT (in English) by Dr Dionysios Kapsaskis.
What you will talk about during your part of the course? This lecture will be an introduction to cultural and linguistic issues in interlingual subtitling. The lecture will be divided in two parts. First, I will talk about Subtitling-specific issues in AVT, including text reduction, scripted and unscripted dialogue, speech-to-writing, and genre. Then I will discuss general translation issues that occur in the process of subtitling, such as style and register, sociolects and accents, taboo words, and humour. The lecture will finish with a reference to further issues in subtitling, such as identity, ideology, and gender and will provide a bibliography on all of the topics discussed.
Why it is important to study audiovisual translation? For two reasons: First, because unlike other types of translation, in AVT the source text is not just language but the entire audiovisual product; translating a film or a television programme requires a deep understanding of the image and the sound, as well as specific language manipulation techniques that are not part of the skillset of a conventional translator. Second, because the amount of AVT material to be translated nowadays is so large that inexperienced translators must also be used to satisfy the demand. These translators must have been taught the necessary AVT skills to meet the necessary quality standards.
How to introduce you (your profession, company, academic degrees etc.)?
Dr Dionysios Kapsaskis, PhD, is Senior Lecturer in Translation at the University of Roehampton, London, where he is programme director of the MA Audiovisual Translation and the MA Intercultural Communication in the Creative Industries. Dionysios lectures on translation theory, audiovisual translation and transcreation, as well as on French literature and culture. His research has appeared in various translation and literature journals including Perspectives: Studies in Translatology, Translation Studies, and Dalhousie French Studies. His editorial work includes an issue of the comparative literary studies journal Synthesis on “Translation and authenticity in a global setting” (2012), and he is currently co-editing The Routledge Handbook of Translation and Globalization (forthcoming 2020).
What Google online audiovisual loсalization short courses are for and should AVT be taught at all? (in Russian) by Mark Lesun – Google Russia Language Manager.
February 24, 2018
Lecture & Workshop: How to Watch Films by Dmitry Skvortsov – PhD in Philosophy, Senior Lecturer at the Philosophy and Cultural Science Department of the Volgograd State Pedagogical University, Specialist in Film Language Hermeneutics.
Films may be various. Entertaining films to watch with friends. High art films that make us think, experience the whole range of emotions from desperation to delight. In such cases, the viewer can not be passive: he needs to learn how to watch such films, to become a part of them emotionally and intellectually. On our workshop, you will learn how to do it. We will analyze fragments from films of different epochs and directors, both classical and modern: Fellini and von Trier, Tarantino and Tarkovsky, Hitchcock and Buñuel.
You will learn how:
- to be an avid viewer using the art of hermeneutics (and find out what kind of art is it);
- to recognize symbols and signs, metaphors and images in films;
- to ask questions to a film and search for the answers;
- to compare directors and evaluate their ideas;
- to write reviews and reasonably evaluate the quality of a film;
- to talk about a film, creating art work together with the author on the screen and in our minds.
Theory and practice of AVT (in Russian) by Alexey Kozulyaev
Module 2 – Digital accessibility and Audio description.
The key objectives of this module are:
- To help students understand how digital accessibility and audiovisual translation studies and practices are related to each other;
- To give students the fullest possible picture of media accessibility efforts worldwide
- To introduce students to the concept of accessible filmmaking;
- To outline training processes for Audio describers.
Currently this area of audiovisual translation is going through the period of exponential growth in Russia. For many young audiovisual translators Audio description in Russian and key foreign languages (for Russian productions localized outside of Russia) is the fastest way of getting into the depth of the business. The demand is huge and the supply of specialists in this area is not sufficient. The module contains both theory and practical classes.
February 25, 2018
Digital Accessibility and Audio description introduction based on EU standards (in Russian) by Ivan Borschevsky.
March 2, 2018
The Basics of Accessible Filmmaking (in English) by Pablo Romero-Fresco - a Ramón y Cajal grantholder at Universidade de Vigo (Spain) and Honorary Professor of Translation and Filmmaking at the University of Roehampton (London, UK). He is the author of the book Subtitling through Speech Recognition: Respeaking (Routledge) and the editor of The Reception of Subtitles for the Deaf and Hard of Hearing in Europe (Peter Lang). He has collaborated with several governments, universities, companies and user associations around the world to introduce and improve access to live events for people with hearing loss around the world. He is the leader of the EU-funded projects “MAP: Media Accessibility Platform” and “ILSA: Interlingual Live Subtitling for Access” and of the international research hub OGAM (Galician Observatory for Media Access). Pablo is also a filmmaker and has developed the notion of accessible filmmaking, the integration of translation and accessibility as part of the filmmaking process. His first documentary, Joining the Dots (2012), was used by Netflix as well as schools around Europe to raise awareness about Audio description.
March 3, 2018
Media accessibility: introduction and experimental research (in English) by Anna Matamala - BA in Translation (UAB) and PhD in Applied Linguistics (UPF, Barcelona), is a senior tenured lecturer at the Universitat Autònoma de Barcelona. A member of the international research group TransMedia (http://www.transmediaresearchgroup....), and of its local branch Transmedia Catalonia (http://grupsderecerca.uab.cat/trans...), Anna Matamala has participated (DTV4ALL, ADLAB, HBB4ALL) and led (AVT-LP, ALST, VIW) funded projects on audiovisual translation and media accessibility. She is currently leading the national project NEA and is involved in the European projects ACT, ADLAB PRO, ImAC, and EasyTV. She has taken an active role in the organisation of scientific events such as the Media for All conference or the Advanced Research Audio Description Seminar ARSAD, and has published extensively in international refereed journals such as Meta, The Translator, Perspectives, Babel, Translation Studies, among others.
March 4, 2018
Media Accessibility II: dealing with immersive environments, 3D, etc., challenging aspects (in English) by Pilar Orero - PhD (UMIST, UK) teaches at Universitat Autònoma de Barcelona (Spain) in the Faculty of Political Science and Sociology. Leader of numerous research projects funded by the Spanish and Catalan Gov. Leads the research group TransMedia Catalonia http://grupsderecerca.uab.cat/trans... She also enjoys the Marie Curie Scholarship COMM/MAD 2017-2019 “Understanding Media Accessibility Quality” with Gian Maria Greco. http://pagines.uab.cat/umaq/ In the next three years she will be working in two new H2020 funded projects: Easy TV (2017-2020) and ImAc (2017-2020). She is working at present on Easy to Read applied to all accessible services to produce Easy to Listen Audio Description, or Easy to Read Subtitles. She is also collaborating with UN ISDR focusing on access services in the Disaster Risk Reduction Management framework SENDAI (2015-2030)
Training of audio describers in terms of cultural competence and translation of audio description scripts between languages as a new workflow for audio description (in English) by Anna Jankowska - PhD, an Assistant Lecturer in the Chair for Translation Studies and Intercultural Communication at the Jagiellonian University in Krakow (Poland) and a visiting scholar at the Universitat Autònoma de Barcelona within the Mobility Plus program of the Polish Ministry of Science and Higher Education (2016-2019). Her recent research projects include studies on mobile accessibility and software (Audiomovie – Cinema for All and OpenArt – Modern Art for All), the viability of translating audio description scripts from foreign languages, multiculturalism in audio description, audio description for foreign films and the history of audiovisual translation. She is also the founder and president of the Seventh Sense Foundation which provides audio description and subtitles for the deaf and hard of hearing. More info at www.annajankowska.eu
March 10, 2018
Theory and practice of Audio description (in Russian) by Ivan Borschevsky.
Dr. Joel Snyder — one of the world’s first “audio describers,” a pioneer in the field of audio description.
Dr. Snyder holds a Ph.D. in accessibility/audio description from the Universitat Autonoma de Barcelona. The American Council of the Blind recently published Dr. Snyder’s book, The Visual Made Verbal – A Comprehensive Training Manual and Guide to the History and Applications of Audio Description (now available as an audio book, in text or as a PDF, and in print in English, Russian, Portuguese and Polish). He is the director of the American Council of the Blind’s Audio Description Project which boasts the most thorough compilation of audio description resources in the United States - AD Analysis—A Close Look at the Audio Description for an American Cartoon
Module 3 – Subtitling Translation Basics.
This module objective is to help students understand theoretical and practical aspects of subtitling translation, requirements of the employers to this type of translation, and get some practical training in subtitling translation.
March 11, 2018
Professor Jorge Díaz-Cintas (the lecture will be pre-recorded on video). - Jorge Díaz Cintas is Professor of Translation and founder director of the Centre for Translation Studies (CenTraS), University College London. He is the author of numerous articles, special issues and books on audiovisual translation. He was the president of the European Association for Studies in Screen Translation (2002-2010) as is now one of its directors. He is the Chief Editor of the Peter Lang series New Trends in Translation Studies, a member of the international research group TransMedia and a member of the EU LIND (Language Industry) Expert Group. He is the recipient of the Jan Ivarsson Award (2014) and the Xènia Martínez Award (2015) for invaluable services to the field of audiovisual translation.
Thanks to their ubiquitous presence in today’s society and their arresting nature, audiovisual productions have become the quintessential expression of multimodal communication in the 21st century and, along with this development, interest in audiovisual translation has been growing steadily and exponentially for the last three decades, both professionally and academically. It is now an ideal time to learn about the various audiovisual translation practices as never before has translation been so prominent on screen! - Audiovisual Translation, Subtitling / Перевод субтитров как разновидность АВП
Subtitling Translation Theory basics (in Russian) by Alexey Kozulyaev.
March 14, 2018
Subtitling Standards, Subtitle Quality evaluation (in English) by Dr Jan Pedersen Director, and Deputy Head of the Department of Swedish Language and Multilingualism at Stockholm University, Sweden, where he also teaches audiovisual translation. He has worked as a subtitler for many years and is a member of ESIST, the European Association for Studies in Screen Translation, and Associate Editor of Perspectives: Studies in Translatology.
March 17, 2018
Communicative Subtitling Basics (in English) by Tiina Holopainen – University of Turku, School of Languages and Translation Studies, University Teacher in Multilingual Translation Studies, member of the ESIST Board, extensive experience as subtitler at YLE, the Finnish Broadcasting Company.
SDH subtitling basics by Ivan Borshchevsky.
March 18, 2018
Netflix Subtitling Requirements (TBC) by Daria Astashina.
Subtitle Translation Practice (in Russian) – by Alexey Kozulyaev.
March 24, 2018
A case of subtitle translation for a festival movie by William Hackett-Jones (the lecture will be pre-recorded on video).
Subtitling reading speed and proper subtitle segmentation for various purposes (in English) by Agnieszka Szarkowska - Founder and head of AVT Lab, a research group at the Institute of Applied Linguistics, University of Warsaw, Research Fellow at the Centre for Translation Studies at the University College London, where she conducts a two-year project “Exploring subtitle reading with eyetracking technology (SuRe)” as part of Marie Skłodowska-Curie Individual Fellowship.
Module 4 – Dubbing and voiceover translation basics.
The module objectives are:
- To help students understand the difference between these types of audiovisual translation;
- To understand precise roles of translators, voice talent and dubbing directors in the dubbing workflow;
- To get practice in translation for dubbing.
March 25, 2018
Dubbing Translation Theory Basics (in Russian) by Roman Matassov – Moscow State University.
Practical aspects of dubbing and voiceover translation workflows (in Russian) – by Stanislav Malashkin – Operational Director of SDI Media Russia, graduate of the Moscow State University, the Faculty of Foreign Languages and Regional Studies. He has been working in the area of audiovisual localization since 2008. His portfolio includes 6 full channel launches as well as multiple blockbuster dubbing project releases.
March 31, 2018
Dubbing processes, requirements and interactions with translators – a systemic view from the studio: Theory and practice (in Russian) by Stanislav Strelkov.
1 апреля 2018 года
Theory and practice of translation of comedies for dubbing. The debate on translation of the profane language in dubbed films revisited (in Russian) by Alexey Kozulyaev.
Module 5 – Game Translation Basics.
The module objective is to help students understand the difference between the AV translation of scripted content and game localization and get some practical experience in the game translation.
April 6, 2018
Introduction to videogames localization (in English) by Carme Mangiron - a lecturer and a member of the research group TransMedia Catalonia at the Universitat Autònoma de Barcelona (UAB). She is the Chair of the MA in Audiovisual Translation and has extensive experience as a translator, specializing in software and game localization. Her research interests include game localization, game accessibility audiovisual translation and accessibility to the media. She has published extensively in international journals and participated in several research projects. She is co-author of Game Localization: Translating for the Global Digital Entertainment Industry (O’Hagan and Mangiron, 2013), one of the editors of Fun for All: Translation and Accessibility Practices in Video Games (Mangiron, Orero; O’Hagan, 2014) and the main organizer of the Fun for All: Translation and Accessibility in Video Games and Virtual Worlds Conference, which started in 2010 and runs every two years.
Localising a game by dubbing or subs is directly related to AVT. But what can be done if you have audios only with variable visual and other contexts? by Margarita Pechnikova.
Module 6 – Practical issues and the future of the profession of an audiovisual translator
The module objective is to outline both short-term and long-term prospects of the profession with regard to new types of translation, new technologies and new legal challenges.
April 13, 2018
Legal issues of working with translation of audiovisual content and participation of AV translator in the localization process. Q&A (in Russian) by Vyacheslav Ryabkov – Managing partner of SHATTERS law company (an official law partner of the Youth Center of the Union of Cinematographers of Russia). Member of the Russian Association of lawyers. Full legal support of cinema and TV content production processes. Major federal TV channels in the customer base.
Personal marketing of an Audiovisual Translator (in Russian) by Anton Boulanov - leading Russian brand development and marketing specialist. He is an expert of the Higher School of Marketing and Business Development of the HSE. A graduate of the Institute of Foreign Relations of the Russian Ministry of Foreign Affairs and the Russian Presidential State Service Academy. He was awarded the honorary international degree of the Doctor of Economics in 2013. Anton Boulanov is a member of the Executive Committee of the Russian Association of Directors of Corporate Media and Communications. He is an acting member of the Marketeers’ Guild as well as the Russian PR Association. Since March 2016 Anton Boulanov is the marketing and communications director of the INVITRO group of companies. He is the author of the books “Marketing of Tomorrow” (St. Petersburg, 2008) and “Brand 2.0 – from philosophy to practice” (Moscow, 2014)
Review of new developments in AVT: more source languages, more technologies of content delivery, more demand for various services and more training in the coming years (in Russian) by Alexey Kozulyaev.