Irene Ranzato is associate professor of English language and translation at Sapienza University of Rome, Italy.Luca Valleriani is adjunct lecturer of English Language and Translation at Sapienza University of Rome. Italy.

• ContentsList of FiguresList of TablesList of ContributorsIrene Ranzato & Luca VallerianiIntroduction: Audiovisual Translation, Film Studies and Adaptation Studies:A Healthy Cross-pollinationPart 1«bastante tolerable…pero no tan hermosa para tentarme» ("thoroughly tolerable…but not handsome enough to tempt me."): Austen in audiovisual dialogueChapter 1Noemí Barrera-RiojaThe challenges of making Austen accessible for deaf and hard-of-hearing audiencesChapter 2Annalisa Sandrelli & Veronica BonsignoriJane Austen’s Pride and Prejudice from the Page to the Screen: A Diachronic Analysis of Source Texts and Italian TranslationsChapter 3Irene RanzatoLinguistic prejudice and regional pride: US voices for Austen’s classicChapter 4Judit Sereg & Márta Juhasz-KochScreen adaptations as part of audiovisual translation training: Teaching different types of adaptations through films based on Jane Austen’s worksChapter 5Agata Hołobut & Monika WoźniakRewriting Gender and Social Hierarchies in Cinematic Adaptations of Pride and Prejudice and Their Polish and Italian TranslationsChapter 6Luca Valleriani(In)Elegant language in Emma (2020) and its Italian dubbed versionPart 2«Beni notte iscurosa…»** (“Come, thick night...”): Shakespeare in audiovisual dialogueChapter 7Margherita DoreAdaptation and sur/subtitling for the theatre: Macbettu as a Case in PointChapter 8Vincenza MinutellaDubbing Romeo and Juliet in Italy: A journey across timeChapter 9Yuki NakamuraTranslating Thick Description: Throne of Blood, its subtitles in two versionsChapter 10Fabio Ciambella“...and you can’t even speak properly”: AVT Strategies in Romeo and Juliet’s Singaporean Multilingual Adaptation Chicken Rice War (2000)Part 3«ヒスクリフを愛してる。その愛は大地の岩のようなものなの。»** ("My love for Heathcliff is like the eternal rocks beneath."): Other English authors in audiovisual dialogueChapter 11Francesco VitucciCatherine Earnshaw in Japan: An analysis of women’s language in the subtitled and dubbed versions of William Wyler's and Mary Soan - Peter Kosminsky’s feature filmsChapter 12Valentina VetriWhen adaptations disappoint expectations: Scrooged (1988), A Christmas Carol (2019) and Charles Dickens’ textual afterlifeChapter 13Denise Filmer & Paolo Bugliani“Omit: a reference to the unspeakable vice of the Greeks”: Maurice’s Audiovisual Journey in ItalyIndex

Irene Ranzato is associate professor of English language and translation at Sapienza University of Rome, Italy.Luca Valleriani is adjunct lecturer of English Language and Translation at Sapienza University of Rome. Italy.

• ContentsList of FiguresList of TablesList of ContributorsIrene Ranzato & Luca VallerianiIntroduction: Audiovisual Translation, Film Studies and Adaptation Studies:A Healthy Cross-pollinationPart 1«bastante tolerable…pero no tan hermosa para tentarme» ("thoroughly tolerable…but not handsome enough to tempt me."): Austen in audiovisual dialogueChapter 1Noemí Barrera-RiojaThe challenges of making Austen accessible for deaf and hard-of-hearing audiencesChapter 2Annalisa Sandrelli & Veronica BonsignoriJane Austen’s Pride and Prejudice from the Page to the Screen: A Diachronic Analysis of Source Texts and Italian TranslationsChapter 3Irene RanzatoLinguistic prejudice and regional pride: US voices for Austen’s classicChapter 4Judit Sereg & Márta Juhasz-KochScreen adaptations as part of audiovisual translation training: Teaching different types of adaptations through films based on Jane Austen’s worksChapter 5Agata Hołobut & Monika WoźniakRewriting Gender and Social Hierarchies in Cinematic Adaptations of Pride and Prejudice and Their Polish and Italian TranslationsChapter 6Luca Valleriani(In)Elegant language in Emma (2020) and its Italian dubbed versionPart 2«Beni notte iscurosa…»** (“Come, thick night...”): Shakespeare in audiovisual dialogueChapter 7Margherita DoreAdaptation and sur/subtitling for the theatre: Macbettu as a Case in PointChapter 8Vincenza MinutellaDubbing Romeo and Juliet in Italy: A journey across timeChapter 9Yuki NakamuraTranslating Thick Description: Throne of Blood, its subtitles in two versionsChapter 10Fabio Ciambella“...and you can’t even speak properly”: AVT Strategies in Romeo and Juliet’s Singaporean Multilingual Adaptation Chicken Rice War (2000)Part 3«ヒスクリフを愛してる。その愛は大地の岩のようなものなの。»** ("My love for Heathcliff is like the eternal rocks beneath."): Other English authors in audiovisual dialogueChapter 11Francesco VitucciCatherine Earnshaw in Japan: An analysis of women’s language in the subtitled and dubbed versions of William Wyler's and Mary Soan - Peter Kosminsky’s feature filmsChapter 12Valentina VetriWhen adaptations disappoint expectations: Scrooged (1988), A Christmas Carol (2019) and Charles Dickens’ textual afterlifeChapter 13Denise Filmer & Paolo Bugliani“Omit: a reference to the unspeakable vice of the Greeks”: Maurice’s Audiovisual Journey in ItalyIndex

Irene Ranzato is associate professor of English language and translation at Sapienza University of Rome, Italy.Luca Valleriani is adjunct lecturer of English Language and Translation at Sapienza University of Rome. Italy.

• ContentsList of FiguresList of TablesList of ContributorsIrene Ranzato & Luca VallerianiIntroduction: Audiovisual Translation, Film Studies and Adaptation Studies:A Healthy Cross-pollinationPart 1«bastante tolerable…pero no tan hermosa para tentarme» ("thoroughly tolerable…but not handsome enough to tempt me."): Austen in audiovisual dialogueChapter 1Noemí Barrera-RiojaThe challenges of making Austen accessible for deaf and hard-of-hearing audiencesChapter 2Annalisa Sandrelli & Veronica BonsignoriJane Austen’s Pride and Prejudice from the Page to the Screen: A Diachronic Analysis of Source Texts and Italian TranslationsChapter 3Irene RanzatoLinguistic prejudice and regional pride: US voices for Austen’s classicChapter 4Judit Sereg & Márta Juhasz-KochScreen adaptations as part of audiovisual translation training: Teaching different types of adaptations through films based on Jane Austen’s worksChapter 5Agata Hołobut & Monika WoźniakRewriting Gender and Social Hierarchies in Cinematic Adaptations of Pride and Prejudice and Their Polish and Italian TranslationsChapter 6Luca Valleriani(In)Elegant language in Emma (2020) and its Italian dubbed versionPart 2«Beni notte iscurosa…»** (“Come, thick night...”): Shakespeare in audiovisual dialogueChapter 7Margherita DoreAdaptation and sur/subtitling for the theatre: Macbettu as a Case in PointChapter 8Vincenza MinutellaDubbing Romeo and Juliet in Italy: A journey across timeChapter 9Yuki NakamuraTranslating Thick Description: Throne of Blood, its subtitles in two versionsChapter 10Fabio Ciambella“...and you can’t even speak properly”: AVT Strategies in Romeo and Juliet’s Singaporean Multilingual Adaptation Chicken Rice War (2000)Part 3«ヒスクリフを愛してる。その愛は大地の岩のようなものなの。»** ("My love for Heathcliff is like the eternal rocks beneath."): Other English authors in audiovisual dialogueChapter 11Francesco VitucciCatherine Earnshaw in Japan: An analysis of women’s language in the subtitled and dubbed versions of William Wyler's and Mary Soan - Peter Kosminsky’s feature filmsChapter 12Valentina VetriWhen adaptations disappoint expectations: Scrooged (1988), A Christmas Carol (2019) and Charles Dickens’ textual afterlifeChapter 13Denise Filmer & Paolo Bugliani“Omit: a reference to the unspeakable vice of the Greeks”: Maurice’s Audiovisual Journey in ItalyIndex