Yves Gambier – författare

This book examines Chinese films made and shown abroad roughly between the 1920s and the 2020s, from the beginning of the international exchange of the Chinese national film industry to the emergence of the concept of soft power.

The periodisation of Chinese cinema(s) does not necessarily match the political periods: on the one hand, the technical development of the film industry and the organisation of translation in China, and on the other hand, official relations with China and translation policies abroad impose different constraints on the circulation of Chinese films. This volume deals with the distribution and translation of films from mainland China, Taiwan, Hong Kong, and the Chinese diaspora. To this end, the contributors address various issues related to the circulation and distribution of Chinese films, including co- productions, agents of exchange, and modes of translation. The approach is a mixture of socio- cultural and translational methods. The data collected provides, for the first time, a quantitative overview of the circulation of Chinese films in a dozen foreign countries.

The book will greatly interest scholars and students of Chinese cinema, translation studies, and China studies.

This book examines Chinese films made and shown abroad roughly between the 1920s and the 2020s, from the beginning of the international exchange of the Chinese national film industry to the emergence of the concept of soft power.

The periodisation of Chinese cinema(s) does not necessarily match the political periods: on the one hand, the technical development of the film industry and the organisation of translation in China, and on the other hand, official relations with China and translation policies abroad impose different constraints on the circulation of Chinese films. This volume deals with the distribution and translation of films from mainland China, Taiwan, Hong Kong, and the Chinese diaspora. To this end, the contributors address various issues related to the circulation and distribution of Chinese films, including co- productions, agents of exchange, and modes of translation. The approach is a mixture of socio- cultural and translational methods. The data collected provides, for the first time, a quantitative overview of the circulation of Chinese films in a dozen foreign countries.

The book will greatly interest scholars and students of Chinese cinema, translation studies, and China studies.

There are three fundamental issues in the field of screen translation, namely, the relationship between verbal output and pictures and soundtrack, between a foreign language/culture and the target language/culture, and finally between the spoken code and the written one. All three issues are raised and discussed by contributors to this special issue of The Translator.

The topics covered include the following: the use of multimodal transcription for the analysis of audiovisual data; the depiction and reception of cultural otherness in Disney animated films produced in the 1990''s; the way in which subtitles in Flanders strengthen the already streamlined narratives of mainstream film stories, and how they ''enhance'' the characteristics of the films and their underlying ideology; developing a research methodology for testing the effectiveness of intralingual subtitling for the deaf and hard of hearing; the pragmatic, semiotic and communicative dimensions of puns and plays on words in The Simpsons; the reception of translated humour in the Marx Brothers'' film Duck Soup; and non-professional interpreting in live interviews on breakfast television in Finland. The volume also includes a detailed profile of two postgraduate courses that have been successfully piloted and run at the Universitat Autònoma de Barcelona: the Postgrado de Traducción Audiovisual and the Postgrado de Traducción Audiovisual On-line.

There are three fundamental issues in the field of screen translation, namely, the relationship between verbal output and pictures and soundtrack, between a foreign language/culture and the target language/culture, and finally between the spoken code and the written one. All three issues are raised and discussed by contributors to this special issue of The Translator.

The topics covered include the following: the use of multimodal transcription for the analysis of audiovisual data; the depiction and reception of cultural otherness in Disney animated films produced in the 1990''s; the way in which subtitles in Flanders strengthen the already streamlined narratives of mainstream film stories, and how they ''enhance'' the characteristics of the films and their underlying ideology; developing a research methodology for testing the effectiveness of intralingual subtitling for the deaf and hard of hearing; the pragmatic, semiotic and communicative dimensions of puns and plays on words in The Simpsons; the reception of translated humour in the Marx Brothers'' film Duck Soup; and non-professional interpreting in live interviews on breakfast television in Finland. The volume also includes a detailed profile of two postgraduate courses that have been successfully piloted and run at the Universitat Autònoma de Barcelona: the Postgrado de Traducción Audiovisual and the Postgrado de Traducción Audiovisual On-line.