Chris Taylor University of Trieste

1. Languages and the MediaBerlin 25-27 October, 2006The Language of Television Series a study of predictability Chris Taylor University of Trieste

2. Talking Points • Film language • Levels of predictability • Translation (dubbing, subtitling)

3. Film language • Starting from the premise that film language is an artificial product “written to be spoken as if not written” (Gregory, 1992), we can agree with Marshall and Werndly (2002) that • “the only reason that characters talk to each other in television texts is so that the viewer can listen to them; not, as in real conversation, so that they can listen to each other”,

4. APS Thus film language consists of clear-cut cues and guided discourse (cf. Ochs - planned and unplanned discourse). The flow of images is created by film directors, cameramen, set designers, etc. in the construction of an artificial situation. Similarly the language (and grammar) of film is a scripted construct created by screenplay writers and editors, altered by directors and actors, subsequently by dubbing actors, subtitlers, etc. in the creation of an “artificially produced situation” (APS)

5. Film language and genre • The APS can also be identified in terms of genre. • The blanket expression ‘film genre’ brings to mind such types as western, spy story, comedy, etc. • But films have their sub-genres and genrelets.

6. Predictability • And it is these genrelets that are of interest in the tracking down of predictability. • E.g., telephone conversations, presentations, mealtime dialogue, bar talk, boy-girl exchanges, etc.

7. Intertextuality • In genrelets such as telephone call protocols, presentations, service encounters, etc. there is usually little creative language use. The same formulae are used over and over again, with the same cues and the same response mechanisms. Words and expressions are PRIMED (Hoey) to appear in particular environments.

8. Hotel reception scene The Gilmore Girls • CUT TO THE INDEPENDENCE INN • [Lorelai walks into the lobby and hands a key to a bellboy.] • LORELAI: Oh, here you go. • BELLBOY: Thanks. • [Lorelai walks to the front desk, where Michel is on the phone and sorting mail] • MICHEL: Independence Inn, Michel speaking. [pause] No, I'm sorry, we're completely booked. [pause] We have a wedding party here. [pause] No, there is really nothing I can do. [pause] Yes, I'm sure. [pause] Positive. [pause] No, I don't have to look ma'am, I -- [pause] Yes, of course I'll look. • [Michel puts the phone down, continues to sort the mail, then picks the phone back up.] • MICHEL: No, I'm sorry, we're completely booked.

9. Translation Memory At times the predictability is so pronounced that an element of translation memory technique, technologically aided or otherwise, could prove useful. At least the predictability factor should be taken into account in order to save time and particularly to ensure consistency.

10. Predictability and Translation The three strategies of NEUTRALISATION LOCALISATION FOREIGNISATION can be associated with predictability levels

11. Predictability cline High predictability (neutralise) Medium predictability (localise) Low predictability (foreignise)

12. Predictability cont. But more or less predictable subgenes and gernrelets can appear within a predominantly high predictability or low predictability film.

13. Predictability and Genre There is a general correlation between predictability and genre. The more mundane the genre (many TV series, soap operas, etc.), the more predictable the dialogue. The more serious/intellectual/highbrow the genre, the less predictable the dialogue.

14. More predictable genres – a case study The Gilmore Girls 132 episodes in 6 series Desribed in the following terms: “nice, warm, charming, feisty” Features a single mother, her elitist parents, her determined daughter, boyfriends etc.

15. Episodes Series Two Marriage on the way Engagement party Rethinking The debutante’s ball Like mother, like daughter Love risks

16. Gilmore Girls One video

17. LORELAI: Well, actually, I came here for a reason. Dad, would you mind sitting down for a minute? RICHARD: You need money. LORELAI: I have a situation. RICHARD: You need money. LORELAI: Dad, will you just please let me get this out, okay? Um, Rory has been accepted to Chilton. EMILY: Chilton? Oh, that's a wonderful school. It's only five minutes from here. LORELAI: That's right, it is. She can start as early as Monday. Um, the problem is that they want me to put down an enrollment fee plus the first semester's tuition, and I have to do that immediately or she loses her spot. RICHARD: So, you need money. LORELAI: Yeah. But it's not for me, it's for Rory. And I fully intend to pay you back every cent. I don't ask for favors, you know that. EMILY: Oh, yes, we know. RICHARD: I'll get the checkbook. LORELAI: Thank you. You have no idea. Thank you.

18. Translation - neutral • L: Bè, veramente, ho un motivo per essere qui. Papà, potresti sederti e starmi a sentire? • R: Ti servono soldi. • L: Ho un problema. • R: Ti servono soldi. • L: Papà, per favore lasciami finire, OK? Rory è stata accettata alla Chilton. • E: Chilton? E’ un’ottima scuola. E’ a cinque minuti da qui. • L: Proprio così. Può cominciare già lunedì. Il problema è che vogliono che paghi l’iscrizione e i corsi per il primo semestre a vogliono che lo faccia subito, altrimenti Rory perderà il posto. • R: Quindi, ti servono soldi. • L: Sì. Ma non è per me, è per Rory. E intendo ripagarti ogni centesimo. Non chiedo favori, lo sai. • E: Ah, sì, lo sappiamo. • R: Prendo il libretto degli assegni. • L: Grazie. Non hai idea. Grazie.

19. Gilmore Girls Two - video

20. [Rory starts to leave then hugs Lorelai again.] RORY: I love you. LORELAI: I love you. [Rory leaves.] LORELAI: My girl's going to Chilton SOOKIE: Yeah. Rory's going to Chilton! [As Lorelai leaves, Sookie starts a little dance and begins to sing.] SOOKIE: Rory's going to Chilton! Rory's going to Chilton! Rory's going to Chilton!

21. Translation - localised • [Rory sta per partire poi abbraccia Lorelai di nuovo] • RORY: Ti voglio bene. • LORELAI: Ti voglio bene. • [Rory parte] • LORELAI: La mia bambina va a Chilton • SOOKIE: Sì. Rory va a Chilton! • [Menre Lorelai sta per uscire, Sookie comincia a ballare e cantare] • SOOKIE: Rory va a Chilton! Rory va a Chilton! Rory va a Chilton! • CUT TO INDEPENDENCE INN LOBBY [Squilla il telefono, Michel lo ignora] • LORELAI: Michel, il telefono. Rispondi tu?

22. Official translation • R: Ti voglio bene • L: anch’io tesoro. La mia Rory va alla Chilton

23. Gilmore Girls Three - video

24. LANE: I know I’ve always dreamed that some day a guy would get me a really confusing Czechoslovakian novel. RORY: I think he’ll appreciate it. LANE: A book sends the wrong message. RORY: What are you talking about? LANE: You have to look at what a gift says to the other person, not to you. Remember two years ago, I got my mom that perfume? RORY: Yeah. LANE: Ok, to me that said, ‘Hey mom, you work hard, you deserve something fancy’. Now to my mother, it said ‘Hey mom, here’s some smelly sex juice, the kind I use to lure boys with’ and resulted in me being sent to Bible camp all summer. RORY: Yeah but - LANE: Just imagine that you actually gave Dean something really romantic, and he gave you a football. Your hypothetical romantic present is saying that you really, really like him. And his present is saying ‘Hey man, let’s just be friends’. RORY: And you’re saying that this book is - LORELAI: Is a Czechoslovakian football, yes.

25. Translation L: Ho sempre sognato che un giorno un ragazzo mi regalasse un romanzo cecoslovacco incomprensibile. R: Credo che gli farà piacere. L: Un libro manda il messaggio sbagliato. R: Cosa vuoi dire? L: Devi pensare a ciò che il regalo significa per l’altra persona, non per te. Ti ricordi due anni fa quando ho regalato quel profumo a mia madre? R: Sì L: Bè, per me quel regalo voleva dire “Mamma sei sempre che lavori, ti meriti qualcosa di speciale”. Per mia madre invece voleva dire “Mamma eccoti un profumo lascivo come quelli che uso per sedurre i ragazzi” e come ringraziamento mi ha spedito in un Bible Camp estivo. R: Sì, ma? L: Prova a immaginare di regalare a Dean qualcosa di veramente romantico e che lui ti regali un pallone da football. Il tuo ipotetico regalo romantico vuole dire che lui ti piace davvero un sacco, mentre il suo significa “Guarda, restiamo solo amici” R: Stai dicendo che il libro è…. L: E’ un pallone da football cecoslovacco, già.

26. Official translation campeggio delle suore pallone da football Hey, bambola

27. The O.C. • In the O.C. much of the dialogue is more or less predictable American high school chat. The register rarely changes, but one character (Seth) deliberately speaks in a sarcastic but linguistically sophisticated way. • Translation must take heed of idiolects.

28. The O.C. • Kirsten: First day of school, are you excited? (Seth gives her a look) You know I ask you questions in the hopes of eliciting an actual response. Seth: I feel I convey more with a look (makes puppy dog eyes at her)Kirsten: you look adorable! Seth: no Kirsten: cute? Seth: no Kirsten: dope? Seth: no Kirsten: RAD! Seth: PLEASE, please this is so painful

29. The O.C. translation • Kirsten: primo giorno di scuola, sei emozionato? Vedi, se ti faccio delle domande è perché mi aspetto che tu mi dia delle risposte. Seth: Il mio sguardo non è più eloquente?Kirsten: Sei adorabile • Seth: No Kirsten: Carino? Seth: No Kirsten: Spento? Seth: No Kirsten: Svanito! Seth: PER FAVORE, mi metti in imbarazzo.

30. Less predictable genres in translation Even where the language transfer involves some kind of semantic or pragmatic shift (eg. bar protocols in English and Italian), matches based on predictability can be easily made. But some genres, where cultural mores are involved, prove troublesome.

31. At table Buonissimo! Eccezionale! Sono la fine del mondo!! (at regular intervals) Da noi si usa solo aglio e olio. Miles: Just bring him an iceberg lettuce and mealy tomato wedge smothered in French dressing W: And for you? Miles: Ham sandwich on stale rye bread lots of mayo easy on the ham. These expressions (not the words) are difficult to translate for the simple reason that English/Italian people don’t say them.

32. Il Commissario Montalbano (1) Caffè Michela: (bevendo il caffè) Mhm! Sì! • Mimì:(guardando Montalbano versare il caffè) Ce n’è magari pe’mmea? • CM: .. Mi è venuto voglia di una bella granatina di caffè • Fazio: Ho portato il… • Donna: (beve l’ultimo sorso di caffè)

33. Il Commissario Montalbano(2) Pasta con broccoli • CM: Sto mangiando la pasta con broccoli, chi è che rompe… • Livia: Chi ti ha preparato la pasta con broccoli? Scommetto Adelina?... Sabato mattina prendo l’aereo e vengo giù. • CM: Sabato? • Livia: Sì, sarò a Vigato per l’ora di pranzo. • CM: Ah, benissimo..ma, sei sicura? • Livia: Sicurissima. Ho già fatto il biglietto… Vai a buttare quella pasta nella spazzatura!

34. Il Commissario Montalbano (3) disturbance! • Mimì: Ma che stavi mangiando. • CM: No, no. Non ti preoccupare. • Mimì: E allora t’ho disturbato… • CM: E ti dico non ti preoccupare… • CM: Sto mangiandola pasta con broccoli, chi è che rompe…

35. Montalbano video

36. Il Commissario Montalbano (4) Spigole etc. • C- Dunque oggi c’ho pe’ vossia un risotto a nevuro di siccia ch’è megghio’ e na cassata. • M- Per me va bene, per lei? • B- Anche per me va bene. • M- Aggiudicato. • C- Ah, per secondo carissimo dottore Montalbano ci sono delle spigole freschissime pescate stanotte oppure… • M- No, per me va bene le spigole senza oppure, per lei? • B- Anche per me va bene. • M- Aggiudicato.

37. Neutralisation (1) Caffè = coffee (2) Disturbance and seriousness elements translated literally, regardless of audience perplexity. (3) Pasta con broccoli = pasta with broccoli (4) Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, spigole freschissime pescate stanotte, ‘spaghetti’, ‘rice’, ‘cake’, ‘fish’.

38. Localisation (1) Caffè must be rendered more English, ironically through the use of explicit markers – cappucino, espresso, latte, etc. – depending on which of these is considered the most universal. (2) Elements of disturbance and seriousness may be changed or tempered. (3) Pasta con broccoli may be changed to something more recognisably Italian such as ‘spaghetti bolognese’ or ‘lasagne’. It depends on whether it can be seen. (4) Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, spigole freschissime pescate stanotte, can be changed to recognisable English/American dishes – ‘spaghetti with meatballs’, ‘sausages’, ‘ice cream’, ‘snapper’.

39. Foreignisation • Caffè remains – its meaning is known and is always straight ‘espresso’. • Pasta con broccoli is a leitmotif of the series and can be left as it is. • The disturbance and seriousness factors are part of that mind set that some of the audience will associate with Sicily and others will not be aware of. • Spaghetti con sugo di ricci, risotto a nevuro di siccia, na cassata, spigole freschissime pescate stanotte,can be left and simply understood as Italian dishes.

40. The Gilmore Girls – frequency counts • From watching any TV series one becomes aware, consciously or unconsciously, of certain lietmotifs, repeated patterns, or more than usual frequency patterns.

41. Food and Beverages frequancies - Gilmore

42. Coffee frequencies - Gilmore

43. Cf. British National Corpus - coffee BNC (100,000,000 words) Coffee – 6,286 occurrences Once every 16,000 words. Gilmore Girls (20 episodes) 150,000 words Coffee – 160 occurrences Once every 1,000 words

44. BNC spoken corpus BNC spoken corpus (10,000,000 words) Coffee – 939 occurrences Once every 10,000 words. Gilmore Girls (20 episodes) 150,000 words Coffee – 160 occurrences Once every 1,000 words

45. Sign of APS The figures merely show that the series ‘The Gilmore Girls’ contains a much higher than average use of the word coffee (and other foodstuffs). This confirms an intuitive impression, suggesting that (a) the context governs language use but also (b) that a level of artificiality would seem to be confirmed. The translator must consider whether this context driven usage should be foreignised (left as it is to reflect American youngsters’ habits), or localised in some way (perhaps tempered to local levels of acceptance).

46. Conclusion 1 WHERE THE TEXT IS HIGHLY PREDICTABLE there is a place in film translation (in the broadest sense), in subtitling but also in dubbing, for the judicious use of some kind of translation memory tool (eg, Atril’s Dejà vu). Although this would require very careful editing it could save a lot of time and provide much needed consistency

47. Conclusion 2 WHERE TEXTS ARE NOT VERY PREDICTABLE translation choices may lie between foreignisation, localisation and standardisation. The choice will depend on such factors as the ‘prestige’ of the film or given audience tastes.

48. Conclusion 3 WHERE TEXTS ARE GOVERNED BY CULTURAL MORES predictability can be largely discounted, firstly in the patterns of the source language, and particularly in translation. Here the translator is on his/her own in gauging to what extent the audience is attuned to the mind set of the source text culture.

49. Conclusion 4 • Practically all films (or TV series, or documentaries, or advertisements, or cartoons…) will contain stretches covered by conclusions 1, 2 or 3. The special skill of the translator lies also in identifying these stretches and treating them accordingly.

50. Interview - video