Sight translation with the help of dictaphone

This kind of sight translation is generally used in international organizations like UNO, UNESCO, ВООЗ, МЗС, etc.

Main feature of this type of sight translation is that the interpreter within some time limit pronounces his translation into a dictaphone, and then this text is typed and gets to the editor, responsible for the group of interpreters (mostly these duties are fulfilled by more experienced colleagues). After correcting and discussing, in case time allows, the work is considered completed and comes to the administration.

Nowadays computers are widely used in this sphere of activity, therefore this method of translation is used less frequently, but we can’t help but outline its advantages:

• comparatively high speed of translating and final arranging the documents;

• less tiresome character of the sight translation process, as well as more rational use of the time of personnel, their qualification and experience taken into account;

• great possibilities of correcting and inserting in conditions of temporary pressing;

• providing high level of confidentiality if compared with the work on network computer (it’s important for working in Embassy).

Necessary skills:

In general they are identical with those of traditional sight translation, but still let’s point out the following:

• ability to pronounce the text into the dictaphone accurately and clearly, taking into consideration the peculiarities of perceiving the text tape-recorded even by an experienced operator (for better perception of the text by the operator while dictating beating out the rhythm by foot is advised);

• good pronunciation and clear diction, including ability to emphasize case endings, word sequence in a sentence by voice, correctly pronounce proper names and other well known informational elements (sometimes it is worth spelling them);

• correct coordination of work with those operators, who are charged with deciphering such texts: sometimes it is necessary to get clarified in advance regarding the dictation tempo, sound volume, etc.

Drawbacks of sight translation with using dictaphone:

• additional staff of engineering workers is necessary, including those who know foreign language;

• unavoidable failures in typing the texts saturated with information.

18.3. Cinema/Video/TV-translation

Cinema/video/TV-translation is a combined type of translation, which blends together peculiarities of simultaneous, consecutive, written translation, sometimes sight translation, depending on the purpose and character of work (translation for the audience, for dubbing, when post- scoring, etc.)

This type of interpretation puts before interpreter interesting and difficult professional tasks, but for all of that it gives great possibilities for creativity, in this case getting closer to written translation (cinema is art, and the best examples of this genre are masterpieces of world culture).

Translator faces uneasy task not to degrade a general artistic impression, to maintain the author’s intention, quality of dialogues, speech characteristics. It’s a responsible mission to be able to impart the essence of epoch and individual speech characteristics. When cinema/video interpretation is raw or not well done, losses are inevitable, but one should try to reduce to minimum.

Cinema/TV-serial personages, if compared with the participants of talks or international conferences, in no way take into account the interests of feasible interpreters, don’t speak “for translation” (i.e. don’t aspire to facilitate the interpretation process or help the interpreter to increase the interpretation adequacy).

18.4. Cinema/Video/TV-translation Without Preparation

Cinema/video/TV-translation without preparation is extremely complicated process, demanding great experience and knowledge. If there is no possibility to look through the scenario (editorial script – монтажний лист), then it is expedient to find information in corresponding editions, press, catalogues or at least annotation. If it is a screen version of literary work, then it is necessary to become acquainted with the original source.

In cinema translation the extra-linguistic context (video-line – відео-ряд) becomes of primary importance, which contributes to the translation adequacy. Still the auding problem remains the main one.

In foreign movies, especially in the Hollywood ones, every word of each actor is carefully weighted and thought over by the dialogue editor. Scenario is corrected subject to mass psychology, existing stereotypes and other essential factors. Popular expressions (catch-words – крилаті вирази) become the result of the dialogue editor’s good work. In cinema base www.imbd.com there is a section “Memorable Quotes”, and the best native movies, like “Brilliant arm”, “White sun of desert”, “Irony of fate”, have given us a great many catch-words. In translation they are often lost for objective reasons of lingual-cultural character.

One of the fundamental rules of cinema/video-TV translation says that the interpreter must understand and know what the case in point is about by himself. Modern interpreters mainly work with printed out “scripts”, when they don’t have to strain their ears to hear sound track, trying to catch an idiom, drowned out by firing. This kind of work provides maximum comfort for a professional. Still not infrequently the hero’s image, his character are lost in modern dubbing (obviously not that much expansive) put on the production line.

18.5. Cinema/Video/TV-translation with Preliminary Preparation

This kind of interpretation is more adequate and artistic, then the previous one, but requires availability of scenario or literary original source of screen version.

One should try at least to find a critical essay on a given movie, review, survey of cinematologists, etc.

If there is any possibility, then it is helpful to look through the movie at least one time on video, stopping the tape or disk in the places hard to interpret, and think a possible translation variant over.

Cinema/video/TV-translation requires from interpreter great erudition, resourcefulness, keen feeling for native language, and surely, perfect knowledge of foreign language (or several languages), as well as love and reasonable interest in cinema (the more you watch, the better you translate).

Дата добавления: 2015-11-14