Titlebook: Audiovisual Translation in a Global Context; Mapping an Ever-chan Rocío Ba?os Pi?ero,Jorge Díaz Cintas Book 2015 The Editor(s) 2015 transla

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Flavouring

Signing and Subtitling on Polish Television: A Case of (In)accessibilityrkowska 2010). This is part and parcel of a greater awareness concerning the needs of the deaf and hard-of-hearing at both European and national levels. Indeed, Directive 2007/65/EC of the European Parliament and the Council (Web 1) — an amendment to Council Directive 89/552/EEC on the coordination

修正案

Voiceover as Spoken Discourseion (AVT) studies (Franco et al. 2010; Orero 2004; Wo?niak 2008). This academic neglect has recently been diminished by the publication of the first monograph on this AVT modality, with its specific focus on non-fictional programmes (Franco et al. 2010). The post-Soviet voiceover translation of fict

ASSAY

Dubbing Directors and Dubbing Actors: Co-authors of Translation for Dubbing translation of the scripts submitted to them by translators. In Brazil, translators are also responsible for adapting the dubbing script, leaving the final adjustments to the dubbing director and actors during the recording of the translated dialogue. I, therefore, attended a series of dubbing sess

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Mediocre

2947-5740 ome of the most representative areas currently being researched in this field across the globe. The book discusses theoretical issues and provides useful and practical insights into professional practices.978-1-137-55289-1Series ISSN 2947-5740 Series E-ISSN 2947-5759

finite

https://doi.org/10.1007/978-1-4419-5592-0lts in Europe with problems accessing digital television, as has been highlighted by the DTV4All project (Looms 2009). For this part of the population, subtitles are needed to access the audio content of TV programmes and to ensure the compliance of broadcasters with regulatory standards currently in place worldwide (Romero-Fresco 2011).

使成核

AGATE

Synchronized Subtitles in Live Television Programmeslts in Europe with problems accessing digital television, as has been highlighted by the DTV4All project (Looms 2009). For this part of the population, subtitles are needed to access the audio content of TV programmes and to ensure the compliance of broadcasters with regulatory standards currently in place worldwide (Romero-Fresco 2011).

BYRE

Analysing Redubs: Motives, Agents and Audience Responsenvestigate the evolution of translational norms and practices in the field of audiovisual translation. According to Nornes (2007: 16), changes in viewers’ habits and cultural expectations require new forms of translation. The retranslations of audiovisual texts are indeed evidence of new forms of audiovisual translation (AVT).