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The paper aims to investigate how a Chinese heroic legend was reconfigured for Western viewers through the English-dubbed versions of a case-study film, Monkey King: Hero is Back (2015). The ultimate goal of the study is to shed new light on how dubbing practice may better cater to Western target audiences. Based on two macrolevel translation theories, three translation models, and the two microlevel translation strategies, this paper discusses the most commonly used film translation strategies for English dubbing in the case-study film and their implications for the effectiveness of translation. The findings suggest that driven by the target-audience orientation, English-dubbing strategies often use standard language constrained by linguistic and cultural disparities as opposed to dynamic, adaptive Chinese dubbing.
Download Film Jackie Chan Dubbin
Though audiences marvelled at the animation, as the above comments reveal, the English-dubbed DVD version contains no subtitles, unlike other language versions. There are five versions of the film, dubbed in Chinese Mandarin, Chinese Cantonese, Chinese Uygur, English and Japanese, demonstrating a solid sociocultural demand from audiences with different linguistic and cultural backgrounds. Such a variety of versions exemplifies the complexity and intertextuality in different dubbed and subtitled dialogues. For the Mandarin-dubbed version released in China, bilingual subtitles were often provided. Therefore, it is imperative to understand the context for the combined use of dubbing and subtitling and how it may impact film translation strategies. Comparing dubbing and subtitling strategies can provide new insights into how film translation strategies maximise and optimise the viewing experience. The main focus of this study is on dubbing practice. Only the English-and-Chinese-dubbed versions will be compared in this study. This is because the subtitles of the English-dubbed version cannot be traced, and relatively less academic attention is given to dubbing practices for Monkey King (as the literature below suggests).
In contrast, internally focused relevance theory and two translation models will be used to analyse how the dubbing process maximises the appeal to the target audience. Through this prism, relevance theory serves as an appropriate departure point where viewers use their background knowledge to interpret cinematic signifiers (Pérez-González, 2015, p. 108; Desilla, 2009). In other words, target audiences interpret the contextual meaning in the film based on their readily accessible assumptions, looking for rhetorical preferences to be satisfied (Pérez-González, 2015, p. 120).
In this case-study, the English- and Mandarin (Simplified Chinese)-dubbed versions were extracted from the official DVDs for textual analysis, with the Chinese-dubbed film as the source text. English back translation will also be provided for Mandarin dubs, while the English-dubbed version is the main focus of our study, examining how the legendary Chinese story travels to the West through dubbing.
Dubbing norms challenge dubbers in Monkey King because the ancient Chinese culture includes many variants of appellations for the leading character Sun Wukong and its idiosyncratic language distinguishes the dubbing practice. The case analysis will therefore investigate these two features in the film.
And that is where one of the real benefit of AI truly lies. To blur the line between original dialogue and the translation. But why is this so important? Isn't the current way of dubbing a film perfectly fine as is?
As many dubbing artistes have begun to do, Shekar also wrote the scripts for the Tamil KBC. Their work is not limited to just films from outside, since some actors in Tamil films do not speak Tamil at all, or well enough for Kollywood," as the film industry is known after its base in the Kodambakkam section of Chennai.