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Vol. 18:2 (2006) ► pp.261–293

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Orientations de la recherche en traduction audiovisuelle

 | Université de Turku, Finlande

Article language: French

Published online: 1 May 2007
DOI logo with link
https://doi.org/10.1075/target.18.2.04gam
Résumé
En une décennie, les transferts linguistiques à la télévision, au cinéma, pour les vidéos ont fait l’objet de réflexions nombreuses, ponctuelles souvent. Il y a encore peu d’études systématiques touchant leur production et leur réception, touchant leurs effets culturels et langagiers. Le transfert est encore fréquemment perçu comme exclusivement “pratique”, sinon mécanique. Par ailleurs, et de manière paradoxale, on doit noter une prédominance de la perspective linguistique, alors même que l’objet est multisémiotique, combinant images, sons, langage (oral et écrit), couleurs, proxémique, gestuel, etc, intégrés aux codes de l’audiovisuel (mise en scène, suite de séquences et de plans, jeu des voix et des lumières, scénographie, conventions narratives, etc.). Deux facteurs expliquent sans doute ce paradoxe et cette limitation : d’une part, la formation de la plupart des chercheurs, marquée par les langues et la littérature, d’autre part les contraintes de publication (imprimée) à deux dimensions. L’extension des modes de transfert et les possibilités offertes par les cédéroms, le DVD...qui permettent l’accès aux images et à la bande sonore devraient peu à peu modifier les orientations actuelles, encore dominées par le sous-titrage et l’analyse du verbal. Après avoir circonscrit le domaine (Section 1 et 2), nous aborderons successivement le sous-titrage (Section 3), les autres modes de transfert (Section 4) et leurs implications théoriques et socio-culturelles (Section 5). L’ensemble qui suit est marqué d’une conviction : la traduction audiovisuelle (TAV) n’est pas toujours un problème ou une constellation de problèmes mais une solution et un atout dans les échanges culturels internationaux multilingues.
In about ten years, linguistic transfer for TV has been studied a lot, mainly from particular points of view. So far few systematic work deals with the question of their production and/or reception, their impact, their cultural and linguistic effects. This transfer is often seen as exclusively “practical”, if not “mechanical”. And it is a paradox that the linguistic perspective is dominant, whereas the object is multisemiotic, combining images, sounds, language (oral and written), colours, proxemics, gesture, etc., integrated into audiovisual codes (directing for the stage, sets of sequences and shots, voices and lights, scenograhy, narrative conventions, etc.). Two factors may account for this paradox and limitation : on the one hand, the training of researchers and their background ; on the other constraints of (printed) publications. First the entire field of study will be circumscribed (Sections 1 and 2); then subtitling (Section 3), the other modes of transfer (Section 4) and their theoretical and socio-cultural implications (Section 5) will be dealt with. One basic and strong consideration is underlying : audiovisual translation is not necessarily either a problem or a configuration of problems, it is rather a solution and an asset in multilingual and intercultural interaction.
Article outline
  • 1.Un domaine de recherche en expansion
    • 1.1Une année charnière: 1995
    • 1.2Une hésitation terminologique
    • 1.3Une institutionalisation rapide
  • 2.Un domaine de recherche en mutation
    • 2.1Avant le tournant de années 1990
    • 2.2Un paysage AV qui se transforme
    • 2.3Un nouveau genre
  • 3.Le sous-titrage interlinguistique
    • 3.1Quelques caractéristiques
    • 3.2Etudes de cas et stratégies
    • 3.3Approches par problèmes
  • 4.Autres modes de TAV
    • 4.1Le doublage
    • 4.2Autres formes oralisées de la TAV
    • 4.3De nouveaux défis
  • 5.Des implications théoriques et socioculturelles
    • 5.1TAV et TS
    • 5.2Valeur didactique de la TAV
  • En guise de conclusion
  • Acknowledgments
  • Notes
  • Réferences
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Künzli, Alexander
2010. Eng, Thérèse. 2007. Traduire l’oral en une ou deux lignes—Étude traductologique du sous-titrage français de films suédois contemporains. Target. International Journal of Translation Studies 22:1 ► pp. 169 ff. DOI logo
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