Multilingualism in translation: Emily in Paris and its French, Italian, and Spanish dubbed versions

This study examines multilingualism and identity construction in the first season of the American French TV series Emily in Paris and its dubbed versions in French, Italian, and Spanish. The story follows Emily, an American girl who moves to Paris for work but does not speak French. Throughout the show, Emily and the people around her navigate their identities through language, often resulting in awkward situations and misunderstandings. The analysis of the original version reveals that the concept of ‘otherness’ conveyed by using a third language, or L3 (primarily French), becomes apparent through foreign accents, code-switching/code-mixing, translation/interpreting offers/requests, and miscommunication incidents/metalinguistic references to the L3. The Italian and Spanish dubbed versions retain this third language, although opting for different strategies. In contrast, the French version blurs the cultural and linguistic divide since the target language and L3 coincide. These different approaches to multilingualism are likely to reflect the differing dubbing traditions in the three countries. The study reveals that the dubbing teams in the three translated versions have probably aimed to strike a balance between making the dubbed version understandable and appealing to their audience without undermining the original show’s multilingualism. However, the text manipulation required by the adaptation to the three languages might lead to different perceptions of the characters across the three versions, an aspect inviting further research.

Publication history
Table of contents

The new millennium has brought multilingualism in audiovisual content to the fore. This has fostered the creation of products that better represent the multicultural and multilingual reality we are currently living in (Dore 2019a, 2019b). As Zabalbeascoa (2020, 117) rightly contends: “The challenge is to understand how all of this [heterogenous reality] is or might be reflected in the various forms of audiovisual translation.” Arguably, the most challenging audiovisual translation (AVT) mode for the transfer of multilingualism is dubbing (Zabalbeascoa and Voellmer 2014). It is therefore unsurprising to find that, in the past, dubbing has often shown a tendency for neutralisation (Pavesi 2005; O’Sullivan 2011; De Bonis 2015) or local standardisation (Ulrych 2000) of language variation, an approach that may be disapproved of, particularly by viewers who have good command of both languages and cultures (Bleichenbacher 2012; Krämer and Eppler 2018, 375). However, more recent studies have revealed a new sensitivity to transferring multilingualism in dubbing (Monti 2016; Dore 2019a, 2019b). One important aspect to bear in mind when translating language variation on screen is that the foreign language in the source-language version can at times coincide with the language into which the audiovisual product is translated. This case is particularly interesting, especially if the foreign language is used in the source text (ST) to amuse and entertain the audience (Dore 2019a, 67).

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