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Screenplay Translation Strategies: The Case of 'Hiroshima mon Amour' |
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| รหัสดีโอไอ | |
| Creator | 1. Hugo Armando Arciniegas 2. Nathaly Bernal Sandoval |
| Title | Screenplay Translation Strategies: The Case of 'Hiroshima mon Amour' |
| Publisher | IATIS and Chalermprakiat Center of Translation and Interpretation at Chulalongkorn University |
| Publication Year | 2569 |
| Journal Title | New Voices in Translation Studies |
| Journal Vol. | 31 |
| Journal No. | 1 |
| Page no. | 1-23 |
| Keyword | audiovisual translation, communication model, Hiroshima mon amour, screenplay translation, screenwriting studies, translation strategies |
| URL Website | https://newvoices.arts.chula.ac.th/ |
| Website title | New Voices in Translation Studies |
| ISSN | 1819-5644 |
| Abstract | Screenplay translation is an interstitial genre of cultural production, and as a field of study fits in screenwriting, film, theatre, translation, and literary studies. Based on Hiroshima mon amour (1960), by Marguerite Duras, and the translation into English by Richard Seaver (1961), we explore the translation strategies employed for this work and we critically analyse how they impact the reading experience of the translated screenplay. Why for example do the additions and omissions in the characters’ dialogues and scene description result in the source text encompassing not only the original screenplay, but also the film itself? In this regard, we suggest that the inclusion of film frames in the English edition serves as a form of intermedial compensation. The readers are more likely to form the impression of reading Duras’ screenplay when in fact they are engaging with the interpretation by the film’s mega-narrator, which causes a disruption in the communication model of the translated screenplay. In this sense, a translator’s note could help readers to grasp translation decisions and the type of screenplay they are reading. |
