y of the programme, either simply to provide images to illustrate the narration, or to provide authentic comments delivered by the actual speakers. For instance, in order to make a programme on the war in Iraq, the journalists may want to use declarations or interviews given in English by Tony Blair or George W. Bush, bought from a news agency; or they may prefer to use footage of a documentary in English such as Lost Treasures from Iraq, which they will buy from an international TV agency for which they only have to provide the topic and the company will offer the images. Alternatively, they may want to have an exclusive interview with the UN weapons chief inspector, Hans Blix, or with Bush s private weapon inspector David Kay, who resigned on 23rd January 2004 after his report announcing that no weapons of mass destruction had been found in Iraq.translator will then be sent the bulk of material that has been bought (some excerpts of Bush and Blair s comments to translate, a 30-minute documentary on the Museum of Baghdad, and an in-house produced 35-minute interview with Hans Blix or David Kay). On some occasions the translator may be asked to go to the TV station to carry out the translation in situ. If the physical presence of the translator is not required at the television station, the material will be sent to the translator without a dialogue list. While this can be expected from an unedited home-produced interview, there is no apparent reason why a commercially broadcast programme will only come in audiovisual format, with no transcript. By contrast, the absence of a document with the written dialogue for post-production translation tends to occur only when the producing team buys an excerpt from a broadcast programme from an agency instead of purchasing it directly from the TV producer. Whatever the length and duration of the excerpt, it invariably reaches the translator only in audiovisual format. In Spain, the inclusion of translators in a TV or radio production team may be due to the tight production schedule of TV programmes or to the journalists lack of foreign language competence; this is still a major obstacle, perhaps likely to change in the near future, although present university education programmes in Spain have not been designed to address and rectify this particular problem. It should also be pointed out that journalists working from Spanish for British radio and TV stations usually encounter the same problem.we have seen some of the characteristic features of production in contrast to post-production voice-over. The material is unedited, it is always urgent, and it rarely comes with the written transcript; hence it constitutes a challenge to the listening and comprehension skills of the translator (Orero, 2005). It may be added that the translation will be edited in order to be synchronous in content with the images which it will accompany. A final point concerns the translator who never knows what will eventually be shown in the edited broadcast programme.we have seen in the previous section, the translation for voice-over production is characterised by several constraints:
? Time: translations have to be done within a very tight schedule.
? Translating from the screen: a written text to support the audiovisual material is notavailable to the translator.
? Working with unedited, rough material which will be edited after being translated, by the translator but by another different professional.this chapter, I have tried to raise the academic visibility of voice-over in general, and voice-over for production of TV and radio programmes in particular, seeing it as an important translation mode in need of much more scholarly attention, if only to match the popularity it enjoys on TV.Interpreting: Comparison betweenand the UKShibahara
broadcasting interpreters play a significant role in the news programmes today, little is known about their role and their profession (Mitsufuji, 2002). An analysis of the interpretation style of broadcasting interpreters could serve as a useful reference for many other interpreters in terms of improving their delivery. Therefore, I believe it is important to introduce and compare the work of broadcasting interpreters in Japan and the UK. Based on my personal experience, I take a look at the role of these professionals working for the BBC (British Broadcasting Corporation) and NHK (Japan Broadcasting Corporation) .this comparison of broadcasting interpreting styles in both countries, I will attempt to explain the reasons behind some of the differences. At the same time, I will try to find out if there is a common interpreting policy to be found between the two broadcasting organisations.and history of broadcasting interpreter in Japansome countries and languages, the word for translator also encompasses that of the interpreter. Howev...
