erpreters in NHK can earn roughly twice as much as interpreters in the BBC Japanese Unit working full-time.work of the BBC Japanese Unit requires broadcasting interpreters to be all-rounders, while their counterparts at NHK are required to specialise in a certain area. This may be because of the different nature of the contents of the programmes broadcast by the channels for which they work. BBC World TV tends to follow a fixed pattern with news and documentary programmes broadcast every thirty minutes. Interpreters have to cover both types of programmes, although documentaries are translated and voiced-over beforehand. On BS - 1 and NHK General TV news programmes are not always run every hour, and they can befollowed by sports or variety programmes, which do not necessarily require broadcasting interpreters.in the interpretation policy and quality controlBBC Japanese Unit likes to stress the broadcasting dimension of this profession. In other words, it encourages interpreters to edit the information in order to make the target text clearer to the viewers. Although this is also done by interpreters at NHK, more emphasis seems to be put on the accuracy of the interpreting. This may be due to the fact that NHK is the biggest authority among TV stations in Japan and considers it one of its duties to set high standards. However, this does not mean that BBC World TV sacrifices accuracy, as it has to compete with other TV channels such as CNN and NHK, and their interpreting has to be more than just accurate .greatest difference in the quality control is whether interpreters are under constant monitoring. It can be said that NHK has a very strict system in this respect, while the BBC Japanese Unit has a more democratic, if not flexible, system. Some interpreters at the BBC Japanese Unit felt that the name of the interpreter should appear on the screen; the reason for this being that it could provide an incentive for interpreters to take more responsibility for their work and, consequently, boost the overall standard of interpreting. Having personally worked in both organisations, I have found that adding the name on the screen does indeed have a great effect on the interpreters. However, this proposal was rejected at the BBC Japanese Unit because of financial considerations.is a way of communicating and the effectiveness of the communication may be measured by judging how well the message is conveyed. No matter how faithful the interpretation is to the original, it means very little to the viewers if the final output is very hard to understand. In the case of broadcasting interpreting, it may be assumed that viewers are not knowledgeable about all the subjects discussed. Therefore, it is not sufficient to convert the Source Language into the Target Language and hope that the viewer will understand the message behind the facts. Interpreters have to understand the message in the Source Language and, if necessary, edit the information to make it easier for the viewers to understand. It may be said that any type of interpreting implies editing information in one way or another. However, in broadcasting interpreting it is essential that interpreters actively edit the information to ensure that communication is as effective as possible.editing leads, of course, to yet another question as to how free or faithful an interpreting act should be.
Додаток Б
Переклад фрагмента книги, глави 7,10,11
«Audiovisual Translation: Language Transfer on Screen», edited by
Jorge D? az Cintas and Gunilla Anderman, PALGRAVE MACMILLAN, 2009
Дублювання проти субтитрування:
Повернення на старе поле бою
Джен-Еміль Твейт
Введення
На початку двадцятого століття нововведення в кінематографі переступили всі національні та культурні кордони, але з появою звукових фільмів, кіноіндустрія зіткнулася з проблемами перекладу, оскільки лише невеликий відсоток населення у світі розумів англійську мову. В результаті виникла необхідність знайти відповідні способи екранного перекладу.
У Європі Франція стала першою країною, яка експериментувала з дублюванням і субтитруванням. Однак не знадобилося багато часу, щоб побачити недоліки обох способів: переклад губить фільм. Щоб вирішити проблему, використовувався третій спосіб у вигляді декількох версій, що означало зйомку фільмів на двох мовах, замість одного. Але різні версії були не рівні, і трохи часу потому, стало очевидним, що Tl-версії зазнали змін. Основна проблема полягала в тому, що їх лінгвістичні якості не були на належному рівні.
Йшов час, проте французька аудиторія була незадоволена субтитруванням та дублюванням, распространившимся на значній території. Поряд з іншими країнами,...
