Audiovisual Translation St

Ichihashi 1
Mizuha Ichihashi
D r. E i j u n S e n a h a
Scholar & Scholarship I
2 April 2015
A n A n n o t a t e d B i b l i o g r a p h y : A u d i o v i s u a l Tr a n s l a t i o n S t u d i e s i n
Japan
Introduction
This annotated bibliography collects all materials about
audiovisual translation studies in Japan. The word ‘audiovisual
translation’ generally includes interpreting and other form of
translations which use both audio an d visual channel, but only
subtitling and dubbing are treated in this project. Since audiovisual
translation study especially about subtitling and dubbing is quite a
new field in Japan, no annotated bibliography has been made and no
common theory of audiovisual translation has been created. Thus,
this project aims to collect all academic materials of audiovisual
translation in Japan, and clarify the present situation of the study
field.
To c o m p i l e m a t e r i a l s a b o u t J a p a n e s e a u d i o v i s u a l t r a n s l a t i o n
s t u d y, f o l l o w i n g k e y w o r d s a r e s e a r c h e d t h r o u g h C i N i i A r t i c l e s , C i N i i
B o o k s , a n d H o k u d a i O PA C 「
: 映像翻訳 [Eizō Hon’yaku] [Audiovisual
Tr a n s l a t i o n ] 」「字幕翻訳 [ J i m a k u H o n ’ y a k u ] [ S u b t i t l i n g ] 」「日本語
Ichihashi 2
字幕 [ N i h o n g o J i m a k u ] [ J a p a n e s e S u b t i t l e s ] 」「吹き替え [ F u k i k a e ]
[ D u b b i n g ] 」 . Wi t h t h e s e k e y w o r d s , b o t h a c a d e m i c m a t e r i a l s a n d
non-academic materials are found. As it is mentioned in the
beginning, the purpose of this bibliography is to collect academic
materials, but some of non -academic ones are cited in some academic
papers. Therefore, it is decided to include non-academic materials
only which are referenced in academic materials as secondary sources.
In addition to that, materials which do not hit the search (because
their titles do not include these key words) but related to the
audiovisual translation studies are also listed in following sections.
Since there is no common theory of audiovisual translation
which is unique to Jap anese, most researchers refer some studies
overs eas to s upport t hei r anal ys i s and res earch or don ’t refer to an y
sources. Even some of those outside sources are just mentioned
b r i e f l y, s o o n l y t h e s t u d i e s w h i c h f o c u s o n t r a n s l a t i o n s t u d i e s , a n d
their strategies or theory is introduced in the primary sources are
picked as sources from overseas.
The order of following bibliography is, primary sources: 1)
anal ysis of subt itling/dubbing, 2) audiovisual translation studies for
English education, 3) proposal of audiovisual translation class in
universities, and sources from overseas: 4) books and 5) articles, and
6) non-academic materials. All the materials are listed
chronologically in each section, and index is put in the end. As the
chronology shows, the oldest academic material in Japan was written
in 1992, so it means that audiovisual translation study is fairly new
Ichihashi 3
area in Japan.
Through the compiling process, it is foun d that all audiovisual
translation studies which have done so far can be divided into three
categories: anal ysi s of subtitling/dubbing, audiovisual translation
studies for English education, and proposal of audiovisual translation
class in universities. Though some studies about English education
include the anal ysi s of subtitling/dubbing, the goal of the papers is to
make use of audiovisual translation in English classes. Thus, they are
put in the category of English education. In addition to that,
non-academic materials which are included to this bibliography can
be classified as essa ys and guidebooks of audiovisual translation.
There is one more noteworthy finding; there are few journals
which specialize in translation in Japan and no books of audiovisual
t r a n s l a t i o n i n a c a d e m i c . A s t h e f o l l o w i n g s e c t i o n s s h o w, o n l y
I n v i t a t i o n t o Tr a n s l a t i o n S t u d i e s i s a j o u r n a l o f t r a n s l a t i o n i n J a p a n .
T h e r e a r e s o m e a r t i c l e s f r o m Te a c h i n g E n g l i s h t h ro u g h M o v i e s :
AT E M B u l l e t i n a n d T h e J A S E C B u l l e t i n , t h o u g h t h e i r m a i n f o c u s i s
n o t t r a n s l a t i o n s t u d i e s . O n t h e c o n t r a r y, s o u r c e s f r o m o v e r s e a s a r e
referred from different journals or books, and there are severa l
publishers which mainly issue journals or books of translation
studies. These differences show how translation studies ’ development
i n J a p a n f a l l s b e h i n d t h e We s t .
As many scholars and researchers mention, audiovisual
translation studies is a quite new area in academic. Even in Europe,
where the study began far ahead of Japan, no absolute theory has been
Ichihashi 4
established yet. Therefore, in J apan, it is not surprising that
audiovisual translation studies has not been integrated or s ystemiz ed.
This bibliography aims to clarify the present situation of audiovisual
translation studies in Japan, and it would contribute to its
development.
Ichihashi 5
Primary Sources
1) Anal ysis of subtitling/dubbing
a) Books
1 . N a k a m u r a , M o m o k o . J a p a n e s e F o r m e d b y Tr a n s l a t i o n — H e ro i n e
K e e p s S p e a k i n g a s F e m a l e . To k y o : H a k u t a k u s h a , 2 0 1 3 . P r i n t .
中村桃子 . 『翻訳がつくる日本語 ― ― ヒロインは「女ことば」
を話し続ける . 』 To k y o : H a k u t a k u s h a , 2 0 1 3 . P r i n t .
Nakamura anal yz es female and male st yle speeches and
dialects spoken by African -Americans in translation s. She
deduces that these particular wa ys of speeches are used to
establish particular identities, and they also recreate Japanese.
She points out that brave and powerful women in foreign movies
use female st yle speeches which used to refer delicate women . As
a result, the identity which female style speech can express is
e x p a n d e d , a n d J a p a n e s e c h a n g e s i n t h a t w a y, t o o .
b) Articles
2. Nishimura, Masami. “Omission in Japanese Subtitles—in Field of
D re a m s ” F u k u o k a U n i v e r s i t y re v i e w o f L i t e r a t u re & H u m a n i t i e s
30.3 (1998): 1577-1601. Print.
西村正己 .「日本語字幕における省略について ―フィールド・
オブ・ドリームスの場合 [Nihongo Jimaku ni okeru S h ōr yaku ni
t s u i t e ] . 」『福岡大学人文論叢 [ F u k u o k a D a i g a k u J i n b u n R o n s ō ] . 』
30.3 (1998): 1577-1601. Print.
Ichihashi 6
A n a n a l y s i s o f J a p a n e s e s u b t i t l e s i n F i e l d o f D re a m s .
Nishimura puts totally omitted d ialogs in original script into four
categories: image following, repeated, s ynchronous, and
secondary dialogs. He also divid ed partly omitted dialogs into two
t ypes: modif ying original script and adjusting translation. The
difference of these two t ypes is, the former one does not translate
some parts of original dialog in the first place while the latter one
omits some parts from the full translation.
3 . K u b o t a , M o r i h i r o . “ Tr a n s l a t i o n A n a l y s i s o f M o v i e C a p t i o n s . ”
Te a c h i n g E n g l i s h t h ro u g h M o v i e s : AT E M B u l l e t i n . 5 ( 2 0 0 0 ) : 3 - 1 4 .
Print.
窪田守弘 .「映画字幕の翻訳分析 [Eiga Jimaku no Hon’ yaku
Bunseki].」
『映画英語教育研究：紀要 [ E i g a E i g o K y ō i k u K e n k y ū :
Kiyō].』 5 (2000): 3-14. Print.
A comparison of the Japanese subtitles in the two film versions
of Romeo and Juliet with the book translation. Kubota claims that
translators in Japan have so high quality in creating subtitles that
people should appreciate them more.
4 . U c h i n o , Ya s u k o . “ C o m m u n i c a t i o n i n J a p a n e s e S u b t i t l e s . ” T h e
JASEC Bulletin 10.1 (2001): 16-27. Print.
内野泰子「
. 洋画の日本語字幕翻訳に見るコミュニケーション
法 [Yōga no Nihongo Jimaku Hon’ ya ku ni Miru
K o m y u n i k ē s h o n h ō ] . 」『日本英語コミュニケーション学会紀要
Ichihashi 7
[Nihon Eigo Komyunikēshon Gakki Kiyō].』 10.1 (2001): 16-27.
Print.
Uchino aims to anal yz e how translators care movie directors
and audience when they make subtitles as medium of
communication, and suggests some remedies for improper
subtitles. She supposes the relationship between movie directors
(sender) and viewers of translated version (recipient s) as the set
of communication, and regards translator as connectors. She
points out four obligations of connectors: 1) make subtitles easy
to read, 2) achieve s ynchronism between subtitles and image, 3)
make subtitles easy to understand, and 4) adjust subtitles proper
as written words. In addition to that, Uc hino takes a closer look of
recent criticism against subtitles. She indicates that the lack of
understanding among movie directors, audience, and translators
cause some problems. Thus, she suggests constructing a
framework of cooperation between directors and translators, and
she demands translators not to merely adopt customs of subtitling,
b u t d e a l w i t h e a c h w o r k s f l e x i b l y. F i n a l l y, s h e a l s o p r o p o s e s t h a t
audience understand the constraint of subtitling and enrich their
English abilities.
5. Mitsufuji , K yoko. “C ultural Equivalence in Movie Subtitles .”
Meikai University the Journal of Arts a nd Sciences 14 (2002):
62-68. Print.
Ichihashi 8
光藤京子 .「映画字幕における Cultural Equivalence [Eiga
J i m a k u n i o k e r u C u l t u r a l E q u i v a l e n c e ] . 」『明海大学教養論文集
[Meikai Daigaku Kyōyō Ronbuns hū].』 14 (2002): 62-68. Print.
An examination of the way to translate culture -specific words
and phrases and decrease the cultural gap between original and
target language; that is, the method of maintaining cultural
equivalence. Mitsufuji supposes seven target are as which are
related to cultural equivalence: cultural proper noun, idiom, a
figure of speech, rh yme and pun, colloquial and dirt y la nguage,
expression about custom or specific activity in the culture, and
dialog. She finds some solutions to keeping cultural equivalence
from anal yz ing actual subtitles in movies. 1)Generaliz ing,
2)paraphrasing, 3)omission, 4)cultural substitution, 5)using a
loan word, 6)using a loan word with explanation, and 7)using ruby
are mostly common with the strategy of literary trans lation, but it
is much more difficult in subtitling because of its fluidit y and the
space limitation.
6. Nishimura, Masami. “The Rhetoric in the Japanese Subtitle of
G o n e w i t h t h e Wi n d . ” F u k u o k a U n i v e r s i t y R e v i e w o f L i t e r a t u re &
Humanities 34.3 (2002): 1357-75. Print.
西村正己 .「字幕翻訳における情報の一本化と一般化 [ J i m a k u
H o n ’ y a k u n i o k e r u J ō h ō n o I p p o n k a t o I p p a n k a ] . 」『福岡大学人文
論叢 [Fukuoka Daigaku Jinbun Ronsō].』 34.3 (2002): 1357-75.
Print.
Ichihashi 9
A n a n a l y s i s o f J a p a n e s e s u b t i t l e s i n G o n e w i t h t h e Wi n d , w h i c h
is done from the perspective of integration and generalization.
According to Nishimura, integration means the method which
condenses some elements of original dialog into one translated
word, and he analyzes this way within three categories: human,
o b j e c t , a n d m a t t e r. O n t h e o t h e r h a n d , a p a r t i c u l a r t h i n g i s
expressed by a word in upper category in generalization (ex.
Petticoat becomes just underwear). This method is chosen in order
to help spectators’ understanding of unfamiliar things.
7 . U s h i e , Yu k i k o , a n d M i c h i k o , N i s h i o . “ C h a r a c t e r i s t i c s o f J a p a n e s e
Subtitles of English Movies : Ellipses of Sentence Elements .”
O c h a n o m i z u U n i v e r s i t y s t u d i e s i n a r t s a n d c u l t u re 5 5 ( 2 0 0 2 ) :
111 - 3 0 . P r i n t .
牛江ゆき子 , 西尾道子 .「英語の映画におけるせりふと日本
語字幕の比較：文の要素の省略について [ E i g o n o E i g a n i o k e r u
Serihu to Nihongo Jimaku no Hikaku: Bun no Yōso no Shōryaku ni
t s u i t e ] . 」『お茶の水女子大学人文科学紀要 [ O c h a n o m i z u J o s h i
D a i g a k u J i n b u n K a g a k u K i y ō ] . 』 5 5 ( 2 0 0 2 ) : 111 - 3 0 . P r i n t .
An examination of omitted elements of original script in
Japanese subtitles. In their explanation, omission is defined as
equivalent to original script in meaning and structure, and
omitting elements despite of their reasonability in Japanese
structure. The y stud y the subtitles from s yntactic, information
structural, and pragmatic perspective. S een from s yntactic
Ichihashi 10
viewpoint, a subject of the sentence is often omitted, and in
information structural examination, old information tends to be
cut in the subtitle. In addition to that, they also point out that the
information about speakers and listeners is omitted when they see
the subtitle from pragmatic perspective. They concluded that
these features of omission correspond to the rule of omission in
Japanese.
8. Nishimura, Masami. “A Study Coordination in the Japanese
S u b t i t l e o f G o n e w i t h t h e Wi n d . ” F u k u o k a U n i v e r s i t y R e v i e w o f
L i t e r a t u re & H u m a n i t i e s 3 5 . 1 ( 2 0 0 3 ) : 1 7 7 - 2 0 1 . P r i n t .
西村正己 . 「『字幕連動』についての事例研究 [ J i m a k u R e n d ō
n i t s u i t e n o J i r e i K e n k y ū ] . 」『福岡大学人文論叢 [ F u k u o k a
Daigaku Jinbun Ronsō].』 35.1 (2003): 177-201. Print.
An anal ysis of “ Interlocking” in subtitle. He defines
interlocking subtitle as a subtitle which follows previous subtitle
not the content of original dialog. There are three t ypes of
interlocking: equivalent t ype, repeating t ype, and referring t ype.
He also mentions that these interlocking subtitles are mostly apart
from original dialog, and the range of the divergence is called
poetic license.
9. ---.
“ T h e S h o r t e s t F r e e Tr a n s l a t i o n i n t h e J a p a n e s e S u b t i t l e o f
F i e l d o f D re a m s . ” F u k u o k a U n i v e r s i t y R e v i e w o f L i t e r a t u re &
Humanities 35.2 (2003): 601-10. Print.
Ichihashi 11
- - - . 「字幕翻訳における『最短意訳』について [ J i m a k u H o n ’ y a k u
n i o k e r u S a i t a n I y a k u n i t s u i t e ] . 」『福岡大学人文論叢 [ F u k u o k a
Daigaku Jinbun Ronsō].』 35.2 (2003): 601-10. Print.
An anal ysis of t he shortest free translation. According to
Nishimuta, “the shortest free translation” means a deviated
translation which can’t be explained by either omission, or
integration, or generalization. He proposes that there are three
t ypes of the shortest free translation. First, X to X’ t yp e is
replacing of original script with similar idea. Second, X to X and
α t y p e i s a d d i n g n e w i d e a t o o r i g i n a l s c r i p t . F i n a l l y, X t o Y t y p e i s
showing the meta -message of original script. He anal yz es
subtitles by using the classification.
1 0 . U c h i n o , Ya s u k o . “ C o m m u n i c a t i o n i n J a p a n e s e S u b t i t l e s I I — a b o u t
the Recent Criticism of Subtitles.” The JASEC Bulletin 12.1
(2003): 30-41. Print.
内野泰子. 「洋画の日本語字幕に見るコミュニケーション法
II―最近の字幕批判をめぐって [Yōga no Nihongo Jimaku ni
Miru Kom yunikēshonhō II—S aikin no Jimaku Hihan wo Megutte] .」
『日本英語コミュニケーション学会紀要 [Nihon Eigo
Komyunikēshon Gakkai Kiyō].』 12.1 (2003): 30-41. Print.
This anal ysis is the continuation of her previous paper (see
No.3), and Uchino finds and classifies “wrong” Japanese subtitles
in several movies. She first mentions about the problem of
s u b t i t l e s i n t h e L o rd o f t h e R i n g s — t h e s p e c t a t o r s d e m a n d t o
Ichihashi 12
modify some subtitles of the movie. She classifies the criticized
subtitles into eight t ypes, and chooses six of them for her own
anal ysis of subtitles and dubbing: 1) wrong transl ation caused b y
misunderstanding of cultural aspect, 2) discarding important
information, 3) too much adaptation of important information, 4)
loosing important nuance, 5) grammatically wrong translation, 6)
unnatural conversation because these categories c an be seen in
N i d a ’s t h e o r y o f f u n c t i o n a l e q u i v a l e n c e w h i c h i s t h o u g h t a s t h e
s t a n d a r d o f t r a n s l a t i o n ’s a d e q u a c y. A s a r e s u l t o f t h e a n a l y s i s , s h e
points out that dubbing can maintain functional equivalence better
than subtitling, and she propose that tran slators consider about
t h e o r i g i n a l s c r i p t m o r e i n o r d e r t o f u l f i l t h e s p e c t a t o r ’s d e m a n d .
1 1 . U s h i e , Yu k i k o , a n d M i c h i k o , N i s h i o . “ C h a r a c t e r i s t i c s o f J a p a n e s e
Subtitles of English Movies: Replacements of S entence Elements
and Sentences.” Ochanomizu University Studies in Arts and
C u l t u re 5 6 ( 2 0 0 3 ) . 11 5 - 3 2 . P r i n t .
牛江ゆき子, 西尾道子. 「英語映画の日本語字幕における置
き換え ―虚と実のつながり [Eigo Eiga no Nihongo Jimaku ni
o k e r u O k i k a e — K y o t o J i t s u n o Ts u n a g a r i ] . 」『お茶の水女子大学
人文科学紀要 [Ochanomizu Joshi Daigaku Jinbun Kagaku Kiy ō].』
5 6 ( 2 0 0 3 ) : 11 5 - 3 2 . P r i n t .
An examination of ‘replacement’ in Japanese subtitles which
puts some different meaning elements from original script. Ushie
and Nishio first divide the replacement which occurs in single
Ichihashi 13
sentence from plural sentences, and they say that th ere are two
t ypes of replacement in single sentence: grammatical and
vocabulary level. They find that in grammatical replacement, it
c a n c h a n g e t h e s c r i p t ’s g r a m m a t i c a l r o l e , t h e k i n d o f s e n t e n c e ( e x .
q u e s t i o n o r a s s e r t i v e ) , t h e p o l a r i t y, t h e t e n s e , a n d t h e p a r t o f
speech. They also consider about the influence of the replacement.
They put single sentence replacement into three categories
considering if it fits the explicature or implicature of original
script. When the explicature of original script and su btitle, the
r e p l a c e m e n t w o r k s t o a d j u s t t h e s u b t i t l e n a t u r a l l y, t h e p r o p e r
informational structure, and shorten the sentence. On the other
h a n d , w h e n o r i g i n a l s c r i p t ’s i m p l i c a t u r e f i t s t o t h e e x p l i c a t u r e o f
the subtitle, it is aimed to lessen the difficult y of understanding.
The last case is neither explicature nor implicature of the subtitle
fits to the original text, and its goal is achieve the natural
conversation in Japanese, or the natural flow of dialog, or the
equivalence of conversational function. All these replacement is
done within the range of d ynamic equivalence, and if the subtitle
exceed the area, it is called “wrong translation.”
1 2 . K o t a n i , Ya s u k o . “ C u l t u r a l G a p s i n F i l m S u t i t l e s — A C o m p a r a t i v e
S t u d y B e t w e e n t h e J a p a n e s e F i l m R h a p s o d y i n A u g u s t a n d i t ’s
E n g l i s h , F r e n c h , a n d I t a l i a n S u b t i t l e s . ” I n t e r p re t a t i o n S t u d i e s 4
(2004): 103-20. Print.
Ichihashi 14
小谷康子. 「日本映画における英・仏・伊の文化認識の相違
がもたらす字幕のずれ ―文化的視点による字幕分類モデルの
提示 [Nihon Eiga ni okeru Ei Fut su I no Bunka Ninshiki no Sōi ga
Motarasu Jimaku no Zure —Bunkateki Shit en ni yoru Jimaku
B u n r u i M o d e r u n o Te i j i ] . 」『通訳研究 [ Ts ū y a k u K e n k y ū ] . 』 4
(2004): 103-20. Print.
An anal ysis of multilingual subtitles in J apanese movies which
i s b a s e d o n G o t t l i e b ’s s t r a t e g y o f s u b t i t l i n g . K o t a n i c o n s i d e r s t h e
influence of the cultural gaps in each language, and adds the new
category depending on which culture the subtitle focuses on:
source or object. If the subtitle puts the importance to the culture
of object language, it can be divided into two types: c aring about
the source language or making unique interpretation.
1 3 . Ya m a d a , K e n t a r o . “ O n P r o b l e m s o f Tr a n s l a t i o n i n E n g l i s h Ve r s i o n
o f A n i m e : A C a s e S t u d y o f S p i r i t e d Aw a y . ” J o u r n a l o f t h e F a c u l t y
of Global Communication, Siebold University of Nagasaki 5
(2004): 195-205. Print.
山田健太郎 . 「英語版アニメ作品に見る翻訳の問題：『千と千
尋の神隠し』の場合 [Eigoban Anime S akuh in ni Miru Hon’ yak u
n o M o n d a i : S e n t o C h i h i ro n o K a m i k a k u s h i n o B a a i ] . 」『県立長崎
シーボルト大学国際情報学部紀要 [Kenritsu Nagasaki Sīboruto
Daigaku Kokusai Jōhō Gakubu Kiyō ].』 5 (2004): 195-205. Print.
Ya m a d a c o m p a r e s a J a p a n e s e a n i m e w i t h i t s E n g l i s h v e r s i o n
considering equivalence in m eaning between them. He sees
Ichihashi 15
differences in image, background music, and name, but he focuses
on the difference between Japanese and English scripts. He finds
that there are two types of adaptation: small change and adding
dialogs. He thinks that dialogs are added in order to reinforce the
c l a r i t y a n d r e a s o n a b i l i t y o f t h e s t o r y, a n d t o a v o i d t h e s i l e n c e .
Despite these differences, he concludes that the English v ersion
o f S p i r i t e d Aw a y i s a f a i t h f u l t r a n s l a t i o n .
14. ---.
“ A C a s e S t u d y o f M y N e i g h b o r To t o ro . ” J o u r n a l o f t h e
Faculty of Global Communication, Siebold University of Nagasaki
6 (2005): 273-84. Print.
- - -「
. 英語版アニメ作品に見る翻訳の問題２：
『となりのトトロ』
の場合 [Eigoban Anime Sakuhin ni Miru Hon’yaku no Mondai 2:
To n a r i n o To t o ro n o B a a i ] . 」『県立長崎シーボルト大学国際情報
学部紀要 [Kenritsu Nagasaki Sīboruto Daigaku Kokusai Jōhō
Gakubu Kiyō].』 6 (2005): 273-84. Print.
He compares original and English dubbed version of My
N e i g h b o r To t o ro i n t h e p o i n t s w h i c h h e f o c u s e s o n i n h i s p r e v i o u s
paper (see No.12). He finds out the adaptation of Japanese -st yle
o f c o m m u n i c a t i o n i n t o A m e r i c a n w a y, f o r i n s t a n c e , a v o i d i n g
silence. In addition to this, he indicates the adjustment of things
deeply based on Japanese culture to fit American value. When he
c o m p a r e s t h e E n g l i s h v e r s i o n o f M y N e i g h b o r To t o ro a n d S p i r i t e d
Aw a y , h e m e n t i o n s t h a t l e s s a d a p t a t i o n i s d o n e i n t h e f o r m e r, a n d
h e g u e s s e s t h e r e a s o n i s t h a t S p i r i t e d Aw a y n e e d e d m u c h d a r i n g
Ichihashi 16
adaptation because of the difficult y of understanding its
structure.
1 5 . S h i m o j o , M a s a z u m i . “ S p e e c h o f F o r e i g n Wo m e n i n D u b b i n g :
Realit y and Fiction in the St yle of th e End of a S entence.”
Bulletin of International Student Center Saga University 6
(2007): 17-28. Print.
下條正純. 「吹き替えで表される外国人女性の発話：文末形
式からみた現実と虚構 [Fukikae de Arawasareru Gaikokujin
Josei no Hatsuwa: Bunmatsu Keisiki kara Mita Genzit su to
K y o k ō ] . 」『佐賀大学留学生センター紀要 [ S a g a D a i g a k u
Ryūgakusei Sentā Kiyō].』 6 (2007): 17-28. Print.
An anal ysis of the unique st yle of sent ence end of women in
dubbing. The st yle is not used b y Japanese women an ymore, so the
dialog shows the fictional women. S himojo finds that female st yle
of sentence end is not often used in dubbing especially the woman
speaks from her occupational standpoin t while the unique st yle is
often seen when she speaks from her personal standpoint. He also
mentions about yo ung girls and elderl y women cases; though the
image shows young girls or elderl y women, the age that the st yle
of speech expresses is apart from t heir real age. Thus, the
impression of fiction becomes stronger when female style of
sentence end is used for these generations.
Ichihashi 17
16. ---. “Aspect of Male St yle o f S entence End S een in Dubbing .”
Bulletin of International Student Center Saga University 7
(2007): 1-12. Print.
---.「吹き替えに見られる男性文末形式の様相 [Fukikae ni
M i r a r e r u D a n s e i B u n m a t s u K e i s i k i n o Y ō s ō ] . 」『佐賀大学留学生
センター紀要 [ S a g a D a i g a k u R y ū g a k u s e i S e n t ā K i y ō ] . 』7 ( 2 0 0 7 ) :
1-12. Print.
A research of the use of male st yle of sentence end in dubbing.
He researches several TV programs. He finds that –da or –dayo
are often used, but these sentence ends are not actually used by
Japanese men. He also finds that –ja or –jayo are used for elderly
m e n ’s d i a l o g s . T h o u g h t h e r e a r e d i f f e r e n c e s o f t h e f r e q u e n c y o f
the us e of s uch s entence end s am ong TV program s, he can ’t cl ari f y
the reason.
1 7 . U s h i e , Yu k i k o , a n d M i c h i k o , N i s h i o . “ O n t h e D e g r e e o f
S p e c i f i c i t y i n Tr a n s l a t e d M o v i e S u b t i t l e s . ” I n v i t a t i o n t o
Tr a n s l a t i o n S t u d i e s 2 ( 2 0 0 8 ) : 7 5 - 9 2 . P r i n t .
牛江ゆき子 , 西尾道子 .「映画の字幕表現の具体性に関する
一考察 [Eiga no Jimaku Hyōgen no Gutaisei ni Kansuru
I c h i k ō s a t s u ] . 」『翻訳研究への招待 [ H o n ’ y a k u K e n k y ū e n o
Shōtai].』 2 (2008): 75-92. Print.
Ushie and Nishio examine the difference of specificit y
between source text and target text. The y anal yz e three types of
the example: generalization, specification, and examples of the
Ichihashi 18
same specificit y but different contents. They conclude that the
p u r p o s e o f t h e s e a d a p t a t i o n s i s t o r e d u c e a u d i e n c e ’s e f f o r t o f
understanding though they are done in different direction.
1 8 . I t o , Yo s h i h i r o . “ A S t u d y o n S o m e D i f f e r e n c e s i n F o r m a l i t y L e v e l
b e t w e e n S e l e c t e d U t t e r a n c e s f r o m t h e M o v i e P re t t y Wo m a n a n d
Their Dubbed Japanese.” Bulletin of Shimane University Junior
College 47 (2009): 25-34. Print.
伊藤善啓 . 「映画 P re t t y Wo m a n の言語と音声吹き替え和訳に
於ける発話のフォーマリティ・レベルの差異に関する一考察
[ E i g a P re t t y Wo m a n n o G e n g o t o O n s ē F u k i k a e Wa y a k u n i o k e r u
Hatsuwa no Fōmaritī Reberu no Sai ni Kansuru Ichi Kōsatsu] .」
『島
根県立大学短期大学部松江キャンパス研究紀要 [Shimane
K e n r i t s u D a i g a k u Ta n k i D a i g a k u b u M a t s u e K y a n p a s u K e n k y ū
Kiyō].』 47 (2009): 25-34. Print.
A comparative analysis of the dialog in original script and
d u b b i n g o f P re t t y Wo m a n . I t o f o c u s e s o n t h e f o r m a l i t y l e v e l w h i c h
each English and Japanese dialog shows, so he sets four levels by
himself and classified each dialog int o them. As a result, he finds
t h a t Vi v i a n s p e a k s m u c h m o r e f o r m a l l y t h a n o r i g i n a l s c r i p t i n
J a p a n e s e d u b b i n g , a n d t h e f o r m a l i t y l e v e l o f E d w a r d ’s d i a l o g i n
dubbing is lower than the original one.
Ichihashi 19
1 9 . U c h i n o , Ya s u k o . “ A C o m p a r a t i v e A n a l y s i s b e t w e e n J a p a n e s e
Dubbing and Subtitling of Culture -specific Item in Sex and the
City.” The JASEC Bulletin 18.1 (2009): 1-13. Print.
内野泰子. 「米国テレビ・ドラマの日本語吹き替え版と日本
語字幕版の比較対象分析 ―Sex and the City 中の異文化要素情
報をめぐる訳出を中心に ― [ B e i k o k u Te r e b i D o r a m a n o N i h o n g o
F u k i k a e b a n t o N i h o n g o J i m a k u b a n n o H i k a k u Ta i s h ō
Bunseki—Sex and the City chū no Ibunka Yōso Jōhō wo Meguru
Ya k u s h u t s u w o C h ū s h i n n i — ] . 」『日本英語コミュニケーション
学会紀要 [ N i h o n E i g o K o m y u n i k ē s h o n G a k k a i K i y ō ] . 』1 8 . 1 ( 2 0 0 9 ) :
1-13. Print.
Uchino examines the attractiveness of dubbed version of
movies through comparing it with the subtitles. S he emplo ys
“S kopos (purpose) theor y” for the anal ysis, and sets the skopos of
screen translation as enabling spectators to enjoy intercultural
elements in keeping with the context, image, sound, and the
spectators’ familiarity about the elements, and enhancing their
u n d e r s t a n d i n g o f t h e w h o l e s t o r y. I n a d d i t i o n t o t h a t , s h e u s e s
J a v i e r A i x e l a F r a n c o ’s c l a s s i f i c a t i o n m e t h o d o f c u l t u r e - s p e c i f i c
items’ translation. She finds that the use of orthographic
adaptation, absolute universalization, and deletion are most
popular methods, and she shows the effective/ineffective
examples. She concludes that dubbing seems to fulfill the skopos
easily compared to subtitles, but there are still some examples to
apply other translation methods.
Ichihashi 20
2 0 . U s h i e , Yu k i k o , a n d M i c h i k o , N i s h i o . “ P o l i t e n e s s i n J a p a n e s e
S u b t i t l e s o f E n g l i s h M o v i e s . ” I n v i t a t i o n t o Tr a n s l a t i o n S t u d i e s 3
(2009): 65-84. Print.
牛江ゆき子, 西尾道子. 「英語映画の日本語字幕に見られる
ポライトネス [Eigo Eiga no Nihongo Jimaku ni Mirareru
P o r a i t o n e s u ] . 」『翻訳研究への招待 [ H o n ’ y a k u K e n k y ū e n o
Shōtai].』 3 (2009): 65-84. Print.
An anal ysis of d yn amic equivalence and the rule of politeness
in Japanese subtitles. Ushie and Nishio compare the original
d i a l o g a n d J a p a n e s e s u b t i t l e s a c c o r d i n g t o P. B r o w n a n d S . C .
L e v i n s o n ’s i d e a o f p o s i t i v e / n e g a t i v e p o l i t e n e s s a n d t h e s o c i a l
r e l a t i o n s h i p b e t w e e n s p e a k e r a n d l i s t e n e r. A s a r e s u l t , t h e y f i n d
t h a t t h e d e g r e e o f l i s t e n e r ’s b u r d e n o r p r o f i t d e c i d e s t h e u s e o f
politeness in English while in Japanese, the social relationship
between speaker and listener decides if and what kind of
politeness is used. Because of this fact and the feature that it is
easy to omit the elements of speech in Japan ese, the expression of
p o l i t e n e s s i s o f t e n o m i t t e d i n J a p a n e s e s u b t i t l e . H o w e v e r,
spectators can guess the proper politeness in the blank of the
dialog, Ushie and Nishio claim that the subtitle maintain the
politeness, so the d ynamic equivalence is maintai ned, too.
Ichihashi 21
21. ---. “Politeness in English Subtitles of Japanese Movies .” The
J o u r n a l o f t h e J a p a n A s s o c i a t i o n f o r I n t e r p re t i n g a n d Tr a n s l a t i o n
Studies 9 (2009): 253-72. Print.
- - -「
. 日本映画の英語字幕に見られるポライトネス [Nihon Eiga
n o E i g o J i m a k u n i M i r a r e r u P o r a i t o n e s u ] . 」『通訳翻訳研究
[ Ts ū y a k u H o n ’ y a k u K e n k y ū ] . 』 2 5 3 - 7 2 . P r i n t .
An anal ysis of English subtitles if they have the same features
of Japanese subtitles, if they reflect the characteristics of
Japanese, if the y maintain the d yna mic equivalence. In this
anal ysis, Ushie and Nishio refer to the idea of negative and
positive politeness b y Brown and Levinson, and their anal ysis of
Japanese subtitles in English movies (see “Politeness in Japanese
Subtitles of English Movies”). They classify the subtitles
according to the distance (intimacy) and power relationship
b e t w e e n s p e a k e r a n d l i s t e n e r. W h e n t h e r e i s b i g d i s t a n c e a n d t h e
s p e a k e r h a s l o w e r p o w e r t h a n t h e l i s t e n e r, t h e n e g a t i v e p o l i t e n e s s
appears if the burden of the listener is big. On the other hand,
when there is small distance between them and the speaker has
h i g h e r p o w e r t h a n t h e l i s t e n e r, p o l i t e n e s s i s n ’ t e x p r e s s e d i n t h e
most cases. These two phenomenon is different from Japanese
subtitles. They suppose that the difference occurs because
sentence-final particle in Japanese can easily express the positive
p o l i t e n e s s c o m p a r e d t o E n g l i s h . F i n a l l y, t h e y c o n c l u d e s t h a t b o t h
Japanese scripts and English subtitles shows politeness though its
Ichihashi 22
polarit y is different, so English subtitles maintain the dynamic
equivalence.
22. Ino, Kinu yo, and Ki yoshi, Kawahara . “S ubtitling Strategies for
E n g l i s h N e w s . ” T h o u g h t c u r re n t s i n E n g l i s h l i t e r a t u re 8 3 ( 2 0 1 0 ) :
31-55. Print.
稲生衣代, 河原清志. 「英語ニュースの字幕翻訳ストラテジ
ー [ E i g o N y ū s u n o J i m a k u H o n n y a k u S u t o r a t e g ī ] . 」『英文学思潮
[Eibungaku Shichō].』 83 (2010): 31-55. Print.
An anal ysis of subtitles for English news through which create
the strategy or audiovisual translation. Ino and Kawahara point
out that former studies about audiovisual translation do not
construct “strategy” but “tactics,” so they make the model of
translation and try to create a strategy especially for news. They
first h ypothesiz e four strategies: keeping pro position, elimination,
replacement, and supplement, and they inspect the influence of
the strategy from linguistic, communicational, and socio -cultural
perspectives in five levels (equivalence at word, equivalence
above word, grammatical equivalence, textu al equivalence, and
pragmatic equivalence). As a result, subtitling for English news is
characterized as compressing and rewriting work within the
limitation of time, space, and making written language, and the
four h ypothetical strategies actualize the fe ature.
Ichihashi 23
2 3 . Ta m u r a , C h i h i r o . “ A S t u d y o f A d d i t i o n o f D i a l o g i n E n g l i s h
Dubbing of Japanese Animation Movies .” Invitation to
Tr a n s l a t i o n S t u d i e s 4 ( 2 0 1 0 ) : 8 7 - 1 0 5 . P r i n t .
田村千尋. 「日本のアニメーション映画の英語吹き替え版に
おけるセリフの付け加えに関する研究 ― スタジオ・ジブリのア
ニメ作品の分析から ―[Nihon no Animēshon Eiga no Eigo
F u k i k a e b a n n i o k e r u S e r i f u n o Tu k e k u w a e n i K a n s u r u K e n k y ū ] . 」
『翻訳研究への招待 [Hon’yaku Kenkyū e no Shōtai].』 4 (2010):
87-105. Print.
An anal ysis of additional dialog in English dubbed version of
J a p a n e s e a n i m a t i o n m o v i e s a n d i t s r u l e . F i r s t , Ta m u r a i n t r o d u c e s
e a r l i e r s t u d i e s w h i c h i s r e l a t e d t o h e r a n a l y s i s : M u n d a y J e r e m y,
F r e d e r i c C h a u m e , F u r u t a , J a n d i t , a n d K e n t a r o Ya m a d a . S h e
inspects three movies from Ghibli, and finds five reasons of
addition: 1) explanation about cultural gaps, 2) manifestation of
implied meaning, 3) bridge the silence, 4) translating information
without omission, 5) adding extra subtitles. All these addition is
made in order to help the understanding of spectators in the U.S.
24. Sasaki, Rika. “An anal ysis and examination of subtitles for
Enchanted.” Bulletin of English education, Iwate University 13
( 2 0 11 ) : 5 0 - 6 2 . P r i n t .
佐々木りか . 「映画 Enchanted における字幕翻訳の分析と考
察 [Eiga Enchanted ni okeru Jimaku Honnyaku no Bunseki to
Ichihashi 24
K ō s a t u ] . 」『岩手大学英語教育論集 [ I w a t e D a i g a k u E i g o K y ō i k u
R o n s h ū ] . 』 1 3 ( 2 0 11 ) : 5 0 - 6 2 . P r i n t .
An anal ysis of subtitles from the viewpoint of quantit y and
q u a l i t y. I n q u a n t i t y l e v e l , S a s a k i c o m p a r e s t h e n u m b e r o f l e t t e r s
i n s u b t i t l e s a n d “ f u l l t r a n s l a t i o n ” ( a c t u a l l y i t ’s d u b b i n g s c r i p t ) ,
and shows the example of increase; it means objectivization of
nonspecific things. She thinks the reasons of this phenomenon are
helping spectators understanding, avoiding the use of pronoun,
and using straight expression in order to reduce the number of
letters, so the total amount of the number of letters decreases even
in the increase case. Next, she compares the content of origina l
script and subtitles. S he focuses on homon yms in the script, and
introduces the example subtitles which make effort to maintain
the homon ym.
2 5 . U s h i e , Yu k i k o , a n d M i c h i k o , N i s h i o . “ T h e F e a t u r e s o f ‘ S h o r t
R e s p o n s e ’ i n S u b t i t l e s o f M o v i e s . ” I n v i t a t i o n t o Tr a n s l a t i o n
S t u d i e s 5 ( 2 0 11 ) : 2 5 - 5 2 . P r i n t .
牛江ゆき子, 西尾道子. 「映画字幕に見られる『短い応答』
の訳の特徴 [ E i g a J i m a k u n i M i r a r e r u “ M i z i k a i Ō t ō ” n o Ya k u n o
To k u c h ō ] . 」
『翻訳研究への招待 [Honnyaku Kenkyū e no Shōtai].』
5 ( 2 0 11 ) : 2 5 - 5 2 . P r i n t .
An anal ysis of omission of “short responses” in both Japanese
a n d E n g l i s h s u b t i t l e s . I n t h e p a p e r, t h e d e f i n i t i o n o f “ s h o r t
response” is the dialog which takes one turn of the conversation
Ichihashi 25
o n l y b y i t s e l f . T h e b a s e s o f t h e i r a n a l y s i s i s t h e d i a l o g ’s 1 )
informational and functional importance and 2) the degree of
p r e s u m p t i o n p o s s i b i l i t y. A s a r e s u l t , i n b o t h J a p a n e s e a n d E n g l i s h
subtitles, a dialog which has high possibility of presumption tends
to be omitted despite of its informational and functional
i m p o r t a n c e . O n t h e c o n t r a r y, w h e n t h e d i a l o g h a s t h e s m a l l
possibility of presumption, it is translated in the most cases
d e s p i t e o f t h e i m p o r t a n c e . H o w e v e r, a n e g a t i v e a n s w e r f o r a
question is alwa ys translated into the subtitle even though it is
easily supposed.
2 6 . A d a c h i , R e i t o . “ F u n d a m e n t a l R e s e a r c h o n t h e Tr a n s l a t i o n a l
A t t i t u d e t o w a r d J a p a n e s e - D u b b e d A m e r i c a n A n i m a t e d F i l m s : To y
S t o r y a n d S h re k . ” B u l l e t i n o f K u r a s h i k i J u n i o r C o l l e g e 5 6 ( 2 0 1 2 ) :
1-6. Print.
安達励人. 「アメリカアニメの日本語吹き替え版の翻訳姿勢
に関する基礎研究：『トイ・ストーリー』と『シュレック』
[Amerika Anime no Nihongo Fukikaeban no Hon’ yaku S hisei ni
K a n s u r u K i s o K e n k y ū ] . 」『倉敷市立短期大学研究紀要
[ K u r a s h i k i S h i r i t u Ta n ’ k i D a i g a k u K e n k y ū K i y ō ] . 』 5 6 ( 2 0 1 2 ) : 1 - 6 .
Print.
An examination of Japanese -dubbed American animation if it
is influenced by Japanese culture and changed its script when it is
translated. Adachi mentions that Japanese animations are often
drastically changed when they are translated into English. On the
Ichihashi 26
o t h e r h a n d , t h r o u g h t h e a n a l y s i s o f J a p a n e s e v e r s i o n s o f To y S t o r y
a n d S h re k , h e f i n d s t h a t J a p a n e s e v e r s i o n s o f t h e m a r e f a i t h f u l t o
the original versions in the sentence and paragraph level, though
lexical level of generalization occurs.
2 7 . M o r i z u m i , F u m i . “ A n a l y z i n g A u d i o v i s u a l Tr a n s l a t i o n : O n N e w
A p p r o a c h e s t o Tr a n s l a t i o n S t u d i e s . ” I n t e r n a t i o n a l C h r i s t i a n
University Educational Studies 55 (2012): 203-21. Print.
森住史 . 「映像翻訳分析 ―翻訳研究への新たなアプローチ
[Eizō Hon’ yaku Bunseki —Hon’ yaku Kenk yū eno Aratana
A p u r ō c h i ] . 」『教育研究 ( 国際基督教大学 ) [ K y ō i k u K e n k y ū
(Kokusai Kirisutokyō Daigaku)].』 55 (2012): 203-21. Print.
A g e n e r a l e x a m i n a t i o n o f a u d i o v i s u a l t r a n s l a t i o n ( AV T ) .
M o r i z u m i f i r s t r e f e r s t o t o d a y ’s s i t u a t i o n o f AV T s t u d y i n J a p a n ,
and sa ys that there are few academic theories but so me tips based
o n e x p e r i e n c e . S h e a l s o m e n t i o n s a b o u t h i s t o r y o f AV T i n J a p a n
(not academic history) and the difference between subtitling and
dubbing. She actuall y anal yz es subtitling and dubbing versions of
Pirates of the Caribbean: The Curse of the Black Pearl though the
anal ys i s doesn ’t based on an y academ ic t heori es. In concl us ion ,
s h e e x p e c t s t h e d e v e l o p m e n t o f AV T s t u d y a n d c o n s t r u c t i n g
translation theories in general.
2 8 . S h i n o h a r a , Y ū k o . “ A S t u d y o f S t r a t e g i e s f o r Tr a n s l a t i n g
Culture-Specific Items in the English Subtitles of the film
Ichihashi 27
D e p a r t u re s . ” I n v i t a t i o n t o t h e Tr a n s l a t i o n S t u d y 9 ( 2 0 1 3 ) : 8 1 - 9 8 .
Print.
篠原有子. 「映画『おくりびと』の英語字幕における異文化
要素（日本的有標性）の翻訳方略に関する考察 [ E i g a O k u r i b i t o
no E i go J im aku n i ok eru Ib un ’k a Yōs o (Ni ho n ’t eki Yū h yō s ei ) no
H o n ’ y a k u H ō r y a k u n i K a n s u r u K ō s a t s u ] . 」『翻訳研究への招待
[Hon’yaku Kenkyū e no Shōtai].』 9 (2013): 81-98. Print.
An examination of the way to translate culture -specific items
w h i c h i s b a s e d o n P e n d e r s e n ’s c a t e g o r i e s o f s u b t i t l i n g m e t h o d .
S h i n o h a r a a n a l y z e s t h e E n g l i s h s u b t i t l e s i n D e p a r t u re s a n d f i n d s
that the subtitle does not place a disproportionate emphasis on
e i t h e r o b j e c t o r o r i g i n a l l a n g u a g e ’s c u l t u r e .
2 9 . Ya d a , Yo k o . “ S e m i o t i c Ve r i f i c a t i o n o f Te c h n i q u e s o f Tr a n s l a t i o n
f o r A u d i o v i s u a l Tr a n s l a t i o n b e t w e e n S p a n i s h a n d J a p a n e s e . ”
I n v i t a t i o n t o Tr a n s l a t i o n S t u d i e s 1 0 ( 2 0 1 3 ) : 1 9 - 3 6 . P r i n t .
矢田陽子 . 「日西・映像翻訳方略定義の記号学的検証 [Nissei
E i z ō H o n ’ y a k u H ō r y a k u Te i g i n o K i g ō g a k u t e k i K e n s h ō ] . 」『翻訳
研究への招待 [Hon’yaku Kenkyū e no Shōtai].』 10 (2013): 19-36.
Print.
I n t h i s a r t i c l e , Yo k o Ya d a e x a m i n e s t h e J a p a n e s e s u b t i t l i n g o f
Spanish films and news with her own translating strategies of
Culture-Specific Items, which is called Cultural Adaptation, in
s e m i o t i c w a y. S h e c l a s s i f i e s t h e s t r a t e g i e s i n t o n i n e t y p e s : L i t e r a l
expansion, Literal conden sation, Deletion, Substitution,
Ichihashi 28
Specialization, Universalization, Expatiation, Mitigation of slang,
a n d C r e a t i o n . H e r e x a m i n a t i o n i s b a s e d o n S a u s s u r e ’s i d e a , a n d
she explains that how each translation strategy rebuilds
easil y-recognizable code in target l anguages.
Ichihashi 29
2 ) A u d i o v i s u a l Tr a n s l a t i o n S t u d y f o r E n g l i s h E d u c a t i o n
a) Books
None
b) Articles
3 0 . K o b a y a s h i , To s h i h i k o . “ F e a t u r e s a n d Ty p o l o g y o f J a p a n e s e
Subtitles in Films in English.” The Review of Liberal Arts o f
O t a r u U n i v e r s i t y o f C o m m e rc e 1 0 0 ( 2 0 0 0 ) : 2 7 - 8 2 . P r i n t .
小林敏彦 . 「洋画の字幕翻訳の特徴とその類型 [Yōga no
J i m a k u H o n ’ y a k u n o To k u c h ō t o s o n o R u i k e i ] . 」『小樽商科大学人
文研究 [Otaru Shōka Daigaku Jinbun Kenkyū ].』 100 (2000):
27-82. Print.
An anal ysis of Japanese subtitles in English movies, which is
done for enhancing the use of subtitles for English education.
Koba yashi an al yz es thirt y-five movies and classifies the subtitles
into eighteen categories; he roughly divides subtitles reduction
and addition, and these two categories include small er divisions.
He claims that it can give a strong impression to students by
clarif ying the difference between original scripts and subtitles,
a n d l e t t h e m t h i n k a b o u t t r a n s l a t o r ’s c o n s i d e r a t i o n a n d e x p e r i e n c e
the pseudo process of translation.
3 1 . M a n a k a , S a c h i e . “ Tr a i n i n g E n g l i s h t h r o u g h t h e U s e o f D i f f e r e n c e s
between Japanese Subtitles and English Scripts of movies .”
Ichihashi 30
B u l l e t i n o f t h e A s s o c i a t i o n f o r Te a c h i n g E n g l i s h t h ro u g h E n g l i s h
5 (2000): 47-57. Print.
間中沙知江. 「字幕と英文台詞の違いを利用したリーディン
グの授業 [Zimaku to Eibun Serifu no Chigai wo Riyoushita
Rīdingu no Zyugyō].」『映画英語教育学会紀要 [Eiga Eigo
Kyōiku Gakkai Kiyō].』 5 (2000): 47-57. Print.
A report of English class in which Manaka have students focus
on the eliminated elements in Japanese subtitles in order to make
them get interested in reading English. According to her
explanation, students not only get interested in English, but can
learn the culture where the movie made.
3 2 . Ya m a n i s h i , To s h i h i r o . “ R e s e a r c h o n t h e I n t e r p r e t a t i o n o f E n g l i s h
S u b t i t l e s . ” B u l l e t i n o f t h e A s s o c i a t i o n o f Te a c h i n g E n g l i s h
t h ro u g h M o v i e s 5 ( 2 0 0 0 ) : 6 0 - 7 3 . P r i n t .
山西敏博 .「映画鑑賞前後における英語字幕翻訳の相異 [ E i g a
K a n s h ō Z e n g o n i o k e r u E i g o Z i m a k u H o n ’ y a k u n o S o u i ] . 」『映画
英語教育学会紀要 [Eiga Eigo Kyōiku Gakkai Kiyō].』 5 (2000):
60-73. Print.
A research if students change t heir translation of original
script after they see the scene where they translated in advance.
F r o m Ya m a n i s h i ’s r e s e a r c h , i t i s f o u n d o u t t h a t s t u d e n t s c h a n g e
their subtitles to fit the context of the scene after they see it, and
t h e y s t a r t t o r e g a r d n o n l i t e r a l t r a n s l a t i o n p o s i t i v e l y.
Ichihashi 31
33. Nakajima, Chiharu. “Learning the Differences in “Fashions of
Speaking” between English and Japanese through a Movie: From
t h e Vi e w p o i n t o f C o g n i t i v e L i n g u i s t i c s . ” B u l l e t i n o f t h e
A s s o c i a t i o n f o r Te a c h i n g E n g l i s h t h ro u g h M o v i e s 7 ( 2 0 0 2 ) : 3 9 - 5 0 .
Print.
中島千春 . 「映画で学ぶ、日英語における “Fashions of
Speaking”の違い [Eiga de Manabu, Nichieigo ni okeru “Fashions
o f S p e a k i n g ” n o C h i g a i ] . 」『映画英語教育学会紀要 [ E i g a E i g o
Kyōiku Gakkai Kiyō].』 7 (2002): 39-50. Print.
An anal ysis of differences between original script in English
and Japanese subtitles considering the difference of proper
expression in each language. Nakajima points out two differences
between English and Japanese. First, while English focuses on the
result of an event, Japanese tends to focus on the process of the
e v e n t . S e c o n d , E n g l i s h s p e a k e r s s e e o t h e r s ’ s i t u a t i o n o b j e c t i v e l y,
though Japanese speakers guess others’ situation from their own
v i e w p o i n t a n d m e n t i o n t h a t s u b j e c t i v e l y. H e c l a i m s t h a t k n o w i n g
such differences in fashions of s peaking in each language helps
students to acquire more natural way to speak in English.
3 4 . Ta g a , A k i . [ Te a c h i n g o f t h e D i f f e r e n c e b e t w e e n J a p a n e s e a n d
E n g l i s h L a n g u a g e s t h r o u g h t h e E n g l i s h Ve r s i o n o f a J a p a n e s e
M o v i e : t h e C a s e o f K i k i ’s D e l i v e r y S e r v i c e ] . 」 Te a c h i n g E n g l i s h
t h ro u g h M o v i e s : AT E M B u l l e t i n 7 ( 2 0 0 2 ) : 1 7 - 3 8 . P r i n t .
Ichihashi 32
多賀亜紀. 「英語吹き替え版映画を使用して行う日本語・英
語比較授業：『魔女の宅急便』実践報告 [ E i g o F u k i k a e b a n E i g a
wo S hi yōshite Oko nau Nihongo Eigo Hikaku Jugyō: Majo no
Ta k k y ū b i n J i s s e n H ō k o k u ] . 」
『映画英語教育研究：紀要 [ E i g a E i g o
Kyōiku Kenkyū: Kiyō].』 7 (2002): 17-38. Print.
A report of an English class which uses Japanese movie
t r a n s l a t e d i n t o E n g l i s h ( K i k i ’s D e l i v e r y S e r v i c e ) i n o r d e r t o s a v e
the effort of understanding of cultural background, and to
motivate students who are not good at English. She uses English
dubbed version of a Japanese movie, and has her students point
out the difference between English and Japanese dialog, translate
by themselves, and dictate the dialog. In conclusion, she claims
that students can find the differenc e between two languages
heuristically through the class though it depends on students’
listening skill.
3 5 . F u j i n o , To m o k o . “ Tr i a l o f “ S c r e e n Tr a n s l a t i o n ” i n O r a l
Communication.” Bulletin of Senior High School attached to
To k y o G a k u g e i U n i v e r s i t y 3 0 ( 2 0 0 5 ) : 5 9 - 7 4 . P r i n t .
藤野智子. 「オーラルコミュニケーションにおける『映像翻
訳』の試み ―字幕制作ソフトとアフレコ用機材を利用して
―[Ōraru Kom yunik ēshon ni okeru Eiz ō Hon’ yaku no Kokoromi] .」
『東京学芸大学附属高等学校大泉校舎研究紀要 [Tōkyō
Gakugei Daigaku Fuzoku K ōtō Gakkō Ōizumi Kōsha Kenkyū Kiyō].』
30 (2005): 59-74. Print.
Ichihashi 33
A report about an English class which used screen translation
as a way to acquire the language. There are three aims why Fujino
chose this method: 1. widening students’ range of expression, 2.
enhancing students’ positive and voluntary motivation, 3. using
AV t o o l s a n d P C i n t h e c l a s s . S h e c o n c l u d e d t h a t h e r c l a s s
succeeded in improving students’ English ability and motivating
them.
3 6 . U c h i n o , Ya s u k o . M a n n e r s o f E n g l i s h C o m m u n i c a t i o n i n E n g l i s h
D u b b e d S p i r i t e d Aw a y . T h e B u l l e t i n o f t h e J a p a n e s e A s s o c i a t i o n
for Studies in English Communication . 14.1 (2005): 12-26. Print.
内野泰子 . 「『千と千尋の神隠し』英語吹き替え版に見る英語
コミュニケーション法 [ S e n t o C h i h i ro n o K a m i k a k u s h i E i g o
F u k i k a e b a n n i M i r u E i g o K o m y u n i k ē s h o n h ō ] . 」『日本英語コミュ
ニケーション学会紀要 [Nihon Eigo Komyunikēshon Gakkai
Kiyō].』 14.1 (2005): 12-26. Print.
Uchino tries to find the rule of intralingual translation through
comparing English subtitles and Japanese original script with
E n g l i s h d u b b i n g o f S p i r i t e d Aw a y . A s a r e s u l t , s h e f i n d s t w e l v e
t ypes of changes in dubbing version: 1)adding deta il ex planation,
2 ) c l a r i f y i n g c h a r a c t e r s ’ p e r s o n a l i t y, 3 ) m a k i n g t h e s c e n e s
r e a s o n a b l e a n d f l o w a b l e , 4 ) e x p r e s s i n g c h a r a c t e r s ’ e m o t i o n c l e a r l y,
5 ) c l e a r l y s p e c i f y i n g f o r e s h a d o w i n g , 6 ) s p e a k i n g c o l l o q u i a l l y,
7)omitting information, 8)generalizing and simplif ying
information, 9)adding new dialogs to the blanks, 10)making
Ichihashi 34
J a p a n e s e m a t t e r s u n d e r s t a n d a b l e , 11 ) s h o w i n g r e l a t i o n s h i p s
c l e a r l y, a n d 1 2 ) a d a p t i n g t h i n g s f o r We s t e r n c u l t u r e . S h e f o c u s e s
on 1), 2), and 6) for the purpose of English education because
anal yz ing these adaptations clearl y show the differences between
Japanese and English manners of communication, and she thinks
that knowing such differences helps to learn English.
3 7 . To y o k u r a , S h o k o . “ P o s s i b i l i t y o f E d u c a t i o n o f P r a g m a t i c s U s i n g
Moies and Subtitles—Mainly about Politeness—.” Media, English
and Communication: a Journal of the Japan Association for Media
English Studies 2 (2012): 167-87. Print.
豊倉省子. 「映画および字幕翻訳を利用した語用論教育の可
能性～ P oliteness を中心に～ [Eiga o yobi Jimaku Hon’yaku wo
Ri yōshita Go yōron K yōiku no Kanōsei~P oliteness wo Chūshin
ni~].」 Media, English and Communication: a Journal of the Japan
Association for Media English Studies 2 (2012): 167 -87. Print.
A proposal to learn practicable English through movies.
To y o k u r a c l a i m s t h e i m p o r t a n c e o f p r a g m a t i c p e r s p e c t i v e
especially the idea of politeness in order to acquire the second
language, and analyz ing movie dialogs enables students to think
about the communicational function of each dialog. Because the
standard of politeness is different from culture to culture, she has
her students analyze the consistency of politeness between
original scripts and subtitles. She concludes that students would
Ichihashi 35
be able to learn how to use English for communication through
t h i s a c t i v i t y.
Ichihashi 36
3 ) P r o p o s a l o f A u d i o v i s u a l Tr a n s l a t i o n C l a s s i n U n i v e r s i t i e s
a) Books
None
b) Articles
3 8 . I n o , K i n u y o . “ A S t u d y o f t h e P e d a g o g y o f S c r e e n Tr a n s l a t i o n
C o u r s e s . ” I n t e r p re t a t i o n S t u d i e s 4 ( 2 0 0 4 ) : 8 3 - 1 0 1 . P r i n t .
稲生衣代. 「大学教育における『映像翻訳コース』の指導手
法に関する研究 [ Daigaku K yōiku ni okeru “Eizō Hon’ yaku Kōsu”
n o S h i d ō S h u h ō n i K a n s u r u K e n k y ū ] . 」『翻訳研究 [ H o n ’ y a k u
Kenk yū].』 4 (2004): 83 -101. Print.
A n e x a m i n a t i o n o f t o d a y ’s t r a n s l a t i o n a n d i n t e r p r e t i n g s t u d i e s
in J apan and a proposal for s yst ematization of education for
s c r e e n t r a n s l a t i o n . I n o i n t r o d u c e s C r i s t i n a S c h a f f n e r ’s i d e a o f
“ Tr a n s l a t i o n C o m p e t e n c e . ” E d u c a t i o n f o r s c r e e n t r a n s l a t i o n i n
Japan focuses on linguistic competence among six translation
competences, but other areas especially cultural, domain/subject
specific competence, and subtitling are essential for screen
translation. Thus, she suggests launching new ed ucation s ystem of
translation.
3 9 . - - - . “ C o o p e r a t i v e L e a r n i n g i n A u d i o v i s u a l Tr a n s l a t i o n C l a s s e s . ”
I n t e r p re t a t i o n S t u d i e s 7 ( 2 0 0 7 ) : 1 4 7 - 6 5 . P r i n t .
---.「協同学習を導入した映像翻訳教育に関する考察 [K yōdō
Gakushū wo Dōn yū shita Eiz ō Hon’ yak u K yōiku ni Kansuru
Ichihashi 37
K ō s a t s u ] . 」『翻訳研究 [ H o n ’ y a k u K e n k y ū ] . 』 7 ( 2 0 0 7 ) : 1 4 7 - 6 5 .
Print.
An examination of the positive effects of cooperative learning
in audiovisual translation classes. Because the main purpose of
such classes is not turning out translators but enhancing the
intercultural communication skills, cooperative learning is
effective to achieve the goal. She defines what the cooperative
learning is, and claims its possibility of contributing to education
f o r f o r e i g n l a n g u a g e a n d c a r e e r. S h e a l s o m e n t i o n s a b o u t s o m e
problems to think about such learning s ystem, for instance, if
evaluation is done individually or as a group, but mostly thinks
that cooperative learning effects positivel y for audiovisual
translation.
Ichihashi 38
Sources from Overseas
4) Books
4 0 . N i d a , A l b e r t E u g e n e . To w a rd a S c i e n c e o f Tr a n s l a t i n g : Wi t h
S p e c i a l R e f e re n c e t o P r i n c i p l e s a n d P ro c e d u re s I n v o l v e d i n B i b l e
Tr a n s l a t i n g . L e i d e n : B r i l l A r c h i v e , 1 9 6 4 . P r i n t .
An examination about literary translation. Nida sees
t r a n s l a t i o n ’s c o m m u n i c a t i v e a s p e c t , a n d s u p p o s e s t o t h i n k a b o u t
the d ynamic dimension in communication. He claims that
translation has to achieve d ynamic equivalence not to be
equivalent to the p arts of utterances in the original. He sa ys that
messages should be produced fifty percent redundant in order to
b e u n d e r s t o o d . H o w e v e r, t r a n s l a t i o n s o m e t i m e s e x c e e d s t h i s l i m i t
a n d i t b e c o m e s b e y o n d t h e c a p a c i t y o f t h e r e c e p t o r. T h u s , N i d a
proposes not to stick to the literal accuracy but aim to achieve
d ynamic equivalence. The idea of d ynamic equivale nce is
mentioned in article No.4, 18, 19, 20, and 26.
4 1 . B a k e r, M o n a . I n O t h e r Wo rd s : A C o u r s e b o o k o n Tr a n s l a t i o n .
London: Routledge, 1992. Print.
A coursebook of translation which provides basic knowledge
of the field. Baker studies the equivalence of translation in
various levels: word level, above word level (phrase),
grammatical level, textual level, and pragmatic level. Ino and
Kawahara utilize these frames of equivalence to examine their
translating strategies in article No.20.
Ichihashi 39
4 2 . H a t i m , B a s i l , a n d I a n , M a s o n . T h e Tr a n s l a t o r a s C o m m u n i c a t o r.
London: Routledge, 1997. Print.
This book discusses several t ypes of translations. The y deal
with audiovisual translation in Chapter 5, “Politeness in Screen
Tr a n s l a t i n g , ” a n d s u p p o s e f o u r c o n s t r a i n t s o f s u b t i t l i n g : 1 ) t h e
speech must be converted into writing, 2) the limitation of space
and time, 3) dialogs must be concise in target language, and 4)
subtitles have to match the visual image. This idea is referenced
in article No.20, No.21, and No.23. They also discuss “audience
design ” which decides the st yle of speech, and it is related to
politeness in subtitles. Thus, the y ana l yz e actual subtitles how
they actualize politeness.
4 3 . D í a z - C i n t a s , J o r g e , a n d A l i n e , R e m a e l . A u d i o v i s u a l Tr a n s l a t i o n :
S u b t i t l i n g . M a n c h e s t e r : S t . J e r o m e P, 2 0 0 7 . P r i n t .
T h i s b o o k i s o n e o f t h e Tr a n s l a t i o n P r a c t i c e s E x p l a i n e d s e r i e s
from St. Jerome Publishing which aims to educate self -learners
and teachers of translation. The book discusses mainly seven
topics, and each section contains pre - and post-explanation
discussion questions. The topics vary from basic knowledge about
subtitling to actual strategies of subtitling. For example, Diaz
Cintas and Remael classify subtitles according to five viewpoints
(linguistic parameters, time available for pr eparation, technical
parameters, methods of projecting subtitles, and distribution
format) in the first section, and Ino and Kawahara mention about
Ichihashi 40
this classification in their paper (see No.20). Besides them,
article No.23 and No.26 refer to subtitling strategies in this book.
4 4 . M u n d a y, J e r e m y. I n t ro d u c i n g Tr a n s l a t i o n S t u d i e s . L o n d o n :
Routledge, 2008. Print.
An overall and introductory book of translation studies.
Munday introduces large amount of preceding studies of
translation in European countries some of which are mentioned in
t h i s b i b l i o g r a p h y, a n d h e a l s o r e f e r s t o a u d i o v i s u a l t r a n s l a t i o n
study as a new direction of translation studies. Dominant papers
about audiovisual translation studies before 2008 are cover in this
book.
4 5 . Ve n u t i , L a w r e n c e . T h e Tr a n s l a t o r ’s I n v i s i b i l i t y : A H i s t o r y o f
Tr a n s l a t i o n . L o n d o n : R o u t l e d g e , 2 0 0 8 . P r i n t .
The aim of this book is questioning the tendency which looks
the fluency is the most important thing in translation. Since
translators try to make translations readable an d intelligible
i m m e d i a t e l y, t h e t r a n s l a t i o n s a r e n o t g r a n t e d a s t r a n s l a t i o n b u t a s
i l l u s i o n a r y o r i g i n a l . Ve n u t i c l a i m s t h a t t h e e x i s t e n c e a n d t h e r i g h t
of translators are treated lightly in such a situation, and this is the
s ymptom of complacenc y of Britis h and American cultures. He
also mentions some strategies which achieve the fluency:
foreignization and domestication. He especially focuses on
foreignizing method and studies its transition. The two strategies
Ichihashi 41
a r e r e f e r r e d i n a r t i c l e N o . 11 t o e x p l a i n t h e i m p o r t a n c e o f
relationship between culture and translation.
4 6 . P e d e r s e n , J a n . S u b t i t l i n g N o r m s f o r Te l e v i s i o n : A n E x p l o r a t i o n
f o c u s i n g o n E x t r a l i n g u i s t i c C u l t u r a l R e f e re n c e s . A m s t e r d a m : J .
B e n j a m i n s P, 2 0 11 . P r i n t .
In this book, Pedersen focuses on subtitling on TV because it
i s t h e m o s t p o p u l a r m e d i a w h i c h E u r o p e a n s e n c o u n t e r d a i l y.
Shinohara mainly references chapter 3 and 4 of this book in her
paper (see No.26) which deal with extralinguistic cultural
references (ECR) and translation strategies. In chapter 3,
Pedersen explains that ECR is “defined as reference that is
attempted by means of any cultural linguistic expression, ” and is
understood by primary audience with their encyclopaedic
knowledge. In addition to t hat, He introduces some strategies to
deal with ECRs in chapter 4. He divides strategies into 6
(retention, specification, direct translation, generalization,
substitution, omission) and categorized actual methods like
paraphrase and addition in each of th em. In article No.26, these
categories are used for anal ysis of English subtitles.
Ichihashi 42
5) Articles
47. Gottlieb, Henrick. “Subtiling: A New University Discipline.”
Te a c h i n g Tr a n s l a t i o n a n d I n t e r p re t i n g : Tr a i n i n g Ta l e n t a n d
Experience. Ed. Cay Dollerup and Anne Loddegaa rd. Amsterdam:
J . B e n j a m i n s P, 1 9 9 2 . 1 6 1 - 7 0 . P r i n t .
Gottlieb discusses the theoretical aspects of subtitling. There
a r e f o u r i m p o r t a n t p o i n t s i n t h i s p a p e r. F i r s t , h e d e f i n e s s u b t i t l i n g
as writte, additive, immediate, s ynchr onous, and pol yme dial
translation. S econd, he divides subtitles into two t ypes according
to the area of translation: intralingual and interlingual. He also
examines the constraints of subtitling, and he finally shows ten
s u b t i t l i n g s t r a t e g i e s ( e x p a n s i o n , p a r a p h r a s e , t r a n s f e r, i m i t a t i o n ,
transcription, description, dislocation, condensation, decimation,
deletion, and resignation). His theory is cited in article No.20 and
N o . 11 .
4 8 . A i x e l á - F r a n c o , J a v i e r. “ C u l t u r e - s p e c i f i c I t e m s i n Tr a n s l a t i o n . ”
Tr a n s l a t i o n , P o w e r, S u b v e r s i o n . E d . R o m á n Á l v a r e z a n d M .
C a r m e n - Á f r i c a Vi d e l . U K : M u l t i l i n g u a l M a t t e r s , 1 9 9 6 . P r i n t .
This article discusses cultural -specific items in literary
translation. Aixelà focuses on how to deal with cultural -specific
items (CS I) in literary translation. According to him, CSI cause
several problems in translation because they don ’t exist or they
h a v e d i f f e r e n t v a l u e i n t a r g e t l a n g u a g e . To s o l v e t h e p r o b l e m s , h e
suggests eleven strategies (repetition, orthographic adaptation,
Ichihashi 43
linguistic translation, extratextual gloss, intratextual gloss,
s y n o n y m y, l i m i t e d u n i v e r s a l i z a t i o n , a b s o l u t e u n i v e r s a l i z a t i o n ,
naturalization, deletion, and autonomous creation). He also
examines the reason why translators accept these strategies, and
anal yz es actual literar y translations of T he Maltese Falcon.
Though t hi s art icl e does n ’t t reat audi ovi sual trans l ati on,
S h i n o h a r a i n t r o d u c e s A i x e l à ’s s t r a t e g y a s o n e o f t r a n s l a t i n g
strategies in article No.26.
49. Gottlieb, Henrick. “Quality Revisited: The Rendering of English
I d i o m s i n D a n i s h Te l e v i s i o n S u b t i t l e s v s . P r i n t e d Tr a n s l a t i o n s . ”
Te x t Ty p o l o g y a n d Tr a n s l a t i o n . E d . A n n a Tr o s b o r g . A m s t e r d a m : J .
B e n j a m i n s P, 1 9 9 7 . 3 0 9 - 3 8 . P r i n t .
Gottlieb compares TV translation (subtitling) and book
translation especiall y in the point of translating idioms. He sa ys
that i dioms were defi ned as m at ters whi ch coul dn ’t be transl at ed,
but the definition is not proper an ymo re. He divides mode of
t r a n s l a t i o n i n t o t r a n s f e r, t r a n s m u t a t i o n , a n d a d a p t a t i o n , a n d
s ynthesiz es some strategies which allow translating idioms within
the modes from several notations about translation. He
categoriz es these strategies into four t ypes: adherence,
literalization, deletion, and idiomatization . He also proposes his
idea of strategies within the categories (adherence: transposition,
emulation, and falsification, literalization: paraphrase, reduction,
and lesion, deletion: elimination, lacuna, and amputation,
Ichihashi 44
idiomatization: elaboration, complica tion, and alienation). He
examines which type of strategy is used in a novel and a film, and
seeks similarities and differences between the two media.
50. Gottlieb, Henrick. “Subtitling.” Routledge Encyclopedia of
Tr a n s l a t i o n S t u d i e s . E d . M o n a B a k e r. L o n d o n : R o u t l e d g e , 1 9 9 8 .
244-48. Print.
T h i s a r t i c l e i s a h e a d o f R o u t l e d g e E n c y c l o p e d i a o f Tr a n s l a t i o n
Studies. Gottlieb defines subtitles considering two aspects. First,
he focuses on semiotic composition of any translating forms
according to used communication channels, and he points out that
subtitling is poly and disasemiotic translation form. He also
considers about time and duration. H e examines if the time of
original dialog produced and presented are s ync with the time of
translation, and subtitling is considered as synchronous form. He
also classifies subtitling based on the t ype of reduction, linguistic
q u a l i t y, a n d t e c h n i c a l q u a l i t y.
5 1 . G a m b i e r, Yv e s . “ S c r e e n Tr a n a d a p t i o n : P e r c e p t i o n a n d R e c e p t i o n . ”
T h e Tr a n s l a t o r 9 . 2 ( 2 0 0 3 ) : 1 7 1 - 8 9 . P r i n t .
As an introduction of the book, Gambier thinks about
audiovisual translation from broad perspective. He calls
audiovisual translation (screen translation) as ‘screen
transadaptation, and sa ys that there are two t ypes of translat ions:
dominant and challenging. He also proposes ‘accessibility’ as a
Ichihashi 45
k e y w o r d o f s c r e e n t r a n s l a t i o n w h i c h c o v e r s a c c e p t a b i l i t y,
l e g i b i l i t y, r e a d a b i l i t y, s y n c h r o n i c i t y, r e l e v a n c e , a n d
domestication strategies. He finally points out the importance of
study from the view of reception (audience) and the need of study
of sociological and audiovisual variables.
5 2 . C h a u m e , F r e d e r i c . “ F i l m S t u d i e s a n d Tr a n s l a t i o n S t u d i e s : Tw o
D i s c i p l i n e s a t S t a k e i n A u d i o v i s u a l Tr a n s l a t i o n . ” J o u r n a l D e s
Tr a d u c t e u r s 4 9 . 1 ( 2 0 0 4 ) : 1 2 - 2 4 . P r i n t .
Chaume claims the importance of audiovisual translation study
f r o m t w o p e r s p e c t i v e s : t r a n s l a t i o n s t u d y a n d f i l m s t u d y, a n d
supposes to use models for anal ysis. Since audiovisual text is
composed of several signif ying codes of film language, it is
necessary to understand how each code functions when people
anal yz e its translation. He mentions ten codes which directl y
affect translation: linguistic, paralinguistic, musical and special
effects, sound arrangement iconographic, photographic, planning,
m o b i l i t y, g r a p h i c , a n d s y n t a c t i c c o d e . T h e s e c o d e s i n t e r a c t e a c h
other and obtain the meaning as an audiovisual text. In article
N o . 2 1 , Ta m u r a i n t r o d u c e s t h e s e c o d e s a n d f o c u s e s o n
iconographic code to explain why dialogs are added in dubbing.
Ichihashi 46
6) Non-academic Materials
a) Essa ys
5 3 . S h i m i z u , S h u j i . F i f t y Ye a r s f o r S c re e n Tr a n s l a t i o n . To k y o :
Ha yakawa S hobo , 1987. P rint.
清水俊二 . 『映画字幕五十年 [ E i g a J i m a k u G o j ū n e n ] . 』 To k y o :
Ha yakawa S hobo, 1987. P rint.
A memoir of one of the greatest screen translators in Japan,
S h u n j i S h i m i z u . H e l o o k s b a c k t h e l i f e a s s c r e e n t r a n s l a t o r, a n d
writes about the beginning of subtitling industry in Japan, other
t r a n s l a t o r s , a n d t h e i n f l u e n c e o f Wo r l d Wa r I I t o m o v i e i n d u s t r y.
5 4 . - - - . S u b t i t l e i s n o t Tr a n s l a t i o n . E d . To d a , N a t s u k o a n d U e n o ,
Ta m a k o . To k y o : H a y a k a w a S h o b o , 1 9 9 2 . P r i n t .
---. 『映画字幕は翻訳ではない [Eiga Jimaku wa Hon’yaku dewa
n a i ] . 』E d . 戸田奈津子 ,
上野たま子 . To k y o : H a y a k a w a S h o b o ,
1992. Print.
A c o l l e c t i o n o f S h i m i z u ’s c o l u m n s i n w h i c h h e w r i t e s a b o u t
subtitling. In the columns, he mentions about the development of
s u b t i t l i n g i n d u s t r y, a n d h e a l s o e x a m i n e s s o m e s u b t i t l e s w h i c h h e
actually made. He tells that one of the most important rules in
subtitling which limits the number of letters per second was set by
him and his co-workers.
5 5 . To d a , N a t s u k o . M y L i f e i s D e v o t e d t o S u b t i t l i n g . To k y o :
Hakusuisha, 1997. Print.
Ichihashi 47
戸田奈津子 . 『字幕の中に人生 [Jimaku no naka ni Jinsei].』
To k y o : H a k u s u i s h a , 1 9 9 7 . P r i n t .
A n E s s a y a b o u t h e r l i f e a s a t r a n s l a t o r. To d a l o o k s b a c k o n h e r
g i r l h o o d w h e n s h e s t a r t e d t o t h i n k b e c o m i n g a t r a n s l a t o r, a n d s h e
talks about the encounter with one of pioneers of subtitling in
Japan, Shimizu Shunji. She also mentions about the beginning o f
subtitling industry in Japan, and she explains the way of making
subtitles in the 90s in chapter 1.
56. ---.
A F l o w e r G a rd e n o f S u b t i t l i n g . To k y o : S h u e i s h a , 2 0 11 .
Print.
- - - . 『字幕の花園 [ J i m a k u n o H a n a z o n o ] . 』To k y o : S h u e i s h a , 2 0 11 .
Print.
A c o l l e c t i o n o f To d a ’s c o l u m n a b o u t f o r e i g n m o v i e s a n d t h e i r
dialogs. All movies are categorized into seven (drama, Si -Fi and
f a n t a s y, l o v e r o m a n c e , m y s t e r y, m u s i c a l , c o m e d y, a n d a c t i o n ) a n d
she mainly explains about the meaning of English in dialogs.
Ichihashi 48
b) Guidebooks
5 7 . O k a e d a , S h i n j i . Tr a i n i n g o f S u b t i t l i n g : Te c h n i q u e a n d K n o w l e d g e
o f S c re e n Tr a n s l a t i o n . To k y o : B a b e l P r e s s , 1 9 8 8 . P r i n t .
岡枝慎二 . 『スーパー字幕入門：映画翻訳の技術と知識 [ S ū p ā
J i m a k u N y ū m o n : E i g a H o n ’ y a k u n o G i z y u t s u t o C h i s i k i ] . 』 To k y o :
B a b e l P, 1 9 8 8 . P r i n t .
kAn introductory guidebook of subtitling. The basic technics
o f s u b t i t l i n g i n 8 0 s a r e i n t r o d u c e d b y a c t u a l t r a n s l a t o r. I t c o n t a i n s
lessen and question and answer sections.
5 8 . A u d i o v i s u a l Tr a n s l a t i o n H a n d b o o k f o r B e g i n n e r s . To k y o : B a b e l P.
1998. Print.
筆者不明 . 『初めて学ぶ人のための映像翻訳超入門 [Hajimete
M a n a b u H i t o n o t a m e n o E i z ō H o n ’ y a k u C h ō N y ū m o n ] . 』 To k y o :
B a b e l P, 1 9 9 8 . P r i n t .
This book lectures what audiovisual translation is and how
actual translation is done. It explains particular rules of
audiovisual translation in J apan, and it also shows the life of
translators.
Ichihashi 49
Index
[A]
K o t a n i , Ya s u k o , 1 2
Adachi, Reito, 25
Kubota, Morihiro, 3
Aix elá-Franco, Javier, 47
[M]
A u d i o v i s u a l Tr a n s l a t i o n
Manaka, Sachie, 29
Handbook for Beginners , 58
Mason, Ian, 41
[B]
Mitsufuji, K yoko , 5
B a k e r, M o n a , 4 0
Morizumi, Fumi, 26
[C]
M u n d a y, J e r e m y, 4 3
Chaume, Frederic, 51
[N]
[D]
Nakajima, Chiharu, 32
Díaz-Cintas, Jorge, 42
Nakamura, Momoko, 1
[F]
Nishimura, Masami, 2, 6, 8, 9
F u j i n o , To m i k o , 3 4
N i s h i o , M i c h i k o , 7 , 11 , 1 9 , 2 0 ,
[G]
24
G a m b i e r, Yv e s , 5 0
Nida, Alberto Eugene, 39
Gottlieb, Henrick, 46, 48, 49
[O]
[H]
Okaeda, Shinji, 57
Hatim, Basil, 41
[P]
[I]
Pedersen, Jan, 45
Ino, Kinu yo , 21, 3 7, 3 8
[R]
I t o , Yo s h i h i r o , 1 7
Remael, Aline, 42
[K]
[S]
Kawahara, Ki yoshi , 21
Sasaki, Rika, 23
K o b a y a s h i , To s h i h i k o , 2 8
Shimizu, Shunji, 52, 53
Ichihashi 50
Shimojo, Masazumi, 15, 16
Shinohara, Yūko, 27
[T]
Ta g a , A k i , 3 3
Ta m u r a , C h i h i r o , 2 2
To d a , N a t s u k o , 5 4 , 5 5
To y o k u r a , S h o k o , 3 6
[U]
U c h i n o , Ya s u k o , 4 , 1 0 , 1 8 , 3 5
U s h i e , Yu k i k o , 7 , 1 1 , 1 9 , 2 0 , 2 4
[V]
Ve n u t i , L a w r e n c e , 4 4
[Y]
Ya m a d a , K e n t a r o , 1 3 , 1 4
Ya m a n i s h i , To s h i h i r o , 3 1
Ya d a , Yo k o , 2 9

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