Audio-visual translation: keeping up with the language change
By Andrea Musumeci
Today’s world is not only selfish, but also selfie. Cyber-space, e-commerce, nooks, digital
media, digital lobbies. In other words, the Matrix is here; the digitalization of information has
changed not only the way ideas are put into practice, but also the way truth is perceived by
both individuals and communities. In this virtual conundrum, however, where is our
Morpheus, the person asking whether we would rather remain asleep or instead prefer to
see the world for what it really is? Blue pill or red pill?
The profession, and indeed the figure of the translator may be deeply influenced by these
dynamics, to the extent that a whole branch of the métier may be redefining itself under our
own eyes. In recent years, the role of the audiovisual-translator has witnessed – perhaps
more than other roles within the translation profession – an evolution that was substantially
shaped by the very nucleus of the infolution described above. The question is: what may be
the practical consequences of such change?
Is the Remedy in… Re-mediation?
Audiovisual translators, also known by the more demystifying name of subtitlers, have been
subjects of a massive change in the scope of their role during the last ten years. If only ten
years ago professional subtitling was seen as a peripheral activity, both in film studies and in
translation studies, ATV finds itself today at the forefront of scholarly and professional
contexts. In today’s globalised world, where distances are shortened, and world views
homogenised, previously distinct linguistic communities bear less distinct boundaries now, in
what may be perceived as a movement towards a superdiverse, macro-community. The
global solidarity that nowadays arises whenever a particular part of the world undergoes a
calamity or a conflict is symptomatic of this situation. For as much as it cannot be denied that
access to technology is not evenly spread around the world, especially not so in areas with
ongoing conflicts, the tendency towards a call for global empathy is there; a call for
geopolitical awareness of an unprecedented scale. It may be seen also from the relatively
new trend of using technological and multilingual solutions such as subtitling not only by
organizations such as the EU or UN, but also by NGOs and independent organisations for
the furthering of their humanitarian or political causes. This is driven not so much by the will
of reaching the other, intended as member of another community, but rather by that of
raising the other’s awareness, intended as other members of the world community, in terms
of what happens around the globe. The independent platform Mosirreen epitomises the use
of subtitles as main communicative tool to call for empathy and political awareness globally.
What’s in it for me?
I think that the speed of change in the spread of information may be a new source of
‘nutriment’ not only for subtitlers, but for translators in general. The use of subtitles has
grown also in corporate environments, in training and presentations for example. Going back
to our initial question, the role of subtitles in the spread of information may be undergoing a
process of re-tailoring, which may lead towards a Morpheus-direction on an individual level,
but also towards the reshaping of the figure of the translator as an advisor/intimidator at a
collective level. In other words, the translator, usually thought of a disposable linguistically
ambidextrous persons by companies and organisations, may become more of a cultural
consultant, a figure with knowledge of linguistic and cultural crevices. Especially in the case
of the audiovisual translator, a figure who is also able to man the technological tools required
in tackling any piece of media-information, translate, publish on demand on a digital
platform, and communicate effectively in the particular target language/culture of a given
project. This action-ground may be defined in terms of activism, as well as cultural and
technological mediation. Indeed, mass media, corporations, and even political formations
may find in the audiovisual translator a figure to both fear and desire. It is the cognitive
sensitivity over language change that makes the translator is someone whom, in
professional settings, you would prefer having as a friend rather than as an enemy, so to
say.
A practical scenario: borrowings.
Languages borrow words from one another at such a disgustingly high and uncontrolled rate
that I sometimes refer to borrowing as language pollution. Not that I am an advocate of
purism or nationalistic views, it is just my take on facts. Usually, borrowing happens with
words from other languages on the basis of the status height. The lower one borrows, the
higher one lends. Yet, it may happen for many other reasons, the borrowed word sounds
better, conveys better the meaning, etc. The terminology used by linguists, to use may make
us think that one day English will return croissant to French and pizza to Italian, which might
end up in a lot of confusion when ordering pastries. Well, in reality borrowed words usually
are not returned. It is more of a long-term loan; in fact, this phenomenon has economic
implications. Monitoring which words are borrowed in which domains may well have an
economic impact on the income of companies. And who other than translators, in virtue of
their linguistic sensitivity, should be monitoring that phenomenon, and notify its existence to
those companies? Could translation agencies, and the localization market, benefit from
professionals trained in this sense?