Another core multimedia translation service is dubbing．Dubbing，including the precise dubbing of spoken audio content in video productions，refers to the method in which a foreign dialogue is adjusted to the mouth and movements of the actor or actress in the film and thus makes it familiar to the target audience．Its basic purpose is making the audience feel as if they are listening to actors actually speaking the target language．

Dubbing is widely used in markets where subtitling doesn ＇t fully accomplish the producers＇objective s and is a more universal method of converting vid eo productions for international markets．As it doe s not require reading，it is ideal for children and less educated markets．Many video production compa nies prefer dubbing as it more closely reflects th e experience of the original production．Dubbing is also a highly technical multimedia translation se rvice，as it requires specialized software to ensur e that the lipsyncing is as close as possible to the original production．

Dubbing is used to describe the replacement of one sound track whether music，dialogue，sound effects，natural sound，etc．by another．The technique is used in the production of both audiovisual and audio m edia．Dubbing is usually the post-production activi ty which allows flexibility in“editing”the audio c omponent of the video．Dubbing includes various act ivities like the addition of music，the addition of sound effects，the addition of dialogue，the omissi on of poorly recorded audio，the re-recording of the entire dialogue，narration and music．

Another major form of dubbing is “language transfe r” ，that is，translation of audiovisual works．Dubbi ng here means the replacement of the dialog of the movie and narration of the foreign or source lang uage into the language of the viewing audience．Dub bing is extensively used for translating other-lan guage television programs or movies．Dubbing of fil ms is linked with replacing the language of the “o riginal”film with the dubbed language．This is clos ely related to translation．First，the language of t he original film is removed．The soundtrack of anot her language is superimposed on the film，depending on lip synchronization．

In order to seem“natural” ，the translation of dubb ing must match as closely as possible with the mov ements of the lips of the speaker on the screen．Mo reover，there should be a strict equivalence of not only of voice but also of gender and age．Another requirement of successful dubbing is the compatibi lity of the dubber＇s voice with the facial and bod y expressions showed on the screen．Lip-synchroniza tion is very essential in dubbing in．It is dufficu lt to find target language words that match the so urce language lip movements．This becomes more evid ent when speakers are shown in close-up．Rather tha n locating meaning in each sentence，if translation aims at conveying the general tone of each scene there will be more difficult to find appropriate words for lip-synchronization．

To put it simply，dubbing consists of replacing SL verbal elements on the soundtrack wiht TL ones．It is a multiplex process in which the foreign dialog ue is adjusted to the mouth movements of the actor in the film．The viewers then repress all awarenes s of the possibility of an incorrect translation a nd in fact，they forget that there has been any tra nslation at all．Unlike subtitling，dubbing is essen tially teamwork，involving not only a dubbing trans lator but also a number of actors and technical pe rsonnel，which is why dubbing costs are considerably higher than those of subtitling．

According to Goris(1993)，the disadvantages for dub bing include“the cost and time factor，loss of auth enticity where the original voices are replaced by those of a limited number of actors，impossibility of maintaining the illusion of authenticity given the presence of visual remainders of the foreignn ess of the setting and characters and—most importa ntly—the necessity to lip synchronization，which pl aces heavy demands on the translator and is a majo r constraint in terms of omitting incomprehensible or insignificant elements．” Generally speaking，th e translator should take into account of the following aspects in dubbing．

1)Lip-synchronization．One of the major constraints of dubbing is that of synchrony，or“the agreement between the articulatory movements seen and the sounds heard” ．While the audience，to some extent，expect movements and sounds to match，the constraint of synchrony varies according to the camera angle and is greater in close-ups．The demand of synchrony also varies across cultures．

Mrs．Bennet: Ten thou-! Isn＇t it fortunate to have two eligible young men coming to the neighborhood？Perhaps one of them will fall on love with your Charlotte．Charlotte Lucas: Oh! Not if he sees Jane or Lizzie first!

　Mrs．Lucas: You may not have beauty，my lamb，but，you have character…)(from Pride and Prejudice)

　班奈特太太:一万……啊，来这么两个可挑选的年轻人做邻居真是好事。也许有一位会看中你的夏洛特!

　夏洛特·卢卡斯:噢，我可没简和莉齐漂亮。

　卢卡斯太太:也许你不算漂亮，孩子，可你有个性……

Comments In this dialogue，we can find that Charlotte＇s answer is an elliptical sentence，which could be translated into噢，如果(他)先看到简和莉齐就不会(看中我)了in textual translation．But when the context is taken into account，such translation is very natural and simple．Most importantly，lip synchronization is a very necessary factor．Therefore，it is not only easy for the subtitler to match the mouth movements，but also proper to accord with the actors＇manner and features．

2)Voice and image synchrony．The synchronization for voices and images is another element that the translator should take into account．This is because films and TV are visual and animated media in which what the actor or actress speaks should synchronize what he or she does．In this case，the viewer will feel as if the voice and the image are accordant．

Mr．Darcy: If the dragon returns，then，George will know how to deal with him．(from Pride and Prejudice)

　达西先生:那恶龙要再来，降龙将军自有办法。

Comments Here the word dragon refers to Mr．Collins whom everybody is fed up with，and George refers t o what Mr．Darcy who tastily calls himself to indic ate that he is able to help Liz(Elizabeth)deal wit h Collins．The two words are respectively translate d into “恶龙” and“降龙将军” because the dragon has often been associated with evil in the western culture，instead of龙in Chinese culture，and George，instead o f a ordinary name，is the hero in the west who was the slaying of a dragon，as in the story of St．Geor ge in medieval legend and saved the Libya King＇s d aughter．Actually，it is impossible to convey the le gend to the viewer for there is any note in film t o explain it．Therefore，it is necessary to add the Chinese character恶before龙because Chinese readers will have an association when reading龙，and

thus “dragon” and “George” have the opposite relationship．In the dialogue，Mr．Darcy，when mentioning the word “George” ，put his both hands on the chest to show that he could help Liz．So the versions恶龙and降龙将军are very appropriate not only to convey the actual meaning，but also to satisfy the need of voice and image synchronization．

3)Cultural constraints in dubbing．“In a dubbed fil m we constantly aware through images and non-match ing mouth movements of the presence of a foreign l anguage and culture，”(Fawcett，1996)which suggests that “the treatment of culture-specific material，i ncluding dialect，will pose serious problems in thi s context，and that functional approaches may not a lways offer the right kind of solution．”(Baker，200 4)Like subtitling，dubbing cannot use such methods as footnotes and endnotes to provide explanations of concepts and ideas．

Master Wu Gui: I＇ve had a vision Tai Lung will return．(from Kung Fu Panda)

　乌龟大师:我预感到黑豹太郎将重出江湖。

Comments In the subtitle，the translator，on the one hand，skillfully uses Chinese words黑豹to show the associative meaning of evil in the film．On the other hand，the word “return” is translated into重出江湖，which not only answers for the status of Wushu master，Wu Gui，but presents Chinese culture，that is，what a Wushu master should say in the action movie．

In short，subtitling is，together with dubbing，the m ain form of translation or“language transfer” in t elevision and film，which is increasingly developin g into a global medium in a world．When we want to study audiovisual translation(AVT)，a term used her e to cover subtitling and dubbing as well as the w ide variety of translational activity they entail，which is undoubtedly one of the commonest forms of translation encountered in everyday life in conte mporary societies，we should fully consider their c onstraints．Meanwhile，their advantages and disadvan tages should be taken into account．Subtitling is n ot expensive，does not take a very long time，and th e original soundtrack is preserved．Do not forget t hat it may have a role in language learning，and is better for the hard-ofhearing，the deaf，immigrants and tourists．Its disadvantages include the greate r loss of information due to compression，and the a ttention of the audience is split between image，so undtrack，and subtitles．As for dubbing，it does not distract attention from image，and has less reducti on of the original dialogue compared to subtitling ．Also it is better for children and people with po or reading skills．Its disadvantages include high c ost，more time taking，loss of the original soundtra ck，and the voices of dubbing actors can become repetitive after a while．

7．3．3 Dubbing配音翻译

7．3．3　Dubbing配音翻译