Masood Khoshsaligheh; Saeed Ameri; Farzaneh Shokoohmand; Mehdi Mehdizadkhani
Volume 8, Issue 2 , September 2020, , Pages 55-74
Abstract
Given the increasing pace of dissemination of cultural content across global borders, subtitling as a cost-effective solution for rendering audiovisual programs is gaining more popularity, even in societies, which have been traditionally using dubbing as the dominant modality for foreign films and television ...
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Given the increasing pace of dissemination of cultural content across global borders, subtitling as a cost-effective solution for rendering audiovisual programs is gaining more popularity, even in societies, which have been traditionally using dubbing as the dominant modality for foreign films and television series. Likewise, various types of subtitling practices have developed and are used in Iran both at official and non-official outlets. While official dubbing has failed in some aspect in addressing the growing interest of Iranian viewers of foreign content, a variety of non-professional subtitling has been filling the gap, and subtitling appears to be dominating the audiovisual media market. Despite such developments, the necessities of professional practice of subtitling, including standardized guidelines, codes of ethics and practice, and training, have never been realized in Iran. In the absence of a professional subtitling tradition, this article presents the status quo of non-professional subtitling into Persian and introduces the specific typology of this practice in the Iranian mediascape.
Masood Khoshsaligheh; Azadeh Eriss; Saeed Ameri
Volume 7, 2 (Special Issue on Iranians Views of Cultural Issues) , September 2019, , Pages 40-51
Abstract
Audiovisual translation, the same as other forms of intercultural communication, tends to intervene with the original in order to comply with the norms of the receiving culture. Since the Islamic Revolution of 1979, the Iranian cinema has resorted to a conservative approach wherein the portrayal of the ...
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Audiovisual translation, the same as other forms of intercultural communication, tends to intervene with the original in order to comply with the norms of the receiving culture. Since the Islamic Revolution of 1979, the Iranian cinema has resorted to a conservative approach wherein the portrayal of the role of women, among other cultural issues, has been controlled to adapt to the Islamic thoughts, which constitute the pivotal Iranian ideological framework. The underground cinema, on the other hand, resists this official practice and adopts a more norm-breaking approach. This study examines the portrayal of women in a selection of dubbed and subtitled films into Persian. The findings reveal that the gender-related content in dubbed films was altered due to the socio-cultural considerations and ideologically charged motivations as well as the norms and clichés prevalent in the Iranian society. Similar measures, however, were not taken in the subtitles of the foreign films, which were produced by the amateurs.