The Experts Talk: Challenges of English Dubbing
English may be the world’s most spoken language, but that doesn’t mean everyone understands it in the same way.
“England and America are two countries separated by the same language!” - George Bernard Shaw
When people in the United States discuss localizing titles, subs and dubs, translations, and culturalization, they usually mean U.S. titles headed abroad. However, thousands of titles and TV episodes made elsewhere must first be translated into English before entering the U.S. market and other English-speaking countries. Also, there are additional components of “English” to address in the translation process. Issues to navigate include (in no particular order):
1. Dialect
2. Region
3. Accent
4. Meaning
5. Culture
6. Religion
This list might look familiar. Foreign titles entering English-speaking markets face the same challenges as English titles headed abroad. Regardless of where a title is to be released, it is critical to understand, interpret and retell the story as accurately as possible. As the saying goes, “the door swings both ways.”
Insights into how difficult this is were discussed recently on a webinar sponsored by the Entertainment Globalization Association (EGA). In an engaging discussion moderated by Catherine Sutton, Amazon Studio's Senior Manager of Language Programs & Creative, the panel discussed just how challenging getting stories right really is.
From the list, dialect, accent, culture, and region of the voice can directly impact the story. How? As Deeny Kaplan, EVP of The Kitchen, points out, simply finding a “neutral or Mid-American accent” for a client isn’t as straightforward as it sounds. Where in the Midwest? Accents in Minnesota are pretty different from those found in Louisiana or Texas. Which one do they want? Is that acceptable?
Alex Weiser, VSI General Manager, said they address casting and vocal attributes like accent when it is “plot relevant.” Unless there is a specific reason to use an accent in an English dub, their approach is to focus on the script.
The audience is another critical component. Is it a title intended for children, families, or adults? What if the film’s country of origin is more liberal than American audiences? What is an acceptable strategy for “toning it down?” Are there character names with American equivalents? If not, how do you change them? Some of the stories are very local in a geographic sense. How do you translate and maintain the story’s culture and nuance of life in those communities and countries while sticking to the plot and storylines? Is there a risk of sanitizing the story as a result?
Maria Nougues, Dubbing Territory Manager, Americas for Zoo Digital, pointed out that the cadence of speech also impacts translations. She cites the speed at which characters from Italian titles talk compared to Korean or Spanish titles, which is challenging when translating it to fit into the lower thirds or attempting to keep up with the action in any given scene. She says it is essential to have staff working on it who understand the language and are familiar enough with the culture and customs to know when the translation doesn’t convey the meaning in context.
There is also a recognition that concern for quality subs and dubs is beginning to occur much sooner in the production process than had been the case previously. Deeny Kaplan pointed out that producers are beginning to recognize the international financial potential and beginning to include the cost of localization in their budgetary planning processes.
The webinar provides valuable insights into English dubbing that may not be obvious to writers, producers, and content distributors. If you’re an EGA member, you can watch the entire recording on your “Events on demand” page. It will be an hour well spent.
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