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- Project-based learning in audiovisual translation: a case study in error analysisPublication . Martins, Cláudia; Ferreira, Cláudia Maria PintoAs professors of audiovisual translation (AVT) in higher education institutions in Portugal, we have been concerned with the teaching of AVT, namely subtitling. In an attempt to prepare our students for the job market, we follow a constructivist approach, in line with Kiraly’s (2005) project-based learning. A dimension we cannot overlook in this context is the identification and analysis of subtitling errors, which we elaborate on according to Kuo (2014), Robert and Remael (2016) and Pedersen’s (2017) research. Thus, we chose a sample of nine films that were the target of our students’ projects from the last five academic years and pinpointed their errors, by following the analysis grid we put together for this purpose, which is based on temporal and spatial constraints, and stylistic, typographical and translation considerations. With this exercise in mind, we were able to conclude that segmentation and reading time of subtitles pose the greatest difficulty for our students.
- From benshi to transmedial mediatorPublication . Martins, Cláudia; Ferreira, Cláudia Maria PintoThe transmedial turn, which works as the motto for this conference, is a concept that allows for media crossings foregrounded by technological advancements, perhaps on the verge of becoming the fifth turn to be added to the ones identified by Chaume (2018), namely the descriptive translation studies, the cognitive, the cultural and the technological turns. This understanding focuses on the idea that processes and products are in a continuous movement of media border crossings. In line with this, we aim to investigate some key transmedial practices from a historical perspective, namely from the Japanese benshi (Akihiro 2018) to the present transmedial mediators. In the era of silent movies, the masters of ceremonies would act as the intermediary elements between the new art form and the audience: they read the intertitles and often explained what was going on the screen. With the arrival of sound, this sort of mediation appeared to be at its deathbed, but, after a brief ‘flirt’ with multilingual versions (Gottlieb 1997), the European countries had to choose between subtitling and dubbing and later voice-over, as their national audiovisual translation modes, many of which are still in effect. These interrelations between ‘texts’ and audiences continued and have led to the mushrooming of numerous ‘new’ audiovisual translation modes, apart from the mainstream subtitling and revoicing practices. The fact remains that film directors, producers or simply distributors have always sought to make movies accessible to as many people as possible and if we leave the multiple screens available today, we have a myriad of venues where transmedial mediation could come into play. Bearing this in mind, we seek to reflect upon the evolution of mediation in the field of audiovisual translation, focusing more closely on subtitling, subtitling for the deaf and hard-of-hearing and audiodescription.