If translation is an effort in faithful recreation, a translator must consider as thoroughly as possible the medium of the source, its essence, and work toward achieving it as the foundation of the translation. For a written text, this can seem (deceptively) simple, for written language has a static quality once on the page, supposedly, distinct from its author. One simply needs to reproduce the language and tone.
But with films or television, this “recreation of essence” is not such a seemingly straightforward endeavor, as the words are real voices originating from real, visible people. A crucial decision must be made: whether to dub the voices or add subtitles.
The first option is a sort of usurpation, while the second is a concession. To dub is to fundamentally alter the work, to silence true voices for others that cannot escape artificiality. It suggests that “meaning” is distinct from that which makes it, and implies that meaning or content is translation’s most important aim. It denies voice. It understands translation as static, to be inevitably achieved.
Subtitling, on the other hand, takes a markedly different view of translation. For these translators, the speaker is essentially linked with his or her spoken words (as an author with his or her written words) and thus, any translation that replaces it with another is an inherent failure.
However, there are of course more practical questions to be considered, as most viewers, regardless of the particular TV program or film, won’t likely be concerned with the issues above. Above all, it becomes a question of enjoyment, and although enjoyment varies, translators have generally worked toward translations that will be enjoyed by as many people as possible.
In the Americas, the vast majority of foreign films are not dubbed for theatrical release, although many are afterward released on DVD in both dubbed and subtitled versions. In Spanish-speaking countries, most foreign language TV programs are dubbed and highly popular, whereas the U.S. above all rarely shows foreign language programs. Those that are shown are normally not dubbed or subtitled, as they are expected to appeal to a small and highly specific audience.
What do these trends suggest about the regions’ ideas and opinions of television/film entertainment, foreign languages, culture exchange, and translation? Should they be criticized, and if so, what is a better alternative? Among all of this, what are the responsibilities of the translator? What aim(s) should he or she strive toward?
