Explore the full ebook collection and download it now at textbookfull.

com

Dialogue Writing for Dubbing: An Insider's

Perspective Giselle Spiteri Miggiani

https://textbookfull.com/product/dialogue-writing-for-
dubbing-an-insiders-perspective-giselle-spiteri-miggiani/

OR CLICK HERE

DOWLOAD EBOOK

Browse and Get More Ebook Downloads Instantly at https://textbookfull.com

Click here to visit textbookfull.com and download textbook now
 Your digital treasures (PDF, ePub, MOBI) await
Download instantly and pick your perfect format...

Read anywhere, anytime, on any device!

Insider Risk and Personnel Security An introduction 1st

Edition Martin

https://textbookfull.com/product/insider-risk-and-personnel-security-
an-introduction-1st-edition-martin/

textbookfull.com

Recipe for Success An Insider s Guide to Bringing Your

Natural Food to Market Abig Steinberg

https://textbookfull.com/product/recipe-for-success-an-insider-s-
guide-to-bringing-your-natural-food-to-market-abig-steinberg/

textbookfull.com

The American Senate An Insider s History 1st Edition Neil

Macneil

https://textbookfull.com/product/the-american-senate-an-insider-s-
history-1st-edition-neil-macneil/

textbookfull.com

Corporate Liability for Insider Trading 1st Edition

Juliette Overland

https://textbookfull.com/product/corporate-liability-for-insider-
trading-1st-edition-juliette-overland/

textbookfull.com
Prioritization in Medicine: An International Dialogue 1st
Edition Eckhard Nagel

https://textbookfull.com/product/prioritization-in-medicine-an-
international-dialogue-1st-edition-eckhard-nagel/

textbookfull.com

Econophysics and financial economics : an emerging

dialogue 1st Edition Jovanovic

https://textbookfull.com/product/econophysics-and-financial-economics-
an-emerging-dialogue-1st-edition-jovanovic/

textbookfull.com

Thriving in the Healthcare Market: Strategies from an

Industry-Insider for Selling Your Product 1st Edition
Glenn E. Pearson
https://textbookfull.com/product/thriving-in-the-healthcare-market-
strategies-from-an-industry-insider-for-selling-your-product-1st-
edition-glenn-e-pearson/
textbookfull.com

Financial Accounting For Management : An Analytical

Perspective 5th Edition Ambrish Gupta

https://textbookfull.com/product/financial-accounting-for-management-
an-analytical-perspective-5th-edition-ambrish-gupta/

textbookfull.com

Allow Me to Introduce An Insider s Guide to the Occult Lon

Milo Duquette

https://textbookfull.com/product/allow-me-to-introduce-an-insider-s-
guide-to-the-occult-lon-milo-duquette/

textbookfull.com
 Giselle Spiteri Miggiani

DIALOGUE
WRITING FOR
DUBBING
An Insider’s Perspective
 Dialogue Writing for Dubbing

“A truly ground-breaking contribution to Audiovisual Translation, Dialogue

Writing for Dubbing: An Insider’s Perspective presents a meticulous picture of the
dubbing industry, rethinking ways in which dubbing scripts can better meet cli-
ent and audience expectations. It illustrates how translators and dialogue writers
can make creative yet systematic choices in their daily work. Based on long-term
professional practice, and accompanied by academic reflection, this beautifully
conceived book provides a detailed didactic guide to translation for dubbing,
and will soon constitute an essential asset in the field.”
—Frederic Chaume, Professor of Audiovisual Translation, Universitat Jaume I,
Spain, and University College London, UK

“Drawing on extensive first-hand practice in the dubbing industry, Spiteri

Miggiani has put together an extremely valuable and very clearly structured vol-
ume about the elaboration of a dialogue script for the revoicing of audiovisual
productions into multiple languages other than the original. Dialogue Writing
for Dubbing: An Insider’s Perspective is a treasure trove of very useful and rarely
found information about the practical and functional aspects of a dubbing
script. It is bound to become a classic and obligatory reading for practitioners,
researchers and trainers in dubbing, as well as for anyone with an interest in
audiovisual translation in general.”
—Pablo Romero-Fresco, Ramón y Cajal Researcher, Universidade de Vigo,
Spain, and Honorary Professor in Translation and Filmmaking, University of
Roehampton, UK
 Giselle Spiteri Miggiani

Dialogue Writing for

Dubbing
An Insider's Perspective
Giselle Spiteri Miggiani
Translation, Terminology and Interpreting Studies
University of Malta
Msida, Malta

ISBN 978-3-030-04965-2    ISBN 978-3-030-04966-9 (eBook)

https://doi.org/10.1007/978-3-030-04966-9

Library of Congress Control Number: 2018966701

© The Editor(s) (if applicable) and The Author(s) 2019

This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether
the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of
illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and trans-
mission or information storage and retrieval, electronic adaptation, computer software, or by similar or
dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication
does not imply, even in the absence of a specific statement, that such names are exempt from the relevant
protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this book
are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or
the editors give a warranty, express or implied, with respect to the material contained herein or for any
errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional
claims in published maps and institutional affiliations.

Cover illustration: © boonchai wedmakawand / Getty Images

This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
To Marguerite and Henry.
 Preface

This monograph deals with the preparation and elaboration of a dialogue

script for the revoicing of audiovisual productions into multiple lan-
guages other than the original. The script is tackled as a principal working
tool in the recording studios. Thus, focus lies on the practical and func-
tional aspects of a dubbing script rather than on translation issues. The
interlingual lip-synch dubbing process has been chosen over intralingual
dubbing, phrase synch dubbing, voice-over, and partial dubbing.
The subject matter at hand is a non-language-specific endeavour pro-
posing dialogue writing strategies and know-how, supported by an exem-
plified, analytical, and theoretical framework. It puts forward a threefold
perspective, that of a practitioner, researcher, and trainer in the field. This
work strives to bridge academia and the dubbing industry by suggesting
practical approaches and guidelines in a structured and methodical
manner.
The practitioner’s perspective is based on long-term professional dia-
logue writing practice as well as on familiarization with text manipula-
tion in the studios, professional roles, industry jargon, and the dubbing
process in general, acquired by active participation in numerous record-
ing sessions. This, accompanied with the exploration of dubbing scripts
“in the making”, provides an insider’s viewpoint that could be useful to
novice dialogue writers and possibly to scholars whose interest lies in the
analysis of translation for dubbing.
vii
viii Preface

The insider’s perspective is strengthened further by research into and

consultation with dubbing companies, deemed essential so as to widen
the frame of reference by including diverse tendencies in a number of
countries. Undoubtedly, this international outlook can never provide an
exhaustive picture of worldwide strategies and modalities and therefore
only aims at seeking common threads and/or contrasting approaches,
giving this review a more universal feel, and enhancing its potential of
adaptability to the culture and context of the individual reader. Similarly,
the theoretical framework offered in the monograph is in no way com-
prehensive; the selection of concepts and studies mentioned simply seek
to corroborate specific practical issues that are dealt with.
The monograph is divided into three main parts, each adopting a spe-
cific approach:

• Part I. The dialogue writing practice—a descriptive approach

• Part II. Strategies and know-how—a practical approach
• Part III. Black box revealed—an analytical approach

Part I seeks to provide the scenario which paves the way for the devel-
opment of the core of this monograph. This introductory section explores
the dubbing process and the related professional roles and those basic
theoretical notions that are relevant and associable with the contents
offered in Parts II and III. The focus lies on the constraints and numerous
tasks that the dialogue writer necessarily deals with, and on the possibility
of enhancing freedom and creativity in a constrained context. For this
reason, Part I also draws on other disciplines (literary criticism, film stud-
ies, classical poetics, creative writing, and cognitive informatics) in an
attempt to apply a few analogies to the field of dubbing and dialogue
writing. These are meant to have a functional purpose, and the potential
to develop dubbing or screenplay dialogue writing skills is explored.
Part II suggests practical tools that may help in handling the demands
of dialogue writing procedures investigated in Part I. This section seeks to
propose strategies and stratagems that could come in handy in trying to
comply with widespread norms, conventions, and all forms of restric-
tions. It offers practical know-how based on first-hand experience of
company guidelines, dialogue modifications witnessed during studio
 Preface ix

recording sessions, as well as consultation and discussion with dubbing

companies, directors, actors, and assistants. The strategies proposed aim
at enhancing the functional and linguistic quality of dubbing scripts, in
accordance with those standards that scholars in the academic field tend
to agree upon, in general. Part II also thoroughly explores script layouts,
formats, textual and paratextual elements, as well as dubbing deliverables:
target language scripts, segmented scripts, glossaries, postproduction
sheets, and so on.
Part III illustrates dubbed dialogue excerpts in an attempt to demon-
strate the application of the previously discussed strategies aimed at script
functionality and the attainment of generally accepted quality standards.
This third section is inspired by the genetic analysis approach proposed
by Mabel Richart Marset and therefore walks the reader through the vari-
ous stages of the rewriting process, from the initial translation all the way
up to the final recorded version. The numerous in-between drafts of a
variety of dialogue scripts are meant to offer insights into adaptation
choices and the reasons that lie behind them. The creative decision-mak-
ing process is explored during this analytical disclosure of the dubbing
script black box contents.
The examples illustrated throughout the monograph are drawn from
first-hand material and include excerpts from TV movies, series, and sit-
coms among which Castle, Make It or Break It, House, M.D., The Big Bang
Theory, Potlach, Banshee, Dracula, The Tomorrow People, Psych, April
Showers, and Rescue Special Ops.
The ultimate objective of this treatise is to provide novice dubbing
translators, dialogue writers and trainees with some of the expertise that
is usually acquired in time, through practical experience in the profes-
sion. There is no single set formula to dialogue writing. This monograph
does not prescribe any rules; it simply tries to propose a set of tools that
may hopefully prove to be an asset for those trainees who eventually come
to terms with the industry. Having an insight into the various possible
scenarios may help to enhance interaction with potential clients. It may
also prove interesting to scholars who, throughout their research and
studies, may not have experienced the insider’s perspective.

MaltaGiselle Spiteri Miggiani

 Acknowledgements

My gratitude goes to all those persons who in some way or another sup-
ported this project and who directly or indirectly contributed to its con-
tents and completion.
My thanks go to the anonymous peer reviewers for enabling the pub-
lication of this monograph by returning positive feedback and useful sug-
gestions. Thanks also go to the publishers and to the editors, Judith Allen,
Cathy Scott, and, most of all, senior editorial assistant, Beth Farrow, for
her patience throughout.
I am extremely grateful to abc Studios, the Walt Disney Company, and
the Walt Disney Company Italia, for granting their consent to quote
script excerpts from their productions. In particular, I would like to thank
Roberto Morville, Luigi Condorelli, Andrew Aherne, John Airlie, and Jo
Forey for helping me pursue and obtain the necessary permissions.
I would also like to show my appreciation to Dubbing Brothers, for all
the experience gained throughout our long-standing collaboration and
co-operation along the years, and particularly for providing me with their
bande rythmo software and relative training. In particular, I would like to
thank Monica Falcetti, Micaela Prisco, Simona Silvestri, and Massimo
Carnevali. I am also grateful to Pierre Fonsagrive for introducing me to
the détection tasks.
My thanks go to a number of international localization companies for
dedicating long hours of discussion time and for providing inside
xi
xii Acknowledgements

i­nformation on their modus operandi: in particular SDI Media (with

branches all over the world, its headquarters being in Los Angeles,
California, with centralized hubs in Warsaw, Poland, and Manila,
Philippines), The Kitchen (Emmy award-winning company based in
Miami, Los Angeles, Caracas, South Africa, Russia, Morocco, Italy, Spain,
South America, Germany, Turkey, and Moldova), and Screens
International (based in Beirut, Montreal, London, Los Angeles, and
Mumbai). I would like to thank Mario Daher for his enormous patience.
My thanks go to Dr. Vincenza Minutella (Università degli Studi di
Torino) for her precious consultation on references dealing with transla-
tion issues; Ping Deng (University of Petroleum, Beijing) and Professor
Jin Haina (Communication University of China), for material and
insights into the Chinese dubbing industry; translator and dialogue
writer, Jia Xiuyan (August First Film Studio, Beijing), for granting per-
mission to quote her dubbing scripts in Chinese; Professor Anthony
Aquilina (University of Malta), for consultation on French-language
transcription and translation; Dr. Phyllisienne Gauci (University of
Malta), for consultation on SLA; Saeed Ameeri (Ferdowsi University of
Mashhad), for insights into the Iranian industry; Katy Hanna, for con-
sultancy on Arabic-language translation; filmmaker Kenneth Scicluna
(seawardfilms.com), for material and consultation on film language;
Take2 Productions (take2.com.mt), for providing a film still and grant-
ing permission for its use in the monograph; and last but not least,
graphic artist Sara Chersoni (behance.net/sarachersoni), for enriching
this monograph with her excellent sketches.
My gratitude goes to colleagues in the dubbing industry, in particular
Stefanella Marrama, Adelisa Pitti, and Marco Bonetti, for teaching me so
much and for their guidance and continued appreciation of my work. I
am also grateful to Professor Joseph Eynaud (University of Malta) and
Professor Joseph Brincat (University of Malta) for their unceasing aca-
demic support throughout the years. I am grateful to my friends, and my
brother Jean-Claude, for their patience, and also to the students I have
taught so far, whose questions and feedback have helped immensely in
identifying the necessary content for didactic purposes.
My special gratitude goes to Professor Frederic Chaume (Universitat
Jaume I/UCL) for his generosity with material, and for his precious
 Acknowledgements xiii

insights and advice. Thank you for being a constant source of encourage-
ment, inspiration, and positivity.
My heartfelt gratitude goes to Henry and Marguerite, for their encour-
agement and invaluable practical assistance in the realization of this proj-
ect. Thank you both for your constant support in my profession as a
dialogue writer and as an academic, but most of all for your loving dedi-
cation throughout.
My immense gratitude goes above all to Paolo for patiently supporting
me and giving this project priority and value. Thank you for your contin-
ued support throughout the years of my career in the dubbing field.
Last but not least, my gratitude goes to three of my mentors who have
contributed enormously to my dialogue writing profession and who
unfortunately have left this world and the Italian dubbing family way too
soon. Thank you for all that you have taught me and for believing in me
from the start. This book is in your memory.

Sergio Patou-Patucchi
Danilo De Girolamo
Carlo Carloni
 Contents

Part I The Dialogue Writing Practice    1

1 Dialogue Writing Set in Context  3

1.1 The Dubbing Process and Main Professional Roles   3
1.1.1 Sound Technicians   7
1.1.2 Dubbing Directors   9
1.1.3 Dubbing Assistants  11
1.1.4 Dubbing Actors  11
1.1.5 Translators and Dialogue Writers  12
1.2 Recording Modus Operandi and Software Tools  14
1.2.1 The Bande Rythmo 16
1.2.2 Other Software Applications  22
1.2.3 Collaborative Dubbing  24
1.3 Dialogue Writing: Definition and Terminology  25
1.3.1 Synchronies and Constraints  29
1.4 Quality Standards  33
1.4.1 Dubbese and Its Seemingly Universal Language
Identity 35
References 41

xv
xvi Contents

2 Bridging Disciplines: Analogies and Applicable Devices 49

2.1 Enhanced Creativity and Freedom in a Constrained
Context 49
2.2 Creative Writing Techniques  51
2.3 Classical Poetics and Literary Criticism  54
2.3.1 Studium or Ingenium  56
2.4 Screenwriting  58
2.4.1 From Dialogue Writing to Screenwriting  60
2.4.2 Accepting the Notion of Loss  61
References 62

Part II Strategies and Know-How   67

3 Dialogue Writing Itinerary 69

3.1 Establishing a Method  70
3.2 Impersonating the Dubbing Actors  72
3.3 The Rhythmic Framework  76
3.4 Inserting Dubbing Notations  79
3.5 Isochrony  80
3.6 Kinesics and Lip Synchronization  82
3.7 Working Methodology and Its Impact on the Dialogue  85
3.7.1 Cognitive Considerations  88
3.8 Readjusting the Language: Self-Revision and Fine-­
Tuning 92
3.9 Workstation Logistics and Speed Efficiency  94
References 97

4 Dubbing Deliverables101
4.1 Postproduction Material 101
4.2 Target Language Scripts 107
4.2.1 Loop Segmentation 110
4.2.2 Dialogue Segmentation 112
4.3 Dubbing Glossaries or Consistency Sheets and Metadata
Files116
 Contents xvii

4.4 Postproduction Recording Sheet 119

References122

5 Script Components125
5.1 Breaking Down the Dubbing Script 125
5.2 Tempo Markers and Time Codes 126
5.3 Dubbing Notations 129
5.3.1 A Dubbing Notations Proposal 137
5.3.2 Use of Notations: Dubbing Versus Screenwriting 139
5.4 Background Noise 143
5.5 On-Screen Text or Graphics 148
5.6 Front Matter: Heading, Character List, Synopsis, Titles 152
5.7 Recaps 155
5.8 Headers, Page Numbers, Translator’s Notes 158
References159

6 Standards and Practices161

6.1 Company Guidelines 161
6.2 Numbers, Measurements, Conversions 162
6.3 Interjections 162
6.4 Spelling and Punctuation 163
6.5 Character Allocation 165
6.6 Foreign Language, Fictitious Language, Accents 166
6.6.1 Identifying a Practical Strategy 169
6.7 Songs and Vocal Ditties 174
6.8 Language Style and Blacklisted Expressions 176
6.9 What Not to Include in the Dubbing Script 180
References181

Part III Black Box Revealed 189

7 Applied Strategies191
7.1 The Dialogue Rewriting Process 191
7.1.1 Text Modification During Recording 194
xviii Contents

7.1.2 A Genetic Analysis Approach 195

7.2 Technical Synchronization 197
7.2.1 Synchronies and Dubbing Notations 197
7.2.2 Synchronies and Dubbese 204
7.3 Intertextual References 214
7.4 Wordplay 220
7.4.1 Wordplay and Visuals 220
7.4.2 Wordplay and Humour 226
7.4.3 Wordplay and Cultural and Intertextual
References228
7.5 Natural-Sounding Dialogue 234
7.6 Censorship 248
7.7 Specialized Jargon 253
References260

Index265
 List of Figures

Fig. 1.1 Dialogue extracted and replaced. (Sketch drawing by Sara

Chersoni)5
Fig. 1.2 The dubbing process and main professional roles. (Adapted
from Chaume 2012) 6
Fig. 1.3 Textual itinerary (a) 14
Fig. 1.4 Recording modus operandi (a). (Sketch drawing by Sara
Chersoni)17
Fig. 1.5 Recording modus operandi (b). (Sketch drawing by Sara
Chersoni)18
Fig. 1.6 The bande rythmo19
Fig. 1.7 E-Rytmo factory, in-house software application owned and
used exclusively by Dubbing Brothers 21
Fig. 3.1 Proposed order of tasks (a) 72
Fig. 3.2 Phonetic synch chart 83
Fig. 3.3 Proposed order of tasks (b) 86
Fig. 3.4 Textual itinerary (b) 87
Fig. 3.5 Workstation logistics. (Sketch drawing by Sara Chersoni) 96
Fig. 4.1 Widely used Italian layout. Excerpt drawn from The Big Bang
Theory (Warner Brothers 2007–2019), Season 3, Episode 21 108
Fig. 4.2 Chinese dubbing script. Excerpt drawn from Men in Black 3
(Columbia Pictures 2012) 109

xix
xx List of Figures

Fig. 4.3 Loop segmentation 111

Fig. 4.4 Postproduction recording sheet 120
Fig. 5.1 OTS shot. Film still drawn from Limestone Cowboy (Take2
Entertainment, 2016) 140
 List of Tables

Table 4.1 Dubbing consistency sheet 117

Table 4.2 Terminology database 118
Table 5.1 Dubbing notations proposal 138
Table 5.2 Character list template in Arabic 154
Table 7.1 Synchronies and dubbing notations I(a) 198
Table 7.2 Synchronies and dubbing notations I(b) 200
Table 7.3 Synchronies and dubbing notations I(c) 201
Table 7.4 Synchronies and dubbing notations I(d) 202
Table 7.5 Synchronies and dubbing notations I(e) 203
Table 7.6 Synchronies and dubbese I(a) 206
Table 7.7 Synchronies and dubbese I(b) 207
Table 7.8 Synchronies and dubbese I(c) 209
Table 7.9 Synchronies and dubbese I(d) 210
Table 7.10 Synchronies and dubbese I(e) 212
Table 7.11 Intertextual references I(a) 216
Table 7.12 Intertextual references I(b) 217
Table 7.13 Wordplay and visuals I(a) 222
Table 7.14 Wordplay and visuals I(b) 224
Table 7.15 Wordplay and visuals I(c) 225
Table 7.16 Wordplay and humour 227
Table 7.17 Wordplay and cultural and intertextual references I(a) 231
Table 7.18 Wordplay and cultural and intertextual references I(b) 233
Table 7.19 Wordplay and cultural and intertextual references I(c) 234

xxi
xxii List of Tables

Table 7.20 Natural-sounding dialogue I(a) 236

Table 7.21 Natural-sounding dialogue I(b) 237
Table 7.22 Natural-sounding dialogue II(a) 240
Table 7.23 Natural-sounding dialogue II(b) 241
Table 7.24 Natural-sounding dialogue III(a) 244
Table 7.25 Natural-sounding dialogue III(b) 245
Table 7.26 Natural-sounding dialogue III(c) 246
Table 7.27 Censorship I 249
Table 7.28 Censorship II 249
Table 7.29 Censorship III 249
Table 7.30 Censorship IV 250
Table 7.31 Censorship V 250
Table 7.32 Censorship VI 251
Table 7.33 Censorship VII 252
Table 7.34 Censorship VIII 252
Table 7.35 Specialized jargon I(a) 253
Table 7.36 Specialized jargon I(b) 254
Table 7.37 Specialized jargon II(a) 255
Table 7.38 Specialized jargon II(b) 256
 Part I
The Dialogue Writing Practice
A Descriptive Approach
 1
Dialogue Writing Set in Context

This first part of the monograph is intended to pave the way for the prac-
tical and functional tasks and demands that belong to the dubbing and
dialogue writing process. The insider’s description of the dubbing and
dialogue writing process is accompanied and supported by a scholarly
outlook on the subject matter and is aimed at introducing specific aspects
and issues that will be dealt with later from a practical viewpoint.

1.1  he Dubbing Process and Main

T
Professional Roles
A dubbed production is obtained by replacing the original voice/dialogue
track with a newly recorded one in the target language (TL); this is mixed
technically into the rest of the international soundtrack. The recording
usually takes place in the territory of the TL country, though there are
exceptions, as in the case of multilanguage localization companies that
have their studios based only in one country and do not rely on dubbing
studios in foreign territories. The newly inserted dialogues are synchro-

© The Author(s) 2019 3

G. Spiteri Miggiani, Dialogue Writing for Dubbing,
https://doi.org/10.1007/978-3-030-04966-9_1
4 G. Spiteri Miggiani

nized to the visuals to create the impression that the original actors on
screen are speaking the dubbed TL.
The intention is not to deceive the viewers “that they are watching an
original” but to “encourage the illusion of a homogenous whole”
(Whitman-Linsen 1992, p. 17). The aim, therefore, is an invisible cut-­
and-­paste activity in order to maintain the suspension of disbelief1 or,
rather, the double suspension of disbelief (Bosseaux 2015, p. 69 drawing
on Sánchez Mompeán 2012, p. 713). Likewise, Martínez Sierra (2008,
p. 48) drawing on Caillé (1960, p. 108) describes the dubbing process as
an illusion of an illusion. This effect is obtained mainly through the syn-
chronization between text and visuals, the quality of which determines
the level of credibility obtained, as also the quality of voice selection,
performance, newly recorded elements and effects, and final sound mix-
ing, not to mention the dialogues. Figure 1.1 visually depicts the idea of
the original dialogues being extracted from a whole and replaced. The
new dialogues must fit perfectly into a complex filmic system made up of
several other codes, which are in interplay with each other.
Whitman-Linsen (1992), Chaves (2000), Paolinelli and Di Fortunato
(2005), Le Nouvel (2007), Jüngst (2010), Chaume (2012), Martínez
Sierra (2012), Chorao (2013), Cornu (2014), Lukic (2015), and
Machado (2016), among other scholars and practitioners, have described,
at length, the dubbing process and the main professional roles involved.
Since this chapter aims at placing dialogue writing within context, it is
necessary to present a quick overview of the dubbing process and to
repropose the key features of the various roles that support and form part
of the dubbing framework. The perspective offered is based on profes-
sional experience and observation in the dubbing industry and backed by
the works of academic researchers and scholars. Additional research con-
ducted for the purposes of this monograph, and intended to establish
dubbing modalities and tendencies across countries and cultures, has also
been taken into consideration.
This work does not engage in a chronological account of how dub-
bing or dialogue writing developed throughout the years and the
impact that technological advancements had on the recording meth-
ods, therefore it is necessary to mention specific scholarly contributions
that tackle the evolution of dubbing. Cornu (2014) and Le Nouvel
 Dialogue Writing Set in Context 5

(2007) both lay special interest on the various stages of dubbing in

France and therefore necessarily investigate the bande rythmo method
and the calligraphy system used for the latter. A diachronic discussion
on dubbing methods and dialogue writing would also need to make
reference to Pommier (1988), Whitman-Linsen (1992), Herbst (1996),
Chaves (2000), and Paolinelli and Di Fortunato (2005), among others.
The dialogue writing profession is a solitary one, this notwithstanding,
as Martínez Sierra (2012, p. 80) rightly points out, the dubbing process
is based on teamwork, consequently on the interdependence of all the
so-called dubbing agents. Understanding the manner in which the other
dubbing practitioners will be intervening on the TL scripts, helps transla-
tors and dialogue writers to position their work and determine a specific
approach, without losing sight of the overall picture. Needless to say,

Fig. 1.1 Dialogue extracted and replaced. (Sketch drawing by Sara Chersoni)
6 G. Spiteri Miggiani

visiting the actual dubbing recording studios is the best way for dialogue
writers to acquire awareness of the other operations involved and the
process as a whole.
The postproduction chain hosting the dubbing process can be sum-
marized as follows, and in this specific order: production companies,
intermediary agents and/or international distributors, purchasers (e.g.,
TV networks), dubbing companies, and screening platform (e.g., cin-
ema, TV channel, or VOD). Figure 1.2, on the other hand, illustrates the
key phases in the dubbing process and the professional roles usually
involved at each stage. The diagram does not, in any way, represent an
exhaustive breakdown of the dubbing process, which is also made up of
other tasks and processes. The summoning of actors, the remake phase
(during which certain excerpts are rerecorded and edited), and the tasks

Translator
Dubbing script in target language
Dialogue writer

Dialogue writer/
Loop segmentation Dubbing assistant/
(when applicable)
In-house operator

Dubbing director
Voice casting & actors’ schedule
Dubbing assistant

Dubbing actors
Dubbing director
Recording Dubbing assistant
Sound technician

Sound technician
Sound mixing & editing (together with
director/assistant)

Fig. 1.2 The dubbing process and main professional roles. (Adapted from
Chaume 2012)
 Dialogue Writing Set in Context 7

and additional professional roles involved in using the bande rythmo

method (Le Nouvel 2007; Cornu 2014) are typical examples.
The dubbing practitioners can be in-house or freelance depending on
company policies and norms that vary from one country to another.
Freelance agreements seem to be a more widespread or popular method,
perhaps with the exception of sound engineers and dubbing assistants
who are often part of the in-house team.

1.1.1 Sound Technicians

Sound or audio technicians are usually responsible solely for the techni-
cal aspects, mainly dialogue/vocal recording, mixing, mastering, and
editing as well as backup and data management of the recording material;
they also ensure that the recorded track is free from any unnecessary
noise, be it the rustling sound of hard copy scripts, any pounding on the
microphone, or unrequired body sounds such as the actors breathing or
sniffing, which can easily elude everyone else’s attention in the studios.
Their trained ears also enable them to identify unclear articulation or
incorrect diction pronounced by the actors, hence providing added sup-
port to dubbing directors and assistants. Sound engineers are also respon-
sible for volume levels, as well as audio effects such as filtered or echoed
dialogue lines or any particular room tones required in specific scenes.
The skill with which the newly recorded voice tracks are mixed into the
original sound track can have a huge impact on the overall credibility of
the dubbed product. It can therefore be considered as a distinct quality
standard (Chaume 2007), which matter will come up for discussion, at a
later stage.
Sound engineers are also responsible for the blending in of newly
recorded background murmur, sometimes enhancing it further in vol-
ume when compared to the original, and on other occasions they may
also need to add digital or foley sounds (manually created sound effects,
Wright and Lallo 2009) drawn from prerecorded samples. This is usu-
ally required in the case of sound effects that have been originally
recorded on the voice track and would therefore be lost once the
­original dialogue track is substituted. Music and effects are, more often
8 G. Spiteri Miggiani

than not, recorded on a separate track, but there could also be other
sounds, originally captured on set, along with dialogue, which have been
retained and not replaced in the recording studios. Sound engineers are
also responsible for the final synchronization of the sound to the images.
During the recording phase, actors follow the sound engineers’ direc-
tions where distance to the microphone is concerned. Technicians need
to ensure consistent distance from the microphone throughout, unless a
deliberate effect is desired, such as, an actor’s voice heard at a distance due
to a long shot. In that case, technicians may ask actors to actually take a
step back from the microphone in order to reproduce a physical effect of
distance, instead of opting for digital intervention, at a later stage.
Actors can avoid repeating and rerecording entire dialogue lines or
monologues that contain minimal errors because these can be singled
out, rerecorded, and reintegrated into the recorded track. The success of
such an imperceptible stitching process depends very much on the sound
technicians’ ability and experience. It is not easy to replace and reinsert
one or two words that have been recorded in a different pitch, tone, or
volume and that might not match the rest of the line. Therefore, it is up
to the dubbing directors to decide whether it is best to repeat the whole
dialogue block. The latter option is sometimes considered easier for the
actor, also for performance reasons. In the postsynchronization phase, the
audio technicians (not necessarily the ones who carry out the recording
phase) are able to edit the newly mixed audio track. It is possible to effect
slight adjustments to the onset timing of the dialogue, by advancing or
moving back the recorded voice by half of a second or even less, in order
to obtain perfect mouth synchrony. Certain adjustments also occur dur-
ing the recording phase, but in the final postsynchronization phase the
product is sent to the quality control department of the dubbing com-
pany and is revised, checked, and supervised from an audio-technical
perspective, in its entirety, usually in the presence of dubbing directors
and/or assistants.
In certain countries and companies, the dubbing director and sound
technician are sometimes one and the same person,2 especially where
digital recording workstations are used. Such a director, who would
have to be familiar with the digital tools, can also take over the techni-
cal tasks, at least in the recording phase. The mixing and mastering
 Dialogue Writing Set in Context 9

can then be entrusted to someone else. It is not surprising, therefore,

that, in such cases, the director will be covering the tasks of the dubbing
assistant, thus adopting a minimal cost-and resource-efficient method.

1.1.2 Dubbing Directors

One of the main tasks of dubbing directors is voice selection, that is,
finding suitable voices to replace the original actors’ voices. This too is
included among the dubbing quality standards, since it has an impact on
the viewer perception of the final dubbed product (Bosseaux 2015,
p. 59). Martínez Sierra (2008, p. 50, drawing on Chaves 2000, p. 142)
comments on the fact that the audience expects actor-voice consistency
throughout long-term dubbed projects, and this contributes towards the
credibility of the product.
Voice selection is often done through familiarity with actors, that is,
the directors often know which dubbing actors are suitable for specific
roles or characters. Alternatively, they can resort to voice castings that
enable them to listen to various voices that could be used for specific
characters (Chaume 2012). This is especially done when the production
house of the original product is directly supervising, or is also involved,
in the localization process of the product, and hence might require
recorded samples of different voices to choose from. In this case the
­selection would not be up to the dubbing director (On celebrity voice
casting see Sánchez Mompeán 2015, pp. 278–281).
Voice castings are undertaken regularly irrespective of any specific
dubbing project. Dubbing directors test new voices, listen to their tim-
bre, pitch, and general voice texture and qualities. They also consider
articulation, diction, recitation, and take note of the voice features such
as potential age suitability, gender, and so on, in order to enrich their
reserve of dubbing voice resources. Such auditions, generally, make use of
any dubbing script that is available at the recording studios. These voice
talents could be called upon anytime, if and when the appropriate occa-
sion arises.
Nowadays, companies that offer dubbing services on a global deliv-
ery model basis, be it online (through a file transfer protocol server) or
10 G. Spiteri Miggiani

via a cloud infrastructure, showcase voice talent recording samples

online. Voice samples are proposed as part of the company’s portfolio
of available resources; this way clients can determine whether to
engage its services, and in certain cases be able to express their own
preference with regards to voice selection. This is typical of companies
that offer multiple language media localization services, for instance,
Indian companies that provide dubbing services in around 20 inter­
national languages, over and above a number of Indian regional
languages.
Ultimately, the dubbing directors are responsible for the end prod-
uct in its entirety. They have to integrate the efforts of all the other
practitioners to create a homogeneous result. Personal taste has an
impact too, on many levels. The directors, sometimes also referred to as
art directors, have an overview of the full picture, which provides an
external observation point necessary in choosing a way forward. During
the recording phase, they often modify the dubbing script according to
actors’ needs or client requirements (Bosseaux 2015, p. 62). Sometimes
such changes are dictated by personal taste and judgement. At the end
of the day, it is their responsibility to determine the suitability or oth-
erwise of certain dialogue writing strategies. They also have to ascertain
consistency in content, language, and style, when several dialogue
writers are involved in the same dubbed long-term serial project. The
director’s role may be compared to that of a seamstress who has to carry
out dress alterations directly on the model. The dress is the dubbing
script, while the model is the actor. Dubbing directors are very often
dialogue writers too and may therefore undertake both tasks, particu-
larly in the case of feature films (usually with the exclusion of the initial
translation).
Dubbing directors also guide the actors throughout the recording.
The actors, usually, only read the takes or loops that they have to recite
and therefore need to be filled in with plot details and characterization.
In this case, therefore, dubbing directors can be compared to theatre
directors who guide the actors’ performance, suggesting intonation or
emphasis. Most importantly they explain the intention conveyed in each
line, “what the character feels and what message is intended to be
 Dialogue Writing Set in Context 11

imparted” (Whitman-Linsen 1992, p. 82). Last but not least, the direc-
tors usually supervise the postsynchronization mixing and editing phase
jointly with the sound engineers.

1.1.3 Dubbing Assistants

Dubbing assistants do not always form part of the team. When they do,
their main tasks include segmenting the TL dialogue list into loops,
organizing the recording schedule, summoning the actors, and monitor-
ing technical synchronization throughout the recording sessions. This
implies telling the actors to slow down or speed up, if necessary, and
watching out for lip-synch issues. Assistants are also vigilant on diction,
articulation, and phonaesthetics in general. In the absence of dubbing
assistants, these tasks are carried out by the other professional roles (dub-
bing directors, mainly). Loop segmentation would be entrusted to dia-
logue writers or dubbing directors; the latter would also handle synch
issues during recording, while the language or administrative depart-
ment of the dubbing company would handle all the practical and logisti-
cal issues. Dubbing assistants also decide the order and organization of
loop recording, and during the dubbing sessions their role may include
calling out the next take to be recorded, just like film assistants who use
the clapperboard.

1.1.4 Dubbing Actors

Dubbing actors are actors who have been casted to recite the dialogue
list in the TL and lend their recorded voices to the actors on screen. As
mentioned earlier, the actors only read the takes or lines they are meant
to record. They first perform a brief rehearsal of their lines while the
take is run through on screen and heard in the recording studio.
Subsequently, the original volume is silenced and the recording trial
runs commence until a final version that satisfies the director is obtained
and retained. The director gives instructions and suggestions between
one trial and another. Chaume (2012) describes the process as a
Discovering Diverse Content Through
Random Scribd Documents
law in creating the Project Gutenberg™ collection. Despite these
efforts, Project Gutenberg™ electronic works, and the medium
on which they may be stored, may contain “Defects,” such as,
but not limited to, incomplete, inaccurate or corrupt data,
transcription errors, a copyright or other intellectual property
infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be
read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in
paragraph 1.F.3, the Project Gutenberg Literary Archive
Foundation, the owner of the Project Gutenberg™ trademark,
and any other party distributing a Project Gutenberg™ electronic
work under this agreement, disclaim all liability to you for
damages, costs and expenses, including legal fees. YOU AGREE
THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT
EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE
THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of
receiving it, you can receive a refund of the money (if any) you
paid for it by sending a written explanation to the person you
received the work from. If you received the work on a physical
medium, you must return the medium with your written
explanation. The person or entity that provided you with the
defective work may elect to provide a replacement copy in lieu
of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund.
If the second copy is also defective, you may demand a refund
in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set

forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’,
WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this
agreement violates the law of the state applicable to this
agreement, the agreement shall be interpreted to make the
maximum disclaimer or limitation permitted by the applicable
state law. The invalidity or unenforceability of any provision of
this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the

Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and
distribution of Project Gutenberg™ electronic works, harmless
from all liability, costs and expenses, including legal fees, that
arise directly or indirectly from any of the following which you
do or cause to occur: (a) distribution of this or any Project
Gutenberg™ work, (b) alteration, modification, or additions or
deletions to any Project Gutenberg™ work, and (c) any Defect
you cause.

Section 2. Information about the Mission

of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new
computers. It exists because of the efforts of hundreds of
volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project
Gutenberg™’s goals and ensuring that the Project Gutenberg™
collection will remain freely available for generations to come. In
2001, the Project Gutenberg Literary Archive Foundation was
created to provide a secure and permanent future for Project
Gutenberg™ and future generations. To learn more about the
Project Gutenberg Literary Archive Foundation and how your
efforts and donations can help, see Sections 3 and 4 and the
Foundation information page at www.gutenberg.org.

Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-
profit 501(c)(3) educational corporation organized under the
laws of the state of Mississippi and granted tax exempt status
by the Internal Revenue Service. The Foundation’s EIN or
federal tax identification number is 64-6221541. Contributions
to the Project Gutenberg Literary Archive Foundation are tax
deductible to the full extent permitted by U.S. federal laws and
your state’s laws.

The Foundation’s business office is located at 809 North 1500

West, Salt Lake City, UT 84116, (801) 596-1887. Email contact
links and up to date contact information can be found at the
Foundation’s website and official page at
www.gutenberg.org/contact
 Section 4. Information about Donations to
the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission
of increasing the number of public domain and licensed works
that can be freely distributed in machine-readable form
accessible by the widest array of equipment including outdated
equipment. Many small donations ($1 to $5,000) are particularly
important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws

regulating charities and charitable donations in all 50 states of
the United States. Compliance requirements are not uniform
and it takes a considerable effort, much paperwork and many
fees to meet and keep up with these requirements. We do not
solicit donations in locations where we have not received written
confirmation of compliance. To SEND DONATIONS or determine
the status of compliance for any particular state visit
www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states

where we have not met the solicitation requirements, we know
of no prohibition against accepting unsolicited donations from
donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot

make any statements concerning tax treatment of donations
received from outside the United States. U.S. laws alone swamp
our small staff.

Please check the Project Gutenberg web pages for current

donation methods and addresses. Donations are accepted in a
number of other ways including checks, online payments and
credit card donations. To donate, please visit:
www.gutenberg.org/donate.

Section 5. General Information About

Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could
be freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose
network of volunteer support.

Project Gutenberg™ eBooks are often created from several

printed editions, all of which are confirmed as not protected by
copyright in the U.S. unless a copyright notice is included. Thus,
we do not necessarily keep eBooks in compliance with any
particular paper edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg
Literary Archive Foundation, how to help produce our new
eBooks, and how to subscribe to our email newsletter to hear
about new eBooks.
Welcome to our website – the ideal destination for book lovers and
knowledge seekers. With a mission to inspire endlessly, we offer a
vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
literature. Each book is a new journey of discovery, expanding
knowledge and enriching the soul of the reade

Our website is not just a platform for buying books, but a bridge
connecting readers to the timeless values of culture and wisdom. With
an elegant, user-friendly interface and an intelligent search system,
we are committed to providing a quick and convenient shopping
experience. Additionally, our special promotions and home delivery
services ensure that you save time and fully enjoy the joy of reading.

Let us accompany you on the journey of exploring knowledge and

personal growth!

textbookfull.com