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Resumen: El artículo presenta una muestra de los primeros resultados de una investigación llevada a cabo por el Grupo de Experimentación de las Nuevas Tecnologías en el ámbito de la Traducción Audiovisual (Gent-Tau) vinculado a la Universitat Pompeu Fabra. Dicha investigación pone foco en la lengua de los medios de comunicación bajo la perspectiva del proceso de traducción, ya sea por sí mismo, ya por el modelo de lengua resultante; y se interesa por la aplicación de las nuevas tecnologías en el terreno de la traducción audiovisual a partir del uso de córpora monolingües y paralelos para el análisis de la problemática de dichos textos y su proyección en la docencia (Traducción, Comunicación Audiovisual, etc.), hasta el recurso del reconocimiento de voz como auxiliar del doblaje.

Resumen: This article aims to describe how written translations of audiovisual products change along the dubbing process until they reach the audience, focusing mainly on the synchronisation stage. The corpus is made up of the first reel of the Catalan and Spanish translations of three different films released in 2006 (Casino Royale, Good night, and good luck, and The Da Vinci Code). After a brief summary of the dubbing process and a short overview of the approaches to synchronisation found in the literature, the specific strategies found in a bottom-up analysis are highlighted, offering both a wide analysis of the general changes throughout the process and a closer analysis of the specific changes that occur in the synchronisation stage. A comparison of the strategies found in Catalan and Spanish is also included in order to assess whether different languages result in different strategies.

Resumen: The increasing popularity of audiovisual translation in recent years has contributed to a better understanding of the audiovisual world. Nevertheless, some modalities such as voice-over have not received thorough attention. In Poland, where voice-over is the prevailing audiovisual, one voice talent reads out the entire dialogue list in a monotonous way. The translated version is subject to time and space restrictions, and both the original and the translated soundtracks are audible at the same time, making it interesting to analyze a key aspect of voice-over: the process of synchronization. Departing from a categorization which originated within the field of dubbing, and which was later extended and applied to the voice-over of non-fictional products by Franco, Matamala and Orero, this article aims to assess whether voice-over isochrony, literal synchrony, kinetic synchrony and action synchrony are maintained in the voice-over of fiction genres in Poland, and if so, what strategies are used to achieve this. The corpus is made up of four 15-minutes samples from movies belonging to four different genres: a comedy (Whatever Works, directed by Woody Allen 2009), a drama (Marvin's Room, directed by Jerry Zaks 1996), an action movie (Spy Game, directed by Tony Scott 2001), and a musical (Nine, directed by Rob Marshall 2009). The study highlights the specificities of synchrony in fictional movies and opens the door for future research into this previously underestimated audiovisual transfer mode.

Resumen: This article analyses interjections, a very specific element of orality, in a corpus of sitcoms both dubbed into Catalan and originally shot in Catalan. After defining interjections and describing the corpus used to carry out the analysis, a comparison between the number of interjections contained in the dubbed sitcoms of the corpus and the number of interjections included in those originally shot in Catalan is presented. This data is also compared to the percentage of interjections found in a corpus of real spontaneous conversations in Catalan. Finally, the possible effects of the constraints of dubbing on the orality of dubbed products are discussed and the changes interjections undergo during this dynamic process are highlighted.

Resumen: The dubbing versus subtitling debate has been a recurrent topic in the audiovisual translation literature, but empirical research into the reception of both modes is still lacking. This article presents the results of an experiment that aimed to investigate to what extent comprehension, memory, and enjoyment of a film differ in a dubbed and a subtitled version in a country that traditionally uses dubbing, like Spain. Fifty-one young Spanish adults participated in the study, which measured general comprehension, dialogue recognition, face-name association and visual scene recognition, as well as evaluative measures including film appreciation, self-reported effort related to film viewing, and metacognitive judgments of memory.

Resumen: El artículo presenta de modo global los resultados obtenidos en las actividades de evaluación del proyecto europeo Immersive Accessibility (ImAc). El objetivo de dicho proyecto era investigar cómo los servicios de accesibilidad pueden integrarse en vídeos de 360º. Más concretamente, el artículo describe la metodología seguida en el proyecto ImAc y da cuenta de los resultados obtenidos en la evaluación de las herramientas desarrolladas, que incluyen un editor de subtítulos, un editor de audiodescripciones, un editor de lengua de signos, un gestor de contenidos y un reproductor de vídeos de 360º. El artículo también presenta los resultados de la evaluación de distintas estrategias aplicadas a los servicios de accesibilidad siguientes: subtitulado, audiodescripción, audiosubtitulado e interpretación en lengua de signos.