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Resumen: PARTE PRIMERA: capítulo I. Introducción; capítulo II. Europa ante la aparición del cine sonoro; capítulo III. España frente al cine sonoro; capítulo IV. La política de traducción cinematográfica en España. SEGUNDA PARTE: capítulo V. Metodología de análisis de la traducción audiovisual; capítulo VI. Análisis de Sangre y Arena: Normas de traducción; capítulo VII. Conclusiones. Informe. Anexo.

Resumen: The transfer of offensive and taboo language in subtitling may position translators' choices in a challenging and controversial situation, given the effect that such terms can cause on the audience (Díaz Cintas 2001a). Nowadays, it seems that dealing with this type of language starts to gain more attention in academic circles, as it belongs to colloquial language within a low register, and as such we do speak in diverse manners depending on the context we are in. This paper delves into the way offensive and taboo language has been subtitled into European Spanish. In order to conduct this study, the subtitling of the DVD version of Quentin Tarantino's multilingual film Inglourious Basterds (2009) has been described and analyzed, resorting to a multi-strategy design (Robson 2011) which combines quantitative with qualitative data, under the umbrella of the descriptive translation studies paradigm. Accordingly, the main purpose of this analysis is to determine any regularities in the way in which offensive and taboo language has been dealt with in this particular case study, considering the technological restrictions of subtitling as well as the translational strategies employed. Thus, this study aims to shed some light on the way this type of language has been transferred on the screen.

Resumen: Film translation in China began as early as 1949 and has been developing very fast. This article aims at providing an overview of the current situation of film translation in China and explores the two major types of English-Chinese film translation: dubbing and subtitling. Therefore, it can be roughly divided into two parts. The first part constitutes a general background for the study of film translation. The author of this article first discusses film's origin and nature, the features of film language and the classification of film translation. Of the four categories of film translation (subtitling, lip-sync dubbing, narration, and free-commentary), dubbing and subtitling are the main forms used in China. Then the differences between the two types and social preference for them are analyzed. The author also presents a summary of film translation's development and current studies on this topic. The second part probes into the details of dubbing and subtitling. This article investigates the features and technical constraints of dubbing and subtitling. The main techniques adopted in practice are illustrated through specific examples. Both forms have their relative advantages and disadvantages. In subtitling, standardization and simplification are its two important techniques. Standardization is concerned with the transfer of text mode - from spoken text to written text, while simplification is related to the technical constraints in subtitling, namely spatial and temporal constraints. In dubbing, the translator should make his translation fit into the pictures and synchronize the lines and the pictures, so lip synchronization, gestures and pauses are the major constraints in dubbing. As the two main forms of film translation in China, dubbing and subtitling coexist and compete with each other in the market.

Resumen: "(...) es mi intención, en las páginas que a continuación siguen, centrar mi atención en una corriente traductora en particular [la traductología] que, desde mi punto de vista, ofrece un conjunto de herramientas heurísticas de trabajo de gran utilidad y provecho para el investigador".