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PECULIARITIES OF RENDERING NONVERBAL ELEMENTS
IN FILM DISCOURSE
Alimova Iroda Xayritdinovna
researcher at the national university
named after Mirzo Ulugbek irodaalimova755@gmail.com
https://doi.org/10.5281/zenodo.16899436
Annotation
. The paper introduces the field of audiovisual translation,
examines the functions of nonverbal components in film discourse and their
consideration in the process of audiovisual translation. Nonverbal elements such
as facial expressions, gestures, intonation, eye contact, camera angles, lighting,
and background music play a significant role in delivering meaning, emotion,
and cultural context in cinematic storytelling. These elements often work
alongside spoken language to create a deeper, multimodal layer of
communication that is essential for fully understanding a film’s narrative and
emotional tone. Nonverbal elements are clearly seen in scenes involving humor,
irony, sarcasm, or culturally bound behaviors. The research concludes that
effective audiovisual translation should go beyond verbal content and include
awareness of nonverbal communication.
Keywords
: audiovisual translation, nonverbal communication, film
discourse, multimodal analysis, subtitling, dubbing, cultural context, gestures,
emotional meaning, cross-cultural communication.
Audiovisual materials are present and relevant everywhere in our lives that
they have become one of our main leisure activities, as various movies appear on
screen. In addition, with the development of new technologies, the researches on
audiovisual translation are being implemented during last decades. The
technological advancement opens the door to new ideas and notions in the field
of audiovisual translation. Audiovisual translation, also known as multimedia
translation, is the process of adapting content from one language to another in
multimedia formats like films, TV shows, and video games. It involves
translating not just the spoken words, but also the visual and auditory elements,
making it distinct from traditional text translation.
Audiovisual translation encompasses several ways to translate from a
source language to a target one. The most popular types include dubbing,
subtitling, and voice-over. All these types of rendering a language have their own
characteristic features that don’t resemble with one another.
Dubbing is the replacement of the source dialogue by a dialogue in the
target language. Subtitling is the translation of what people are saying in a
foreign language film or television program, which appears at the bottom of the
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screen. Dubbing and subtitling have been compared from several aspects. Those
who are against dubbing assert that it diminishes the effect of the film on the
audience and makes censoring possible while those who are against subtitling
stress that it pollutes the screen and distracts the attention. From the financial
side, dubbing is considered high-cost and has several steps in order to reach a
high-level dubbing goal. On the other hand, subtitling process is cost-effective
and truly relies on subtitler and technology. The preference which one to
employ is purely depends on countries.
Translation for dubbing and subtitling might have different approaches and
strategies depending on the context as well.
Translation is an activity shifted in writing text messages from one
language to another language text. [1] According to Catford, minimal translation
includes two languages. It is further stated that the translation of Catford is the
transfer of textual material in one language (the source language) with the
textual material that is worth in another language (target language). The same
with Larson that the forms of redirection include translation, i.e. the form in the
source language is replaced with a form of the language target or the target
language.[2]
Subtitling is not only a translation between languages but also between
modes of communication--from the spoken word to the written word. Subtitling
also presents difficulties in time and space constraints that limit how much can
be said. Subtitling often excludes phrases or entire sentences and the most exact
translation is frequently ignored for a more concise translation. There are
parallel problems in dubbing. The main issue with dubbing is synchronization,
where the translation is matched to the movements, both lip and gestures, of the
original visual work. Phrases are reworded to match the movements better, but
perhaps not to better match the meaning of the original. Furthermore, it should
be mentioned that, in any kind of audiovisual text the following elements
establish a basis for its semiotic texture:
• The acoustic-verbal: dialogue, monologue, songs, voice-off.
• The acoustic-nonverbal: musical score, sound effects, noises.
• The visual-nonverbal: image, photography, gestures.
• The visual-verbal: inserts, banners, letters, messages on computer
screens, newspaper headlines.[3]
In the process of translation of film texts, translators need to consider all
the above listed elements. This means, the language is not the only factor to
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render the meaning, but the nonverbal components are of crucial importance in
order to take into account culture of a source text.
According to Gonzale’s, audiovisual texts contain visual elements as well as
linguistic elements. Cultural characteristics are delivered via both visual and
linguistic channels. On top of the difficulty of translating linguistic channel of
cultural characteristics, translating these elements coming on multichannel
makes translator’s work even more difficult. How to deal with and what kind of
translation strategies to apply to transfer these cultural characteristics are the
questions that scholars have been trying to find answers. [4]
Translating nonverbal components in film, such as facial expressions,
gestures, and div language, is important for conveying meaning and cultural
context to the second audience. These elements, alongside verbal language,
create a rich, multimodal layer of communication in cinematic
storytelling. However, their translation presents challenges, and often requires
adaptation or even loss of the original nuance
.
The process of translating nonverbal elements involves various strategies,
including codification, adaptation, and omission. Codification refers to the
practice of representing nonverbal cues in a written form, such as describing a
gesture or a facial expression in the subtitles. This approach allows the
translator to convey the intended meaning of the nonverbal cue, albeit in a
different modality. Adaptation, on the other hand, involves modifying the
nonverbal cue to suit the cultural context of the target audience. For example, a
gesture that is commonplace in one culture may be substituted with an
equivalent gesture that holds the same meaning in another culture. Omission
may occur when the nonverbal cue is deemed unnecessary or untranslatable,
leading to its exclusion from the translation. The significance of nonverbal
components in film discourse extends beyond their role in communication; they
also serve as cultural markers that reflect societal norms, values, and beliefs. For
instance, the use of space, touch, and eye contact can vary greatly across
cultures, influencing how characters interact and how their relationships are
perceived by the audience. Therefore, translating nonverbal elements requires
not only linguistic proficiency but also cultural sensitivity and awareness. [5]
This is particularly evident in scenes involving humor, irony, sarcasm, or
culturally bound behaviors. The study concludes that effective audiovisual
translation should go beyond verbal content and include awareness of
nonverbal communication. Translators need to be sensitive to multimodal
elements and their functions within the source film. Incorporating these aspects
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can improve the cultural and emotional accuracy of translated content, leading
to more authentic and engaging viewer experiences across languages and
cultures. In conclusion, nonverbal components play a crucial role in film
discourse, serving as vital conveyors of meaning, emotion, and cultural context.
Their consideration in the translation process is essential to preserve the
integrity and impact of the original work to the audience. Future research should
explore the development of strategies and frameworks that enable the effective
translation of nonverbal components, ensuring that films can be experienced
authentically by audiences worldwide. [6]
Unlike verbal language, nonverbal communication does not have direct
equivalents in other languages. The translation of nonverbal cues requires not
only linguistic competence but also cultural awareness and sensitivity. The
strategies employed by translators – such as codification, adaptation, and
omission – each come with their respective strengths and limitations.
Codification, or the description of nonverbal cues in subtitles, proved effective in
conveying some nonverbal cues, particularly gestures or sounds that could be
verbalized. However, this approach often falls short in conveying the full
emotional state of the original nonverbal cues. For instance, a character’s facial
expression of distress cannot be fully captured by a brief subtitle description like
“looks worried”. As a result, important nuances of the character’s emotional
state can be lost, reducing the depth of the viewer’s emotional engagement.
Adaptation, allows translators to adjust nonverbal cues to the cultural context of
the target audience. While this strategy helps make the film more relatable, it
runs the risk of altering the original meaning and emotional tone. For example,
gestures that are culturally significant in one context may not carry the same
weight in another, leading to potential misinterpretations. Additionally, the
adaptation of nonverbal cues can sometimes result in a dilution of the original
emotional impact, as the target audience may not experience the same
emotional resonance as the original viewers. Omission, a common strategy
employed when nonverbal cues are deemed untranslatable, has significant
implications for the audience’s understanding of the narrative. In the analysis, it
was observed that when nonverbal elements were omitted – especially those
related to emotional expression or character relationships – the translation
became less effective in conveying the film’s emotional depth. This is
particularly visible in the dubbed versions, where the lack of facial expressions
and gestures in the voice acting resulted in a loss of authenticity and emotional
intensity.
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Cultural differences further complicate the translation of nonverbal
components, as gestures, expressions, and div language can have different
meanings in various cultural contexts. Translators must, therefore, strike a
balance between preserving the original intent of the film and making the
nonverbal cues culturally accessible to the target audience. This delicate process
requires a deep understanding of both the source and target cultures, as well as
the ability to adapt nonverbal components without compromising their
emotional significance. Translators must be trained to recognize and handle
nonverbal elements, ensuring that the meaning and emotional intent of the
original film are faithfully conveyed. The development of best practices for the
translation of nonverbal cues would be a valuable contribution to the field of
audiovisual translation, ensuring that films remain engaging and emotionally
impactful for global audiences. In conclusion, the translation of nonverbal
components is not a mere technical task but a fundamental aspect of
maintaining the emotional and narrative integrity of films. By adopting a
multimodal approach to translation that considers both linguistic and nonverbal
elements, translators can enhance the cross-cultural viewing experience,
ensuring that the universal emotions and narratives embedded in films are
accessible to audiences worldwide. As the global film industry continues to
expand, the importance of effective and culturally sensitive translation of
nonverbal components will only increase, making this area of study essential for
future research in audiovisual translation.
Reference list:
1. Benny H. Hood, Linguistik, Semiotik, Dan Kebudayaan Kita, 1992, P. 54.
2. Moh.Supardi, Dea Amanda Putri. Audio-Visual Translation: Subtitling and
Dubbing Technique - Movie Soundtrack in Frozen: Let it Go. Buletin Al-Turas.
Mimbar Sejarah,Sastra,Budaya, dan Agama - Vol. XXIV No.2, Juli 2018
3. Chiaro, D., Heiss, C., & Bucaria, C. (Eds.). (2008). Between text and image:
Updating research in screen translation. Amsterdam, The Netherlands: John
Benjamins.
4. http://luisperezgonzalez.org/wp-content/uploads/2020/08/avt-encyts.pdf
5. Majeed, A. F. (2022). The mistranslation of non-verbal communication cues in
subtitled English movies. Journal of the College of Arts, University of Basrah,
100,
21.https://www.researchgate.net/publication/361084463_The_Mistranslation_
of_NonVerbal_Communication_Cues_in_Subtitled_English_Movies
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6. Ahmedova Mohigul. The functions of nonverbal components in film discourse
and their consideration in translation. The Lingua Spectrum Volume 4. April
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