Читать книгу The Concise Encyclopedia of Applied Linguistics - Carol A. Chapelle - Страница 200

The main modalities for screen translation of fictional products are dubbing and subtitling. Traditionally, Western Europe has been divided into a subtitling block that included Scandinavian and Benelux countries, Greece and Portugal, while the so‐called “FIGS” countries (France, Italy, Germany, and Spain) made up the dubbing block. However, nowadays the situation is no longer so clear cut. The spread of DVD technology followed by widespread cable and Internet services highlighted the cost‐effectiveness of subtitling that allowed this modality to enter many dubbing strongholds as an alternative. Furthermore, many cinemas in dubbing countries now also offer screenings with subtitles while digital television provides viewers with the choice of both modalities. In addition, political entities such as Wales, Catalonia, and the Basque country choose dubbing as a support for minority languages (O'Connell, 1996; Izard, 2000) while Scandinavian countries which traditionally only dubbed children's television programs, now also dub some programs for adults (Gottlieb, 2001a). English‐speaking countries tend to prefer subtitling for the few foreign‐language films that enter these markets which tend to be restricted to educated arthouse cinema audiences (Chiaro, 2008, 2009a). Outside Europe, dubbing is strong in mainland China, Japan, Latin America, and Québec, while subtitling is the preferred mode in Israel, Hong Kong, and Thailand.