Journal of Audiovisual Translation最新文献

{"title":"Impact of Video and Subtitle Speed on Subtitle Reading","authors":"A. Szarkowska, Valentina Ragni, David Orrego-Carmona, Sharon Black, Sonia Szkriba, Jan-Louis Kruger, Krzysztof Krejtz, Breno B. Silva","doi":"10.47476/jat.v7i1.2024.283","DOIUrl":"https://doi.org/10.47476/jat.v7i1.2024.283","url":null,"abstract":"We present results of a direct replication of Liao et al.’s (2021) study on how subtitle speed and the presence of concurrent video impact subtitle reading among British and Polish viewers. Our goal was to assess the generalisability of the original study’s findings on a cohort of Australian English. The study explored both subtitle-level and word-level effects, considering the presence or absence of concurrent video and three subtitle speeds: 12 characters per second, 20 cps, and 28 cps. Overall, most of the original results were replicated, confirming that the presence of video and the speed of the subtitles have a measurable impact on processing across different viewer groups. Additionally, differences in how native and non-native speakers process subtitles emerged, in particular related to wrap-up, word frequency and word length effects. The paper describes the replication in detail, presents the findings, and discusses some of their implications.\u0000Lay summary\u0000In our study we were interested in the effects that the presence of video and various subtitle speeds have on how viewers watch subtitled videos and how they understand them. We also wanted to know if the previous results obtained in a study by Liao et al. (2021) in Australia hold true for other viewers living in different locations. With this goal in mind, we repeated Liao et al.’s (2021) study on British and Polish viewers. The study explored both subtitle-level and word-level effects, considering the presence or absence of video and three subtitle speeds: 12 characters per second, 20 cps, and 28 cps. Overall, most of the original results were confirmed, showing that the presence of video and the speed of the subtitles have an impact on processing across different viewer groups. Additionally, differences in how native and non-native speakers process subtitles emerged, in particular related to well-known linguistic effects from reading studies, such as wrap-up, word frequency and word length effects. The paper describes the replication in detail, presents the findings, and discusses some of their implications.","PeriodicalId":203332,"journal":{"name":"Journal of Audiovisual Translation","volume":" 43","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141675369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"How the PJ Masks become “PJ Heroes”","authors":"Reglindis De Ridder, Annika Johansson","doi":"10.47476/jat.v7i2.2024.254","DOIUrl":"https://doi.org/10.47476/jat.v7i2.2024.254","url":null,"abstract":"In this study of dubbing for children, a quantitative and qualitative corpus analysis of a popular TV series were conducted. The corpus consists of 12 episodes of the animated series PJ Masks, and its corresponding Dutch (Pyjamahelden [Pyjamas heroes]) and Swedish (Pyjamashjältarna [Pyjamas heroes]) audiovisual translations. The focus of the analyses is the portrayal of the main characters. In the light of ongoing criticism of children’s animation, regarding gender stereotyping and a lack of diversity, this translation analysis studies potential changes in gender representation. First, the character portrayal in all language versions was systematically analysed based on the characters’ utterances which were categorised into four categories (team spirit, problem-solving, need of assistance, and attention to relations). Subsequently, a closer qualitative analysis revealed some interesting translation shifts, particularly, in the Dutch target text. These were contrasted against the Swedish translation to check if this results in subtle or less subtle changes in the depiction of the heroes vis-à-vis the source text. Needless to say, such translation shifts in audiovisual translation for children and their effect on the representation of children in this multimodal glocal product is highly relevant amidst ongoing criticism of gender and diversity issues in children’s television.\u0000Lay Summary\u0000Several episodes of a popular animated series, PJ Masks, were analysed to check if the portrayal of the main characters changes when it is dubbed into Dutch and Swedish. This analysis was done because some people are concerned that animated series portray boys and girls in stereotypical ways. Both translations were closely compared  to the original English version and revealed some interesting differences. This type of study helps us understand how children's animation can display different gender portrayals when dubbed into other languages.","PeriodicalId":203332,"journal":{"name":"Journal of Audiovisual Translation","volume":" 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141673529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Increased Subjectivity in Audio Description of Visual Art","authors":"Silvia Soler, Gallego  Kaleidoscope, Access M Olalla, Luque Colmenero","doi":"10.47476/jat.v6i2.2023.248","DOIUrl":"https://doi.org/10.47476/jat.v6i2.2023.248","url":null,"abstract":"This article discusses a focus group reception study of visual art audio description (AD) that focuses on the standard style as described in previous corpus-based studies, along with one of the less frequent approaches also found among current practices, namely the “gist” style. The results from the qualitative analysis of the focus group discussions show that user experience of the gist AD style varies among participants, with some reporting positive impressions thereof. In addition, users’ experience of AD has several layers, since the discussions progressed from specific aspects to broader questions dealing with the very definition of AD and user preferences regarding visual arts. Lay Summary This article talks about a research study that looked at how people perceive audio descriptions (AD) in visual art. Audio description is a way of providing information about visual elements for individuals who are blind or visually impaired. The study focused on two styles: the standard style, which is commonly used and has been studied before, and a less common approach known as the \"gist\" style. The gist style is type of AD where only a few visual components are mentioned without many conceptual connections between them and with high importance to the voice and it modulations. The researchers conducted focus group discussions to understand how participants experienced these different AD styles. These discussions are group conversations where participants share their opinions and experiences about a particular topic, guided by a moderator. The results were obtained through qualitative analysis, where the focus is on understanding people's experiences and opinions in-depth, often involving open-ended discussions rather than quantitative data. They revealed that people had varying opinions about the gist style. Some participants liked it, while others didn't. Moreover, the discussions went beyond just talking about specific aspects of AD; they delved into broader questions about what AD is and what users prefer when it comes to describing visual art. The study found that opinions on the gist style varied among participants, and the discussions went beyond specific details of AD to explore broader questions about its definition and user preferences in the context of visual arts.","PeriodicalId":203332,"journal":{"name":"Journal of Audiovisual Translation","volume":"35 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139153472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Aesthetics and Participation in Accessible Art Experiences","authors":"Nina Reviers, Sabien Hanoulle","doi":"10.47476/jat.v6i2.2023.277","DOIUrl":"https://doi.org/10.47476/jat.v6i2.2023.277","url":null,"abstract":"The action research project titled A Touch of Museum to Scale aims to improve the accessibility of the Museum to Scale art collection at the University of Antwerp. This project collaborates with various stakeholders to prototype tactile objects and an inclusive art guide for five artworks. It seeks to engage users of diverse abilities, investigate universal access services, and promote the integration of accessibility and artistic creation. The audio guide integrates visual descriptions and information for people with and without a visual impairment and integrates the artistic contributions of artists with and without disabilities. Artists also create tactile objects, which are an artistic and tactile translation of original artwork and a piece of art in their own right. The authors discuss project activities, such as personal observations, interviews, questionnaires, brainstorming sessions, and theoretical considerations based on literature and experience. The research is exploratory and invites both researchers and practitioners to reflect on participation and the aesthetics of access. Lay summary A Touch of Museum to Scale is a practice-based project that aims to improve the accessibility of the Museum to Scale art collection at the University of Antwerp. By working with various stakeholders, the team developed a prototype of tactile objects and an inclusive art guide for five artworks. This project is an experiment, in which we address several pertinent questions: how to create an audio guide that engages diverse abilities? How to make a guide that can be used by all? How to bring accessibility and artistic creation closer together? The result is an audio guide that combines visual descriptions and information for people with and without a visual impairment. It also includes the artistic contributions of artists with and without disabilities. In addition to the audio guide, artists have created tactile artworks to complement the original collection. In this text, the authors discuss the project activities and link them to insights from scientific literature. The authors hope to inspire a deeper reflection about accessibility and aesthetics in accessible art.","PeriodicalId":203332,"journal":{"name":"Journal of Audiovisual Translation","volume":"67 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139153269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Museum Audio Descriptions vs. General Audio Guides","authors":"Chiara Bartolini","doi":"10.47476/jat.v6i2.2023.253","DOIUrl":"https://doi.org/10.47476/jat.v6i2.2023.253","url":null,"abstract":"The question of objectivity vs. subjectivity in audio description (AD) is still open and unresolved, even more so when considering less researched AD sub-genres, such as museum ADs. While sparse guidelines for describing artworks and cultural artefacts tend to favour neutrality, no clear consensus exists, and the limits of a factual style have already been highlighted (Hutchinson & Eardley, 2019). By crossing the borders of Translation Studies (TS) to gain insights from Museum Studies (MS), this paper claims that the ideal of achieving absolute objectivity is problematic and that a comparison between museum ADs and other tools for the visit would be a beneficial contribution to the objectivity vs. subjectivity debate. In light of current theories in MS, this study seeks to explore subjectivity in museum ADs (primarily addressed to visually impaired visitors) and general audio guides (AGs). Trailing previous research into subjectivity in museum ADs (Gallego, 2019), a text-focused analysis based on the appraisal theory (Martin & White, 2005) was conducted on a corpus of ADs and AGs to highlight discrepancies in terms of subjectivity between museum communicative practices aimed at different target audiences.   Lay summary Audio description (AD) is a service addressing primarily blind and partially sighted people to provide them access to visual or audiovisual products, such as images, objects, places and films. Whether AD should describe something objectively is still an open and unresolved question, even more so when considering less researched types of AD, such as museum ADs, which describe specimens, artefacts, and artworks that are exhibited in museums. Few specific guidelines on how to describe artworks and cultural artefacts exist and tend to favour a neutral approach. However, no clear consensus exists, and some scholars have already highlighted the limits of a factual style. This paper claims that the ideal of achieving absolute objectivity in museum AD is problematic and that a comparison between museum ADs and other tools for the visit, such as general audio guides, would be a beneficial contribution to this debate. This study draws on research focusing both on audio description and museums and seeks to analyse subjectivity in museum ADs and general audio guides (AGs), which are similar texts describing museum objects for different target audiences (non-sighted and sighted visitors respectively). Trailing previous research into subjectivity in museum ADs, the analysis focuses on a collection of AD and AG texts. We have analysed them by adopting the appraisal theory to highlight differences between the two groups of texts.","PeriodicalId":203332,"journal":{"name":"Journal of Audiovisual Translation","volume":"162 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139153809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Expression of Emotions in the Spanish and Italian Filmic Audio Descriptions of The King’s Speech","authors":"Laura Marra","doi":"10.47476/jat.v6i2.2023.247","DOIUrl":"https://doi.org/10.47476/jat.v6i2.2023.247","url":null,"abstract":"This paper puts forward a three-layered model for the analysis of linguistic items in filmic audio description (AD). The model is applied to three Spanish and Italian audio described scenes of the drama film The King’s Speech (Hooper, 2010). The aim is to evaluate lexical items that are chosen to verbalize information on characters’ emotional condition, or psyche. Verbs, nouns, adjectives, and adverbs used in the compared ADs will be analysed taking into consideration the communicative function(s) associated with each scene. The overall objective of the research is to shed light on the linguistic strategies that could potentially be used in AD to enhance the communicative value of the audiovisual source text, guiding the choice of informative or expressive rendering in AD to foster the audience’s engagement with the narrative. Results suggest that it might be useful to identify the communicative function of a given scene; this can turn into a valuable criterion, to be given due credit when creating AD. Lay summary In this article, we presented a model for the analysis of the words used in filmic audio description. Audio description is the verbal explanation of images or other elements which are difficult to grasp when it is not possible to access the visuals. We analysed the Italian and Spanish audio descriptions of three scenes from the drama film The King’s Speech (Hooper 2010). We focused on what types of verbs, nouns, adjectives and adverbs are used in the audio descriptions to talk about the characters’ emotions and disposition. We wanted to verify if the words used in the audio description scripts manage to reveal the hidden meanings expressed through images and sounds in each film scene. The model helped us to obtain initial results. We found that both the Spanish and Italian scripts prefer objective descriptions of the images, explaining the characters’ actions and reactions. At the same time, the Italian audio description tends to employ non-literal meanings, as shown by the use of some verbs in figurative senses and the inclusion of nouns that overtly refer to the character’s feelings. The study led us to conclude that, when the expression of emotions prevails in the film scene, it is crucial to determine which layer of meaning stands out in the scene, in order to choose the most appropriate words in audio description.","PeriodicalId":203332,"journal":{"name":"Journal of Audiovisual Translation","volume":"126 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139154754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Multimodal Analysis as a Way to Operationalise Objectivity in Audio Description","authors":"Alejandro Romero Muñoz","doi":"10.47476/jat.v6i2.2023.251","DOIUrl":"https://doi.org/10.47476/jat.v6i2.2023.251","url":null,"abstract":"Objectivity is a constant recommendation in audio description (AD) guidelines. However, some scholars have pointed to the advantages of a more subjective, creative, or narrative rendition. In this paper, we seek to determine to what extent subjectivity and objectivity coexist in Spanish filmic AD. In order to fulfil our aim, we operationalised objectivity by means of multimodal analysis based on Chaume’s (2004) classification of meaning codes. To operationalise objectivity through multimodality, we employed a qualitative content analysis and examined whether visual and acoustic information was rendered objectively or subjectively in a corpus of four Spanish AD scripts from Netflix. Our results show, firstly, that objectivity and subjectivity interact in the mobility, iconographic, and editing codes. Moreover, dissimilarities arise in the way these meaning codes are described in Spanish: movement is mainly described objectively, whereas iconography and editing are rendered either subjectively or objectively. In conclusion, we can state that neither is objectivity systematically applied in our AD scripts, nor is a purely narrative AD to be found, but rather a mixture of both coexists. Furthermore, this coexistence seems unequal, since different tendencies can be identified in the way that movement, editing, and iconography are described. Lay summary Audio description is an oral narration aimed at blind people that provides information about what is going on in an audiovisual product. The traditional view has been to inform objectively about the audio description contents, but some scholars support more subjective or creative alternatives. This papers seeks to observe whether audio description actually contains both subjective and objective elements. In order to find these elements, we used multimodality, a kind of analysis that shows how visual and acoustic information interact to create meaning. In this analysis we exposed instances of objective and subjective elements in a group of Spanish audio descriptions from Netflix. Our results show that there are objective and subjective elements when informing about movement, symbols, or spatio-temporal changes. However, these elements are not balanced, since movement is mainly described objectively, whereas symbols and spatio-temporal changes are described either subjectively or objectively. In conclusion, we can state that current audio description seems to be the result of a mixture of subjective and objective elements.","PeriodicalId":203332,"journal":{"name":"Journal of Audiovisual Translation","volume":"101 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139154129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Beyond Objectivity in Audio Description","authors":"Eva Schaeffer-Lacroix, Nina Reviers, Elena Di Giovanni","doi":"10.47476/jat.v6i2.2023.309","DOIUrl":"https://doi.org/10.47476/jat.v6i2.2023.309","url":null,"abstract":"For many years, objectivity was considered a key norm of quality in audio description (AD), and it still features prominently in many AD guidelines. The primary motivation behind the concept is a recognition of users' autonomy in forming a mental image of the audiovisual content independently. Research has offered many alternative views on the issue that conceptualise the idea of objectivity/subjectivity as a continuum, emphasizing that different approaches can be appropriate depending on the given context of situation, giving rise to different AD styles that cater for a range of aesthetic preferences. Against this background, various cultural domains are experimenting with alternative approaches, challenging established AD practices and the assumptions it is built on. The articles included in this special issue all explore the various ways in which AD user needs can be met and illustrate the dynamic views that exist on objectivity, addressing key questions related to the operationalisation of objectivity, the challenge of interpretation for AD, the exploration of emerging subjective styles, and the concept of aesthetics of or in access.","PeriodicalId":203332,"journal":{"name":"Journal of Audiovisual Translation","volume":"6 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139153523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Audio Description in Abstract Art","authors":"María José García Vizcaíno","doi":"10.47476/jat.v6i1.2023.263","DOIUrl":"https://doi.org/10.47476/jat.v6i1.2023.263","url":null,"abstract":"The aim of this article is to analyze the linguistic techniques used to develop the audio description (AD) for a multimedia video installation and to reflect critically upon creativity and “invisibility” of AD in abstract art. Considering AD as a type of intersemiotic translation, a functionalist approach to audio description (Mazur, 2020) was adopted as our theoretical framework. Taking into account that the main function of art is aesthetic (Eisner, 2022; Iseminger, 2004) and considering the main goals of the exhibition, we embarked in a challenging decision-making process to determine what linguistic and creative techniques to use our particular piece. Among those techniques, metaphors proved to be very effective tools. The results indicate that the main metaphors to describe abstract art were synesthesia, participation, and vocal emphasis metaphors. Another conclusion is related to the degree of creativity in audio describing abstract art and the boundaries that the audio describer can easily trespass by creating metaphors that go beyond the source domain of the original work. It is precisely here where the function of the art piece and the purpose of the exhibition play a crucial role in finding that balance between fidelity and creativity. Lay summary This article analyses the linguistic techniques used to create audio description —the translation of images into words mainly intended for blind audiences— for a multimedia video installation in an art museum. Taking into account that the main function of art is aesthetic (Iseminger, 2004) and considering the main goals of the exhibition, we embarked on a challenging decision-making process to determine what linguistic and creative techniques to use for our particular piece. Among those techniques, metaphors proved to be very effective tools (Luque Colmenero & Soler Gallego, 2020). The results indicate that the main metaphors to describe abstract art were synaesthesia —incorporation of sensations experienced by senses such as touch, smell or hearing—, and vocal emphasis. Another conclusion is related to the degree of creativity in audio describing abstract art and the boundaries that the audio describer can easily trespass by crafting metaphors that go beyond the original work. It is precisely here where the function of the art piece and the purpose of the exhibition play a crucial role in finding that balance between fidelity and creativity.","PeriodicalId":203332,"journal":{"name":"Journal of Audiovisual Translation","volume":"130 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139169623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Print to Stage to Screen, Across the Ocean, and to Print Again","authors":"Juan Carrillo del Saz","doi":"10.47476/jat.v6i1.2023.260","DOIUrl":"https://doi.org/10.47476/jat.v6i1.2023.260","url":null,"abstract":"Edith Wharton’s novella Edith Wharton’s novella The Old Maid (1922) was successively adapted into theatre (Akins, 1935) and cinema (Goulding, 1939) in the 1930s. The Spanish version of the original film adaptation (La solterona) was released in Spain in 1947; subsequently, the original novella was translated into Spanish and published early in winter that year. In this paper, I analyse the textual and contextual linkages between these translated cultural products. The translated work and the relevant censorship reports are analysed, with particular attention paid to how some excerpts had been linguistically manipulated and underwent self-censorship. The Old Maid/La solterona provides an enlightening example of how views on female empowerment are consistently manipulated via the process of dubbing. Beyond this, I offer a panoramic view of the reception of the film in Spain, focusing on how it had been (problematically) ascribed to the genre of melodrama, and how it relates to its written counterparts. This case study substantiates a transnational cultural phenomenon that had already become common in the 1940s in which the import of films plays a central role in introducing foreign literary works to Spain. Lay summary In the 1930s, Edith Wharton's short novel The Old Maid, which she had published in 1922, was turned first into a play by playwright Zoë Akins, and then into a film, by director Edmund Goulding. The Spanish version of the film, titled La solterona, was released in Spain in 1947. Shortly after, the book was translated into Spanish and published in the country. In this paper, I explore how these different versions are connected. I look at how the translation and censorship of the work changed certain parts of the story, both in the film and the book. In particular, The Old Maid (or La solterona, in Spanish) helps us understand how ideas about women's empowerment were altered when the film was dubbed (in other words, through the translation of the script). I also look at how the film was received in Spain. The critics often considered it a melodrama, although they were unwilling to use that work. I see how the translated film compares to both versions of the book (in English and Spanish). This study provides an example of how literary works were introduced to Spain through imported film, which had become a common phenomenon by the 1940s.","PeriodicalId":203332,"journal":{"name":"Journal of Audiovisual Translation","volume":"230 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139170467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}