(Re)Creating Language Identities in Animated Films: Dubbing Linguistic Variation

Preface
Acknowledgements
Contents
List of Tables
1 Introduction
	1.1 Methodology
	1.2 Outline of the Book
	References
2 Dubbing Animated Films: A Complex Collaborative Process
	2.1 Introduction
	2.2 The Dubbing Process: Main Agents, Stages and Texts
		2.2.1 The Distributor and Its Dubbing and Localization Department
		2.2.2 A Key Agent in the Dubbing Process: The Creative Dubbing Supervisor
		2.2.3 Translation, Adaptation and Recording Phases
			The Translation and the Translator
			The Italian Adaptation/Italian Dialogues and the Dialogue Writer
			Recording the Dubbed Version in the Dubbing Booth: Dubbing Director, Dubbing Assistant, Dubbing Actors and Sound Technician
			Dubbing Actors
			What Happens to the Italian Dialogues in the Dubbing Booth?
	2.3 One Film, Many Texts
		2.3.1 English Dialogue List
		2.3.2 Key Names and Phrases (KNP) File
		2.3.3 Creative Letter
	2.4 Choosing the Voices in Dubbing
		2.4.1 Voice Tests and Standard Procedures
		2.4.2 Star Talents
	2.5 Concluding Remarks
	References
3 Translating Language Varieties and Multilingualism in Audiovisual Texts: Research and Conversations with Dubbing Practitioners
	3.1 Introduction
		3.1.1 Translating Linguistic Variation and Multilingualism in Audiovisual Texts
	3.2 In Conversation with Dubbing Professionals About the Language of Dubbing, Accents and Dialects
		3.2.1 The Client Decides
		3.2.2 The Language of Dubbing: A Language that Nobody Speaks
		3.2.3 Dubbing Strategies for Dealing with Linguistic Variation
			Main Language of the Film: Standard Italian
			Foreign-Accented English or Foreign Language: Foreign-Accented Italian or Foreign Language
			Use of Italian Regional Accents and Italian Dialects in Dubbing
			Italian and Italian American
			Star Talents With an Accent
	3.3 Concluding Remarks
	References
4 Linguistic Variation in Animated Films from 2001 to 2017
	4.1 Introduction
	4.2 The Corpus of Animated Films
	4.3 Language Variation and Linguistic Characterisation in the Films Making up the Corpus
		4.3.1 Language Variation in Atlantis: The Lost Empire/Atlantis: L’impero perduto (2001)
		4.3.2 Language Variation in the Shrek Films
		4.3.3 Language Variation in Lilo and Stitch/Lilo e Stitch (2002)
		4.3.4 Language Variation in Finding Nemo/Alla ricerca di Nemo (2003) and in Finding Dory/Alla ricerca di Dory (2016)
		4.3.5 Language Variation in Shark Tale (2004)
		4.3.6 Language Variation in the Madagascar  Trilogy (2005, 2008, 2012)
		4.3.7 Language Variation in the Wild/Uno zoo in fuga (2006)
		4.3.8 Language Variation in the Cars Films (2006, 2011)
		4.3.9 Language Variation in Ratatouille (2007)
		4.3.10 Language Variation in Ice Age 2: The Meltdown (2006) and Ice Age 3: Dawn of the Dinosaurs (2009)
		4.3.11 Language Variation in Toy Story 3 (2010)
		4.3.12 Language Variation in How to Train Your Dragon/Dragon Trainer (2010)
		4.3.13 Language Variation in Puss in Boots/Il gatto con gli stivali (2011)
		4.3.14 Language Variation in Gnomeo & Juliet/Gnomeo & Giulietta  (2011)
		4.3.15 Language Variation in Rio (2011) and Rio 2 (2014)
		4.3.16 Language Variation in Rango (2011)
		4.3.17 Language Variation in Brave/Ribelle-The Brave (2012)
		4.3.18 Language Variation in Rise of the Guardians/Le cinque leggende (2012)
		4.3.19 Language Variation in Hotel Transylvania (2012) and Hotel Transylvania 2 (2015)
		4.3.20 Language Variation in Turbo (2013)
		4.3.21 Language Variation in Planes (2013)
		4.3.22 Language Variation in Despicable Me 2/Cattivissimo me 2 (2013)
		4.3.23 Language Variation in Mr. Peabody and Sherman (2014)
		4.3.24 Language Variation in The Book of Life/Il libro della vita (2014)
		4.3.25 Language Variation in Zootopia/Zootropolis (2016)
		4.3.26 Language Variation in Sing (2016)
		4.3.27 Language Variation in Coco (2017)
		4.3.28 Language Variation in Ferdinand (2017)
	4.4 Trends in Linguistic Characterisation in the Films: A Summary of Characters by Language Groups
		4.4.1 Regularities in Native Varieties of English
			General American English Heroes
			Other Varieties of American English
			British English
			Scottish English
			Australian English
		4.4.2 Foreign-Accented English or Non-Native Varieties of English
			French-Accented English: French and Canadian Characters
			Spanish-Accented English: Spanish and Latino Characters
			Italian-Accented English and Italian American: Representations of Italianness
			German-Accented English
			Russian-Accented English and Russian Characters
			Brazilian Portuguese-Accented English and Brazilian Portuguese
			Indian-Accented English
			Undefined Eastern European-Accented English
	4.5 Foreign Languages/Languages Other Than English
	4.6 Concluding Remarks
	References
5 Americans, Brits, Aussies, Etc.: Native Varieties of English in Italian Dubbing
	5.1 Introduction
	5.2 British English Varieties: Is British English Always Neutralised?
		5.2.1 Evil Characters: British Upper-Class Villains Speaking RP (Received Pronunciation)
		5.2.2 Refined, Posh, Rich or Aristocratic Characters
		5.2.3 British vs American Characters
		5.2.4 The Lovable Rogue/Thieves/Criminals/Ambiguous Characters
	5.3 Scottish English
	5.4 Australian English
	5.5 Social and Regional Varieties of American English
		5.5.1 Southern American English
		5.5.2 African American Vernacular English (AAVE)
		5.5.3 New York/Brooklyn Accent
	5.6 Exceptions or When Dubbing Uses Italian with an Accent
		5.6.1 English-Accented Italian in Dubbing
			Historical and Literary Figures, Well-Known Living People and British Symbols
			Britishness Referred to in the Dialogues/Plot
			English Accent Due to the Marketing Strategy of Using Star Talents
		5.6.2 Italian Regional Accents for British/American Characters
	5.7 Concluding Remarks
	References
6 Languages Other Than English/Foreign Languages in Italian Dubbing: Preservation, Neutralisation, Reduction or Adaptation?
	6.1 Introduction
	6.2 Atlantean and French in Atlantis: The Lost Empire (2001)
	6.3 Spanish in Toy Story 3 (2010)
	6.4 Preservation Strategy for Russian, French, Japanese, Brazilian Portuguese and Spanish
	6.5 Neutralising Foreign Identities: French in Planes
	6.6 Dealing with Italian in the Cars Films
	6.7 Concluding Remarks
	References
7 Non-native Varieties of English in Italian Dubbing: Does Foreign-Accented English Become Foreign-Accented Italian?
	7.1 Introduction
	7.2 Characters Speaking Spanish-Accented English
		7.2.1 Hypercharacterisation of Spanish-Accented English (Spanish/Latino/Mexican Characters)
		7.2.2 Reduction and Neutralisation of the Spanish Accent in Dubbing
		7.2.3 A Different Approach: From Spanish-Accented English to Romanesco
	7.3 Characters Speaking French-Accented English (French and Canadian Characters)
		7.3.1 Preservation and Hypercharacterisation of a French/Canadian Identity
		7.3.2 Reduction and Neutralisation: The Case of Ratatouille
	7.4 German-Accented English Characters: Hypercharacterisation in Dubbing
	7.5 Russian-Accented English Characters: Preservation and Hypercharacterisation in Dubbing
	7.6 Other Foreign Accents
	7.7 When Dubbing Erases Difference: The Case of Gru in Despicable Me 2 and Rochelle in Planes
	7.8 Concluding Remarks
	References
8 (Re)Positioning Italianness in Animated Films: No Accent, Foreign Accent, Regional Italian or Dialect?
	8.1 Introduction
	8.2 Italian American English and Italian-Accented English in Animated Films
	8.3 Italian -Accented English: Foreign-Accented Italian in Madagascar 3
	8.4 Italian-Accented English and Italian American: Regional Italian or Italian Dialect
		8.4.1 Vinny in Atlantis
		8.4.2 Don Lino and Sykes in Shark Tale
		8.4.3 Mr Big in Zootopia/Zootropolis
		8.4.4 Luigi in the Cars Films
		8.4.5 Francesco Bernouilli in Cars 2
		8.4.6 Leonardo and Mona Lisa in Mr. Peabody and Sherman
		8.4.7 Creative Transformations, or When Dubbing Adds Italian Regional Dialects
	8.5 Concluding Remarks
	References
9 Conclusion
	References
Appendix 1: List of Films Analysed (in Alphabetical Order)
Appendix 2: List of Italian Dubbing Experts Consulted About Their Professional Practice (2015–2020)
Index