Publication: La adaptación de los mockumentaries: multimodalidades en el ámbito de la traducción audiovisual
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2018-11-06
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Universidad Complutense de Madrid
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Abstract
El mockumentary es un género cinematográfico híbrido que combina códigos de comunicación multimodal y distintos géneros como el documental, la parodia y la deconstrucción (Roscoe y Hight, 2001, Hight, 2010). Sin embargo, los límites entre estos códigos no están claros y es difícil, por un lado, definirlos con precisión y, por otro lado, que el público los reconozca claramente. Supone un desafío para el espectador ya que tiende a creer en el formato y el estilo del documental. Además, el falso documental busca encontrar un cómplice para la ironía latente a lo largo de la película (Hutcheon, 2000). Aunque hoy en día el público reconoce estas fusiones gracias a las series de televisión que copian el formato y el estilo de los documentales y los reality shows, todavía provocan confusión y, a veces, frustración y enojo. Esto es aún más evidente cuando estos productos se traducen a otra lengua y cultura. Roscoe y Hight (2001), Hight (2008, 2010, 2012) y Sánchez Navarro (2001) han sentado las bases de las características cinematográficas de los falsos documentales y la percepción de la audiencia general, Carneiro (2013) ha realizado una tesis sobre mockumentaries y la industria musical y Wallace (2012) sobre el aspecto cómico deestos filmes. López Ligero (2015) ha presentado una publicación sobre los orígenes del género hasta hoy en día, pero ninguno de ellos se centra en la adaptación y recepción de los espectadores de estas películas en lengua meta. Existen numerosos estudios e investigaciones sobre traducción audiovisual centrados en los documentales (Orero, 2005, 2006a, 2006b, Franco, Matamala y Orero, 2010), sobre la traducción del humor como Zabalbeascoa (1996, 2001) y Martínez Sierra (2008), sobre la traducción de referencias culturales como Molina (2006, 2011), Werner (2010) e Igareda (2011). Todos ellos son aspectos clave en los falsos documentales, pero no hay a día de hoy ningún análisis o investigación que los combine a todos. Por esta razón, creemos que es necesario un estudio que considere este enfoque multimodal para la adaptación de estos discursos...
Mockumentary is a hybrid cinema genre, which combines multimodal communication codes and genres such as documentary, parody and deconstruction (Roscoe and Hight, 2001, Hight, 2010). However, the boundaries between these codes are unclear and it is difficult to, on the one hand, accurately define them and, on the other hand, for the audience to clearly recognize them. The spectator is tested as he/she tends to believe in the documentary format and style. Moreover, the mockumentary aims at finding an accomplice for the irony used throughout the film (Hutcheon, 2000). Although nowadays the audience is aware of these film fusions, thanks to the TV series, which copy the format and style of documentaries and reality shows, they still provoke confusion and sometimes frustration and anger. This is even more evident when these products are translated into a foreign language and culture. Roscoe and Hight (2001), Hight (2008, 2010, 2012) and Sánchez Navarro (2001) have established the foundations of cinematographic characteristics of mockumentaries and the perception of the general audience, Carneiro (2013) published her thesis on mockumentaries and the music industry and Wallace (2012) on comic mockumentaries. López Ligero (2015) published a book on the origins of the genre to the present, but none of them deals with the adaptation and reception of a foreign audience. There are many studies and research on audiovisual translation focused ondocumentaries (Orero, 2005, 2006a, 2006b, Franco, Matamala and Orero, 2010), also focused on humor translation such as Zabalbeascoa (1996, 2001) and Martínez Sierra (2008), in the translation of cultural references such as Molina (2006, 2011), Werner (2010) and Igareda (2011). All of them are key aspects of the fake documentaries, but there is no analysis or dissertation that combines all of them. For this reason, we believe that a study that considers this multimodal approach to the adaptation of these discourses is necessary...
Mockumentary is a hybrid cinema genre, which combines multimodal communication codes and genres such as documentary, parody and deconstruction (Roscoe and Hight, 2001, Hight, 2010). However, the boundaries between these codes are unclear and it is difficult to, on the one hand, accurately define them and, on the other hand, for the audience to clearly recognize them. The spectator is tested as he/she tends to believe in the documentary format and style. Moreover, the mockumentary aims at finding an accomplice for the irony used throughout the film (Hutcheon, 2000). Although nowadays the audience is aware of these film fusions, thanks to the TV series, which copy the format and style of documentaries and reality shows, they still provoke confusion and sometimes frustration and anger. This is even more evident when these products are translated into a foreign language and culture. Roscoe and Hight (2001), Hight (2008, 2010, 2012) and Sánchez Navarro (2001) have established the foundations of cinematographic characteristics of mockumentaries and the perception of the general audience, Carneiro (2013) published her thesis on mockumentaries and the music industry and Wallace (2012) on comic mockumentaries. López Ligero (2015) published a book on the origins of the genre to the present, but none of them deals with the adaptation and reception of a foreign audience. There are many studies and research on audiovisual translation focused ondocumentaries (Orero, 2005, 2006a, 2006b, Franco, Matamala and Orero, 2010), also focused on humor translation such as Zabalbeascoa (1996, 2001) and Martínez Sierra (2008), in the translation of cultural references such as Molina (2006, 2011), Werner (2010) and Igareda (2011). All of them are key aspects of the fake documentaries, but there is no analysis or dissertation that combines all of them. For this reason, we believe that a study that considers this multimodal approach to the adaptation of these discourses is necessary...
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Tesis de la Universidad Complutense de Madrid, Facultad de Filología, leída el 31/01/2018