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Dubbing and Subtitling B-A

Code: 44378 ECTS Credits: 9
Degree Type Year Semester
4315982 Audiovisual Translation OB 0 1
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.


José Llurba Naval

Use of Languages

Principal working language:
spanish (spa)


José Llurba Naval
María Eugenia Larreina
Gloria Barbal Carrillo

External teachers

Jorge Díaz-Cintas


There are no previous requirements.

Objectives and Contextualisation

To make the students familiar with audiovisual translation for dubbing. To learn how to adjust and adapt scripts as a complementary task for translation.

To learn how to subtitle from different perspectives: technical (programmes, time and space limitations) and linguistic (genres, orality, etc).


  • Act in accordance with the code of ethics of the profession.
  • Continue the learning process, to a large extent autonomously.
  • Discern the different modes and textual genres of audiovisual translation and media accessibility and their characteristics.
  • Identify and use specialist resources to gather information on topics within audiovisual translation and promote oneself as a professional translator.
  • Manage projects in audiovisual translation, accessibility, multimedia localisation, and translation of web pages and video games.
  • Master strategies for the correction, linguistic revision and post-edition of audiovisual products.
  • Recognise the translation problems specific to the different modes of audiovisual products and use the knowledge acquired to solve them.
  • Translate and make accessible audiovisual products, multimedia products, web pages, video games and software.
  • Use specific software to translate and make accessible audiovisual products, multimedia products and video games.

Learning Outcomes

  1. Act in accordance with the code of ethics of the profession.
  2. Adapt translations for dubbing and subtitling to the required linguistic varieties.
  3. Continue the learning process, to a large extent autonomously.
  4. Gain practice in the processes of dubbing and subtitling.
  5. Handle subtitling programmes.
  6. Identify existing translation errors and offer well-reasoned alternatives.
  7. Identify the principal characteristics, similarities and differences of dubbing and subtitling.
  8. Produce translations for dubbing and subtitling that conform to the restrictions of space and synchronisation inherent to each mode.
  9. Produce translations for dubbing and subtitling that fulfill the industry's professional standards.
  10. Recognise the financial and professional aspects of the dubbing and subtitling market.
  11. Solve translation difficulties in dubbing and subtitling and justify decisions taken.
  12. Use databases with cinema screenplays and show familiarity with different Media style guides.
  13. Work in and lead teams engaging in audiovisual translation for dubbing and subtitling.




Translation for dubbing. Material and work flow.

Adaptation and adjusting: symbols and pauses.

Particularities of dubbing translation: ambient sounds and adlibs.

Translating, adjusting and adapting songs.

Translating and adjusting animation.

Translating and adjusting fiction: series and films.



Introduction to subtitling, restrictions and particularities. Segmentation and preparing the text.

Localizing subtitles and technical conventions.

Linguistic conventions and orthotypography.

Cultural references and dialectal differences.

Cultural references and humour.

Professional aspects.


We use an active methodology with different activities.

We use the Virtual Campus.

We will propose several translation, adjusting and subtitling tasks to help students understand the whole process and to make them think and find their own solutions to, finally, enter the professional market.

The activities can be directed by teacher, supervised or totally independent. We will also encourage cooperative learning and data searching, as well as critical spirit.


Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.


Title Hours ECTS Learning Outcomes
Type: Directed      
Debates and discussions 14 0.56 2, 4, 1, 8, 9, 6, 7, 13, 10, 11, 3, 12, 5
Lectures 25 1 1, 6, 7, 13, 10, 11, 3, 12, 5
Translation tasks 35 1.4 2, 4, 1, 8, 9, 6, 7, 13, 10, 11, 3, 12, 5
Type: Supervised      
Assignment and task preparation 60 2.4 2, 4, 1, 8, 9, 6, 7, 13, 10, 11, 3, 12, 5
Discussion about examples 20 0.8 2, 4, 1, 8, 9, 6, 7, 13, 10, 11, 3, 12, 5
Type: Autonomous      
Cooperative learning techniques 15 0.6 2, 4, 1, 8, 9, 6, 7, 13, 10, 11, 3, 12, 5
Expanding knowledge 45 1.8 3
Research 11 0.44 6, 11, 3, 12


Assessment is continuous. Students must provide evidence of their progress by completing the abovementioned tasks. Task deadlines and details about them, as well as their weigh in the final assessment, will be indicated on the first day of class.


When publishing final marks prior to recording them on students' transcripts, the lecturer will provide written notification of a date and time for reviewing assessment activities. Students must arrange reviews in agreement with the lecturer.

Missed/failed assessment activities

Students may retake assessment activities they have failed or compensate for any they have missed, provided that those they have actually performed account for a minimum of 66.6% (two thirds) of the subject's final mark and that they have a weighted average mark of at least 3.5.

The lecturer will inform students of the procedure involved, in writing, when publishing final marks prior to recording them on transcripts. The lecturer may set one assignment per failed or missed assessment activity or a single assignment to cover a number of such activities. Under no circumstances may an assessment activity worth 100% of the final mark be retaken or compensated for.

Classification as "not assessable"

In the event of the assessment activities a student has performed accounting for just 25% or less of the subject's final mark, their work will be classified as "not assessable" on their transcript.

Misconduct in assessment activities

Students who engage in misconduct (plagiarism, copying, personation, etc.) in an assessment activity will receive a mark of “0” for the activity in question. In the case of misconduct in more than one assessment activity, the student sinvolved will be given a final mark of “0” for the subject. Assessment activities in which irregularities have occurred (e.g. plagiarism, copying, impersonation) are excluded from recovery.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Exercice 1 - Dubbing 22% 0 0 2, 4, 1, 8, 9, 7, 10, 11, 3, 12
Exercice 1 - Subtitling 22% 0 0 2, 4, 1, 8, 9, 6, 7, 10, 11, 3, 12, 5
Exercice 2 - Dubbing 22 % 0 0 2, 4, 1, 8, 9, 6, 7, 10, 11, 3, 12
Exercise 2 - Subtitling 22% 0 0 2, 4, 1, 8, 9, 7, 13, 10, 11, 3, 12, 5
Participation 12% 0 0 2, 4, 1, 8, 9, 6, 7, 13, 10, 11, 3, 12, 5


Basic readings

Agost, Rosa (1999) Traducción y doblaje: palabras, voces e imágenes, Ariel Practicum, Barcelona: Ariel.

Ávila, Alejandro (1997) El doblaje. Madrid: Cátedra.

Bartoll, Eduard. (2015). Introducción a la traducción audiovisual. Barcelona: UOC.

Chaume, Frederic (2003) Doblatge i subtitulació per a la TV,  Biblioteca de Traducció i d’Interpretació, Vic: Eumo Editorial. En castellano: Chaume, Federic. (2004) Cine y traducción. Madrid: Cátedra.

Chaves, M. José (2000) La traducción cinematográfica. El doblaje. Huelva: Publicaciones de la Universidad de Huelva.

Duro, Miguel (coord.) (2001) La traducción para el doblaje y la subtitulación. Madrid: Cátedra.

Matamala, Anna. (2019). Accessibilitat i traducció audiovisual. Barcelona: UOC.

Talaván, Noa; Ávila Cabrera, José Javier; Costal, Tomás. (2016). Traducción y accesibilidad audiovisual. Barcelona: UOC.

Whitman-Linsen, Candice (1992) Through the Dubbing Glass. The Synchronisations of American Motion Pictures into German, French and Spanish. Berlín: Peter Lang.


Other recommended readings

Ballester Casado, Ana (2001) Traducción y nacionalismo. La recepción del cine americano en España a través del doblaje (1928-1948). Granada: Comares.

Baños, Rocío (2004) La oralidad prefabricada en la traducción para el doblaje. Estudio descriptivo-contrastivo del español de dos comedias de situación. Tesis doctoral. Universidad de Granada.

Brumme, Jenny (2012)Traducir la voz ficticia. Berlín: De Gruyter.

Cerezo Merchán, Beatriz; Chaume, Frederic; Granell, ximo; Martí Ferriol, José Luis; Martínez Sierra, Juan José; Marzà, Anna; Torralba Miralles, Gloria (2015) La traducción para el doblaje en España. Mapa de convenciones. Castelló de la Plana: Publicacionsde la Universitat Jaume I.

Comes, Lluís (2007)  “El doblatge en català”, en Quaderns del CAC, 28: 45-51.

Comes, Lluís (2010)  “La traducció i l’adaptació dels temes musicals”, a Xoán Montero Domínguez (ed.) Traducción para a dobraxe en Galicia, País Vaso e Cataluña. Experiencias investigadoras profesionais. Vigo: Universidade de Vigo.

Fodor, István (1976) Film Dubbing. Phonetic, Esthetic and Psychological Aspects. Hamburg: Helmut Buske Verlag.

Fuentes, Adrián (2002) “Reír o no reír, esa es la cuestión: la traducción del humor verbal audiovisual. Estudio descriptivo de un fragmento de Duck Soup de los Hermanos Marx”.  http://www.ugr.es/~greti/puentes/puentes3/08%20Adrian%20Fuentes.pdf

Izard, Natàlia (1992) La traducció cinematogràfica. Barcelona: Centre d’Investigació de la Comunicació.

Luyken, Georg-Michael; Herbst, Thomas; Langham-Brown,Jo; Reid, Helen & Spinhof, Hermann (1991) Overcoming Linguistic Barriers in Television. Dubbing and Subtitling for the European Audience. Manchester: The European Institute for the Media.

Zabalbeascoa, Patrick (1996) “Translating Jokes for Dubbed Television Situation Comedies”, a Dirk Delabastita (guest editor), The Translator, 2:2. Special Issue. Wordplay & Translation, St. Jerome Publishing: Manchester.

Zabalbeascoa, Patrick (2000) “La traducción del humor de Woody Allen o el arte de dominar la sutileza y la ironía”, a Lorenzo & Pereira (eds.) Traducción subordinada (I). El doblaje. Vigo: Universidade de Vigo.


Edited volumes

Chaume, Frederic; Agost, Rosa. (eds.) (2001) La traducción en los medios audiovisuales. Castelló: Publicacions de la Universitat Jaume I.

Díaz-Cintas, Jorge; Orero, Pilar & Aline Remael (2006) Jostrans. Special Issue on AVT. http://www.jostrans.org/issue06/issue06_toc.php

Gambier, Yves (ed.) (1995) Communication audiovisuelle et transferts linguistiques. Translation 14:3-4.

Gambier, Yves (ed.) (1996) Les transferts linguistiques dans les médias.Paris: Presses Universitaires du Septentrion.

Gambier, Yves (ed.) (1998) Translating for the Media. Turku: University of Turku.

Gambier, Yves (2003) The Translator, 9:2 Special issue on Screen Translation. Manchester: St. Jerome.

Gambier, Yves (dir.) (2004) Meta. 49:1. Traduction Audiovisuelle. Les Presses de l’Université de Montréal.

Gambier, Yves & H. Gottlieb (2001) (Multi) Media Translation. Amsterdam: Benjamins.

Lorenzo, Lourdes; Pereira, Ana. (eds.) (2001) Traducción subordinada (I). El doblaje. Vigo:  Publicacións da Universidade de Vigo.

Lorenzo, Lourdes; Pereira, Ana(eds.) (2001) Traducción subordinada (I). El subtitulado. Vigo:  Publicacións da Universidade de Vigo.

Mayoral, Roberto (2005) (ed.) Puentes, 6. Número monográfico dedicado a la traducción audiovisual. Granada: Universidad de Granada. http://www.ugr.es/~greti/revista_puente_pdf.htm

Merino, Raquel; Santamaría, José Miguel & Pajares, Eterio (eds.) (2005) Trasvases culturales: literatura, cine, traducción 4. Vitòria: Universitat del País Basc. També hi ha el volum 3 (2001), el volum 2 (1997) i el volum 1 (1994).

Orero, Pilar (2004) Topics in Audiovisual Translation. Amsterdam:John Benjamins.

Sanderson, John D. (2001) Doble o nada. Actas de las I y II Jornadas de doblaje y subtitulación. Alacant: Universitat d’Alacant.

---- (2002) Traductores para todo. Actas de las III Jornadas de doblaje y subtitulación. Alacant: Universitat d’Alacant.

 (2008) Películas antiguas, subtítulos nuevos. Análisis diacrónico de la traducción audiovisual, Alicante: Universidad de Alicante.

Zabalbeascoa, P., Santamaria, L. i Chaume, Frederic (2005) La traducción audiovisual. Investigación, enseñanza y profesión, Interlingua, 49, Editorial Comares, Granada.



www.eldoblatge.com (catalán), www.eldoblaje.com (castellano)







BITRA (base de datos bibliográfica, para buscarotras referencias): http://cv1.cpd.ua.es/tra_int/usu/buscar.asp?idioma=es



Bartoll, Eduard (2012) La subtitulació. Aspectes teòrics i pràctics. Vic: Eumo.

Bogucki, Łukasz (2004) A Relevance Framework for Constraints onCinema Subtitling, Lodz: Wydawnictwo Universytetu Lodzkiego.

Brutti, Silvia i Elisa Perego (2005) «Translating the expressive function in subtitles: the case of vocatives», en John Sanderson [ed.] Research on Translation for Subtitling in Spain and Italy. Alacant: Universitat d’Alacant, 27-48.

Carroll, Mary i Jan Ivarsson (1998) Subtitling. Simrishamn: TransEdit HB.

De Linde, Zoe i Neil Kay (1999) The Semiotics of Subtitling. Manchester: St. Jerome.

Díaz Cintas, Jorge (2001) La traducción audiovisual. El subtitulado. Salamanca: Almar.

_____(2003) Teoría y práctica de la subtitulación (inglés-español). Barcelona: Ariel.

Díaz Cintas, Jorge i Aline Remael (2007) Audiovisual Translation: Subtitling. Manchester: St. Jerome.

Ferrer, María (2005) «Fansubs y scanlations: la influencia del aficionado en los criterios profesionales», Puentes 6: 27-43.

Incalcaterra McLoughlin, Laura, Marie Biscio i Máire Áine Ní Mhainnín [eds] (2011). Audiovisual Translation. Subtitles and Subtitling. Theory and Practice. Oxford: Peter Lang.

Karamitroglou, Fotios. (1997) «A set of proposed subtitling standards in Europe». Translation Journal 2(2). <www.bokorlang.com/journal/04stndrd.htm>

Lorenzo, Lourdesi Ana Pereira [eds] (2001) Traducción subordinada (I). El subtitulado. Vigo: Universidade de Vigo.

Orero, Pilar [ed.] (2004) Topics in Audiovisual Translation. Amsterdam: John Benjamins.



Microsoft Office, especially Word or other compatible text editors.

Subtitle Edit.