Workshop 2 – 8th June 2012

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Workshop A1, 3-4.15, ‘TV Formats: production & distribution’                         Adam Room

Chaired by Andrea Esser

This workshop is concerned with the rationale, the advantages and the disadvantages of the TV format business. In particular we will look at production and distribution perspectives. The workshop starts with a 15-minute paper by Sylwia Szostak, who argues that foreign players and scripted formats have proven instrumental in laying the grounds for the (re)launch of domestic Polish TV drama. Building on interviews with Polish TV executives, Sylwia will demonstrate how broadcasters in developing markets can benefit from international fiction formats in ways more profound than simply helping satisfy a growing demand for local production. With an industry respondent, Joerg Bachmaier (EMEA Executive Vice President, BBC Worldwide) and several other workshop participants with insight into different production cultures and format adaptation, we can expect an interesting variety of perspectives to emerge.


Workshop A2, 3-4.15, ‘Film across Borders’                                                                   Panelled Room
Chaired by Iain Robert Smith

This workshop will discuss the ways in which films are adapted, remade and localised across borders. Cinema has arguably always been an international medium and films are often adapted for different national or cultural audiences — from remakes such as the recent Hollywood adaptation of The Girl With The Dragon Tattoo through to subtitling and dubbing which shape how films are received in different contexts. This workshop will allow participants to share their knowledge of these processes and to move towards a deeper understanding of what happens when film moves across borders.


Workshop A3, 3-4.15, ‘Video game localisation’                                        Chancellor’s Room
Chaired by Miguel Bernal Merino

Video games became popular through arcades in the late seventies and they quickly spread to many countries around the world, often in their English form. Nowadays video games are a multibillion industry that caters for home entertainment markets, as well as mobile and all sort of portable devices, online players, and of course arcades. It is no longer an option to offer English-only games because growing competition means that market share only grows for the providers that are more in synched with their consumers all over the world and their needs. Localising video games can involve various companies and many different professional profiles some focused on translation, some on software engineering, some on hardware harmonisation, etc. how is this state of affairs reshaping localisation practices for the near future?


Workshop B1, 4.45-6, ‘National label, global brand’                                           Adam Room

Chaired by Andrea Esser

Since the 1990s, in television there has been much talk about the need for localisation. But there are also success stories of the ‘foreign’ and, as Koichi Iwabuchi (2010) argues, an increasing use of ‘brand nationalism.’ National and regional labels, such as American fiction, Japanese animation, British formats or Scandinavian drama, are used to signal quality, to create trust and positive expectations. They become part of the branding process and something that many fans revel in. The workshop starts with a 15-minute paper by Sam Ward who, by drawing on promotional texts, reviews, and the 2011 ‘Save BBC Four’ campaign, will show how the channel’s investment in ‘subtitle oddit[ies]’ is represented in such a way that it mobilizes European origination as a mark of distinction (set apart from both British- and American-made alternatives).


Workshop B2, 4.45-6, ‘Researching Transnational Media’                                           Panelled Room
Chaired by Iain Robert Smith

Many scholars have recently discussed the problem of researching transnational media. Moving beyond a national paradigm can mean encountering difficulties with access to material, with cultural knowledge, with language, not to mention the many theoretical issues surrounding the transnational. This workshop will allow participants the space to discuss their own experiences researching transnational media. Some themes we will consider include the extent to which the ‘transnational’ is a useful framework for understanding media, the challenges of doing transnational research, and the potential for collaboration across national boundaries.


Workshop B3, 4.45-6, ‘The translation of audiovisual media’                  Chancellor’s Room
Chaired by Miguel Bernal Merino

Although audiovisual media has been with us for very long, most viewers do not know the complex processes that the translation of their favourites films, TV programmes and video games have to go through before they are ready for them to enjoy. Whether interlingual subtitling, dubbing (or voiceover), intralingual subtitling (often but not only for the deaf and hard of hearing community), audio-description for the blind, localisation of interactive media (mostly but not only games), etc. the polysemiotic nature of these products and the often highly cultural identification of the content of these programmes challenge the translator with an unaccustomed array of constraints. After several decades of professional practice and research where are we at present and how might the convergence of media affect current practice and research?