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Dubbing

Dubbing (re-recording and mixing) is a post-production process used in filmmaking and video production, often in concert with sound design, in which additional or supplementary recordings (doubles) are lip-synced and "mixed" with original production sound to create the finished soundtrack.

For other uses, see Dubbing (disambiguation).

The process usually takes place on a dub stage. After sound editors edit and prepare all the necessary tracks—dialogue, automated dialogue replacement (ADR), effects, Foley, and music—the dubbing mixers proceed to balance all of the elements and record the finished soundtrack. Dubbing is sometimes confused with ADR, also known as "additional dialogue replacement",[1][2][3] "automated dialogue recording" and "looping",[4][5] in which the original actors re-record and synchronize audio segments.


Outside the film industry, the term "dubbing" commonly refers to the replacement of the actor's voices with those of different performers speaking another language, which is called "revoicing" in the film industry.[1] The term "dubbing" is only used when talking about replacing a previous voice, usually in another language. When a voice is created from scratch for animations, the term "original voice" is always used because, in some cases, these media are partially finished before the voice is implemented. The voice work would still be part of the creation process, thus being considered the official voice.

Origins[edit]

Films, videos, and sometimes video games are often dubbed into the local language of a foreign market. In foreign distribution, dubbing is common in theatrically released films, television films, television series, cartoons, anime and mexican telenovelas.[6]


In many countries dubbing was adopted, at least in part, for political reasons. In authoritarian states such as Fascist Italy and Francoist Spain, dubbing could be used to enforce particular ideological agendas, excising negative references to the nation and its leaders and promoting standardised national languages at the expense of local dialects and minority languages. In post-Nazi Germany, dubbing was used to downplay events in the country's recent past, as in the case of the dub of Alfred Hitchcock's Notorious, where the Nazi organisation upon which the film's plot centres was changed to a drug smuggling enterprise.[7] First post-WWII movie dub was Konstantin Zaslonov (1949) dubbed from Russian to the Czech language.[8] In Western Europe after World War II, dubbing was attractive to many film producers as it helped to enable co-production between companies in different countries, in turn allowing them to pool resources and benefit from financial support from multiple governments. Use of dubbing meant that multi-national casts could be assembled and were able to use their preferred language for their performances, with appropriate post-production dubs being carried out before distributing versions of the film in the appropriate language for each territory.[7]

provided Debbie Reynolds' voice in two scenes of Singin' in the Rain (1952). Ironically, the film's story has Reynolds' character, Kathy Seldon, dubbing the voice for Hagen's character, Lina Lamont, due to Lina's grating voice and strong New York accent. Hagen used her own normal melodious voice to portray Kathy dubbing for Lina. The film, which takes place in Hollywood as talking pictures are taking over from silent films, also portrays another character, Cosmo Brown, played by Donald O'Connor, as inventing the idea of using one actor to provide the voice for another.

Jean Hagen

provided the singing voice for the character Eliza Doolittle, otherwise played by Audrey Hepburn, in the 1964 musical film My Fair Lady. Nixon was also the singing voices for Deborah Kerr in The King and I and Natalie Wood in West Side Story, among many others.

Marni Nixon

who acted as Darth Maul from Star Wars: Episode I – The Phantom Menace, had his voice dubbed over by Peter Serafinowicz

Ray Park

Frenchmen and Jacques Perrin, who were dubbed into Italian for Cinema Paradiso

Philippe Noiret

Austrian bodybuilder , dubbed for Hercules in New York

Arnold Schwarzenegger

Argentine boxer , dubbed by a professional actor for the lead in the drama La Mary

Carlos Monzón

who played Auric Goldfinger in the James Bond film Goldfinger, dubbed by Michael Collins

Gert Fröbe

's James Bond in On Her Majesty's Secret Service, dubbed for a portion of the film by George Baker, since Bond was undercover and impersonating Baker's own character.

George Lazenby

's Jane, in Greystoke: The Legend of Tarzan, Lord of the Apes, who was dubbed by Glenn Close

Andie MacDowell

who portrayed Bane in The Dark Knight Rises, re-dubbed half of his own lines for ease of viewer comprehension

Tom Hardy

was dubbed by Roy Dotrice in post production for Saturn 3

Harvey Keitel

dubbed replacement of swear words for Richard Pryor in multiple TV versions of his movies

Dave Coulier

was dubbed by Laurence Fishburne in post production for Fantastic Four: Rise of the Silver Surfer

Doug Jones

Maluf, Ramez (19 December 2003). (PDF). Lebanese American University. Archived (PDF) from the original on 29 April 2004. Retrieved 10 April 2011.

Dubbing into Arabic: A Trojan Horse at the Gates?

Di Fortunato E. e Paolinelli M. (a cura di), "La Questione Doppiaggio – barriere linguistiche e circolazione delle opere audiovisive", Roma, AIDAC, 1996 – (available on website: www.aidac.it)

Castellano A. (a cura di), "Il Doppiaggio, profilo, storia e analisi di un'arte negata", Roma, AIDAC-ARLEM, 2001

Di Fortunato E. e Paolinelli M., "Tradurre per il doppiaggio – la trasposizione linguistica dell'audiovisivo: teoria e pratica di un'arte imperfetta", Milano, Hoepli, 2005

Archived 20 August 2012 at the Wayback Machine online magazine on criticism of the art of dubbing

ASINC

Dror Abend-David (31 July 2014). . Bloomsbury Publishing. ISBN 978-1-62356-101-7.

Media and Translation: An Interdisciplinary Approach

Rose, Jay, . Focal Press, fourth edition 2014 Book info. ISBN 9780415722070

Producing Great Sound for Film and Video