Addendum - AVT in the English Versions of the Manolito Gafotas Films: Descriptive examples of subtitles and dubbed versions of Manolito Gafotas movies

https://openpress.universityofgalway.ie/audiovisualtranslationinmanolitogafotas/

This descriptive chart and commentary are offered as an appendix to the article published in 2019 by Alderete Diez, Pilar & Harrington Fernández, Owen (2019). ‘Shortsighted translations: Censorship in the three Manolito Gafotas books translated into American English’ In Elvira Cámara Aguilera (Ed.), Traducciones, adaptaciones y doble destinatario en literatura infantil y juvenil. London: Peter Lang. In this appendix, we offer some examples of the subtitling and dubbing practices in the two films produced on the Manolito Gafotas series, as a point of comparison with the censoring editorial practices exhibited in the English textual translations and exposed in an article by Carolina Travalia[1]. It is important to highlight the contradicting norms between textual translation practices – or even creative textual practice – and audiovisual translation (both dubbing and subtitling) in children’s literature/fiction or transmedia products created for children and young adults. Textual practices as observed above and classified by Emer O’Sullivan (2005) lean towards a much more conservative approach to children and young adults fostering monocultural globalized approaches to identity and culture. This appendix adds descriptive data to this norm proving that in the Manolito Gafotas series adds to the proof of this contradictory translation practice.For this appendix, we will just focus on the two film adaptations of the series, because the TV Series, broadcasted by Antena 3 from 2004, does not have English subtitles or dubbing now. The two existing films, Manolito Gafotas was produced by Miguel Albaladejo in 1999 y ¡Mola ser jefe!, the second one, was produced by Joan Potauen in 2001. The book series has been translated to more than twenty languages, but as our article above proves it has suffered censorship and editing outside the Spanish-speaking world. Ortiz (2013) comments on the paradox that some countries that promote this surveillance of children’s products would, for instance, not supervise the sale of firearms. As we explained in the article above, all examples of physical violence were attenuated with a consistent political and moral correction to the point of omission of illustration depicting naked women on a painting in the Prado Museum