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Concerning graphic codes, there are currently three methods for their rendition in dubbing: audio-rendition of the target graphic codes (TGC) with an actor’s voice-off and adding the voice-off when the close shot is on the original graphic code (OGC); subtitling the OGC; and editing and inserting new TGCs replacing the OGCs in the film. The purpose of the current mixed-methods study was to compare the efficiency of voice-off versus insertion, two methods of rendition of graphic codes in dubbing, in terms of viewers’ comprehension and information processing. To this end, the Persian-dubbed versions of the Sherlock TV series broadcast on BBC Persian, using the insertion method, and on Iranian official television, using voice-off, were selected. The findings of the experiment revealed that the participants experienced better information recall and comprehension of the content of the graphic codes when they were translated using the insertion method. In the qualitative phase, the retrospective interview data involved issues in terms of the genre of audiovisual material, dialogue interaction, types of graphic codes, target language cultural references, literacy and viewing ability of the audience as relevant variables in the preference of each of the two methods.

The increasing use of multilingualism in audiovisual products, especially feature films, has attracted attention from audiovisual translation (AVT) scholars; however, such research is missing in the Chinese AVT context. This paper strived to fill this niche by exploring the common methods of the rendition of a third language (L3) in Chinese dubbing, subtitling, and fansubbing. The corpus of the study comprised six English-speaking feature films alongside their fan and professional-created Chinese subtitles and dubs available online, and its contents was mainly selected based on two criteria: (i) the L3s used, for example, French, Indian, Swahili, Xhosa, and Russian, and (ii) the availability of fan and pro-produced Chinese subtitles and dubs. For dubbing, the analysis of the corpus revealed that the Chinese professional dubbing team marked the L3s in a few cases but applied translational patterns inconsistently. the comparison of the pro- and fansubs demonstrated that both did not mark the L3s in their translations and that professional subtitlers performed better than the fansubbers in the rendition of multilingualism in terms of graphic codes and the original films’ storytelling.

Filmmakers increasingly resort to using multiple languages in their work to realistically reflect today's globalised world. However, this multiplicity poses specific challenges in the process of translation for dubbing. This study explores the rendition of Western multilingual films into Persian dubbed versions for the Iranian audience. Films as audiovisual texts have multimodal content, so both verbal and non-verbal elements were analysed. We compared the original versions of a selection of ten multilingual films with the Persian dubbed versions based on two models of analyses [i.e. Sanz Ortega, E. ( 2011). Subtitling and the relevance of Non-verbal information in polyglot films. New Voices in Translation Studies, 7, 19-34; Zabalbeascoa, P., & Voellmer, E. ( 2014). Accounting for multilingual films in translation studies. Intratextual translation in dubbing. In D. Abend-David (Ed.), Media and translation. An interdisciplinary approach (pp. 25-51). Bloomsbury Academic]. The results reveal that the most frequently used solution for translating multilingual films at the verbal level is neutralisation, which eliminates linguistic variation, and consequently, the multiplicity of languages in multilingual films is not maintained. Incidentally, a vast range of non-verbal signs is altered to conform to the socio-cultural norms of the target culture.