Paterson (2017) de Jim Jarmusch aux prises avec le « bon usage » du sous-titrage
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Jim Jarmusch’s Paterson (2017) at odds with good subtitling practice
This article tackles the link between the poetics of Jim Jarmusch’s movie Paterson (2017) and its DVD subtitling into French. The subtitler is commonly viewed as a mediator who, among other things, is in charge of transposing the filmmaker’s writing into another language and culture. However, to what extent can the collaboration of two means of expression — on the one hand, the soundtrack and the whole screen as a potential writing area, and on the other hand, the lower part of the screen devoted to the translated words — do justice to the iconoclastic poetics of this movie? When subtitling Paterson, is the translator inevitably led to force the text into the often-tight dimensions of the usual codes of subtitling? The analyses show that the conventional strategies of subtitling are sometimes ill-equipped to convey Jarmusch’s very accurate segmenting of the text and his progressive unveiling of information.
Jim Jarmusch, subtitling, Paterson (2017), poetics, norms
31(2) - 2019