Since When Is Fran Drescher Jewish?: Dubbing Stereotypes in by Chiara Francesca Ferrari, Joseph Straubhaar
By Chiara Francesca Ferrari, Joseph Straubhaar
"Since while is Fran Drescher Jewish?" This was once Chiara Francesca Ferrari's response whilst she discovered that Drescher's personality at the tv sitcom The Nanny used to be intended to be a portrayal of a stereotypical Jewish-American princess. Ferrari had in basic terms visible the Italian model of the exhibit, during which the protagonist used to be dubbed into an unique, eccentric Italian-American nanny. Since while Is Fran Drescher Jewish? explores this "ventriloquism" as not just a textual and cultural move among languages but additionally as an business perform that is helping the media foster identity between various audiences all over the world. on the center of this examine is an in-depth exploration of 3 indicates that moved from worldwide to neighborhood, mapping stereotypes from either side of the Atlantic within the method. awarded in Italy, for instance, Groundskeeper Willie from The Simpsons is not any longer a belligerent, alcoholic Scotsman yet as a substitute simply turns into a primitive determine from Sardinia. paradoxically, The Sopranos-a exhibit outfitted round Italian-Americans-was rigorously re-positioned by means of Italian television executives, who erased the observe "mafia" and all nearby references to Sicily. the results of Ferrari's 3 case experiences is proof that "otherness" transcends translation, because the stereotypes produced by means of the yank leisure are easily changed via different stereotypes in overseas markets. As American tv studios proceed to try to extend profits by means of licensing their exhibits overseas, Since while Is Fran Drescher Jewish? illuminates the numerous problems with id raised by way of this ever-growing industry, besides the exciting messages that lie within the higher realm of audiovisual cultural trade.
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Extra resources for Since When Is Fran Drescher Jewish?: Dubbing Stereotypes in The Nanny, The Simpsons, and The Sopranos
24 The anecdote provided by Corizza helps contextualize dubbing and audiovisual translation within the broader discourse of content reformatting. Dubbing, in fact, is but one way to indigenize a televisual text when “global” programs are imported in specific national environments and need to be adapted for new audiences. Further, however, Corizza’s comments introduce the controversial debate about cultural (and media) imperialism, since the scenario described exemplifies the changing relations between the consumption of American products and the ostensible American cultural domination that allegedly follows.
In 1954, RAI broadcast its first program; almost thirty years after cinema, television became the new vehicle through which to “teach” Italians their official, if rarely used, language. indb 32 9/28/10 7:51:41 PM Indigenizing Texts 33 until after World War II that Italians freely began to feel and experience that idea of nation and national community—without imposition from the Fascist regime. Early television in Italy provided a feeling of national belonging by giving Italians the idea of a shared geography, cultural heritage, and means of expression.
Channels that used to air only at specific times of the day suddenly needed to fill a twenty-four-hour schedule. indb 39 9/28/10 7:51:54 PM 40 Since When Is Fran Drescher Jewish? changes to the dubbing industry. 41 This deregulation also provoked a geographical split in the Italian dubbing industry: several dubbing studios were created in Milan, especially for television dubbing, in contrast to the traditional dubbing schools and studios in Rome, usually, but not exclusively, involved with film translation.