Çeviribilim Perspektifinden Yeniden Çevrim ve Yeniden Çeviren
Mehmet ErguvanTürk kültüründe toplumsal meşguliyetleri büyük ölçüde etkileyen Türk televizyonunun ilk yıllarından itibaren televizyonda en çok izlenen ve programların toplam yayın süresine dağılımında en çok payı bulunan program türleri arasında diziler dikkat çeker. Dizi türüne tahsis edilen pay ve dizilerin gördüğü ilgi, yeni dizi formatlarını satın almayı ve formatların yeniden yapımlarını -daha yaygın ifadesiyle, “uyarlama”larını- izleyiciye sunmayı bir alışkanlık ve mecburiyet haline getirmiş ve yeniden çevrimler, Türk televizyon repertuvarına seçenek olarak katkıda bulunarak Türk televizyon repertuvarını zenginleştirmiştir (Erguvan & Işıklar, Koçak, 2020). Türkiye’de pek çok ülkeden satın alınan -kimi zaman satın almaksızın üretilen- dizilerin yeniden çevrimlerinde çevirinin varlığı ve/veya yokluğu, ayrıca çevirmenin görünürlüğü/görünmezliği gibi konuların irdeleneceği bu çalışma, yeniden çevrimleri ve yeniden çevirenleri farklı veçhelerden incelemektedir. Öncelikle, senaristlerle yapılmış yarı yapılandırılmış görüşmeler aracılığıyla bu aktörlerin çeviriye ve çevirmenliğe dair görüşleri tartışılacaktır. Bunu takiben, Ekşi Sözlük, YouTube ve Twitter gibi mecralardan toplanacak veriler ışığında Türk izleyicilerinin yeniden çevrimleri alımlama şekilleri eleştirel gözle değerlendirilecektir. Çalışmanın bir diğer ayağını ise yeniden çevrimler hakkında kamuoyu algısının inşasında rol oynayan diğer “medya yan metinleri”nin (Batchelor, 2018) analizi oluşturmaktadır. Bu minvalde, yeniden çevrim/uyarlama dizileri etraflıca irdeleyen bu çalışma, yeniden çevrim diziler söz konusu olduğunda, doğrudan çeviri ve çevirmenliğin varlığından ve/veya yokluğundan söz edilemeyeceğini öngörür. Bilakis, muhtevası açısından çeşitlilik arz eden yeniden çevrimlerin, çeviriye ve çevirmene ilişkin farklı, girift ve bizatihi televizyona özgü anlayışlar sunduğu neticesine varılabilir.
Remakes and Remakers from the Perspective of Translatıon Studies
Mehmet ErguvanSince the early days of Turkish television, which profoundly affects societal engagement in Turkish culture, television (TV) series garner a sizeable audience and a significant share of total airtime is TV series (“dizi” in Turkish). The allocation of airtime to TV series, as well as the audience’s interest in them, have made obtaining new series formats and producing remakes, commonly known as "adaptations," a habit and a requirement; then numerous remakes, some of which were produced without purchasing the original formats, have extended Turkish television’s repertoire (Erguvan Işıklar, Koçak, 2020). This research will explore issues such as the presence or absence of translation in the remakes of TV series acquired from various countries, as well as the (in)visibility of translators. It approaches remakes and remakers from several angles. First, through semi-structured interviews, the study will shed light on the opinions of scriptwriters regarding translation and translators. Following that, the study will critically evaluate how Turkish viewers perceive remakes by collecting data from platforms like Ekşi Sözlük, YouTube, and Twitter. Another aspect of this research will involve the analysis of "media paratexts" (Batchelor, 2018) that play a crucial role in shaping public perceptions of remakes. This research, which extensively examines remakes/adaptations, anticipates that it is not possible to directly discuss the presence/absence of translation and translators when it comes to remake series. Rather, it suggests that the distinctive nature of remakes offers idiosyncratic, intricate, and inherently television-specific understandings of translation and translators.
Television, being a prominent player in traditional media, exerts a deep influence on societal involvement within Turkish culture. From the inception of Turkish television, a noteworthy genre that consistently captures a substantial viewership and a considerable portion of overall broadcast time is the television series, referred to as "dizi" in Turkish. The substantial allocation of airtime to TV series, coupled with the audience’s fervent interest in them, has fostered a practice and necessity of procuring fresh series formats and creating remakes, commonly recognized as "adaptations." Throughout the 2000s, a multitude of foreign-origin remakes expanded the diversity of content in Turkish television (Erguvan, 2017; Erguvan & Işıklar, Koçak, 2020). This research centers on audiovisual translation within the realm of remakes, a topic that has received limited attention from scholars in the field of translation studies. It delves into the notions of translation and translators in the context of television series remakes. This study aims to investigate aspects such as the presence or absence of translation in the remakes of TV series originating from diverse countries, as well as the visibility or invisibility of the translators involved.
First, the research, in accordance with Gottlieb’s conceptualization (2007, s.7), characterizes television remakes as an isosemiotic, interlingual, and inspirational mode of translation. Remakes represent a composite translation form shaped by various societal actors and influenced by the dynamics of a new sociocultural, economic, and ideological context. Within this translation framework, the connection to an original source text is characterized by a higher degree of freedom and a lesser degree of predictability in comparison to more conventional forms of audiovisual translation.
In this research, a multifaceted approach is adopted to the subject of remakes and those involved in their creation. Initially, the study will provide insights into the perspectives of scriptwriters, who hold a pivotal role as decisionmakers in the production of remakes, regarding the aspects of translation and translators. To achieve this, semistructured interviews will be conducted. The interviews, comprising open-ended questions, are designed to offer valuable background insights into various facets and phases of the Turkish television remake process, as well as the key individuals driving this creative endeavor.
Subsequently, the study will conduct a critical assessment of how Turkish viewers perceive remakes by gathering data from platforms such as Ekşi Sözlük, YouTube, and Twitter. Another facet of this research will entail the examination of "media paratexts" (as discussed by Batchelor, 2018). These paratexts encompass written and digital media materials, such as news articles and critiques, which wield a significant influence in shaping public perceptions of remakes. The primary methods employed in this study will be semi-structured interviews and paratextual analysis.
Ultimately, it has been observed that remakes offer new perspectives specific to television, which differs from the conventional understanding of translation and the role of the translator. Remakes have been found to refresh the conventional notion of translation, presenting it as a concept that evolves over time. Acknowledging the concept of rewriting within the framework of translation as a means to describe the content of translation and to question translation texts is among the significant outcomes of this research. Thus, in parallel with developments in Translation Studies that focus on diversified texts and production methods with the aid of new technologies, remakes emerge as a concept and practice that expand the traditional understanding of translation, encouraging us to rethink translation in terms of transformation, creativity, alteration, and displacement.
