|Tipo di tesi||Tesi di laurea magistrale|
|Titolo||Rappresentare una cultura attraverso gli stereotipi: il confronto tra Luca e Ferdinand|
|Titolo in inglese|
|Struttura||Dipartimento di Studi Linguistici e Culturali|
|Corso di studi||LINGUE, CULTURE, COMUNICAZIONE (D.M. 270/04)|
|Data inizio appello||2022-04-26|
|Disponibilità||Accesso limitato: si può decidere quali file della tesi rendere accessibili. Disponibilità mixed (scegli questa opzione se vuoi rendere inaccessibili tutti i file della tesi o parte di essi)|
|Data di rilascio||2062-04-26|
Questo elaborato si pone l’obiettivo di mostrare in che modo due registi che lavorano negli Stati Uniti sono riusciti a rappresentare nei loro film animati una cultura diversa dalla propria (nel caso di Carlos Saldanha con Ferdinand) oppure adattare la propria per un pubblico più vasto e multiculturale (nel caso di Enrico Casarosa con Luca).
The purpose of this paper is to show how two filmmakers who work in the United States were able to depict a different culture from their own (in the case of Carlos Saldanha’s Ferdinand) or to adapt their own culture for a vast and multicultural audience (in the case of Enrico Casarosa’s Luca) in their animated movies. Before the actual analysis of each film, it will be necessary to introduce some prior information about stereotypes, that are pre-constructed ideas both dangerous and useful, since human beings need them as familiar labels to give to unknown people and social groups in order to deal with them; the problem is that most times these labels are wrong, and in this particular case we will observe which stereotypes are used to portray the Spanish and Italian cultures in these two audio-visual products. In the first chapter we will provide an overview of the other chapters’ topics, specifically: • Spanish bullfight, firstly by briefly narrating its history, then by reporting the point of view of those who support (aficionados) and of those who are against (antitaurinos) this tradition; • The most important events in Italy between 1950 and 1960, and the myths of Cola Pesce and some of Liguria’s sea monsters, which inspired Casarosa’s film. Afterward, every chapter will focus on one of the two films, analysing its every aspect, both general (the director’s name, his other important works, the plot and themes, etc.) and specific (how they used cultural stereotypes and traditions to create the final product that was released in cinemas). Lastly, we will see if the translators kept or not these cultural elements in their translation for the dubbing, by comparing the way Italian and Spanish adapters dealt with the difficulties coming from the translation of linguistic codes different from their own. The purpose of this operation is to show how the information that the viewer gets from both hearing and sight (the two most prominent senses in watching a film), and that comes from texts that were adapted or not to the rules of the target language, will construct in his/her mind a coherent idea of the culture depicted onscreen.