Library Catalog
Amazon cover image
Image from Amazon.com

Since When Is Fran Drescher Jewish? : Dubbing Stereotypes in The Nanny, The Simpsons, and The Sopranos / Chiara Francesca Ferrari.

By: Contributor(s): Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©2010Description: 1 online resource (175 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780292784758
Subject(s): DDC classification:
  • 302.230945
LOC classification:
  • PN1992.8.M54 ǂb F47 2010eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Foreword -- Acknowledgments -- INTRODUCTION Since When Is Fran Drescher Jewish? -- CHAPTER ONE Nation in Translation: The (Im)Possibility of the Local? -- CHAPTER TWO Indigenizing Texts: Television Translation as Cultural Ventriloquism -- CHAPTER THREE Dubbing Yiddish, Hidden Rabbi: The Nanny in Translation -- CHAPTER FOUR Dubbing The Simpsons: Or How Groundskeeper Willie Lost His Kilt in Sardinia -- CHAPTER FIVE The Sopranos in Italy: Or “Why Should We Care? We Have the Real Mafia Here!” -- CONCLUSION Translating Stereotypes: The Cultural Politics of Reformatting -- Notes -- Selected Bibliography -- Index
Summary: "Since when is Fran Drescher Jewish?" This was Chiara Francesca Ferrari's reaction when she learned that Drescher's character on the television sitcom The Nanny was meant to be a portrayal of a stereotypical Jewish-American princess. Ferrari had only seen the Italian version of the show, in which the protagonist was dubbed into an exotic, eccentric Italian-American nanny. Since When Is Fran Drescher Jewish? explores this "ventriloquism" as not only a textual and cultural transfer between languages but also as an industrial practice that helps the media industry foster identification among varying audiences around the globe. At the heart of this study is an in-depth exploration of three shows that moved from global to local, mapping stereotypes from both sides of the Atlantic in the process. Presented in Italy, for example, Groundskeeper Willie from The Simpsons is no longer a belligerent, alcoholic Scotsman but instead easily becomes a primitive figure from Sardinia. Ironically, The Sopranos—a show built around Italian-Americans—was carefully re-positioned by Italian TV executives, who erased the word "mafia" and all regional references to Sicily. The result of Ferrari's three case studies is evidence that "otherness" transcends translation, as the stereotypes produced by the American entertainment industry are simply replaced by other stereotypes in foreign markets. As American television studios continue to attempt to increase earnings by licensing their shows abroad, Since When Is Fran Drescher Jewish? illuminates the significant issues of identity raised by this ever-growing marketplace, along with the intriguing messages that lie in the larger realm of audiovisual cultural exchange.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780292784758

Frontmatter -- Contents -- Foreword -- Acknowledgments -- INTRODUCTION Since When Is Fran Drescher Jewish? -- CHAPTER ONE Nation in Translation: The (Im)Possibility of the Local? -- CHAPTER TWO Indigenizing Texts: Television Translation as Cultural Ventriloquism -- CHAPTER THREE Dubbing Yiddish, Hidden Rabbi: The Nanny in Translation -- CHAPTER FOUR Dubbing The Simpsons: Or How Groundskeeper Willie Lost His Kilt in Sardinia -- CHAPTER FIVE The Sopranos in Italy: Or “Why Should We Care? We Have the Real Mafia Here!” -- CONCLUSION Translating Stereotypes: The Cultural Politics of Reformatting -- Notes -- Selected Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

"Since when is Fran Drescher Jewish?" This was Chiara Francesca Ferrari's reaction when she learned that Drescher's character on the television sitcom The Nanny was meant to be a portrayal of a stereotypical Jewish-American princess. Ferrari had only seen the Italian version of the show, in which the protagonist was dubbed into an exotic, eccentric Italian-American nanny. Since When Is Fran Drescher Jewish? explores this "ventriloquism" as not only a textual and cultural transfer between languages but also as an industrial practice that helps the media industry foster identification among varying audiences around the globe. At the heart of this study is an in-depth exploration of three shows that moved from global to local, mapping stereotypes from both sides of the Atlantic in the process. Presented in Italy, for example, Groundskeeper Willie from The Simpsons is no longer a belligerent, alcoholic Scotsman but instead easily becomes a primitive figure from Sardinia. Ironically, The Sopranos—a show built around Italian-Americans—was carefully re-positioned by Italian TV executives, who erased the word "mafia" and all regional references to Sicily. The result of Ferrari's three case studies is evidence that "otherness" transcends translation, as the stereotypes produced by the American entertainment industry are simply replaced by other stereotypes in foreign markets. As American television studios continue to attempt to increase earnings by licensing their shows abroad, Since When Is Fran Drescher Jewish? illuminates the significant issues of identity raised by this ever-growing marketplace, along with the intriguing messages that lie in the larger realm of audiovisual cultural exchange.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)