As briefly mentioned in Chapter 3, (9) and (10) are relatively ranked the highest in naturalness. The fact that they are from the same show suggests that decisions of voiceover supervisor can indeed influence the overall style in dubbing. As table 4.2 shows, (9) and (10) also have relatively lower PVI.
In determining if there could be a reference for dubbing style alternatives, two further questions should be discussed in the future. The first one is the necessity of intonational and durational emphases. They are not favoured by the audience due to
the reason discussed above but meanwhile have practical raison d'être. A potential future study would be to find a balanced use of emphases.
The second question is the definition of “Biaozhun-Guoyu”. Apparently what is taught in school covers only prescriptive elements such as vowel, consonants and tone, which seem to be more accepted, as some non dubbing artist informants also intentionally read the lines with more retroflexion than they usually would as they reported themselves. However, dubbing artists have a wider idea of how “standard”
language should be, which concerns the use of emphases when necessary.
Thus, the pronunciation elements prescribed in school, although deemed as a prerequisite in performance art by senior dubbing artists, seem to be the agreement that could be worked on. Indeed, (9) and (10) achieved relatively higher ranking in naturalness with the presence of retroflex consonants and was accepted (at least by one voiceover supervisor and commissioner) in the industry simultaneously. A potential “new style”, therefore, would probably have to reduce emphases to a proper degree. Also it could have a weaker degree of retroflexion and allow downdrifting. The exact degree of retroflexion and emphases’ pitch and duration variation required to reach a natural style could be interesting topics for further researches.
Although the situation is currently not ideal, with future studies taking both linguistic and dubbing performance knowledge into consideration, and also more communication, a solution could hopefully be found in the multicultural and tolerant environment of Taiwanese society.
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