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Pavia Corpus of Film Dialogue

PAVIA CORPUS OF FILM DIALOGUE

The Pavia Corpus of Film Dialogue (PCFD) is a parallel and comparable corpus made up of original Italian films and original English films together with their dubbed Italian translations. The corpus was created at University of Pavia where it has been developed since 2005 to investigate translated and non-translated audiovisual dialogues on their own, in parallel and contrastively.

MAIN AIMS OF THE CORPUS

The PCFD has been conceived as a flexible tool for analysing and comparing film language and audiovisual translation, with a focus on the English-Italian language pair. The corpus allows the pursuit of several objectives. Moving from a target-language orientation to dubbing, a systematic study can be carried out of linguistic, sociolinguistic, pragmatic and translational phenomena to ultimately delineate a profile of contemporary dubbed Italian. The component of the Anglophone original dialogue can also be inspected independently of its dubbed counterpart to look for conversational features and uncover their specific functions. The comparable component comprising original Italian productions makes it possible to draw comparisons between dubbed and original Italian films and between English and original Italian films. As the films included in the corpus cover a time span of almost 30 years (from 1990 to 2017), the PCFD is also suitable for short-term diachronic studies. Finally, the corpus can be exploited for language learning purposes.

DESIGN AND CHARACTERISTICS OF THE CORPUS

The PCFD has been developed over three main phases and is conceived as a monitor/open corpus to be expanded over time with the addition of other films. The first version contained 12 Anglophone films and dubbed Italian translations (approx. 230,000 tokens). In the second version of the corpus, the number of original and dubbed Anglophone films reached 24 (approx. 500,000 tokens) and a small comparable component of 6 original Italian films was added (approx. 60,000 tokens).

The PCFD presently includes a unidirectional parallel component made up of 32 American and British films and their dubbed Italian translations, and a comparable component of 30 original Italian films. The size of the parallel component runs up to about 700,000 tokens, while the comparable component consists of about 280,000 tokens. The total size of the PCFD thus adds up to almost 1 million tokens.

The Anglophone component of the PCFD was POS-tagged using CLAWS4 tagger and CLAWS7 tagset. An integrated approach of grammatical and pragmatic automatic tagging was realised through the writing of a Python script which post-processed the data output of CLAWS4 and added pragmatic tags to expressions with predominant pragmatic function, such as address forms (AF), pragmatic markers (PM), conversational formulae (CF) and general extenders (EXT). The POS-tagged texts of the Italian dialogues were produced using LinguA: Linguistic Annotation pipeline developed at the Institute of Computational Linguistics ‘Antonio Zampolli’ (ILC-CNR). The POS-tagged files were subsequently fed to the Italian version of the post-processor for pragmatic tagging.

All films have been manually transcribed from the film soundtrack, using the dialogue turn as unit of transcription and alignment. For ease of reading and computer search, the corpus contains only orthographic transcriptions. In the implementation of the second version of the PCFD, the corpus was converted into a relational database, which, thanks to turn-by-turn alignment, allows for more thorough translational and cross-linguistic analyses of individual items and discourse sequences. It also permits users to carry out queries beginning from either the original or the translated component of the corpus, a procedure that grants easier access to translation operations and instantiated cross-linguistic correspondences.

The dialogue transcriptions are further enriched with information related to a variety of parameters: textual and contextual variables, i.e. character speaking, scene type and linguistic event (e.g., phone calls), together with individual variables including accents, accompanying paralinguistic behaviour (e.g., whispering), and salient non-linguistic behaviour (e.g., waving). The corpus also houses metadata such as year of production, screenwriter, and translator-dialogue writers, all relevant to the study of characterisation, individual stylistic variation and short-term diachrony.

SAMPLING CRITERIA

The films in the corpus were chosen to be representative of ‘conversational’ audiovisual products, both translated and non-translated, i.e. only films that were likely to stage naturalistic interactions were chosen for inclusion in the corpus.

The films whose dialogues were to compose the corpus had to:

be set in contemporary times, representing contemporary dialogue and avoiding archaic or archaic-sounding language;
present a prevalence of situations that in real life elicit free and bidirectional spontaneous spoken language;
have been successful, both with the critics and the general public;
have been released at regular intervals within a fixed time span (at present from 1990 onwards).

FAIR USE AND COPYRIGHT

The access to the PCFD is restricted, the data are used for educational and non-profit purposes and are not meant to be redistributed. The research based on the PCFD is transformative, i.e. the data is rearranged and integrated with metadata (see section "design and characteristics of the corpus" above). Furthermore, the original audiovisual product is only partially represented in the PCFD, as it only contains the orthographical transcription of film dialogues leaving out the film soundtrack and picture. Therefore, the corpus does neither substitute for the original audiovisual work nor damage its market. Finally, all the audiovisual sources are acknowledged (see the Tables below) and cited in the body of the research text when used as illustrative examples. All the above ensures full respect of the copyright legislation (see section 107 of the US Copyright Act (1976), the Italian Law no. 633 Art. 70 (1bis 2008), and the British Copyright, Designs and Patents Act (1988) sections 29 and 30).

RESEARCH AND DEVELOPMENT TEAM

The construction of the PCFD is the result of teamwork directed and coordinated by Maria Pavesi, principal investigator and creator of the project.

Several researchers have contributed to different stages and tasks in the development of the PCFD: Maria Freddi (co-direction of version 1 and 2 of PCFD and relational database); Francesco Lunghi (engineering support in the creation of the database); Silvia Monti, Elisa Ghia, Maicol Formentelli, Silvia Bruti, Veronica Bonsignori, Elisa Perego and Valentina Coletto (transcriptions and inputting of the dialogues and requests for copyright clearance); Raffaele Zago (development of the comparable component).

Current research team

MARIA PAVESI

MAICOL FORMENTELLI

LIVIANA GALIANO

RAFFAELE ZAGO

ACKNOWLEDGEMENTS

The PCFD was conceived and developed within two research projects. The nationally relevant project “Ecolingua: E-Corpora in Linguistic and Multimodal Studies, in Translation, and in On-Line Language Learning and Testing” was funded by the Italian Ministry of Education, University and Research (2005), and coordinated nationally by Christopher Taylor (University of Trieste) and locally by Maria Pavesi (University of Pavia). The international project “English and Italian Audiovisual Language: Translation and Language Learning” was funded by the Alma Mater Ticinensis Foundation (2010-2012) and directed by Maria Pavesi (University of Pavia).

FILMS IN THE CORPUS

Parallel Component (ENG-ITA)

Original title	Italian title	Year of original release	Film director	Screenwriter	Translator-Adaptor	Ratings	Number of words ENG	Number of words ITA
Thelma and Louise	Thelma e Louise	1991	Ridley Scott	Callie Khouri	Giorgio Piferi	**** oooo	11322	9341
Dead Man Walking	Dead Man Walking – Condannato a morte	1995	Tim Robbins	Tim Robbins	Lorena Bertini	**½ ooo	13216	12081
Secrets and Lies	Segreti e bugie	1996	Mike Leigh	Mike Leigh	Elisabetta Bucciarelli	***½ oo	14697	12962
My Best Friend’s Wedding	Il matrimonio del mio migliore amico	1997	P.J. Hogan	Ronald Bass	Mauro Trentini	*** ooooo	9975	9782
Sliding Doors	Sliding Doors	1997	Peter Howitt	Peter Howitt	Francesco Vairano	**½ oooo	9563	8936
Notting Hill	Notting Hill	1999	Roger Michell	Richard Curtis	Francesco Vairano	** ooooo	11318	10613
The Runaway Bride	Se scappi, ti sposo	1999	Garry Marshall	Josann McGibbon, Sara Parriott	Manlio De Angelis	*½ ooooo	12595	11518
Autumn in New York	Autumn in New York	2000	Joan Chen	Allison Burnett	Francesco Vairano	*** oooo	7813	7344
Erin Brockovich	Erin Brockovich – Forte come la verità	2000	Steven Soderbergh	Susannah Grant	Marco Mete	**½ ooooo	14829	13931
Saving Grace	L’erba di Grace	2000	Nigel Cole	Mark Crowdy, Craig Ferguson	Lorena Bertini	*** ooo	7916	7592
Finding Forrester	Scoprendo Forrester	2000	Gus Van Sant	Mike Rich	Elettra Caporello	*** ooo	11291	11402
Ocean’s Eleven	Ocean’s Eleven – Fate il vostro gioco	2001	Steven Soderbergh	Ted Griffin	Marco Mete	**½ ooooo	10509	9967
Bend It Like Beckham	Sognando Beckham	2002	Gurinder Chandha	Gurinder Chandha	Elettra Caporello	*** ooo	10392	10311
One Hour Photo	One Hour Photo	2002	Mark Romanek	Mark Romanek	Carlo Valli	*** oo	6357	5728
Lost in Translation	Lost in Translation – L’amore tradotto	2003	Sofia Coppola	Sofia Coppola	Elisabetta Bucciarelli	*** ooo	5922	5211
Something’s gotta Give	Tutto può succedere	2003	Nancy Meyers	Nancy Meyers	Elettra Caporello	*** ooo	12666	12874
Ae Fond Kiss	Un bacio appassionato	2004	Ken Loach	Paul Laverty	Federica De Paolis	*** ooo	9445	9268
Crash	Crash – Contatto fisico	2004	Paul Haggis	Paul Haggis	Filippo Ottoni	*** ooo	10413	9341
Spanglish	Spanglish – Quando in famiglia sono troppi a parlare	2005	James L. Brooks	James L. Brooks	Marco Mete	*** ooo	10877	10774
Match Point	Match Point	2005	Woody Allen	Woody Allen	Elettra Caporello	***½ oooo	14562	13211
The Holiday	L’amore non va in vacanza	2006	Nancy Meyers	Nancy Meyers	Fiamma Izzo	**½ ooo	13072	12542
The Queen	The Queen	2006	Stephen Frears	Peter Morgan	Filippo Ottoni	***½ ooo	10073	10146
Michael Clayton	Michael Clayton	2007	Tony Gilroy	Tony Gilroy	Francesco Vairano	***½ oooo	13164	12057
Two Lovers	Two Lovers	2008	James Gray	James Gray	Alessandro Rossi	***½ ooo	9658	9937
Looking for Eric	Il mio amico Eric	2009	Ken Loach	Paul Laverty	Alessandro Rossi	***½ ooo	13089	13849
Another year	Another year	2010	Mike Leigh	Mike Leigh	Alessandro Rossi	*** ½ oo	14519	13135
The best exotic Marigold Hotel	Marigold Hotel	2012	John Madden	Ol Parker	Serena Paccagnella	** ½ ooo	12071	11282
Locke	Locke	2013	Steven Knight	Steven Knight	Marina Guadagno	*** ½ oo	10504	9037
Boyhood	Boyhood	2014	Richard Linklater	Richard Linklater	Sandro Acerbo	*** ½ oo	21858	18753
I, Daniel Blake	Io, Daniel Blake	2016	Ken Loach	Paul Laverty	Alessandro Rossi	**** oo	12064	10285
Lady bird	Lady bird	2017	Greta Gerwig	Greta Gerwig	Lorena Bertini	** ½ oo	10338	9315
Finding your feet	Ricomincio da noi	2017	Richard Loncraine	Nick Moorcroft, Meg Leonard	Elettra Caporello	*** oo	10302	9254
Number of words in the original English component: 366,380							366,380	341,779
Number of words in the dubbed Italian component: 341,779

Comparable Component (ITA)

Film Title	Year of release	Film Director	Screenwriter	Ratings	Number of words
Turné	1990	Gabriele Salvatores	Fabrizio Bentivoglio, Gabriele Salvatores, Francesca Marciano	** ½ ooo	8267
Perdiamoci di vista	1994	Carlo Verdone	Francesca Marciano, Carlo Verdone	**1/2 oooo	13018
La cena	1998	Ettore Scola	Ettore Scola, Silvia Scola, Furio Scarpelli, Giacomo Scarpelli	**½ oo	14494
Fuori dal mondo	1999	Giuseppe Piccioni	Giuseppe Piccioni, Gualtiero Rosella, Lucia Zei	***½ ooo	8972
Come te nessuno mai	1999	Gabriele Muccino	Gabriele Muccino	**½ ooo	11463
L’ultimo bacio	2000	Gabriele Muccino	Gabriele Muccino	** oooo	14168
Pane e tulipani	2000	Silvio Soldini	Silvio Soldini, Doriana Leondeff	**** oooo	8543
La stanza del figlio	2001	Nanni Moretti	Nanni Moretti, Linda Ferri, Heidrun Schleeff	**** oooo	8442
Le fate ignoranti	2001	Ferzan Özpetek	Ferzan Özpetek, Gianni Romoli	*** oooo	8153
L’ora di religione – Il sorriso di mia madre	2002	Marco Bellocchio	Marco Bellocchio	**** ooo	7340
Casomai	2002	Alessandro D’Alatri	Alessandro D’Alatri, Anna Pavignano	*** ooo	12626
La finestra di fronte	2003	Ferzan Özpetek	Ferzan Özpetek, Gianni Romoli	***½ oooo	6859
Caterina va in città	2003	Paolo Virzì	Paolo, Virzì, Francesco Bruni	**½ ooo	12603
Ricordati di me	2003	Gabriele Muccino	Gabriele Muccino, Heidrun Schleeff	** oooo	13811
Mi piace lavorare (Mobbing)	2004	Francesca Comencini	Francesca Comencini, Daniele Ranieri, Assunta Cestaro	*** oo	7365
La febbre	2005	Alessandro D’Alatri	Alessandro D’Alatri, Gennaro Nunziante, Domenico Starnone	*** ooo	9007
La terra	2006	Sergio Rubini	Sergio Rubini, Carla Cavalluzzi, Angelo Pasquini	*** ooo	7613
A casa nostra	2006	Francesca Comencini	Francesca Comencini, Franco Bernini	*** ooo	6123
L’aria Salata	2006	Alessandro Angelini	Alessandro Angelini, Angelo Carbone	***½ oo	6631
La giusta distanza	2007	Carlo Mazzacurati	Carlo Mazzacurati, Doriana Leondeff, Marco Pettenello, Claudio Piersanti	***½ oo	7158
Giorni e nuvole	2007	Silvio Soldini	Silvio Soldini, Doriana Leondeff, Francesco Piccolo, Federica Pontremoli	***½ ooo	10910
Lezioni di cioccolato	2007	Claudio Cupellini	Fabio Bonifacci, Christian Poli	*** oo	10462
Saturno contro	2007	Ferzan Özpetek	Ferzan Özpetek, Gianni Romoli	**½ oooo	8120
Bianco e nero	2008	Cristina Comencini	Cristina Comencini, Giulia Calenda, Maddalena Ravaglia	**½ ooo	9152
Diverso da chi?	2009	Umberto Carteni	Fabio Bonifacci	***½ ooo	12647
Giulia non esce la sera	2009	Giuseppe Piccioni	Giuseppe Piccioni, Federica Pontremoli	***½ ooo	7411
Zoran, il mio nipote scemo	2013	Matteo Oleotto	Daniela Gambaro, Pierpaolo Piciarelli, Marco Pettenello, Matteo Oleotto	*** ooo	6568
Se Dio vuole	2015	Edoardo Falcone	Edoardo Falcone, Marco Martani	** ½ oooo	8878
La pazza gioia	2016	Paolo Virzì	Francesca Archibugi, Paolo Virzì	**** oooo	11660
Perfetti sconosciuti	2016	Paolo Genovese	Paolo Genovese, Filippo Bologna, Paolo Costella, Paola Mammini, Rolando Ravello	*** ½ ooo	11667
Number of words in the comparable Italian component					290,031

MAIN PUBLICATIONS

2023

· Galiano, L. (forthcoming, 2023). Pragmatic markers in English and Italian film dialogue: Distribution and translation. Pragmatics.

· Galiano, L. and Semeraro, A. (2023). Part-of-Speech and pragmatic tagging of a corpus of film dialogue: a pilot study. Corpus Pragmatics, 7: 17-39.

2022

· Formentelli, M., Pavesi, M. (2022) The pragmatic functions of tu and lei. Converging patterns of address across translated and original Italian dialogue. Journal of Pragmatics, 201: 15-31. ISSN: 0378-2166.

· Galiano, L. (2022). You in film dialogue: collocations, speech acts and attitude. Studi Italiani di Linguistica Teorica e Applicata, LI, 3.

· Pavesi, M. (2022) “Corpora and the language of films: exploring dialogue in English and Italian”. In Anne O’Keeffe and Michael McCarthy (eds), Routledge Handbook of Corpus Linguistics - 2nd edition. New York and London: Routledge, pp. 547-561.

2021

· Formentelli, M., Ghia, E. (2021) “‘What the hell’s going on?’ A diachronic perspective on intensifying expletives in original and dubbed film dialogue”. In Textus, XXXIV, 1. English in Audiovisual Translation Research: Synchronic and Diachronic Perspectives, pp. 47-73. ISSN: 1824-3967.

· Ghia, E. (2021) “‘you’re kidding, right?’ The English present progressive as a stance marker in film dialogue”. In Lingue e Linguaggi 44, pp.121-141. E-ISSN 2239-0359.

· Zago, R. 2021. “Film discourse”. In The Routledge Handbook of Corpus Approaches to Discourse Analysis, Eric Friginal and Jack A. Hardy (eds), pp.168-182. London/New York: Routledge.

2020

· Pavesi, M. (2020) “‘I shouldn’t have let this happen’”. Demonstratives in film dialogue and film representation". In Christian Hoffmann and Monika Kirner-Ludwig (eds) Telecinematic Stylistics (Advances in Stylistics Series). Bloomsbury, pp. 19-38, ISBN HP: 978-1-3500-4285-8, ePDF: 978-1-3500-4287-2, eBook: 978-1-3500-4286-5.

2019

· Formentelli, M. (2019) “What’s in a vocative? Address(ing) creativity in English film dialogue”. Studi Italiani di Linguistica Teorica e Applicata, XLVIII, 1, pp. 27-50. ISSN: 0390-6809.

· Ghia E. (2019a) “Representing orality through questions in original and translated film dialogue”. In Ranzato I., Zanotti S. (eds), Reassessing Dubbing: Historical approaches and current trends, Amsterdam, Philadelphia - NLD, John Benjamins, pp. 211-227, ISBN 9789027262271

· Ghia E. (2019b) “(Dis)aligning across cultures: Pragmatic questions from original to dubbed film dialogue”. In Multilingua, Vol. 38, ISSN 1613-3684

· Guillot M. N., Pavesi M., Desilla L. (eds) (2019) Special issue of Multilingua on Audiovisual Translation as Intercultural Mediation, 38/5.

· Monti, S. (2019) “Cooking up flavours of linguistic identity in British and American multiethnic films and their Italian dubbed version”, MonTI, Special issue 4, in Multilingualism and representation of identities in audiovisual texts / Multilingüismo y representación de las identidades en textos audiovisuals, Eds. María Pérez López de Heredia & Irene de Higes Andino.

· Pavesi, M. (2019) “Corpus-based audiovisual translation studies: ample room for development”. In Luis Pérez-González (ed.) The Routledge Handbook of Audiovisual Translation Studies. New York and London: Routledge, pp. 315-333.

· Pavesi M., Formentelli M. (2019) “Comparing insults across languages in films: dubbing as cross-cultural mediation”. Special issue of Multilingua on Audiovisual Translation as Intercultural Mediation, 38/5, pp. 563-582.

· Zago, R. (2019a). “Complexity in film dialogue”. Le forme e la storia (nuova serie) 12(1): 123-132.

· Zago, R. (2019b) “English films vs Italian films: A comparative analysis via the Pavia Corpus of Film Dialogue and the WordSmith Tools”. In Reassessing Dubbing. Historical Approaches and Current Trends, Irene Ranzato e Serenalla Zanotti (eds), 229-241. Amsterdam/Philadelphia: John Benjamins.

2018

· Monti, S. (2018) Multilingualism on the screen. Code-switching in European and American Films and their Italian dubbed version. Pavia: CLU.

· Pavesi, M. (2018a) “Reappraising verbal language in audiovisual translation: From description to application”. Inaugural issue of Journal of Audiovisual Translation, 1/1, pp. 101-121

· Pavesi, M. (2018b) “Translational routines in dubbing: taking stock and moving forwards”. In Irene Ranzato, Serenella Zanotti (eds) Linguistic and Cultural Representation in Audiovisual Translation. New York and London: Routledge, pp. 11-30.

· Zago, R. (2018) Cross-Linguistic Affinities in Film Dialogue. Leonforte: Siké Edizioni.

2017

· Zago, R. (2017) “Cross-linguistic dimensions of comparability in film dialogue”. Illuminazioni 41: 250-274.

2016

· Ghia E., and Pavesi, M. 2016. “The language of dubbing and its comprehension by learner-viewers. An empirical study”. In Across Languages And Cultures, Vol.17, pp. 231-250, ISSN 1585-1923.

· Ghia E. 2016. “Film dialogue and audiovisual translation in the teaching of spoken English: Taking stock, defining new possibilities”. In Di Stefano F., Ghia E., Marcucci G. (eds), Dallo schermo alla didattica di lingua e traduzione: otto lingue a confronto, PISA - ITA, ETS, ISBN 978884674.

· Monti, S. 2016. “Reconstructing, Reinterpreting and Renarrating Code-switching in the Italian Dubbed Version of British and American Multilingual Films”, in Ideological Manipulation in Audiovisual Translation, Numero speciale di Altre Modernità, Università degli Studi di Milano, pp. 68-91, http://riviste.unimi.it/index.php/AMonline.

· Pavesi, M. 2016a. “The space of Italian dubbing: From naturalness to creativity in fictive orality”. In Remediating, Rescripting, Remaking. Language and Translation in the New Media, Michela Canepari, Gillian Mansfield and Franca Poppi (eds), 13-30. Roma: Carocci.

· Pavesi, M. 2016b. “Formulaicity in and across film dialogue: Clefts as translational routines”. In Across Languages and Cultures 17(1): 99-121.

2015

· Pavesi, Maria. 2015a “The translation of conversation and film dubbing as a discovery procedure. Evidence from demonstratives”. In Languages across Languages: New Perspectives on Translation, Emanuele Miola and Paolo Ramat (eds), 143-171. Newcastle upon Tyne: Cambridge Scholars Publishing.

· Zago, Raffaele. 2015. “‘That’s none of your business, Sy’: The pragmatics of vocatives in film dialogue”. In Participation in Public and Social Media Interactions, Marta Dynel and Jan Chovanec (eds), 183-207. Amsterdam/Philadelphia: John Benjamins.

· Pavesi, Maria. 2014-2015. “From lei to tu and back again: A case study of creativity in audiovisual translation”. In Prosopopeya. Revista de crítica contemporánea 9: 111-134. Special issue on Traducción, ideología y poder en la ficción audiovisual, Frederic Chaume Varela and Mabel Richart-Marset (eds).

2014

· Brincat, J. M. 2014. “Morphological and semantic simplification in dubbing techniques: Translating the dialogue of the British films Ae Fond Kiss... and The Queen”. In The Languages of Dubbing. Mainstream Audiovisual Translation in Italy, Maria Pavesi, Maicol Formentelli and Elisa Ghia (eds), 197-216. Bern: Peter Lang.

· Formentelli, M. 2014a. “Exploring lexical variety and simplification in original and dubbed film dialogue”. In The Languages of Dubbing. Mainstream Audiovisual Translation in Italy, Maria Pavesi, Maicol Formentelli and Elisa Ghia (eds), 141-166. Bern: Peter Lang.

· Formentelli, M. 2014b. “Vocatives galore in audiovisual dialogue: Evidence from a corpus of American and British films”. In English Text Construction 7(1): 53-83.

· Formentelli, M. and Monti, S. 2014. “Translating slanguage in British and American films: A corpus-based analysis”. In The Languages of Dubbing. Mainstream Audiovisual Translation in Italy, Maria Pavesi, Maicol Formentelli and Elisa Ghia (eds), 169-195. Bern: Peter Lang.

· Ghia, E. 2014. “That is the question: Direct interrogatives in English film dialogue and dubbed Italian”. In The Languages of Dubbing. Mainstream Audiovisual Translation in Italy, Maria Pavesi, Maicol Formentelli and Elisa Ghia (eds), 57-88. Bern: Peter Lang.

· Monti, S. 2014. “Code-switching and screen translation in British and American films and their Italian dubbed version: a socio-linguistic and pragmatic perspective”, in Adriana Þerban & Reine Meylaerts (eds.) Multilingualism at the Cinema and on Stage: A Translation Perspective, special issue of Linguistica Antverpiensia NS-TTS 13, https://lans-tts.uantwerpen.be/index.php/LANS-TTS/issue/current.

· Pavesi, M. 2014. “The Pavia Corpus of Film Dialogue: a means to several ends”. In Pavesi, M., Formentelli, M. and Ghia, E. (eds) The Languages of Dubbing: Mainstream Audiovisual Translation in Italy. Bern: Peter Lang, pp. 29-55.

· Pavesi, M. and Formentelli M., and Ghia E. 2014. “The languages of dubbing and thereabouts: an introduction”. In Pavesi M., Formentelli M., Ghia E. (eds), The languages of dubbing. Mainstream Audiovisual Translation in Italy, BERNA - CHE, Peter Lang, ISBN 978-3-0343-1646-0

· Pavesi M., Formentelli M., and Ghia E. (eds). 2014. The Languages of Dubbing: Mainstream Audiovisual Translation in Italy. Bern: Peter Lang.

· Pavesi, Maria. 2014. “The Pavia Corpus of Film Dialogue: A means to several ends”. In The Languages of Dubbing. Mainstream Audiovisual Translation in Italy, Maria Pavesi, Maicol Formentelli and Elisa Ghia (eds), 29-55. Bern: Peter Lang.

2013

· Freddi, M. 2013. “Constructing a corpus of translated films: A corpus view of dubbing”. In Perspectives. Studies in Translatology 21(4): 491-503.

· Pavesi, M. 2013. “This and that in the language of film dubbing: A corpus-based analysis”. In Meta 58(1): 107-137.

2012

· Ghia, E. 2012. Subtitling Matters. New Perspectives on Subtitling and Foreign Language Learning. Oxford: Peter Lang.

· Freddi, M. 2012. “What AVT can make of corpora: Some findings from the Pavia Corpus of Film Dialogue”. In AVT and Media Accessibility at the Crossroads. Media for All 3, Aline Remael, Pilar Orero and Mary Carroll (eds), 381-407. Amsterdam: Rodopi.

· Pavesi, M. 2012. “The enriching functions of address shifts in film translation”. In AVT and Media Accessibility at the Crossroads. Media for All 3, Aline Remael, Pilar Orero and Mary Carroll (eds), 335-356. Amsterdam: Rodopi.

2011

· Freddi, M. 2011. “A phraseological approach to film dialogue: Film stylistics revisited”. In Yearbook of Phraseology 2: 137-163.

2009

· Bonsignori, V. 2009. “Transcribing film dialogue: From orthographic to prosodic transcription”. In Analysing Audiovisual Dialogue. Linguistic and Translational Insights, Maria Freddi and Maria Pavesi (eds), 185-200. Bologna: CLUEB.

· Bruti, S. 2009. “Translating compliments and insults in the Pavia Corpus of Film Dialogue: Two sides of the same coin?” In Analysing Audiovisual Dialogue. Linguistic and Translational Insights, Maria Freddi and Maria Pavesi (eds), 143-163. Bologna: CLUEB.

· Freddi, M. 2009. “The phraseology of contemporary filmic speech: Formulaic language and translation”. In Analysing Audiovisual Dialogue. Linguistic and Translational Insights, Maria Freddi and Maria Pavesi (eds), 101-123. Bologna: CLUEB.

· Freddi, M. and Pavesi, M. (eds). 2009. Analysing Audiovisual Dialogue. Linguistic and Translation Insights. Bologna: CLUEB.

· Freddi, M. and Pavesi, M. 2009. “The Pavia Corpus of Film Dialogue: Methodology and research rationale”. In Analysing Audiovisual Dialogue. Linguistic and Translational Insights, Maria Freddi and Maria Pavesi (eds), 95-100. Bologna: CLUEB.

· Monti, S. 2009. “Codeswitching and multicultural identity in screen translation”. In Analysing Audiovisual Dialogue. Linguistic and Translational Insights, Maria Freddi and Maria Pavesi (eds), 165-183. Bologna: CLUEB.

· Pavesi, M. 2009a. “Referring to third persons in dubbing: Is there a role for source language transfer?” In Analysing Audiovisual Dialogue. Linguistic and Translational Insights, Maria Freddi and Maria Pavesi (eds), 125-141. Bologna: CLUEB.

· Pavesi, M. 2009b. “Pronouns in film dubbing and the dynamics of audiovisual communication”. In VIAL (Vigo International Journal of Applied Linguistics) 6: 89-107.

· Pavesi, M. 2009c. “Dubbing English into Italian: A closer look at the translation of spoken language”. In New Trends in Audiovisual Translation, Jorge Díaz-Cintas (ed.), 197-209. Bristol/Buffalo/Toronto: Multilingual Matters.

2008

· Bruti, S. and Pavesi, M. 2008. “Interjections in translated Italian: Looking for traces of dubbed language”. In Investigating English with Corpora, Aurelia Martelli and Virginia Pulcini (eds), 207-222. Milano: Polimetrica.

· Pavesi, M. 2008. “Spoken language in film dubbing: Target language norms, interference and translational routines”. In Between Text and Image. Updating Research in Screen Translation, Delia Chiaro, Christine Heiss and Chiara Bucaria (eds), 79-99. Amsterdam: John Benjamins.

2005

· Pavesi, M. 2005. La traduzione filmica. Aspetti del parlato doppiato dall’inglese all’italiano. Roma: Carocci.