Cultural and linguistic issues at play in the management of multilingual films in dubbing

As several studies show (Diadori 2003, Heiss 2004, Baldo 2009, Sanz Ortega 2011), multilingual films are a phenomenon on the rise, whose translation presents several problems, whatever the mode used. It is indeed difficult to transpose the multiplicity of information related to the use of different varieties, whether we dub or subtitle the product. The choice to use only one language – the receiving audience’s - obviously implies the loss of much of this information. In spite of this, there were cases in the past where Italian dubbing professionals opted for this choice, regardless of the unavoidable situations of inconsistency deriving from such a practice (see the case of Godard's Le Mepris, 1963). If we take into consideration more recent examples of multilingual films, however, we might have the impression that things seem to have been changing in the Italian panorama. In fact, even though dubbing still remains the main translation mode, it is possible to observe an effort on the part of professionals to preserve at least some of the connotations conveyed by the use of multiple linguistic codes. In her study about multilingual films, Heiss (2004: 208-220) already noted the practice of using both dubbing and subtitling, alongside with other strategies, in traditionally dubbing countries such as Italy and Germany. This actually seems to be the preferred procedure in the Italian context in the latest years. However, there is still lack in consistency in the strategies used, even in cases of films which are supposed to be connected to one another, as in the case of Cedric Klapisch's trilogy (L'Auberge Espagnole 2002; Les Poupées Russes 2005 and Casse-tête Chinois 2013)