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English to Spanish: WOMEN AND MEN IN FILM Gender Inequality Among Writers in a Culture Industry/HOMBRES Y MUJERES EN EL CINE Desigualdad de Género entre Escritores en una Industria Cultural General field: Social Sciences Detailed field: Cinema, Film, TV, Drama
Source text - English This research examines whether a similar pattern of gender inequality exists among writers for feature film. There are good reasons to expect that the findings for television will apply to the feature film industry as well. The overall structure of the two industries is quite similar-what DiMaggio (1977) calls "centralized brokerage administration" and Faulkner and Anderson (1987) describe as "recur rent short-term contracting." Each of the five distinctive characteristics of television production apply to feature film as well.
However, there are differences between film and television production in their organization and business contexts, and some of these differences may be of consequence for labor market dynamics of writers and other "culture workers." First, the levels of ambiguity, risk, and uncertainty facing producers in feature film are substantially greater in the film industry than in television. Production costs are many times higher than in television, and predicting which film projects will become hits is much more difficult than in television. In their study of the film industry, Baker and Faulkner (1991, 286) observe, "Filmmaking is a tenuous enterprise. It occurs in a business and technical environment characterized by high stakes, risk, and uncertainty. It requires substantial investments of financial capital for properties, artists, and support personnel. And it entails high personal and career risks."
Compared to television network programmers, risk-adverse production executives in feature film might be more likely to imitate prior successful projects and to rely on rules of thumb that tend to typecast women writers. For example, no one wants to be the first to develop a script from a woman writer for a big-budget action-adventure film. In a recent interview, Callie Khouri, who won an Academy Award for her script for Thelma & Louise, put it this way:
There is a certain stigma, I think that there is a set of expectations that women write a certain type of picture, so you don't look for an action movie that's written by a woman. You don't look for a thriller. There are certain types of movies that you don't expect to be written by a woman. People still call things "women's pictures." If it has a female audience then there is always a somewhat derogatory connotation to a so-called woman's picture. (Danquah 1994)
Translation - Spanish Esta investigación examina si existe un patrón similar de desigualdad de género entre los escritores de largometrajes. Hay buenas razones para esperar que los resultados en el sector de la televisión se apliquen también a la industria del cine. La estructura general de las dos industrias es bastante similar, lo que DiMaggio (1977) llama “administración intermediaria centralizada” y lo que Faulkner y Anderson (1987) describen como “contratación recurrente a corto plazo”. Cada una de las cinco características distinctivas de la producción de televisión se aplica también al cine.
Sin embargo, existen diferencias entre la producción cinematográfica y la televisiva en su organización y en sus contextos empresariales. Algunas de estas diferencias pueden ser importantes para la dinámica del mercado laboral de los escritores y otros "trabajadores de la cultura". En primer lugar, los niveles de ambigüedad, riesgo e incertidumbre que enfrentan los productores en largometrajes son sustancialmente mayores en la industria cinematográfica que en la televisión. Los costos de producción son mucho más elevados que en la televisión, y prever qué proyectos cinematográficos serán un éxito es mucho más difícil que en el sector televisivo. En su estudio de la industria cinematográfica, Baker y Faulkner (1991, 286) observan: "Hacer películas es una empresa débil. Ocurre en un entorno comercial y técnico caracterizado por grandes riesgos e incertidumbre. Requiere inversiones sustanciales de capital financiero para propiedades, artistas y personal de apoyo. E implica altos riesgos personales y profesionales".
En comparación con los programadores de cadenas de televisión, es más probable que los productores ejecutivos cinematográficos, quienes temen correr riesgos, imiten proyectos exitosos anteriores y se basen en las reglas generales que tienden a encasillar a las guionistas mujeres. Por ejemplo, nadie quiere ser el primero en desarrollar un guión de una escritora mujer para una película de acción y aventuras de gran presupuesto. En una entrevista reciente, Callie Khouri, quien ganó un Premio de la Academia por su guión para Thelma y Louise, lo expresó de esta manera:
Hay un cierto estigma. Creo que hay un conjunto de expectativas de que las mujeres escriban un cierto tipo de película, por lo que no se busca una película de acción escrita por una mujer. No se busca una película de suspenso. No se espera que una mujer escriba ciertos tipos de películas. La gente aún se refiere a “películas de mujeres”. Si tienen un público femenino, entonces siempre hay una connotación un tanto despectiva para las denominadas películas de mujeres. (Danquah 1994)
English to Spanish: SWOT Analysis - Overview /Análisis FODA - Descripción general General field: Bus/Financial Detailed field: Insurance
Source text - English [XXXXX] is a general insurance provider in Turkey. Broad product and service portfolio, increasing cash position and diverse customer base are the key strengths of the company, even as its weak bottom-line performance remains an area of concern. Going forward, fluctuations in interest rates and changing regulations may affect the company’s business performance. However, rise in per capita annual disposable income, growing economy in Turkey and government initiatives will provide ample growth opportunities for the company.
Strengths - Diverse customer base
The company caters to a broad range of customers, which provides it with competitive edge over its competitors. [XXXXX] is a provider of insurance products based in Turkey. The company, on the back of diverse product and services portfolio and through its various customer-centric offerings, serves a diverse customer base across various sectors including real estate, construction, engineering, marine, healthcare, hotel and transportation. Diversified customer base insulates the company from negative impact of a downturn in any particular industry.
Strengths - Broad product and service portfolio
The company’s broad product and service portfolio provides it with a competitive edge over its peers in the industry. The company offers a range of non-life insurance products and services. It offers personal insurance products such as home insurance, commercial risks insurance, personal accident insurance and motor insurance. It also offers corporate insurance products such as industrial fire insurance, machinery breakdown insurance, electronic equipment insurance, erection all risk insurance, construction all risk insurance, marine cargo insurance, hotel insurance, employers’ liability insurance and filling station insurance. Such broad portfolio of product drives the company’s top-line performance.
Strengths - Increasing cash position
The company has witnessed strong growth in cash and cash equivalents, which in turn helps it to meet its short-term obligations, without any difficulties. Its cash and cash equivalents increased from US$19.0 million in FY2011 to US$19.7 million at the end of FY2012, representing an increase of 4.1% over FY2011. Increase in cash and cash equivalents may be due to increased value of its short-term asset holdings such as short-term government bonds, marketable securities, and strong cash inflow.
Weaknesses - Weak bottom-line performance
The company witnessed weak bottom-line performance, which is an area of concern, as it may impact its ability to pursue its growth plans aggressively. Though the company’s total premiums earnings increased by 16.4%, it reported a weak bottom line performance. The company reported an operating loss of US$32.1 million in FY2012 compared with an operating loss of US$24.0 million in FY2011. In addition, it recorded a net loss of US$31.1 million in FY2012 compared with a net loss of US$19.5 million in FY2011. Such weak bottom-line performance may hamper the investors’ confidence on the company.
Translation - Spanish [XXXXX} es un proveedor de seguros generales en Turquía. Las fortalezas principales de la empresa son la amplia cartera de productos y servicios, una creciente posición de liquidez y la diversa base de clientes, aun cuando su débil desempeño en el balance final sigue siendo un área de preocupación. En el futuro, las fluctuantes tasas de interés y las regulaciones cambiantes podrían afectar el desempeño comercial de la compañía. Sin embargo, el aumento del ingreso disponible anual per cápita, el crecimiento de la economía en Turquía y las iniciativas gubernamentales brindarán amplias oportunidades de crecimiento para la empresa.
Fortalezas – Una diversa base de clientes
La compañía atiende a una amplia gama de clientes, lo que le proporciona una ventaja competitiva sobre la competencia. [XXXXX} es un proveedor de productos de seguros con sede en Turquía. La compañía, con el respaldo de una amplia cartera de productos y servicios y por medio de sus diversas ofertas orientadas hacia el cliente, sirve a una variada clientela en diversos sectores, incluidos el sector inmobiliario, la construcción, la ingeniería, el sector marítimo, la salud, la hotelería y el transporte. La base diversificada de clientes protege a la compañía del impacto negativo que un ciclo recesivo podría tener en cualquier industria en particular.
Fortalezas – Una amplia cartera de productos y servicios
La amplia cartera de productos y servicios de la empresa le proporciona una ventaja competitiva sobre sus pares en la industria. La compañía ofrece una gama de productos y servicios de seguros de No Vida. Ofrece productos de seguros personales tales como seguros de vivienda, seguros contra riesgos comerciales, seguros contra accidentes personales y seguros de automotores. También ofrece productos de seguros corporativos tales como seguros contra incendios industriales, seguros contra averías de maquinaria, seguros de equipos electrónicos, seguros contra riesgos múltiples para montajes y la construcción, seguros de carga marítima, seguros de hoteles, seguros de responsabilidad civil para empresas y seguros para estaciones de servicio. Esta amplia cartera de productos impulsa el rendimiento de primera línea de la compañía.
Fortalezas – Posición de liquidez en alza
La compañía ha sido testigo de un fuerte aumento de efectivo y otros activos líquidos, que a su vez le ayuda a cumplir sus obligaciones a corto plazo, sin ninguna dificultad. El efectivo y sus activos líquidos aumentaron de 19,0 millones de dólares en el ejercicio fiscal de 2011 a 19,7 millones de dólares al final de 2012, lo que representa un aumento de 4,1% a lo largo del año 2011. El incremento en efectivo y sus equivalentes podría deberse al creciente valor de sus tenencias de activos a corto plazo, tales como a títulos públicos a corto plazo, títulos negociables, y una fuerte entrada de efectivo.
Debilidades – Una débil evolución del balance final
La compañía vio una débil evolución del balance final, lo cual es un motivo de preocupación, pues podría afectar su capacidad de llevar a cabo energéticamente sus planes de crecimiento. Aunque las ganancias derivadas de las primas totales de la compañía aumentaron en un 16,4%, se registró una evolución débil del balance final. La compañía anunció una pérdida operativa de 32,1 millones de dólares en 2012, en comparación con una pérdida operativa de 24,0 millones de dólares en el ejercicio de 2011. Además, registró una pérdida neta de 31,1 millones de dólares en el ejercicio de 2012 en comparación con una pérdida neta de 19,5 millones de dólares en 2011. Esta débil evolución del balance final podría obstaculizar la confianza de los inversionistas en la compañía.
English to Spanish (University of North London, School of European and Languages Studies, verified) English to Spanish (Universidad Nacional de Córdoba (Facultad de Lenguas))
Memberships
CILIP (Chartered Institute of Library and Information Profession, CIOL
Software
Adobe Acrobat, CafeTran Espresso, MateCat, MemSource Cloud, Microsoft Excel, Microsoft Office Pro, Microsoft Word, Powerpoint, Wordfast
A qualified and experienced English to Spanish translator and proofreader with over eight years of solid linguistic experience in the audiovisual, legal, business, marketing, education and humanitarian fields.
I was born and grew up in Cordoba, Argentina, where I completed a BA in Translation Studies at the National University of Cordoba in 1996.
Since 1997, I have worked in London in the areas of translation, library services and academic support. In 2002, I completed an MA in Applied Translation Studies (English to Spanish) at London Metropolitan University, ex University of North London, with a specialisation in shipping contracts' language.
I have a passion for languages, translation, inter-cultural exchange and communication, and would love to assist with any projects that require my linguistic knowledge and skills in English and Spanish.
Outside of work, my interests are: art, books, cinema, music, theatre, food, cities, coffee, philosophy, psychology, child rearing, relationships, mind and body.
Spanish text adaptation and localisation (Traditional to LA Spanish)
AUDIOVISUAL AND SUBTITLING: Translation, proofreading and localisation of film materials for DVD and television, including features, documentaries, audio commentaries and featurettes, using PMWin, Swift and Wincaps subtitling software.
BUSINESS AND LEGAL: Translation and proofreading of legal and business content such as company reports, service brochures, invoices, mobile apps' terms and conditions, privacy and confidentiality policies, shipping contracts and related documents (bills of lading, packing lists, shipping invoices, insurance documents, and air waybills), employment contracts, tenancy agreements, marriage and birth certificates, divorce decrees, witness statements for the court and academic transcripts and diplomas, for both particulars and agencies.
MARKETING AND ADVERTISING: Commercial web sites, adverts, adverts' transcreation, web page localisation, marketing and social media copy, brochures, flyers, blogs, newsletters, social media posts, SEO keywords, educational articles, sales presentations, webinars, press releases.
EDUCATION: Academic theses, e-learning webinars, college and university web sites, Education in Emergencies content, course catalogues, children's study and teaching materials.
*** I am extremely accurate in my work, never miss a deadline and respect privacy and confidentiality. I strive to capture the right meaning of the words I translate by taking into account their textual and situational contexts as well as the linguistic register and target audiences ***
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