Relevant bibliographies by topics / Film subtitling

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Film subtitling'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Film subtitling"

1

Gamal, Muhammad Y. "Subtitling Naguib Mahfouz." Translation and Translanguaging in Multilingual Contexts 1, no. 2 (August 20, 2015): 182–201. http://dx.doi.org/10.1075/ttmc.1.2.03gam.

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Naguib Mahfouz, Egypt’s literary icon, wrote a large number of novels that were turned into films. As the DVD industry in Egypt enters its second decade, the number of these films appearing on DVD and subtitled into English is also increasing. Despite this trend, academic institutions in Egypt, and elsewhere in the Arab world, remain largely oblivious to the new specialization of audiovisual translation. So far, academic research into audiovisual translation, particularly subtitling Arabic-language films into English, has been minuscule. This paper examines the complex task of subtitling one of Mahfouz’s most popular films, Midaq Alley. It argues that subtitling a classic film is a lot more than just translating the film dialogue and the subtitler needs more resources than just the dialogue list and the video of the film.
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Ni Made Sila Ulati, Mirsa Umiyati, and Agus Darma Yoga Pratama. "Subtitling Translation Strategy and Semiotic Approach on Titanic Film." RETORIKA: Jurnal Ilmu Bahasa 8, no. 1 (April 1, 2022): 57–64. http://dx.doi.org/10.55637/jr.8.1.4658.57-64.

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This research is entitled “Subtitling Translation Strategy and Semiotic Approach on Titanic Film”. This research aims to identify and analyze the subtitling translation strategies in the Titanic film. This research also analyzes the meaning in Titanic film delivered through non-verbal signs. This research contributes to fill some gaps in the field of film subtitling from English into Indonesian and utilizes the multimodal transcription to deliver the meaning of Titanic film. This research refers to the theory of subtitling strategy by Gottlieb (1992) and the theory of Multimodal Transcription by (Forceville, 2007). The methodology applied in this research is descriptive qualitative due to the analysis in the form of elaboration. This research shows the subtitling translation strategy found in the Titanic film are eight strategies which cover expansion strategy, paraphrase, transfer, imitation, transcription, condensation, decimation, and deletion strategy. The meaning delivered through nonverbal signs in the Titanic film is sadness, the happiness of love, and an unforgettable dreadful tragedy. This meaning is delivered along with the visual images and the soundtrack.
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Baihaqi, Tiffani Rizki Putri, and Agus Subiyanto. "English-Indonesian Subtitling Strategies of Lara Jean’s Utterances in “To All the Boys: Always and Forever” Movie on Netflix." E-Structural 4, no. 02 (November 29, 2021): 80–98. http://dx.doi.org/10.33633/es.v4i02.5112.

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Abstract. Streaming platforms, such as Netflix, gained their popularity significantly during the pandemic prominently since people avoid watching films in theatres. Thus, the study of translation, specifically subtitling, is necessary since there will be more films with different languages to be produced and streamed by people from different countries. This research aims to study and interpret the subtitling strategies used on Netflix, specifically in “To All the Boys: Always and Forever” movie. Employing a qualitative library research method and document analysis for the data collecting technique, this research unveils the subtitling strategies as well as the subtitle quality of Lara Jean’s utterances in “To All the Boys: Always and Forever” film on Netflix. The data source is chosen since the film is considered popular as it is the adaptation of the best-selling novel “Always and Forever, Lara Jean.” From the 428 utterances, it is discovered that there are seven strategies applied; respectively paraphrase, transfer, condensation, deletion, expansion, imitation, and transcription. Meanwhile, three strategies that are not found are decimation, dislocation, and resignation. Paraphrase is the most frequently applied strategy since many utterances require localization and alteration to become clearer for the Indonesian audience. On the other hand, decimation, dislocation, and resignation are not used respectively due to the rate of the film, translatable utterances, and soundtracks that are not translated.Keywords: film; netflix; subtitling strategies; subtitling quality; translationAbstrak. Layanan streaming, seperti Netflix, meraih popularitas secara signifikan selama pandemi karena masyarakat menghindari menonton film langsung di bioskop. Oleh karena itu, penelitian mengenai terjemahan, khususnya subtitling, diperlukan karena film dalam bahasa asing akan semakin banyak diproduksi dan ditonton oleh orang-orang dari berbagai negara. Penelitian ini bertujuan untuk mengkaji dan memaknai strategi subtitling yang digunakan oleh Netflix, khususnya pada film “To All the Boys: Always and Forever.” Penelitian ini menggunakan metode deskriptif kualitatif dan mengungkap strategi serta kualitas subtitling dari ucapan Lara Jean dalam trilogi “To All the Boys: Always and Forever” di Netflix. Sumber data tersebut dipilih karena film yang dianggap populer ini merupakan adaptasi dari novel “Always and Forever, Lara Jean.” Dari 428 ujaran, terdapat tujuh strategi yang diterapkan, yaitu parafrase, transfer, pemampatan, penghapusan, penambahan, imitasi, dan transkripsi. Sedangkan tiga strategi yang tidak diterapkan yaitu desimasi, dislokasi, dan angkat tangan. Parafrase merupakan strategi yang paling banyak ditemukan karena terdapat banyak ujaran yang disesuaikan dengan konteks lokal dan diubah agar menjadi lebih jelas bagi penonton Indonesia. Sementara itu, desimasi, dislokasi, dan angkat tangan tidak digunakan karena kategori film, ujaran yang dapat diterjemahkan, dan lagu yang tidak diterjemahkan.Kata kunci: film; kualitas subtitling; netflix; strategi subtitling; terjemahan
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Plewa, Elżbieta. "Napisy na ekranach kin II Rzeczypospolitej." Przekładaniec, no. 41 (2020): 214–53. http://dx.doi.org/10.4467/16891864pc.21.012.13594.

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Polish Subtitling in the 1930s This article presents the results of an archival study on Polish subtitling of pre-WWII films (until 1939). The main focus will be on the technical aspects of subtitling in Poland in the 1930s, such as the number of lines, number of characters per line, and subtitle display times. We will show the development of Polish film translation in its initial phase. In our article, we will present previously unpublished pictures of early film subtitles, which come from original archival research. Contrary to some previous claims, film translation did not start with the introduction of sound in films – which occurred in Poland in the 1929/30 cinema season. Prior to that, in the silent cinema period, intertitles were a tested way of delivering content to the viewer. And these silent movies’ intertitles were translated. Copies of various foreign films have even been preserved with Polish intertitle translation rather than the original intertitles. Imitating intertitles in silent films, subtitles began to appear in films with sound and dialogue. These were “inserted subtitles” – between scene edits. Only later were subtitles burnt into the image, which began modern film subtitling.
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Haikuo, Yu. "Film translation in China." Babel. Revue internationale de la traduction / International Journal of Translation 61, no. 4 (December 31, 2015): 493–510. http://dx.doi.org/10.1075/babel.61.4.03hai.

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Film translation in China began as early as 1949 and has been developing very fast. This article aims at providing an overview of the current situation of film translation in China and explores the two major types of English-Chinese film translation: dubbing and subtitling. Therefore, it can be roughly divided into two parts. The first part constitutes a general background for the study of film translation. The author of this article first discusses film’s origin and nature, the features of film language and the classification of film translation. Of the four categories of film translation (subtitling, lip-sync dubbing, narration, and free-commentary), dubbing and subtitling are the main forms used in China. Then the differences between the two types and social preference for them are analyzed. The author also presents a summary of film translation’s development and current studies on this topic. The second part probes into the details of dubbing and subtitling. This article investigates the features and technical constraints of dubbing and subtitling. The main techniques adopted in practice are illustrated through specific examples. Both forms have their relative advantages and disadvantages. In subtitling, standardization and simplification are its two important techniques. Standardization is concerned with the transfer of text mode – from spoken text to written text, while simplification is related to the technical constraints in subtitling, namely spatial and temporal constraints. In dubbing, the translator should make his translation fit into the pictures and synchronize the lines and the pictures, so lip synchronization, gestures and pauses are the major constraints in dubbing. As the two main forms of film translation in China, dubbing and subtitling coexist and compete with each other in the market.
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Al-Kharabsheh, Aladdin, and Omar Yassin. "Translation of Colloquialisms in the Arabic-into-English Subtitled Film, The Dupes." International Journal of Comparative Literature and Translation Studies 5, no. 3 (July 31, 2017): 18. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.3p.18.

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This study attempts to investigate the difficulties and problems that subtitlers may encounter in subtitling colloquial expressions from Arabic into English. To achieve the main objectives of the study, some authentic examples have been obtained from the subtitled film The Dupes and analyzed linguistically and translationally in order to identify the subtitling inaccuracies, to highlight the subtitling strategies used by the film's subtitler, and to draw other workable subtitling solutions for dealing with colloquialisms or slang language. Analysis isolates three major problems relevant to subtitling Arabic colloquial expressions into English: (1) some colloquialisms, especially those reflecting religious overtones, have been missubtitled, (2) some colloquialisms have been totally dropped out from subtitling (i.e. zero-subtitling), (3) and in subtitling certain colloquialisms, a considerable subtitling loss has occurred. Finally, to resolve such recalcitrant problems and difficulties, the study, in its concluding part, suggests some other practical subtitling mechanisms, other than the ones that have been adopted by the film's subtitler.
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McKenzie, Rory. "A subtitling stalemate." Translation and Translanguaging in Multilingual Contexts 6, no. 3 (July 15, 2020): 230–52. http://dx.doi.org/10.1075/ttmc.00056.mck.

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Abstract The Dark Horse (2014) is a highly successful New Zealand film that exemplifies a strong multilingual and multicultural landscape where the Māori language and cultural concepts, as well as specific examples of New Zealand English co-exist within the one film. This linguistic and cultural complexity is a key part to the film, therefore retaining this in a translation becomes a challenging responsibility for the subtitler. This article first introduces the restrictions and intricacies of subtitling in general, and then analyses specific scenes from the commercial Italian subtitled version of The Dark Horse, highlighting the translation choices made by the subtitler when confronted with challenges pertaining to scenes involving multilingualism (in the form of English and Māori), culturally specific terminology (the use of New Zealand English idioms), as well as the representation of register for children from low socio-economic backgrounds. Alternative subtitles are proposed that seek to better represent the richness of the source text’s language and cultural references.
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Labarta Postigo, María. "A metaphorical map of subtitling." Babel. Revue internationale de la traduction / International Journal of Translation 66, no. 1 (February 18, 2020): 46–69. http://dx.doi.org/10.1075/babel.00141.pos.

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Abstract This study explores the metaphorical dimension of idioms in original filmic texts and their translations in subtitles, in order to shed light on strategies used in the translation process. The research focuses on a corpus of 20 films from the Library of Foreign Language Film Clips (LFLFC), at the Berkeley Language Center of the University of California, Berkeley. More specifically, I analyze films in German and Spanish with English subtitles from a cognitive and contrastive perspective. My goal is to explore how translation can affect understanding and reception by an audience with limited or no skills in the original language. Results of the analysis show a tendency towards reduction of metaphorical expressions in translated English subtitles, these varying according to the original language of the film. Contrastive analysis demonstrates that in translation from Spanish, the explicit meaning strategy is far more frequent than in translation from German. The findings of this study can be applied in foreign language teaching as a means of developing learners’ cultural awareness and language comprehension, as well as in the field of audiovisual subtitling translation.
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Moghaddam, Masumeh Yazdani, Sommayeh Shahraki Deh Sukhteh, and Mansureh Delarami Far. "Explicitation in Translation: A Case of Screen Translation." Journal of Language Teaching and Research 8, no. 1 (January 1, 2017): 75. http://dx.doi.org/10.17507/jltr.0801.09.

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Explicitation is a method of clarifying into the TT what is implicit in the ST. Blum-Kluka (1986) formulated explicitation hypothesis and regarded explicitation as a translation universal, i.e. a feature that is mainly existed in the translated texts. So, the present study considers expliciation in screen/film translation, and tries to investigate the most frequent explicitation type and subtitling strategies used by the Persian subtitlers. To achieve the goals of the study, the three original English films subtitled into Persian language were selected and the first 20 minutes of them was studied and compared with their Persian equivalents through sentence-by-sentence comparison. The subtitling strategies were identified and their percentage was calculated. The findings indicated that translation-inherent explicitation was used mostly in subtitling, and expansion was the most frequent subtitling strategy employed by the Persian subtitlers in subtitling English original films into Persian.
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Yu, Haikuo. "English-Chinese Film Translation in China." Journal of Translation 9, no. 2 (2013): 55–65. http://dx.doi.org/10.54395/jot-3fcfh.

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Film translation in China has developed quickly. This article discusses the origin and nature of film, the features of film language, and the two main forms of film translation in China: dubbing and subtitling. The article then gives an overview of the history of film translation, and finally it investigates the main techniques used in English-Chinese dubbing and subtitling.
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Dissertations / Theses on the topic "Film subtitling"

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McClarty, R. L. "Film and translation : the art of subtitling." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.679231.

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Since the emergence of audiovisual translation as an academic discipline in the 1990s, research in the field has evolved in a wide range of directions. Subtitling, however, has remained a largely prescriptive form of translation, and has been typically unaffected by the various ethical and creative turns that have emerged within the wider discipline of translation studies. And, while recent years have seen an increasing preference for interdisciplinary research, this interest has rarely questioned subtitles' capacity to convey meaning within the film text. Little has therefore been done to consider the aesthetics of subtitles outside of the constraints of subtitling norms. Similarly, in spite of the influence of subtitles on an audience's cinematic experience, few works in film studies have investigated the role of translation in the distribution, marketing and reception of foreign films. This thesis therefore aims to forge a creative subtitling practice that draws upon both film and translation studies. It asks three key research questions. What can an interdisciplinary approach bring to an aesthetic form of subtitling? How might this interdisciplinary approach manifest itself in a creative subtitling practice? And how is this creative approach received by a target audience? These research questions are answered through an examination of film and translation theory and graphic design principles, with a view to establishing a methodology for a creative subtitling practice. This methodology is then tria lied through the production of creative subtitles for an award-winning Spanish film. Finally, these subtitles are tested empirically through an eye tracking study, consecutive questionnaire and focus group discussions. These studies provide qualitative and quantitative data on the processing effort required to view creative subtitles and the participants' opinions regarding their filmic experience. Together, the answers to these research questions demonstrate the creative potential of film subtitles and highlight the complexity of audience reception.
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Yuan, Yilei [Verfasser]. "Subtitling Chinese Cinema: A Case Study of Zhang Yimou's Films / Yilei Yuan." München : GRIN Verlag, 2020. http://d-nb.info/1228861579/34.

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Yuan, Yilei [Verfasser]. "Subtitling Chinese Cinema: A Case Study of Zhang Yimou's Films / Yilei Yuan." München : GRIN Verlag, 2021. http://d-nb.info/1224966783/34.

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Šliupaitė, Eglė. "Translation of Slanguage in the Subtitled Film." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120704_090817-94633.

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This bachelor thesis focuses on the usage of slang in the subtitled film "Next Day Air". In the theoretial part a scientific overview of the following phenomena, i.e. subtitling, slang and the procedures of transaltion, are provided. In the empirical part the peculiarities of translation of slang in the subtitled film are analysed. Statistical analysis allowed systematysing and generalising the collected data provided in the empirical part and allowed illustrating it graphically. Conclusions contain the outcomes of both theoretical and empirical parts.
Bakalauro darbe yra analizuojamas slengo vertimas subtitruotame filme "Kitos dienos paštas".Teorinėje darbo dalyje yra pateikiama mokslinės literatūros apžvalga, susijusi su subtitravimu, slengu ir slengo vertimo transformacijomis.Praktinėje dalyje yra nagrinėjami slengo ypatumai subtitruotame filme.Statistinė analizė leido susisteminti ir apibendrinti praktinėje dalyje pateiktus pavyzdzius, ir iliustruoti jų pasiskirtymą diagramoje.Išvadose yra pateikiamos teorinės ir praktinės dalies rezutatai ir išvados.
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Tacchi, Eleonora. "Sottotitolaggio e pivot subtitling a confronto nello spezzone del film "This is England"." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/10746/.

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Lo scopo di questa tesi è mettere a confronto due tecniche di sottotitolaggio presenti sul mercato, sottotitolando uno spezzone del film “This is England”. Il primo approccio è il sottotitolaggio tradizionale, ovvero la creazione di sottotitoli in una data lingua a partire dall’audio e dallo script nella lingua dei dialoghi originali. Il secondo metodo è il pivot subtitling, che consiste nella creazione di sottotitoli in una determinata lingua a partire da sottotitoli esistenti in una lingua diversa da quella dei dialoghi originali. Questa tesi nasce dalla curiosità di sperimentare personalmente le due tecniche e formare una mia opinione critica al riguardo. Così è seguita la scelta di un film. Il film “This is England”, di difficile comprensione a causa di accenti particolarmente marcati di alcuni protagonisti, della densità di alcuni dialoghi e dei riferimenti culturali alla sottocultura inglese skinhead nata a fine anni ‘60. La parte principale del lavoro è stata la creazione dei sottotitoli. Nel primo capitolo introdurrò il film, spiegherò la prima fase del lavoro, ovvero come ho svolto il processo del sottotitolaggio tradizionale, successivamente seguiranno nozioni sui pivot subtitles e il secondo processo di creazione di quelli italiani. Il secondo capitolo spiegherà il concetto di qualità dei sottotitoli. Successivamente seguiranno i commenti ai sottotitoli: si tratterà di mettere a confronto i sottotitoli ottenuti con le due diverse tecniche per la medesima battuta o scena. Per finire analizzerò le differenze che emergono dalle due tecniche, l’impatto sul pubblico, i vantaggi e gli svantaggi di ognuna e i motivi per cui una viene utilizzata più dell’altra. Queste considerazioni serviranno per dare una risposta alla questione della tesi: in cosa consiste la differenza fra le due tecniche? Sono accettabili entrambi i risultati seppur diversi?
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Reed, Sarah. "A Case Study of Tu and Vous Use in the French Dubbing and Subtitling in an American Film." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68037/.

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Translation and subtitling has always been a complicated dimension of the motion picture industry for years. The problem of dealing with linguistic elements in films and conveying them to audiences of different languages across the globe encompasses many difficulties regarding forms and structures of other languages. One of the more highly researched topics in French linguistic studies has been the use of address pronouns and a range of aspects related to their use and interpretation. Many studies have been conducted over the last sixty years in order to determine and understand these variables. An analysis of several of these studies reveals the many complexities involved in second-person pronoun choice in the French language and the development of the idea of pronoun choice as an act of social identity. The focus of this study is to provide an analysis of the use of formal and informal address pronoun use in the French subtitling and dubbing of an American film, Maid in Manhattan, in order to add, on a broader level, a way to differentially examine perceived norms in a variety of contexts within this medium.
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Schröter, Thorsten. "Shun the Pun, Rescue the Rhyme? : The Dubbing and Subtitling of Language Play in Film." Doctoral thesis, Karlstad University, Faculty of Arts and Education, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-704.

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Language-play can briefly be described as the wilful manipulation of the peculiarities of a linguistic system in a way that draws attention to these peculiarities themselves, thereby causing a communicative and cognitive effect that goes beyond the conveyance of propositional meaning. Among the various phenomena answering this description are the different kinds of puns, but also more strictly form-based manipulations such as rhymes and alliteration, in addition to a host of other, sometimes even fuzzier, subcategories.

Due to its unusual nature, and especially its frequently strong dependence on the idiosyncrasies of a particular language, language-play can generally be assumed to constitute a significant challenge in a translation context. Furthermore, given its non-negligible effects, the translator is not free to simply ignore the language-play (provided it has been recognized as such in the first place) without having taken an active stance on its treatment. However, the difficulties in finding a suitable target-language solution are possibly exacerbated if the source text is a complex multimedia product such as a film, the translation of which, normally in the form of dubbing or subtitling, is subject to additional constraints.

In view of these intricacies, it has been the aim of this study to analyze and measure how language-play in film has actually been treated in authentic dubbing and subtitle versions. As a prerequisite, the concept of language-play has been elaborated on, and more than a dozen subcategories have been described, developed, and employed. For the purpose of carrying out a meaningful analysis of the dubbing and subtitling of language-play, a corpus has been compiled, comprising 18 family films and 99 of their various target versions, most on DVD, and yielding nearly 800 source-text instances of language-play and thousands of translation solutions.

The results indicate that especially two sets of factors, among the many that are likely to influence a translation, play a prominent role: the type of the language-play, and the identity and working conditions of the translator. By contrast, the mode of translation (dubbing vs. subtitling), the target language, or the general properties of the films, could not be shown to have a sizeable impact.

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Josephy, Daniel Enrique. "Reflections on the Subtitling and Dubbing of Anime: The Translation of Gender in Perfect Blue, a Film by Kon Satoshi." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36596.

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Perfect Blue is an anime (Japanese animation) film directed by Kon Satoshi released in 1997. The film revolves around a female idol (a pop star) named Mima who quits her career as an idol to become an actress. She gradually loses her mind, as the pressures from her acting career, her managers, fans and a stalker catch up to her. Perfect Blue touches on the blurring line between fiction and reality, the objectification of women (and idols) as mere products, and the role of women in the idol industry. It is also a stark critique of the hegemonic masculinity and the gender roles that are imposed on women in Japanese society. This thesis presents anime as an important pop culture phenomenon with a massive influence worldwide. The thesis examines the gender stereotypes propagated by this phenomenon and proposes a that Kon’s work is different compared to other anime. This work compares how gender roles are portrayed in the different versions: The Japanese original and the US English subtitles and dubbing. Methodologically, the analysis relies on close observation of the use of the Japanese first and second person pronouns and sentence-final particles in the characters’ language, since “the use of these features is known to be highly gender-dependent” (Hiramoto 2013, 55). This study comes to the conclusion that the subtitles and the dubbing provide a relatively close rendering of gender of the Japanese text, even if the linguistic resources of English do not allow for the translation of gendered Japanese pronouns and sentence-final particles. This means that the subtitles and dubbings maintain the feminist message Kon wanted to give in his film. The study concludes by stressing the importance of taking into account the use of specific pronouns and sentence-final particles when translating Japanese, as these particles are gender-loaded. It also emphasises the importance of being critical of anime’s hegemonic masculinity, and argues that Kon goes against hegemony by portraying a strong and independent female character.
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Ponce, de León Diaz Allison Andrea, and Chocña Raul Antonio Espinoza. "Las preferencias en torno al doblaje y la subtitulación de géneros de cine entre estudiantes universitarios de Lima Metropolitana." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652532.

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El doblaje y la subtitulación son las dos modalidades de traducción audiovisual (TAV) más practicadas en la actualidad que permiten al público tener acceso a películas extranjeras en su lengua materna. Y Perú no es ajeno a esta realidad. Sin embargo, los estudios en el campo del doblaje y la subtitulación orientados a las preferencias del público por una u otra modalidad son escasos en Latinoamérica y, en particular, en Perú. Para subsanar este vacío, el presente estudio cuantitativo busca dar a conocer cuáles son las preferencias de los estudiantes universitarios en torno al doblaje y a la subtitulación de géneros de cine, así como las opiniones sobre cada una de estas modalidades. Se empleó una metodología cuantitativa por medio de un muestreo de tipo intencional que incluyó la aplicación de 200 encuestas a estudiantes de dos universidades (una privada y una pública) de Lima, Perú, y su posterior análisis. Los resultados mostraron que hay una mayor preferencia por la subtitulación y que los géneros que mejor se adecúan a esta modalidad son el drama, el romance y la ciencia ficción. Por otro lado, el género animado es el más adecuado para ser doblado según los encuestados. Asimismo, a partir de las diversas opiniones en torno a la TAV, se puede inferir que existe cierto desconocimiento por parte de los encuestados en cuanto a los procesos y la naturaleza de este tipo de traducción.
At present, dubbing and subtitling are the two most practiced modes of audiovisual translation (AVT), which allow the public to watch foreign movies in their mother tongue. Peru is not alien to that reality. Nevertheless, there are very few studies in Latin America, and more specifically in Peru, focusing on the public preferences for one mode of AVT or the other. In this sense, this quantitative study seeks to know the preferences of university students in regards to dubbing and subtitling of film genres, as well as the opinions about any of these modes. This study employed a quantitative methodology (surveys) with a purposive sample of 200 students from two universities in Lima, Peru (one private and one public). The results showed that there is a greater preference for subtitling and the genres that best suit this mode are drama, romance, and science fiction. As for dubbing, animation is the genre most suitable to be dubbed according to respondents. In addition, considering our respondents’ opinions about AVT, we can infer that their knowledge of the processes and nature of AVT is very limited.
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Connors, Marianne Dorothy. "The pragmatic particles 'enfin' and 'écoute' in French film and TV dialogue." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27764.

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This thesis investigates the use of the pragmatic particles (PPs) 'enfin' and 'écoute' in French film dialogue, and their translations in British English subtitles. Using a corpus of nine films and eight episodes drawn from two television series – all released in the UK between 2005 and 2015, and equating to approximately twenty-two hours – the study identifies tokens across a much wider range of contexts than has previously been possible using traditional corpora. The main contribution is an analysis of PP functions. The results for 'enfin' show a different functional distribution of the particle to other corpora, with corrective 'enfin' occurring significantly less frequently. The relatively large number of tokens of performative and emotional (or affective) 'enfin' allows for an elaboration of these two categories, and a tendency is observed for 'enfin' to appear as an apparent disagreement mitigator in discussions between peers. With regard to 'écoute', it is argued that écoute1 functions as a face-threat mitigator in unequal relationships and écoute2 as an FTA, although the particle is multifunctional and some tokens exhibit characteristics of both categories. Attention is given to combinations of 'enfin' and 'écoute' with other particles: while there is a clear tendency for disagreement-mitigating 'enfin' to co-occur with 'mais', and for the precision and restrictive subcategories of the corrective to co-occur with 'je veux dire', other previously documented combinations ('enfin bon' and 'ben écoute') are not frequently occurring in the present corpus. The thesis also makes a significant contribution to the field of Audiovisual Translation (AVT). The English subtitles show high rates of omission for both particles consistent with previous research, with disagreement-mitigating 'enfin' particularly vulnerable to omission. However, the analysis reveals a surprising pattern regarding 'écoute': a clear division of labour between ‘look’ (used to translate more confrontational tokens) and ‘listen’ (more conciliatory and socially distant). The study includes an experimental analysis of the subtitles relative to their character limits, demonstrating a potential new approach for researchers wishing to investigate the impact of various subtitling constraints.
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Books on the topic "Film subtitling"

1

Varvaki, Elpiniki. Translation and film dialogue subtitling. [s.l.]: typescript, 1995.

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Garzelli, Beatrice, and Claudia Buffagni. Film translation from east to west: Dubbing, subtitling and didactic practice. Bern: Peter Lang, 2013.

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Mary, Carroll, ed. Subtitling. Simrishamn: TransEdit, 1998.

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Mattsson, Jenny. The subtitling of discourse particles: A corpus-based study of well, you know, I mean, and like, and their Swedish translations in ten American films. [Göteborg]: Department of Languages and Literatures, University of Gothenburg, 2009.

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Heinze, Hendrik. 'Good subtitling practice': Konventionen der Untertitelung in Film und Fernsehen. GRIN Verlag GmbH, 2007.

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Chion, Michel. The Audio-Logo-Visual and the Sound of Languages in Recent Film. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0029.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Language is "divided" into its (unrelated) spoken and written forms. Cinema uses language in the distinctly different channels of sound and image, and thus is audio-logo-visual. Some films attempt to transcend the language division via embodied language (e.g., deaf sign language). This chapter considers the transition from silent film to sound and the presence of written speech in narrative films depicting screen media. Subtitling “kills” language: it cannot approximate dialects or accents, different languages being spoken, hubbub, and indistinct recording; thus it demobilizes listening. Could filmmakers develop graphic conventions in subtitles to indicate some of the richness of language spoken on the soundtrack?
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O'Sullivan, Carol, and Jean-François Cornu, eds. The Translation of Films, 1900-1950. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.001.0001.

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This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century. This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological, and industrial contexts. The Translation of Films, 1900–1950 draws extensively on archival sources and expertise, and revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film. The Translation of Films, 1900–1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.
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Elements of Subtitles: A Practical Guide to the Art of Dialogue, Character, Context, Tone and Style in Film and Television Subtitling. Lulu Press, Inc., 2013.

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Ellender, Claire. Subtitling Sublanguages: Retaining Linguistic Variety in Films. Lang AG International Academic Publishers, Peter, 2015.

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Ellender, Claire. Dealing with Difference in Audiovisual Translation: Subtitling Linguistic Variation in Films. Lang AG International Academic Publishers, Peter, 2015.

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Book chapters on the topic "Film subtitling"

1

O’Sullivan, Carol. "Subtitling and the Ethics of Representation." In Translating Popular Film, 102–42. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230317543_5.

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Thornbury, Barbara E. "Translation, Subtitling, and Tokyo Placemaking." In Mapping Tokyo in Fiction and Film, 47–68. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-34276-0_2.

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O’Sullivan, Carol. "Where Are the Subtitles? Metalepsis, Subtitling and Narration." In Translating Popular Film, 143–75. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230317543_6.

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Yau, Wai-Ping. "Translation and Film: Dubbing, Subtitling, Adaptation, and Remaking." In A Companion to Translation Studies, 492–503. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118613504.ch37.

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Remael, Aline. "A place for film dialogue analysis in subtitling courses." In Topics in Audiovisual Translation, 103–26. Amsterdam: John Benjamins Publishing Company, 2004. http://dx.doi.org/10.1075/btl.56.13rem.

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Martínez-Garrido, Gemma. "Globalization and the Translation of Minority Languages in Film Subtitling." In Translations In Times of Disruption, 257–74. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-58334-5_11.

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Alonso-Pérez, Rosa. "8. Enhancing Student Motivation in Foreign Language Learning through Film Subtitling Projects." In Using Film and Media in the Language Classroom, edited by Carmen Herrero and Isabelle Vanderschelden, 108–26. Bristol, Blue Ridge Summit: Multilingual Matters, 2019. http://dx.doi.org/10.21832/9781788924498-011.

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Natzén, Christopher. "Film translation in Sweden in the early 1930s." In The Translation of Films, 1900-1950, 255–66. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.003.0014.

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The main focus of this chapter is how the Swedish film industry settled on subtitling as its method of film translation in the late 1920s and early 1930s. The early 1930s saw a gradual shift towards favouring subtitling over dubbing and intertitles. Subtitling was further promoted as new methods for providing the subtitles on the film were developed. A second focus in the chapter is the heightened media sensitivity brought on by dubbing and how this may be related to distributors’ experiments in film translation during the early years of conversion to sound. As the years progressed, a consensus developed in Sweden in favour of subtitling, which was perceived as unobtrusive, since it masked the technical construction of the film medium for those spectators who knew the spoken language in the film.
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Dufková, Kristýna, and Katja Vizjak. "“Šta je bre kume, opet si doručkovao kerozin?” Polysemy in Subtitling." In Slavistična prepletanja 2, 151–66. University of Maribor Press, 2022. http://dx.doi.org/10.18690/um.ff.4.2022.9.

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The purpose of this study is to describe general issues that occur when subtitling, and to present a case study highlighting the difficulties in translating/subtitling the polysemous word 'kum' in Macedonian, Serbian and Croatian (meaning godparent, witness, Godfather, and so forth). The aim is to illustrate that, when subtitling, it is often not possible to stick only to the meanings of words given in dictionaries, but that it is necessary to consider especially the communicative situations in which the word or sentence is uttered. Notably, in subtitling such an approach is desirable, because, as we demonstrate below, we must also consider the visual and audio aspects of the material being translated/subtitled. As a case study, we have selected the audio track and subtitles for Miloš Radivojević's film Ni na nebu, ni na zemlji.
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Slamia, Fatma Ben. "Audiovisual translation and pragmatic loss in film subtitling." In Arabic Translation Across Discourses, 79–94. Routledge, 2019. http://dx.doi.org/10.4324/9781351063388-6.

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Conference papers on the topic "Film subtitling"

1

Husba, Dwi Pratiwi S. "Strategi Penerjemahan Film (Subtitling) Eat Pray Love." In Seminar Nasional Struktural 2018. Semarang, Indonesia: Dian Nuswantoro University, 2018. http://dx.doi.org/10.33810/274190.

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Jiang, Xuelong. "A Comparative Analysis of Chinars Subtitling Models between Official Film Studios and Fansubs." In 2018 International Conference on Social Science and Education Reform (ICSSER 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icsser-18.2018.32.

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