Relevant bibliographies by topics / French subtitles

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Academic literature on the topic 'French subtitles'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "French subtitles"

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NEW, BORIS, MARC BRYSBAERT, JEAN VERONIS, and CHRISTOPHE PALLIER. "The use of film subtitles to estimate word frequencies." Applied Psycholinguistics 28, no. 4 (September 28, 2007): 661–77. http://dx.doi.org/10.1017/s014271640707035x.

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We examine the use of film subtitles as an approximation of word frequencies in human interactions. Because subtitle files are widely available on the Internet, they may present a fast and easy way to obtain word frequency measures in language registers other than text writing. We compiled a corpus of 52 million French words, coming from a variety of films. Frequency measures based on this corpus compared well to other spoken and written frequency measures, and explained variance in lexical decision times in addition to what is accounted for by the available French written frequency measures.
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Gupta, Prabhakar, and Mayank Sharma. "Unsupervised Translation Quality Estimation for Digital Entertainment Content Subtitles." International Journal of Semantic Computing 14, no. 01 (March 2020): 137–51. http://dx.doi.org/10.1142/s1793351x20500026.

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We demonstrate the potential for using aligned bilingual word embeddings in developing an unsupervised method to evaluate machine translations without a need for parallel translation corpus or reference corpus. We explain different aspects of digital entertainment content subtitles. We share our experimental results for four languages pairs English to French, German, Portuguese, Spanish, and present findings on the shortcomings of Neural Machine Translation for subtitles. We propose several improvements over the system designed by Gupta et al. [P. Gupta, S. Shekhawat and K. Kumar, Unsupervised quality estimation without reference corpus for subtitle machine translation using word embeddings, IEEE 13th Int. Conf. Semantic Computing, 2019, pp. 32–38.] by incorporating custom embedding model curated to subtitles, compound word splits and punctuation inclusion. We show a massive run time improvement of the order of [Formula: see text] by considering three types of edits, removing Proximity Intensity Index (PII) and changing post-edit score calculation from their system.
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Ovchinnikova, G. V. "Translation constraints of eastern loans in russian film subtitles in French." Philology at MGIMO 6, no. 4 (December 28, 2020): 82–88. http://dx.doi.org/10.24833/2410-2423-2020-4-24-82-88.

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The active development of intercultural communication in the cinematic arts sets new challenges for translation theorists and practitioners. The article presents concepts that are widely used in film translation, provides a classification of audiovisual translation types, and for the first time establishes a distinction between such concepts of translation studies as: “langue relais” (translator language), ”langue pont” (transition language),”langue véhiculaire” (Transporter language) and “langue interface” (interface language). Using the example of subtitles for the film “Turkish gambit”, the authors identified ways to translate them from Russian to French and conducted a detailed statistical analysis of the frequency of using methods of translating subtitles. According to the results of experimental data, borrowing was the leading technique in translating subtitles of Boris Akunin’s script “Turkish gambit”, which necessitated a comparative study of borrowings of Eastern languages, their assimilation in Russian and French, and translation features. The use of etymological, component and morphological analysis methods allowed us to identify the specifics of translation of orientalisms in Russian and French.
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Hoeflaak, Arie. "Paivio's "Dual Coding Theory" en Effect van Visuele Stimuli op het Verwerken en Onthouden van Informatie." Toegepaste Taalwetenschap in Artikelen 66 (January 1, 2001): 91–99. http://dx.doi.org/10.1075/ttwia.66.08hoe.

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The use of video in foreign language teaching is considered to be a powerful tool by many teachers and researchers. It seems, however, that a sound 'video teaching methodology' has not yet been fully developed. This article sets out to present some reflections on the advantages of the use of video. We will then briefly describe some elements from two more or less theoretical studies, Lang (1995) and particularly Paivio (1986), and discuss the results of other experiments that we found in the literature. Finally, we will put forward some tentative ideas about experiments that we will prepare on the basis of the most important findings of other experiments. The main idea is that information is best processed if it is presented in a redundant way, e.g., both by an audio and a video channel. Many experiments claim that reversed subtitling (subtitles not in L1, but in L2 or FL) is the most successful visual support for foreign language learners. Our experimental design will be organized as follows. Subjects (pre-university students and first-year university students of French) will be divided into four experimental groups to be tested under four different conditions: 1) Image, sound (French spoken text), no subtitles; 2) Image, no sound, French subtitles; 3) No image, sound, subtitles; 4) Image, sound, subtitles. We hypothesize that condition 4 will yield the best result, but before conducting the experiment, we will have to examine three aspects: 1) The assessment format: subjects might consider open questions unclear, whereas, in closed questioning (true-false, multiple choice, cloze), items might be biased by the test constructor. 2) Clarifying the distinction between high, medium, and low redundancy. 3) Bi- or multimodal information input may lead to cognitive overload.
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Ranita, Laras Chintya, and Myrna Laksman-Huntley. "Les problèmes de la traduction des temps passés dans le film Ballerina en indonésien." Digital Press Social Sciences and Humanities 3 (2019): 00029. http://dx.doi.org/10.29037/digitalpress.43302.

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<p class="Keyword" style="margin-bottom:12.0pt">The cinema is one of the most popular literary works. However, the films produced by each country being different, translation is necessary to understand the language used in each country. In the cinema, the translations can be displayed in form of dubbing or subtitling. This article discusses the problem of translation in the subtitle of the French film of Gaumont Ballerina in Indonesian. However, this study is limited to translations of anterior sentences as the significative differences between French and Indonesian. Using qualitative methods and literature study techniques, this study explains how the translation problems can be solved considering the impact on the public. Through the analysis of translation techniques, equivalent and changes in translation, and subtitles rules we state that there is no fixed model in the translation of the past tense in Indonesian. But the subtitle of the film Ballerina in Indonesian is acceptable as it does not disrupt the scenario.</p>
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Baines, Roger. "Subtitling Taboo Language: Using the Cues of Register and Genre to Affect Audience Experience?" Meta 60, no. 3 (April 5, 2016): 431–53. http://dx.doi.org/10.7202/1036137ar.

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Using French-English/English-French examples, this article puts forward the hypothesis that, in the film genre of social realism (depicting low socio-economic groups), subtitlers use linguistic and visual cues which are embedded in genre to trigger audience reactions to representations of taboo language. Examples of the subtitling of taboo language are drawn from three films and the hypothesis above will be explored along three main interrelated axes: i) the value of treating subtitles as an entire system; ii) the relationship between the specific film genre of social realism (depicting low socio-economic groups) and audience perceptions of taboo language use; and iii) discourse representations through register and its effect on characterisation. Nuances are brought to evidence from existing research which argues that the choices relating to taboo language made in the oral to written mode shift are subject to politeness restrictions in terms of register, and that these choices have a homogenising/levelling effect on characterisation (Lambert 1990; Taylor 2006a; Mailhac 2000 for example).
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Feral, Anne-Lise. "Gender in audiovisual translation: Naturalizing feminine voices in the French Sex and the City." European Journal of Women's Studies 18, no. 4 (November 2011): 391–407. http://dx.doi.org/10.1177/1350506811415199.

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This article explores how certain feminine voices are adapted or ‘naturalized’ in audiovisual translation in order to conform to the intended audience’s assumed gender beliefs and values. Using purposefully selected examples from the American series Sex and the City, the author analyses elements pertaining to American feminism and how they are rendered in the French dubbing and subtitles. While the subtitles retain most references, the dubbing reveals a marked tendency to delete, weaken and transform allusions to American feminist culture as well as female achievements in the public sphere and feminist ideology. These findings are discussed in relation to the history, place and representation of women and feminism in France. The case study suggests that integrating a feminist approach in audiovisual translation research could help women’s studies detect the unspoken gender values of the cultures for which audiovisual translation is produced.
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Marchand, Trevor H. J. "‘IT'S IN OUR BLOOD’: MALI'S GRIOTS AND MUSICAL ENSKILMENT." Africa 85, no. 2 (April 24, 2015): 356–64. http://dx.doi.org/10.1017/s0001972015000054.

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Film review of Da Kali: the pledge of the art of the griot (2013, 86 minutes) and Dò Farala A Kan: something has been added (2013, 69 minutes). French and Bamanankan, with English subtitles. Directed by Lucy Durán, edited by Michele Banal, and made with assistance from Lassana Diabaté.
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Guillot, Marie-Noëlle. "Communicative Rituals and Audiovisual Translation – Representation of Otherness in Film Subtitles." Meta 61, no. 3 (March 23, 2017): 606–28. http://dx.doi.org/10.7202/1039221ar.

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In a contrastive study of front door rituals between friends in Australia and France (Béal and Traverso 2010), the interactional practices observed in the corpus collected are shown to exhibit distinctive verbal and non-verbal features, despite similarities. The recurrence of these features is interpreted as evidence of a link between conversational style and underlying cultural values. Like contrastive work in cross-cultural pragmatics more generally, this conclusion raises questions of representation from an audiovisual and audiovisual translation perspective: how are standard conversational routines depicted in film dialogues and in their translation in subtitling or dubbing? What are the implications of these textual representations for audiences? These questions serve as platform for the case study in this article, of greetings and other communicative rituals in a dataset of two French and one Spanish contemporary films and their subtitles in English. They are addressed from an interactional cross-cultural pragmatics perspective and draw on Fowler’s Theory of Mode (1991, 2000) to assess subtitles’ potential to mean cross-culturally as text.
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Iheka, Cajetan. "Frank Bieleu. The Big Banana. 2011. Cameroon. French, with English subtitles. 85 min. ArtMattan. $295.00." African Studies Review 56, no. 2 (August 8, 2013): 238–40. http://dx.doi.org/10.1017/asr.2013.73.

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Dissertations / Theses on the topic "French subtitles"

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Ericson, Nanna. "Domestication Norms in French and Swedish : A Comparative Study of Subtitles." Thesis, Stockholm University, Department of English, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-38762.

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France has long had its foreign audiovisual material dubbed. If this is due to an attempt to conserve the French language, there should also be similar concern with foreign cultural references. This essay uses qualitative analyses of extralinguistic references to discover if a so-called domesticating practice is notable also in French subtitling. Sweden, however, is a smaller country, and may be considered more Americanized culturally. Swedish subtitling is used as the more globalized counterpart.

This research cites instances in which extralinguistic references are made and how they are subsequently dealt with in the translated subtitles. The instances are singled out and then individually analyzed. Using four categories of translation methods for Extralinguistic Cultural References (ECRs), this study investigates whether translation norms differ between Swedish and French subtitles.

This study‘s most important finding is that there do seem to be different norms for Swedish and French subtitles and that the francophone target audience is not required to move so far from its domestic reference frame as is the Swedish target audience.

Another important finding is that while there are both quantitative and qualitative differences, there are also striking similarities on the statistical level, indicating that there are global norms that govern translation in general, and specifically subtitling.

The results are interesting for the discussion around which ECRs are domesticated, but also for further sociolinguistic analyses of French domestication.

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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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Turek, Sheila Marie. "In the Margins representations of otherness in subtitled French films /." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8199.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2008.
Thesis research directed by: Dept. of French and Italian. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Eng, Thérèse. "Traduire l´oral en une ou deux lignes : Étude traductologique du sous-titrage français de films suédois contemporains." Doctoral thesis, Växjö universitet, Institutionen för humaniora, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1635.

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This dissertation is a comparative investigation of the work of two subtitlers of Swedish films translated into French in the last decade of 20th century. It is a look at how they try to render the illusion of spoken language in the written line that is a subtitle. This effect has to be created despite the constraints of time, synchronisation, readability, and the limited number of characters available to work with. We have shown that the subtitles examined in this work include many of the characteristics typical of spoken French. These characteristics can be classified as belonging to the Phonetic, the Lexical or the Syntactic level. At the lexical level we can see that the translators use expressions with a lower style-level than the originals but manage to avoid being too shocking, innovative or destabilizing for the audience. We have also shown diastratic language differences in translation: our subtitlers strengthen characters of social differences by using a different language style depending on the status that the person in question has. Because of the polysemiotic nature of film it is not the primary purpose of a subtitler to translate everything. Typically verbal speech characteristics such as repetition, hesitation, incomplete phrases and non-informational expressions that are often seen as less acceptable in the written word are normally sacrificed in subtitles. On the other hand, we could not show that the original language (Swedish) had a sizable impact on the style and construction of the subtitles. We also looked at possible stylistic differences between the two subtitlers translations and tried to find out if the “voice” of the subtitler shone through. If so, we were interested in attempting to see if a difference could be caused by the fact that one of the subtitlers has French as her native language while the other translates from his second language. We were not able to relate the cause of the difference of style we observed to anything other than the original dialogue’s changing style-levels. In which direction the verbal content in subtitles will develop is an interesting and relevant question. In this work we have identified a development of style that has taken place during recent years in French subtitles to Swedish films. This development goes from a previous situation where the style of the spoken word was practically unused compared to today’s more frequent and systematic use.
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Ismail, Tief. "Traduction et analyse interactionnelle de dialogues cinématographiques en français : problématique des sous-titres en arabe." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20010.

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Cette recherche aborde le dialogue du cinéma. Elle propose une description de quelques interactions verbales couramment présentes dans les échanges quotidiens à travers une analyse d’un corpus cinématographique composé de comédies récentes (Amélie Poulain, Quatre étoiles, la Doublure, Ah ! si j’étais riche, Moi, César…). Les résultats de cette étude fondamentalement descriptive, intéressent [a] le domaine de la relation entre la description des interactions et la didactique du français et de l’arabe langues étrangères ou langues secondes, et [b] la problématique de la traduction des sous-titres cinématographiques, qui constitue la partie la plus importante de son apport. Cette étude cherche, [a] d’un point de vue de didactique des langues, à dégager des interactions pouvant contribuer à enrichir les fonctions du niveau B2 du Cadre européen commun de référence pour les langues. Le travail se fonde sur l’analyse de certains actes de langage rituels et fonctionnels : salutations, remerciements, excuses, demande, offre et proposition. Les différentes réalisations linguistiques de ces actes forment un inventaire susceptible d’enrichir le référentiel du français langue étrangère ainsi que celui de l’arabe langue étrangère à travers la traduction du dialogue français (les sous-titres). [b] Concernant la problématique traductionnelle, l’analyse des interactions observées (dialogues français transcrits par nous et sous-titres en arabe) font apparaître des liens entre la traduction et la culture, ainsi que des problèmes spécifiques liés aux contraintes de la traduction audiovisuelle et particulièrement au sous-titrage. Les extraits analysés dans la thèse sont repris dans les annexes, avec traduction, rétro-traduction et, au besoin, des notes explicatives, afin d’offrir la possibilité d’une lecture libre d’une partie du corpus
This research is based on cinema dialogs. It offers a description of aspects of verbal interactions currently found in everyday life situations through a cinematograph corpus (recent French comedies : Amélie Poulain, Quatre étoiles, la Doublure, Ah ! si j’étais riche, Moi, César…). The results of this essentially descriptive study should be of interest for: [a] relations between the description of verbal interactions and the teaching/learning of French and Arabic as foreign or second languages, and [b] issues related to the translation of cinema subtitles, which are in fact the essential part of this study. The latter seeks to identify [a] in the context of the teaching/learning of foreign languages, interactions that help enrich the French B2 level (with reference to the Common European Reference Framework for Languages). The approach illustrates some pragmatic functions in the B2 level, and is based on the analysis of some speech acts (ritual and functional) including greetings, thanks, apologies, requests, offers and proposals. The different linguistic realisations of these acts propose an inventory aiming at enriching the Referential Framework for French and Arabic as foreign or second languages. Arabic is seen through the translation of subtitles. [b] With regards to translation issues, the analysis of the verbal interaction observed in the above mentioned cinema corpus (French dialogs transcribed by us and Arabic subtitles) bring forth some relations between translation and culture, in addition to problems which are specific to the constraints of audiovisual translation, with special reference to subtitling. Excerpts analysed in the dissertation are reproduced in the Annexes, with their translation, a retro-translation, and, when needed, explanatory notes, in order to offer a free reading of parts of our corpus
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Holasová, Kateřina. "Amatérský překlad titulků k francouzským filmům." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312481.

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The aim of the thesis is to describe the problematics of the amateur subtitling. We focus especially on French films subtitling. We concentrate on production, distribution, reception of amateur subtitles and we compare them with the official environment. Further we analyze subtitles of the movie La Haine by one professional and two amateur translators and examine the translation of unconventional French and realii. These days amateur subtitling is a widespread phenomenon. However not many people are familiar with it and understand it. This thesis is supposed to inform about the amateur subtitling environment.
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Books on the topic "French subtitles"

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Goyer, David S., Jonathan Nolan, Emma Thomas, Christopher Nolan, and Charles Roven. The Dark Knight rises. [United States]: Warner Home Video, 2012.

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Giler, David, Walter Hill, Shane Salerno, John Davis, Colin Strause, and Greg Strause. Alien vs. Predator: Requiem. Beverly Hills, CA: 20th Century Fox Home Entertainment, 2008.

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Birnbaum, Roger, Rob Bowman, Gary Barber, Richard D. Zanuck, Lili Fini Zanuck, Gregg Chabot, and Matthew Greenberg. Reign of fire. [United States]: Touchstone Home Entertainment, 2002.

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Cruise, Tom. Elizabethtown. Hollywood, Calif.]: Paramount Pictures, 2006.

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LaMarche, Maurice. The real ghostbusters. 2009.

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LaMarche, Maurice. The real ghostbusters. 2010.

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Rich, Richard, and Brian Nissen. The swan princess: Princess tomorrow, pirate today. 2016.

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Hall, Arsenio. The real ghostbusters. 2009.

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LaMarche, Maurice. The real ghostbusters. 2010.

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LaMarche, Maurice. The real ghostbusters. 2010.

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Conference papers on the topic "French subtitles"

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Yuda, Jotika, Mangatur Nababan, and Djatmika Djatmika. "Friends’ Quarrel: Speech Event Equivalence in Subtitle." In Proceedings of the 1st Seminar and Workshop on Research Design, for Education, Social Science, Arts, and Humanities, SEWORD FRESSH 2019, April 27 2019, Surakarta, Central Java, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2286859.

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