Durch den Vergleich von zwei Versionen der Untertitelung des spanischen Dokumentarfilms \\\"El día en que los tontos se acaben\\\", nämlich die einer Laiin und der einer professionellen Untertitlerin, wird die Notwendigkeit einer spezifischen translatorischen Kompetenz für den Prozess der Untertitelung begründet.

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.

This study represents a case study of subtitling practices in the South African television broadcasting media, with reference to the soap opera, Generations. The aim of this research is to carry out a descriptive study to establish the actual practices of subtitling in the South African television broadcasting media, using the soap opera Generations as a case study; how these practices match international, theoretical and methodological practices; and whether they have been affected by changes in legislation calling for the status and use of indigenous languages to be enhanced. Although the research sets out to discuss the actual processes in the subtitling of Generations, it includes an analytical and evaluative component. It examines episodes of Generations for the years, 1999, 2003, 2005 and January 2006, looking at the languages spoken in these episodes, the percentage of subtitling in each episode, and the nature of subtitling in the soap opera. Finally, it assesses what progress has been made towards multilingualism, and subtitling since the two go hand-in-hand because whatever is spoken in the vernacular languages calls for subtitling. It was concluded that the level of multilingualism and, therefore, subtitling, is not yet up to the level envisaged although a lot of progress has been made.

El presente artículo explora las experiencias de trabajo y percepciones individuales en relación con la subtitulación interlingüística de un conjunto de profesionales de Lima, Perú. El estudio se realizó a partir de métodos cualitativos: doce entrevistas semiestructuradas a cuatro grupos de participantes — empresas y profesionales de traducción, y empresas y profesionales de comunicación audiovisual—. Aunque los participantes asumen que la subtitulación no tiene un mercado establecido en la capital peruana, opinan que se trata de un nicho con una demanda en crecimiento. Asimismo, existe una diferencia respecto al modo de trabajo de las empresas y profesionales de traducción y de comunicación audiovisual, concretamente, en las etapas del proceso de subtitulación y el uso de protocolos, además de otros criterios para asegurar la calidad del servicio. / The following article explores the work experiences and individual perceptions of a group of professionals from Lima (Peru) regarding interlingual subtitling. Such study was conducted using qualitative methods. A total of twelve semi-structured interviews were made, including four groups of participants: companies and professionals of the translation field, as well as companies and professionals of the audiovisual communication field. Although participants believe that subtitling does not have an established market in the Peruvian capital, they do think that it is a niche with a growing demand. Likewise, there is also a distinction between the way translation and audiovisual companies and professionals work, particularly with regard to the subtitling process and the use of guidelines, as well as other criteria used to ensure the quality of the service. / Revisión por pares

<p>The aim of this study is to find out what effects the omission of intensifiers, interjections and fillers has on the general English subtitle track in the TV-series “The Wire”. Questions addressed in the study include the possible reasons for such omissions, and the consequences of applying omission strategies in this context. Thirteen episodes of the series were investigated in order to see to what extent these three types of words were omitted, and how that affected the experience when watching the series. The investigation showed that the majority of all omitted words in the subtitle track belonged to these three categories, and that technical restrictions were the most common reason for the omissions. Arguably, the lack of intensifiers, interjections and fillers made the language more stiff and formal, which in the end affected the authenticity of “The Wire”.</p>

The aim of this study is to find out what effects the omission of intensifiers, interjections and fillers has on the general English subtitle track in the TV-series “The Wire”. Questions addressed in the study include the possible reasons for such omissions, and the consequences of applying omission strategies in this context. Thirteen episodes of the series were investigated in order to see to what extent these three types of words were omitted, and how that affected the experience when watching the series. The investigation showed that the majority of all omitted words in the subtitle track belonged to these three categories, and that technical restrictions were the most common reason for the omissions. Arguably, the lack of intensifiers, interjections and fillers made the language more stiff and formal, which in the end affected the authenticity of “The Wire”.

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.

El texto completo de este trabajo no está disponible en el Repositorio Académico UPC por restricciones de la casa editorial donde ha sido publicado. / This paper presents the results of a pilot study on the use of active interlingual subtitling for intercultural awareness and queer pedagogy. The subtitling tasks and project were carried out with Ooona, an online subtitling software, and as part of an optional course on gender and sexuality at an undergraduate university program in Translation. The data collected are based on the Spanish subtitles produced by the students from audiovisual content originally in English, as well as on questionnaires and reports that they completed after subtitling. The results reveal how cloud-based subtitling software is a useful tool for students to position themselves regarding online video content online, as well as how the audiovisual representation of queer characters allows students to reflect on aspects of the gender/sex system when they must transfer linguistic content that is rooted in different socio-cultural systems.

Audiovisual Translation (AVT) is a field where Machine Translation (MT) has long found limited success mainly due to the multimodal nature of the source and the formal requirements of the target text. Subtitling is the predominant AVT type, quickly and easily providing access to the vast amounts of audiovisual content becoming available daily. Automation in subtitling has so far focused on MT systems which translate source language subtitles, already transcribed and timed by humans. With recent developments in speech translation (ST), the time is ripe for extended automation in subtitling, with end-to-end solutions for obtaining target language subtitles directly from the source speech. In this thesis, we address the key steps for accomplishing the new paradigm of automatic subtitling: data, models and evaluation. First, we address the lack of representative data by compiling MuST-Cinema, a speech-to-subtitles corpus. Segmenter models trained on MuST-Cinema accurately split sentences into subtitles, and enable automatic data augmentation techniques. Having representative data at hand, we move to developing direct ST models for three scenarios: offline subtitling, dual subtitling, live subtitling. Lastly, we propose methods for evaluating subtitle-specific aspects, such as metrics for subtitle segmentation, a product- and process-based exploration of the effect of spotting changes in the subtitle post-editing process, and finally, a comprehensive survey on subtitlers' user experience and views on automatic subtitling. Our findings show the potential of speech technologies for extending automation in subtitling to provide multilingual access to information and communication.

ABSTRACT: This research report follows the journey of the South African film Hijack Stories (2000) in translation, looking at the various processes – state, institutional and individual - which led to the film’s existence. The context of the South African film industry (institution) during the country’s (state) apartheid past and democratic present have influenced those involved (the individuals) in the film-making process as well as their subjectivities. It is revealed that Hijack Stories (2000) is a film targeted at foreign audiences and that these audiences ascribe value to South African content. This value is acquired on the basis of the historical and social circumstances of South Africa, which has long sustained the interest of the outside world. Hijack Stories (2000) emerges as a cultural commodity, packaged and marketed according to the imaginings that the world has of South Africa. Translation then takes place at the junction of these processes and their related social, financial, political and historical factors, thereby facilitating the international circulation of Hijack Stories (2000) within the greater context of globalisation.