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xi | |
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xiii | |
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xv | |
| Preface |
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xix | |
| Acknowledgements |
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xxi | |
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1 Subtitling for d/Deaf and hard of hearing audiences |
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1 | (20) |
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1.1 The history of subtitles |
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1 | (2) |
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1.2 SDH within audiovisual translation (AVT) |
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3 | (3) |
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1.3 Legislation on accessibility |
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6 | (7) |
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1.3.1 Television and video-on-demand quotas |
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9 | (2) |
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11 | (2) |
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13 | (6) |
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15 | (4) |
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19 | (2) |
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21 | (18) |
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2.1 Models of deafness and disabilities |
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21 | (2) |
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2.2 A spoken language for d/Deaf and hard of hearing audiences |
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23 | (1) |
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24 | (10) |
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2.3.1 Causes, types and degrees |
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25 | (5) |
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30 | (1) |
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30 | (2) |
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2.3.2.2 Cochlear implantation |
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32 | (2) |
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34 | (4) |
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38 | (1) |
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3 Linguistic considerations |
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39 | (15) |
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39 | (4) |
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3.1.1 What can be omitted |
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41 | (1) |
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3.1.2 Children's programmes |
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42 | (1) |
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3.2 Segmentation and line-breaks |
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43 | (3) |
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3.3 Non-standard language |
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46 | (1) |
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3.3.1 Children's programmes |
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46 | (1) |
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3.4 Orthotypographical conventions |
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47 | (6) |
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47 | (1) |
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48 | (1) |
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3.4.3 Single and double quotes |
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49 | (1) |
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50 | (1) |
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50 | (1) |
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50 | (1) |
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51 | (2) |
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53 | (1) |
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4 Technical considerations |
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54 | (9) |
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4.1 Synchronisation between subtitle and sound/image |
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54 | (1) |
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4.2 Subtitle presentation rates: Reading speeds |
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55 | (1) |
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4.3 Minimum gap between subtitles |
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56 | (1) |
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56 | (1) |
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57 | (2) |
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57 | (1) |
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58 | (1) |
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59 | (1) |
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4.6 Position of subtitle on screen |
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59 | (1) |
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60 | (1) |
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4.7 Subtitle file formats |
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60 | (2) |
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62 | (1) |
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63 | (21) |
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5.1 Speaker identification |
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63 | (2) |
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63 | (1) |
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5.1.2 Labels and dashes or hyphens |
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64 | (1) |
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5.2 Paralinguistic features |
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65 | (10) |
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5.2.1 Accents and pronunciation |
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66 | (2) |
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68 | (1) |
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68 | (1) |
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69 | (1) |
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69 | (2) |
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71 | (1) |
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5.2.2.5 Other voice qualifiers |
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71 | (1) |
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5.2.3 Vocal non-verbal sounds |
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72 | (2) |
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5.2.4 Pauses and hesitations |
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74 | (1) |
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75 | (5) |
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80 | (1) |
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81 | (1) |
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82 | (2) |
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6 Captioning theatre and subtitling live events |
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84 | (30) |
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6.1 Captioning theatre plays |
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84 | (9) |
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6.1.1 Open captioning in theatres around the world |
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85 | (3) |
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6.1.2 Closed-captioning solutions in theatres |
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88 | (4) |
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6.1.3 The role of the theatre captioner |
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92 | (1) |
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6.2 Captioning puppet theatre |
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93 | (11) |
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6.2.1 The Puppet Theatre Barge |
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95 | (2) |
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6.2.2 Puppet shows for younger children |
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97 | (3) |
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6.2.3 Puppet shows for older children |
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100 | (1) |
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6.2.4 Puppet shows for adults |
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101 | (3) |
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6.3 Marketing the captioned performance |
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104 | (1) |
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6.4 Before the captioned performance |
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105 | (1) |
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6.5 On the day of the captioned performance |
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105 | (2) |
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6.6 Audience's feedback on captioned puppet shows |
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107 | (5) |
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6.6.1 Audience demographics |
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107 | (1) |
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6.6.2 Visibility of the caption unit |
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108 | (1) |
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6.6.3 Did captions improve access to or enjoyment of the play? |
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109 | (3) |
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6.7 Subtitling live events |
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112 | (1) |
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113 | (1) |
| Appendix 1 Questionnaire collected after a captioned performance |
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114 | (1) |
| Appendix 2 Summary of feedback from captioned puppet shows |
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115 | (27) |
| Appendix 3 Example of subtitles for clip from School of Rock |
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142 | (4) |
| References |
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146 | (6) |
| Films and other audiovisual material |
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152 | (1) |
| Index |
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153 | |
