Muutke küpsiste eelistusi

Subtitling: Concepts and Practices [Kõva köide]

4.12/5 (66 hinnangut Goodreads-ist)
,
  • Formaat: Hardback, 274 pages, kõrgus x laius: 246x174 mm, kaal: 560 g, 37 Tables, black and white; 8 Line drawings, black and white; 26 Halftones, black and white; 34 Illustrations, black and white
  • Sari: Translation Practices Explained
  • Ilmumisaeg: 30-Dec-2020
  • Kirjastus: Routledge
  • ISBN-10: 1138940534
  • ISBN-13: 9781138940536
Teised raamatud teemal:
Subtitling: Concepts and PracticesSuurem pilt
  • Formaat: Hardback, 274 pages, kõrgus x laius: 246x174 mm, kaal: 560 g, 37 Tables, black and white; 8 Line drawings, black and white; 26 Halftones, black and white; 34 Illustrations, black and white
  • Sari: Translation Practices Explained
  • Ilmumisaeg: 30-Dec-2020
  • Kirjastus: Routledge
  • ISBN-10: 1138940534
  • ISBN-13: 9781138940536
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781138940536.html
Märksõnad:

Subtitling: Concepts and Practices provides students, researchers and practitioners with a research-based introduction to the theory and practice of subtitling. The book, inspired by the highly successful Audiovisual Translation: Subtitling by the same authors, is a new publication reflecting the developments in practice and research that mark subtitling today, while considering the way ahead.

It supplies the core concepts that will allow its users to acquaint themselves with the technical, linguistic and cultural features of this specific yet extremely diverse form of audiovisual translation and the many contexts in which it is deployed today. The book offers concrete subtitling strategies and contains a wealth of examples in numerous languages for dealing with specific translation problems. State-of-the art translation technologies and their impact on the profession are explored along with a discussion of the ways in which they cater for the socio-political, multicultural and multilingual challenges that audiovisual productions and their translations must meet today.

A truly multimedia package, Subtitling: Concepts and Practices comes with a companion website which includes a wide range of exercises with answer keys, video clips, dialogue lists, a glossary of concepts and terminology used in the industry and much more. It also provides access to a professional desktop subtitle editor, Wincaps Q4, and a leading cloud-based subtitling platform, OOONA.

Arvustused

Informed by the latest research and real-world examples, this up-to-the-minute, well-tested authoritative book aims to familiarize readers with the contemporary practices and concepts of subtitling. Jorge Díaz Cintas and Aline Remael expertly take readers through the fundamentals of subtitling. Unique to this volume is the opportunity to use tools, allowing the readers to gain hands-on experience in subtitling, enriching their learning experience.

Minako O'Hagan, University of Auckland, New Zealand

This long-awaited new publication is an absolute must-have for all subtitling students, trainers, researchers, practitioners and anyone who wants to stay abreast of the latest industry and research developments taking place in the dynamically growing field of subtitling. It is bound to become a classic the moment it hits the shelves.

Agnieszka Szarkowska, University of Warsaw, Poland Informed by the latest research and real-world examples, this up-to-the-minute, well-tested authoritative book aims to familiarize readers with the contemporary practices and concepts of subtitling. Jorge Díaz Cintas and Aline Remael expertly take readers through the fundamentals of subtitling. Unique to this volume is the opportunity to use tools, allowing the readers to gain hands-on experience in subtitling, enriching their learning experience.

Minako O'Hagan, University of Auckland, New Zealand

This long-awaited new publication is an absolute must-have for all subtitling students, trainers, researchers, practitioners and anyone who wants to stay abreast of the latest industry and research developments taking place in the dynamically growing field of subtitling. It is bound to become a classic the moment it hits the shelves.

Agnieszka Szarkowska, University of Warsaw, Poland

A good starting place for anyone interested in subtitling regardless of their interests in translation or for someone interested in having an informed perspective while evaluating foreign language films, regardless of their prior familiarity with the concepts. It provides detailed examples of best practices and pitfalls using accessibility and comprehension as a baseline of success. Readers will find the writing approachable and backed by linguistic research and walk away with the tools to start subtitling themselves or to understand foreign language film with new depth.

Elizabeth Davis, Independent Scholar

List of figures ix
List of tables x
Acknowledgements xi
Permissions xiii
How to use this book and its companion website xiv
The book
xiv
The companion website
xiv
OOONA
xvi
Wincaps Q4
xvii
1 Reconceptualizing subtitling 1(31)
1.1 Preliminary discussion
1(1)
1.2 The power of the moving image
1(2)
1.3 From the periphery to the centre
3(4)
1.4 The many instantiations of audiovisual translation
7(4)
1.5 Classification of subtitles
11(19)
1.5.1 Linguistic parameters
11(10)
1.5.2 Time available for preparation
21(4)
1.5.3 Display mode
25(1)
1.5.4 Technical parameters
26(1)
1.5.5 Methods of projection
27(2)
1.5.6 Distribution
29(1)
1.6 Intertitles
30(1)
1.7 Exercises
31(1)
2 Professional ecosystem 32(32)
2.1 Preliminary discussion
32(1)
2.2 The subtitling process
33(4)
2.3 The professionals
37(2)
2.4 Dialogue lists
39(4)
2.5 Templates and master (sub)titles
43(4)
2.6 Guidelines and style guides
47(1)
2.7 Subtitling software editors
48(3)
2.8 The profession
51(10)
2.8.1 Clients and rates
55(2)
2.8.2 Deadlines
57(1)
2.8.3 Authors' rights and professional associations
58(3)
2.9 Training
61(2)
2.10 Exercises
63(1)
3 The semiotics of subtitling 64(27)
3.1 Preliminary discussion
64(1)
3.2 Films as multisemiotic and multimodal texts
64(11)
3.2.1 Screenwriting and film dialogue
66(3)
3.2.2 Intersemiotic cohesion
69(3)
3.2.3 The multimodality of language
72(1)
3.2.4 Camera movement and editing
73(1)
3.2.5 A blessing in disguise
74(1)
3.3 Subtitling, soundtrack and text on screen
75(15)
3.3.1 Subtitling's vulnerability
76(2)
3.3.2 Multilingualism and multimodality as a resource for translation
78(7)
3.3.3 Text on screen
85(3)
3.3.4 Speech to writing: a matter of compromise
88(2)
3.4 Exercises
90(1)
4 Spatial and temporal features 91(27)
4.1 Preliminary discussion
91(1)
4.2 Code of good subtitling practice
91(1)
4.3 Spatial dimension
92(8)
4.3.1 Maximum number of lines and position on screen
93(2)
4.3.2 Centred and left-aligned
95(1)
4.3.3 Font type, font size and colour
96(1)
4.3.4 Maximum number of characters per line
97(2)
4.3.5 One-liners and two-liners
99(1)
4.4 Temporal dimension
100(17)
4.4.1 Frames per second
100(1)
4.4.2 Synchronization and spotting
101(2)
4.4.3 Timecodes
103(2)
4.4.4 Duration of subtitles
105(1)
4.4.5 Subtitle display rates: characters per second and words per minute
106(3)
4.4.6 The six-second rule
109(4)
4.4.7 Gap between subtitles
113(1)
4.4.8 Shot changes
114(2)
4.4.9 Feet and frames in cinema
116(1)
4.5 Exercises
117(1)
5 Formal and textual features 118(27)
5.1 Preliminary discussion
118(1)
5.2 In search of conventions
118(2)
5.3 Punctuation conventions
120(12)
5.3.1 Comma (,)
120(1)
5.3.2 Full stop (.)
121(1)
5.3.3 Colon (:)
122(1)
5.3.4 Parentheses ( )
122(1)
5.3.5 Exclamation marks (!) and question marks (?)
123(1)
5.3.6 Hyphen (-)
124(1)
5.3.7 Triple dots (...)
125(2)
5.3.8 Asterisk (*)
127(1)
5.3.9 Slash (/)
128(1)
5.3.10 Other symbols
128(1)
5.3.11 Capital letters
129(1)
5.3.12 Quotation marks or inverted commas ("..."), ("..."),
130(2)
5.4 Other conventions
132(9)
5.4.1 Italics
132(4)
5.4.1.1 Songs
134(1)
5.4.1.2 Onscreen text
135(1)
5.4.2 Colours
136(1)
5.4.3 Abbreviations
137(2)
5.4.4 Numbers
139(7)
5.4.4.1 Time
140(1)
5.4.4.2 Measurements and weights
140(1)
5.5 Subtitling quality
141(3)
5.6 Exercises
144(1)
6 The linguistics of subtitling 145(33)
6.1 Preliminary discussion
145(1)
6.2 Subtitling: translation as text localization
145(1)
6.3 Text reduction
146(22)
6.3.1 Condensation and reformulation
151(10)
6.3.1.1 Condensation and reformulation at word level
151(3)
6.3.1.2 Condensation and reformulation at clause/sentence level
154(7)
6.3.2 Omissions
161(8)
6.3.2.1 Omissions at word level
162(2)
6.3.2.2 Omissions at clause/sentence level
164(4)
6.4 Linguistic cohesion and coherence in subtitling
168(1)
6.5 Segmentation and line breaks
169(8)
6.5.1 Line breaks within subtitles
172(2)
6.5.2 Line breaks across subtitles
174(1)
6.5.3 Rhetorical spotting
175(2)
6.6 Exercises
177(1)
7 Subtitling language variation and songs 178(23)
7.1 Preliminary discussion
178(1)
7.2 Marked speech and language variation
178(17)
7.2.1 Marked speech: a pragmatic classification
179(3)
7.2.1.1 Intra-speaker variation: style and register
179(1)
7.2.1.2 Inter-speaker variation: dialect, sociolect, slang
180(1)
7.2.1.3 Intra- and inter-speaker variation: entanglements
180(1)
7.2.1.4 Intra- and inter-speaker variation: swearwords and taboo words
181(1)
7.2.2 Subtitling marked speech and language variation
182(13)
7.2.2.1 Complexity in abundance
182(2)
7.2.2.2 Conflicting priorities, difficult decisions
184(1)
7.2.2.3 Subtitling intra- and inter-speaker variation
185(1)
7.2.2.4 Literary styles
186(1)
7.2.2.5 Forms of address
186(1)
7.2.2.6 Agrammaticalities
187(1)
7.2.2.7 Lexical variation
188(1)
7.2.2.8 Swearwords, expletives and taboo words
189(5)
7.2.2.9 Accents and pronunciation
194(1)
7.3 The translation of songs
195(5)
7.3.1 Deciding what to translate
196(3)
7.3.2 Deciding how to translate
199(1)
7.4 Exercises
200(1)
8 Subtitling cultural references, humour and ideology 201(41)
8.1 Preliminary discussion
201(1)
8.2 The translation of cultural references
201(16)
8.2.1 Cultural references: what are they?
202(2)
8.2.1.1 Real-world cultural references
203(1)
8.2.1.2 Intertextual cultural references
204(1)
8.2.2 Cultural references: what determines their translation?
204(3)
8.2.3 Cultural references: translation strategies
207(10)
8.3 The translation of humour
217(21)
8.3.1 Pinning down humour
217(3)
8.3.2 Subtitling humour
220(18)
8.3.2.1 Detecting and interpreting humour
220(2)
8.3.2.2 Translating humour in subtitles
222(16)
8.4 Ideology, manipulation and (self-)censorship
238(3)
8.5 Exercises
241(1)
9 Technology in motion 242(7)
9.1 Preliminary discussion
242(1)
9.2 Tools for subtitlers
242(1)
9.3 Machine translation and translation memory in subtitling
243(2)
9.4 Migrating to the cloud
245(3)
9.5 Exercises
248(1)
10 References 249(17)
10.1 Bibliography
249(13)
10.2 Filmography
262(4)
Index 266
Glossary - available on companion website
Appendices - available on companion website
Jorge Díaz Cintas is Professor of Translation and founder director (2013-2016) of the Centre for Translation Studies (CenTraS) at University College London. He is the author of numerous articles, special issues and books on audiovisual translation. He is the chief editor of the Peter Lang series New Trends in Translation Studies and a member of the European Union expert group LIND (Language Industry). He is the recipient of the Jan Ivarsson Award (2014) and the Xènia Martínez Award (2015) for invaluable services to the field of audiovisual translation.

Aline Remael is Professor Emeritus of Translation Theory and Audiovisual Translation in the Department of Applied Linguistics/Translation and Interpreting at the University of Antwerp. She is founder of OPEN, the departmental Expertise Centre for Accessible Media and Culture, and a member of the departmental research group TricS. Her main research interests and publications are in audiovisual translation, media accessibility and translation as a multimodal practice. She is the former chief editor of Linguistica Antverpiensia NS Themes in Translation Studies and has been a partner in numerous European accessibility projects and a board member of ESIST, ENPSIT and EST. In 2018 she received the ESIST Jan Ivarsson Award for invaluable services to the field of audiovisual translation.