Audiovisual Translation in the Digital Age

Massidda, Serenella

doi:10.1057/9781137470379

Cited by 46 publications

(8 citation statements)

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“…Future studies could probe the opinion of other stakeholders in the subtitling process, such as language service providers, subtitling trainers, media entertainment companies, digital content producers and online content distributors. Nowadays, commercial and amateur subtitling produced by fansubbers or found on some internet platforms like TED show distinct qualitative differences at linguistic, cultural and technical levels, with some consumers of fansubbing happy to sacrifice the quality of the subtitles in favour of the speed at which the programmes are made available on internet [62]. Likewise, the irruption of machine translation in commercial subtitling is impacting on the potential quality offered to the client, who can choose between raw automated subtitles or subtitles that have gone through either a light or in-depth post-editing process, depending on the client's needs and requirements.…”

Section: Discussionmentioning

confidence: 99%

Quality is in the eye of the stakeholders: what do professional subtitlers and viewers think about subtitling?

Szarkowska

Cintas

Gerber-Morón³

2020

Univ Access Inf Soc

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Quality is a rather slippery concept, and its assessment in subtitling can be a challenging task, as its appreciation can easily vary depending on the different stakeholders involved in the production and reception of subtitles. In this paper, we evaluate quality indicators in subtitling as perceived by professional subtitlers and viewers. After exploring the various subtitle parameters that can have an impact on the quality of the end product (such as line breaks, synchronisation, display rates), we present the results of two qualitative studies conducted with professional subtitlers and subtitle viewers with different audiovisual backgrounds. The results yield some similarities and discrepancies, particularly in the way in which the strategy of condensation is perceived by the two groups, and they also help delineate the subtitle parameters that should be taken into consideration in order to improve the creative process as well as the reception of subtitles.

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Section: Discussionmentioning

confidence: 99%

Quality is in the eye of the stakeholders: what do professional subtitlers and viewers think about subtitling?

Szarkowska

Cintas

Gerber-Morón³

2020

Univ Access Inf Soc

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“…Three Jihua members contributed to the production and proofreading of the timeline of the translated subtitles and another Jihua member did the post-editing. This collaborative model is not new and has been widely adopted by fan subtitling groups around the world (Massidda 2015). Given the time pressure of subtitling popular films, collaboration is the most efficient way to produce a good quality and quick translation.…”

Section: Translating Carolmentioning

confidence: 99%

Translational and transnational queer fandom in China: the fansubbing ofCarol

Guo

Evans²

2020

Feminist Media Studies

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This article analyses the Chinese fan translations of the film Carol (2015) and relevant paratexts by Jihua subtitling group, one of the most well-known Chinese lesbian fansubbing groups actively and explicitly advocating for LGBTQ rights in China, in order to develop understanding of transnational and translational queer fandom in China. There are thriving fan translation communities in China that work to translate media products that are not officially imported into the country, including LGBTQ media. The article first puts forward a theory of translational fandom in order to explain the role of translation in fandom, before exploring how Jihua network uses fan translation as part of its queer world making, focusing on its translation of Todd Haynes's Carol, reviews of the film and the paratextual materials created by Jihua network that position its translation. Rather than solely importing ideas about female homosexuality through the film, it is argued that Jihua has strategically used this film to make a cultural intervention in domestic debates.

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“…Due to this, the quality of fansubbed translations varies widely. This is a recent phenomenon in audiovisual media that can be attributed in a large part to developments in technologies of distribution, which takes place primarily online (Díaz Cintas & Muñoz-Sánchez, 2006;Massidda, 2015). My experience with the fansubbed version of Nosferatu was significantly different than if I had seen it in a dedicated cinema.…”

Section: Practices Of Negotiationmentioning

confidence: 99%

An Intimate Encounter: Negotiating Subtitled Cinema

Flynn

2016

Open Library of Humanities

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The question of subtitling has received little attention in Film Studies, despite being the primary means by which foreign-language cinema is experienced. Current literature focuses on important matters of language and translation, but there are other aspects that exceed these matters when we watch subtitled films, aspects which are able to affect and move viewers without relying on explanation through translation. My paper shows how viewers have to negotiate these affective elements in order to apprehend foreign-language films, with special attention on their indeterminate characteristics that escape representation. It considers the negotiation of subtitled cinema from numerous theoretical perspectives. Gilles Deleuze's film-philosophy is popular in Film Studies for its theoretical flows and lines of flight, but this paper engages another Deleuzian thread-one of gaps and fissure-in order to explore the indeterminate negotiations of subtitled films. But in thinking about subtitling, we also have to reconsider the constitution of media. Cinema is not just made up of individual parts; rather, it is made of many interacting media, which cannot be separated. I argue that subtitled cinema consists of multiple affective elements that go beyond the interpretive methods of language and translation, and that the practice of negotiation is one way to apprehend them. In conclusion, this article, by exploring non-linguistic issues, argues that subtitling is not simply supplementary to cinema.

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Audiovisual Translation in the Digital Age

Cited by 46 publications

References 0 publications

Quality is in the eye of the stakeholders: what do professional subtitlers and viewers think about subtitling?

Quality is in the eye of the stakeholders: what do professional subtitlers and viewers think about subtitling?

Translational and transnational queer fandom in China: the fansubbing ofCarol

An Intimate Encounter: Negotiating Subtitled Cinema

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