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Given the risk for aggression in the media to potentially influence adolescents' cognitions and behaviors related to aggression, we performed a content analysis to examine the different types of aggression referenced in all subtitles of all episodes of eight Netflix original, adolescent-directed series (as of the end of 2019). Across all series, there was higher number of references to physical aggression and verbal insult, but fewer references to rumor spreading. Also, the most frequently appearing aggression term was "kill," suggesting lethal physical aggression was commonly referenced. For individual series, different series had different patterns of aggression references. These findings provide an overview on the different types of aggression referenced in Netflix original, adolescent-directed series and suggest adolescents may be affected differently upon exposure to different patterns of aggression references in these series. [ABSTRACT FROM AUTHOR]

Subtitles, as the most common form of audiovisual translation, allow international viewers from all backgrounds to access, comprehend, enjoy, interpret, and remember audiovisual products. However, if not performed properly, they may occasionally restrict the viewer's interpretive options, resulting in the loss of many literary or dramatic features of the original films. Focusing on the emotion words/expressions as a distinctive feature of drama, the current study evaluated the quality of the English subtitles of five top Persian drama films. Johnson-Laird [Johnson-Laird, Philip Nicholas, and Keith Oatley. 1989. "The Language of Emotions: An Analysis of a Semantic Field." Cognition & Emotion 3 (2): 81–123. doi:] list was used to identify the emotion words/expressions in the corpus. Pedersen's [Pedersen, Jan. 2017. "The FAR Model: Assessing Quality in Interlingual Subtitling." Journal of Specialised Translation 28: 210–229] FAR model was employed to evaluate the emotion words/expressions as used in the English subtitles. The results of the study showed that, although the films were subtitled for international film festivals, about four-fifth of subtitles were erroneous of a serious type. The findings reveal that a crucial aspect of maintaining the emotional burden of the genre of drama in translation, particularly subtitling, is conveying equivalently the emotion words/expressions. The findings will be of use not only to researchers and students but also to future audiovisual translators/subtitlers seeking further knowledge in the transfer of emotive language. [ABSTRACT FROM AUTHOR]

Chinese subtitling of English trailers is essential for marketing foreign films in China, and there is a need to focus on audience reception. Ideal subtitles are expected to provide a necessary aid to the audience but to attract as little attention as possible. Paralinguistic factors like punctuation can influence the audience's attention and reception. Therefore, this study aims to explore the impact of punctuation on a Chinese audience's attention distribution between subtitles and visuals via the eye tracking technique. We recruited 62 participants and selected ten English trailers for films to be released. We prepared two parallel Chinese versions for each trailer, one using punctuation marks and the other using spaces. The participants were randomly assigned into two groups to watch the two versions respectively and filled out a questionnaire afterwards to rate their desire to watch those films. Data analyses show that, while punctuation does not have a significant impact on participants' attitudes towards the films, the version without punctuation causes less fixation on subtitles, implying that omitting punctuation marks can ensure more attention to the visual and hence a better viewing experience. [ABSTRACT FROM AUTHOR]

Idioms play an important role in cultural formation and are also an indispensable part of a language. These phrases usually have different unique meanings and cause much confusion in the translation process. Idioms carry the semantic values of each society and contain the customs, traditions, and lifestyles of that geography; thus, they may not have a direct equivalent in the target language. Therefore, the translation with the closest meaning to the desired expression in the source language is preferred in the translation process. As with every kind of translation, idioms are frequently observed in audio-visual translation products as well. Just as the importance of audio-visual translations has increased these days in the communications between different societies, so has the interest of translation scholars in this field also increased. This brings up dubbing and subtitle translation studies, which are the two basic types of audio-visual translation. This study analyzes the types of English idioms used in Ice Age: The Meltdown, produced by Blue Sky Studios in 2006 as the second in the series of animated Ice Age movies, and the translation strategies used for the Turkish and Arabic subtitle translations of the idioms encountered in this movie. The data analysis section of this study utilizes Chitra Fernando's idiom typology, Henrik Gottlieb's subtitle translation strategies, and Mona Baker's idiom translation strategies. Within this scope the analyses evaluate whether the idioms in question are source- or target language-oriented. In this context, the study has determined that the analyzed translations are closer to the target language. [ABSTRACT FROM AUTHOR]

• The use of audiovisual materials alongside translanguaging techniques to teach wordplay in English was explored in this study, with a focus on Iranian EFL students of Arab ethnicity. • Wordplay in TV shows poses challenges for EFL learners in understanding humor and cultural nuances. • The mostost common wordplay type identified in raising awareness workshops was lexical-semantic, and translation strategy was no wordplay. • Translanguaging through audiovisual materials enriches EFL learners' understanding of L2 culture and boost learning motivation. • Interdisciplinary research in Language Teaching and Translation Studies can encourage intercultural communication in education. This study focuses on how translanguaging in language instruction with the aid of audiovisual materials can teach Iranian EFL students with Arab ethnicity wordplay in English. Given the significant role wordplay plays in generating humor within TV shows, it can provide a challenge for EFL learners to understand both the humor and cultural nuances of such audiovisual materials. To this end, this study initially selected two popular series, Friends and The Simpsons, translated into Persian. The researchers taught linguistic and translation models to 15 EFL students with Arab ethnicity to identify and categorize the diverse types of wordplay and strategies used to translate them from English to Persian. Students participating in the action research found that the most commonly utilized wordplay and translation strategy were lexical-semantic wordplay and no wordplay strategy, respectively. They also reported that the equivalents were not appropriate in many instances. Interview results with these learners demonstrated the participants' enhanced understanding of wordplay, with translanguaging through translated audiovisual materials identified as a motivating and effective approach for language learning. Ultimately, this research has important implications for teaching English within the expanding cycle of world Englishes with the possibility of promoting translanguaging and intercultural competence. [ABSTRACT FROM AUTHOR]

This article draws on three American movies to illustrate censorship in English- Arabic subtitling. The paper argues that in translating languages of little cultural affinity, censorship serves as a remedy that can narrow the potential cultural gap. However, the paper shows that the films have been exposed to excessive censorship in the Arabic subtitles, although not in the original film. Therefore, the subtitles, usually viewed as a verbal-visual channel, work to restrict the flow of communication, depriving the target audience of much information existing in the Source Language (SL) dialogue. The fact that the shots help us understand what is being said is not fully taken into consideration by the satellite channels. The study finally reveals that two major strategies are employed in the translation, namely the omission of obscene utterances in the SL and the rendition of the SL obscenity into a less offensive equivalent in the Target Language (TL). [ABSTRACT FROM AUTHOR]

In Taiwan, the use of subtitle is common in TV programs and movies. However, studies on subtitles mostly focus on foreign language learning and film subtitle translation. Few studies address how subtitle types and emotion-laden films affect the viewers' eye movement patterns. We aim to examine how the emotion type of film (happy, sad, angry, fear, or neutral) and subtitle type (meaningful subtitle, no subtitle, or meaningless subtitle) affect the dwell times and fixation counts in the subtitle area. This study is a 5 (emotion type of film) × 3 (subtitle type) between-participants design. There were 15 participants per condition, resulting in a total of 225 participants. After watching a film, participants filled out a self-reported questionnaire regarding this film. The subtitled films have more fixation counts and dwell time for the meaningful subtitle compared to meaningless subtitle and no subtitle. The dwell time was longer on the subtitle area for the sad film than the neutral and happy films. Also, the dwell time was longer on the subtitle area for the fear film than the happy film. There were more fixation counts on the subtitle area for the sad film than the angry and happy films. The subtitle meaning is critical in directing overt attention. Also, overt attention directed to the subtitle area is affected by the different emotion types of films. [ABSTRACT FROM AUTHOR]

The article discusses the creation of a multilanguage subtitling platform with centralized architecture for production, distribution and diffusion of live sports events on television. It mentions that the platform can change the subtitle production processes while providing better subtitles than actual subtitling systems for all the television channels in different languages.

Common contemporary usage of the term intertitle reflects a misunderstanding of the function of title cards up to the early 1910s. Unlike the later role of intertitles as captions placed in between shots within scenes, early title cards were headings, either serving as titles of individual films (and initially presented as lantern slides) or as subtitles naming component scenes within longer individual films like Edison's Uncle Tom's Cabin. This use underscored the systematic alternation of scene and title and the autonomy of the scene. [ABSTRACT FROM AUTHOR]