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The study of pronoun translation in subtitle is crucial to give insight for subtitler for maintaining the producing accurate, respectful, and culturally sensitive translations, ensuring effective communication across different languages and cultures. This research aims to identify pronoun translation in the Indonesian-English movie subtitle of Sang Pemimpi (The Dreamer) movie. This study was designed as qualitative research, with content analysis as a method of collecting the data. The analysis focused on how the pronoun in the subtitle translated from SL to TL, what are the cultural reasons of using pronoun and what are strategies used by the translator with considering grammatical and socio-cultural aspects in both the Source Language (SL) and Target Language (TL). The findings reveal three categories of pronoun translation occur in subtitle, they are pronoun to pronoun, pronoun to reference, and pronoun to omission. A total of 680 pronouns were translated, with 521 (77%) translated as pronoun to pronoun, 152 (22%) as a pronoun to omission, and 7 (1%) as a pronoun to reference. These results underscore the diverse background factors influencing why pronouns are translated, including socio-cultural and grammatical considerations. There are several subtiling strategies used by translators to translate the sentences, including genralization, direct translation, explicitation, and subtiution. These strategiess are employed to ensure fidelity to the original meaning while adapting to linguistic and cultural nuances in the target language.

The article highlights the issue of choosing the titles of the works that make up The Story of a Life by K.G. Paustovsky and the general name of the cycle. The manuscripts, typescripts, and the writer’s correspondence, published only partially, allow us to trace the history of the search for the names of the third and fifth parts of the cycle and to establish their long-established working names — “Collapses of Time” and “Agitated Caucasus.” Materials from Paustovsky’s Collection in RGALI demonstrate that the sixth part was originally entitled “On Slow Fire (The Book of Wanderings).” The title was changed by the will of the editorial board of the journal “Novyi mir,” causing the writer’s regret. The expanded elements of the heading complex (the title, the epigraph, and the closely related framing parts) are characteristic of typescripts but do not always pass into the published text. Of the four parts that had epigraphs, only two have preserved them — the first and the last, and the framing parts remained unused. However, they are valuable because they shed light on the crucial concepts of Paustovsky’s works. The final titles of all six parts somehow convey the focalization of the character-narrator: his perception of the world, emotional state, and fixation of himself in time and space. Starting from the fifth part, as the manuscripts testify, the author correlates the new title with the titles of the already published parts, for which he makes peculiar lists.

Copyright of University of Sharjah Journal of Sharia & Islamic Studies (JSIS) is the property of University of Sharjah - Scientific Publishing Unit and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study examines the effect of four subtitling conditions — no subtitle, intralingual subtitles, interlingual subtitles, and keyword subtitles — on vocabulary learning among diverse learner groups, as well as their perception of the effectiveness of subtitles. The study involved four participant types, all learning English as a foreign language: second-year primary school students (N = 147), fourth-year primary school students (N = 97), middle school students (year 8, N = 38), and high school students (year 10, N = 50). Participants watched videos under different subtitling conditions, followed by a vocabulary test. Our findings revealed that middle and high school students scored higher on vocabulary meaning recall when subtitles were provided. Meanwhile, second- and fourth-year primary school students did not benefit from the subtitles in terms of meaning recognition. Among the subtitle types, bilingual keyword subtitles were the most effective for middle school students, while interlingual subtitles proved to be the best for high school students. Generally, the students' perception of the effectiveness of the subtitles in the experiment aligned with their actual learning outcomes.

Background/purpose. The popularity of foreign-language films and shows with subtitles has been driven by their cost-effectiveness in comparison to audio dubbing. The primary objective of this research was to explore the reading and viewing behaviors of proficient learners in the contemporary era, characterized by significant progress in eye-tracking technologies. These advancements have provided researchers with the capability to precisely analyze eye fixation patterns, offering valuable insights into how individuals engage with written and visual content. Materials/methods. The study's focus was on adults between the ages of 20 and 40 years old who watched videos with English language soundtracks and Standard Arabic subtitles, as well as videos with Moroccan Arabic and Standard Arabic soundtracks and subtitles. To assess the impact of different subtitling speeds on reading behavior, participants were exposed to varying speeds. Also, a detailed questionnaire was administered to the participants after the sessions in order to obtain further information and the collected data were then analyzed using descriptive statistics. Practical implications. The findings of this study revealed that doctoral candidates spent less time focusing on the subtitles, and some even completely ignored them. Master's students exhibited similar eye movement patterns to the doctoral candidates, while undergraduates had longer fixation times on the subtitles. Conclusion. This research provides valuable insights into how the speed of subtitles influences viewer behavior and has implications for language learning and the production of audiovisual content. By understanding how different subtitling speeds affect reading behavior, language learners and content creators can make informed decisions to enhance the learning experience and optimize the production of audiovisual materials. [ABSTRACT FROM AUTHOR]

This research aimed to classify racism slurs translation techniques in the subtitles of the movie entitled 42 made by professional (Netflix) and fan subtitlers (Movieku). It applied a qualitative approach with a case study design. For analyzing the data, it used document analysis with the objects the movie transcripts and subtitles. The data were analyzed by using the theory of translation technique from Molina and Albir (2002). From the total 192 data (96 for each category) there were found 11 types of translation techniques applied, i.e.: amplification, compensation, description, established equivalent, literal translation, linguistic compression, modulation, naturalization borrowing, particularization, pure borrowing, and reduction. The data show that both professional and fansub use more than one type of translation techniques that can be grouped into single (22.4%), duplet (58.8%), triplet (18.2%), and quartet group (0.5%). The frequency of occurrences of each group of the translation techniques in the professional subtitles are 20 times or 20.83% for single, 50 (52.08%) for duplet, 25 (26.04%) for triplet, and only 1 (1.04%) for quartet. In fansubs, there are 23 occurrences or 23.96% for single, 63 (65.62%) for duplet, 10 (10.41%) for triplet, and none for quartet. The result of this research is expected to be a reference for the other research with the same topic. [ABSTRACT FROM AUTHOR]

Copyright of Japanese Journal of Image Arts & Sciences / Eizogaku is the property of Japan Society of Image Arts & Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Literary works are a medium used by authors to convey ideas and concepts. Literature usually takes the form of a socially-oriented work, such as films. Films are creations that narrate the social or cultural life of a society. This research aims to determine the classification and translation strategies of cultural terms in the film "Aftershock." The method used in this research is qualitative descriptive. The approach used in this study is a case study, describing cultural terms and their translation strategies. The object of this research is the film "Aftershock." There are two theories used in this research: Newmark (1988) for cultural terms and Mona Baker (2011) for translation strategies. The data collection technique used is transcription. The results of this research include the classification of cultural term categories and the translation strategies used in translating cultural terms. The most frequently encountered cultural term category is social culture, and the most frequently encountered translation strategy is the use of more general words. [ABSTRACT FROM AUTHOR]

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]

The objective of this study is to establish a correlation between the practice of watching English language films and the utilization of English subtitles as a substitute method to enhance students' English reading comprehension. The research was carried out at SMA Negeri 1 Tirtayasa. This study seeks to ascertain the extent to which students' comprehension improves by regularly watching English films with subtitles. The employed methodology is quantitative, focusing on a population of students in classes XII Science 1, 2, 3, and 4. Subsequently, a total of 76 students were included in the sample. The collected data pertains to the English reading comprehension test of the students. The independent variable in this study refers to the practice of watching English films with English subtitles, whereas the dependent variable pertains to the English reading comprehension skills of the students. The investigation yielded substantial data. The term "2-tailed" refers to a statistical test that considers both directions of an effect or relationship.The data acquired from the control class was 77.29, whereas the data from the experimental class was 79.63. Consequently, the treatment has had a notable impact on the kids' reading comprehension, resulting in a commendable level of proficiency. The employed methodology is highly effective in enhancing the students' English reading comprehension.

The United Nations agency UNESCO issued in 2009 the Paris Declaration on Broadcast Media and Climate Change: A Public Service Remit where the role of communication was underlined as vital in informing and educating the public about the realities of climate change and the costs of inaction. Citizens are informed of the environmental crisis through media channels. By integrating the topic of sustainability into all television programming, from children’s programmes to reality TV shows, we can elevate this once-peripheral issue to a prominent position in the public consciousness. Understanding, measuring, and effectively reporting the degree to which the topic of sustainability is featured in broadcast media is challenging (McDonagh and Orero forthcoming). While some analyses and methodologies exist, these can be difficult to implement and time-consuming. Currently, there are no automatic tools to measure large language-based broadcast corpus data. Some companies have developed their own private methodology. Seeking to remedy this critical oversight, the goal of this paper is to propose the use of subtitles as a tool and explain the singularity of subtitles as a text type. At present subtitles are already used to mine information, which is the second part of the article. As a text type, subtitles features need to be taken into consideration. The final part defines the objective of our research: to use subtitles as a metric to measure the frequency, topic coverage, and accessibility of sustainability-related content in television. By drawing on subtitling data, we can measure the degree to which sustainability is discussed and presented in the wider broadcast mediascape. These data are expected to be instrumental in drafting reports, guidelines, and recommendations on sustainability for broadcasting in the region with the possibility of influencing national and international policy. By using subtitles as measurable raw data to develop metrics to gauge the quantity of sustainability-related content in broadcast television, we can better understand how climate change is currently covered. Armed with this knowledge, we can develop strategies and benchmarks to promote sustainability as a concept and contribute towards Net Zero targets.

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]

In today's digital era, the significance of speech recognition technology cannot be overstated as it plays a pivotal role in enabling human-computer interaction and supporting various applications. This paper focuses on the development of a real-time subtitle generator for Sinhala speech using speech recognition techniques. The CMUSphinx toolkit, an open-source toolkit based on the Hidden Markov Model (HMM), is employed for the implementation of the application. Mel-frequency cepstral coefficients (MFCC) are utilized for feature extraction from the given 'wav' format recordings. The paper places significant emphasis on the importance of a real-time subtitle generator for Sinhala speech and explores the existing literature in the field. It outlines the objectives of the research and discusses the achieved outcomes. By fine-tuning hyperparameters to enhance the recognition accuracy of the system, impressive results of 88.28% training accuracy and 11.72% Word Error Rate (WER) are attained. The significance of this research is underscored by its methodological advancements, robust performance metrics, and the potential impact on facilitating seamless interactions and applications in the Sinhala speech domain. [ABSTRACT FROM AUTHOR]

This article investigates how Bohemian Rhapsody's queer elements were translated in the official subtitled version for theatrical release in mainland China. In the official Chinese subtitled version, homoerotic desires were transformed to homosocial relationships. Approximately four minutes of relevant plot was excised, and the translator chose to deemphasize the taboo, erase the queer, and downplay the presence of AIDS, even at the expense of continuity. The authors apply Marc Démont's three modes of translating queer elements to Bohemian Rhapsody and analyze its translation. Though homosexuality is neither recognized nor excluded by Chinese culture and law, few queer-related films have ever been released on the mainland. The release of Bohemian Rhapsody shows a new and complex attitude towards homosexuality in China. The translator's ambiguity about the homoerotic elements in the film is reflected, therefore, in the way that the three translation methods – which are usually clearly divided – overlap. In China's complex cultural context, a hybrid translation method has emerged. [ABSTRACT FROM AUTHOR]

The present article is based on research focusing on acronyms, including their forms, spelling and punctuation in English, also discussing various, often contradictory, or ambiguous definitions for so-called “minor” word-formation options. We try to argue for a more lenient definition of abbreviations, acronyms, initialisms and alphabetisms, directing our attention towards certain technical features of acronyms (uppercase letters, with or without periods). The research database is taken from a popular TV series, “Designated Survivor”, resulting in 276 unique acronyms, totaling 1,198 occurrences, which includes acronyms of 2 to 9 letters combined with numbers and specific symbols (hyphens and ampersand), and excludes common ones (DJ, TV) and Roman numbers (II, III, XIII). The most frequent English acronyms with at least 5 occurrences are considered (856), out of which the most popular 15 ones (a total of 664) are examined together with all their Romanian renditions. The conclusion section summarizes the findings, considering the aspect of “slippery” quality, yet interpreting the results from the perspective of overall consistency.

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]

Copyright of Nüsha is the property of Oku Anonim Sirketi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses subtitling strategies taken by Lebah Ganteng in the Indonesian subtitle of the movie entitled The Imitation Game. The aims of this research were to describe how various subtitling strategies are applied in giving the subtitles to the movie from English into Indonesian and to find out the distribution of the strategies used from the most frequent to the least. This research applied a descriptive-qualitative method. The data were analyzed based on Gottlieb's subtitling strategies theory. The finding shows that there are eight of the total ten subtitling strategies are applied. Transfer takes 24% of the total, followed by deletion (23%), paraphrase (17%), imitation (11%), condensation (9%), expansion (9%), decimation (6%), and transcription (1%). Two strategies left unapplied are dislocation and resignation. From the comparison, It can be concluded that transfer is the dominant strategy used in the subtitling process of the movie. [ABSTRACT FROM AUTHOR]

The article discusses the functions and frequency of the use of various forms of subtitles in editions of Polish translations of the Enlightenment period. The results of research reveal the following regularities: firstly, regardless of the type of the text, there are recurrent patterns of presentation of translation, in a variety of ways referring to the (real or not) publishing history of the translated works. Secondly, the identity of the original author is concealed while the status of the text as translation is erased most often in the case of short literary forms (e.g. lyrics, concise epic texts) and works which were perceived as "low" in the light of classicistic poetics (e.g. novels). Thirdly, apart from the information provided on the title pages, 18th century publishers employed other elements of the book in order to point out the authorship of the original texts or to mark the status of the work as translation in a more prominent way (e.g. introductions, footnotes, bilingual editions, inclusion of several translation of the same original text, "revealing" the individual traits of the translators). [ABSTRACT FROM AUTHOR]

Movie is an art which has an aesthetic purpose. It is used to be a form of entertainment, but as time goes by, movie can be used as a media to spread certain messages to the public. One of those movies is from China and the language is Chinese. Therefore, it is necessary to have a movie translation from Chinese to Indonesian, which uses subtitle translation. In a process of translation, the shifting of translation is found for most of the time. This research aims to find out two problems of the research. First, the translation shift form from the result of translation subtitle. Second, the form of shifting translation mostly found in the subtitle of movie called Our Times. The object of this research is the Our Times movie ... wŏ de shăonǚ shídài. The film is in Chinese with Chinese subtitles and translated into Indonesian. This research only focuses on shifting the translation results in Mandarin-Indonesian subtitles on the Our Times movie ... wŏ de shăonǚ shídài. The method used in this research is descriptive qualitative with the approach of instrumental study. The result of the research shows that the subtitle of Our times movie there are 86 data divided into six kinds of translation shift, which are about: Structure Shift (37,21%); Intra Shift System (19,77%); Level Shift (12,79%); Down Rank Shift (11,63%); Class Shift (9,30%); and Up Rank Shift (9,30%). Due to the difference in grammatical structure and the culture which are supported by the use of translation procedures and techniques. [ABSTRACT FROM AUTHOR]

Previous studies on audio-visual translation indicate that there is a gap in the exploration of translation strategies in the Malaysian movie subtitling context and the quality of Malay to English subtitle translations. This study aimed to explore the strategies used in the subtitle translations of the Malaysian movie Ejen Ali: The Movie and evaluate the accuracy level of the translations associated with the identified strategies. Ten translation strategies developed by Gottlieb (1992), and the parameter of “accuracy” was purposefully selected out of the three criteria of the translation quality assessment proposed by Nababan et al., (2012) as the theoretical framework of this study. The three main strategies used in the most accurate translations were “transfer”, “paraphrase”, and “expansion”. The subtitling of this movie was generally found accurate. In most of the accurate translations “transfer” strategy was utilized, whereas “dislocation” was identified in most of the inaccurate translations. Moreover, the findings revealed that there were inaccuracies in the translations which could have been avoided by using other relevant strategies. Gottlieb’s nine of 10 strategies (except transcription) in addition to the nine mixed strategies were identified and described in the process of analysis.

The article is devoted to the analysis of the frame text (titles of books, titles of poems, subtitles, epigraphs, dating) of two books of M. A. Zenkevich; the book “Wild Purple Mantle” [Dikaya porfira] published in 1912 and the compiled, but unpublished book “Under the Meat Purple Mantle” [Pod myasnoi bagryanitsei], which included poems of 1912–1918. The authors provd that the elements of the frame of the text of “Wild Purple Mantle” [Dikaya porfira] unambiguously indicate the connection with the theoretical principles of acmeism and creative activity of N. S. Gumilyov and A. A. Akhmatova. It is shown that the titles of the poems are interpreted as a symbolic convolution of their meaning; in addition, the titles set the compositional vector of perception of the author’s first book as a metacyclic unity. The authors conclude that the epigraphs in “Wild Purple Mantle” [Dikaya porfira] indicate a polemical dialogue with the proximal tradition (the creative work of Russian and foreign Symbolists, as well as the symbolically minded classic poets); the subtitles play the role of genre landmarks of the acmeistic format; the dedications also indicate the “guild” solidarity with literary colleagues. In the second book, we observe a redistribution of the functions of the components of the text frame. Epigraphs are no longer used as an instrument of polemics, but as an indirect method of embodying the apocalyptic motives of our time: the horror of waiting for death, pain, violence, in tune with the realities of revolution, world and civil wars. In the titles of the books Zenkevich represents his life-creating myth, relying on the key motives of his mature creative work. The quintessence of this myth is associated with the figure of the titan Porfibagr, whose name was compiled by the author from the key words of the titles of the two books under consideration. The elements of the frame “Under the Meat Purple Mantle” [Pod myasnoi bagryanitsei] are to designate the prophetic essence of the poet and show the perception of new socio-cultural realities through the prism of the author’s myth. In general, the titles of the poems and sections of both books form the meta-plot of each of the books and set the main semantic lines of their reader’s comprehension.

Background: 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. Purpose: 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. Methods: 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. Results: 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. Conclusions: 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.

Previous studies on audio-visual translation indicate that there is a gap in the exploration of translation strategies in the Malaysian movie subtitling context and the quality of Malay to English subtitle translations. This study aimed to explore the strategies used in the subtitle translations of the Malaysian movie Ejen Ali: The Movie and evaluate the accuracy level of the translations associated with the identified strategies. Ten translation strategies developed by Gottlieb (1992), and the parameter of "accuracy" was purposefully selected out of the three criteria of the translation quality assessment proposed by Nababan et al., (2012) as the theoretical framework of this study. The three main strategies used in the most accurate translations were "transfer", "paraphrase", and "expansion". The subtitling of this movie was generally found accurate. In most of the accurate translations "transfer" strategy was utilized, whereas "dislocation" was identified in most of the inaccurate translations. Moreover, the findings revealed that there were inaccuracies in the translations which could have been avoided by using other relevant strategies. Gottlieb's nine of 10 strategies (except transcription) in addition to the nine mixed strategies were identified and described in the process of analysis. [ABSTRACT FROM AUTHOR]

Audiovisual input has received increasing attention from the Second Language Acquisition (SLA) and the Computer-Assisted Language Learning (CALL) domains during the past few decades due to its vividness, authenticity, and easy accessibility. Videos with on-screen texts, as a widespread way of audiovisual input in second language (L2) teaching and learning, influence L2 learners' performance in various aspects, including their vocabulary learning. The wide application and profound influence of such kind of input call for a systemic review on this important domain of research. Accordingly, this paper reviews the empirical studies on the effects of on-screen texts on L2 vocabulary learning. Specifically, it seeks to evaluate the role of different types of on-screen texts (i.e., subtitles, captions, and dual subtitles) and various modes of captions (i.e., full captions, keyword captions, glossed captions, annotated captions, and enhanced captions) in L2 vocabulary development. It also discusses other factors that concur with on-screen texts and influence L2 vocabulary gains from audiovisual input, such as learners' vocabulary size, L2 proficiency, frequency of occurrence, number of viewing, instructional strategy, and test time. Finally, some suggestions are provided for future research. [ABSTRACT FROM AUTHOR]

Audiovisual input has received increasing attention from the Second Language Acquisition (SLA) and the Computer-Assisted Language Learning (CALL) domains during the past few decades due to its vividness, authenticity, and easy accessibility. Videos with on-screen texts, as a widespread way of audiovisual input in second language (L2) teaching and learning, influence L2 learners’ performance in various aspects, including their vocabulary learning. The wide application and profound influence of such kind of input call for a systemic review on this important domain of research. Accordingly, this paper reviews the empirical studies on the effects of on-screen texts on L2 vocabulary learning. Specifically, it seeks to evaluate the role of different types of on-screen texts (i.e., subtitles, captions, and dual subtitles) and various modes of captions (i.e., full captions, keyword captions, glossed captions, annotated captions, and enhanced captions) in L2 vocabulary development. It also discusses other factors that concur with on-screen texts and influence L2 vocabulary gains from audiovisual input, such as learners’ vocabulary size, L2 proficiency, frequency of occurrence, number of viewing, instructional strategy, and test time. Finally, some suggestions are provided for future research.

The aim of this study was to determine the cultural translation errors in aspect of gender and racial discrimination in movies subtitles The Help and Hidden Figures. This study used a qualitative approach and content analysis method by Krippendorff (2004). This qualitative study was in descriptive qualitative approach. While content analysis use was conversational analysis. Conversation in both movies subtitles were used as data of the study especially the conversation which was the part of gender and racial discrimination. The finding of this study was in form of cultural translation errors in conversation that contained gender and racial discrimination. The result showed, there were four kinds of cultural translation errors in aspect of gender and racial discrimination in movies subtitles The Help and Hidden Figures. They were (1) word choices translation errors; (2) number translation errors; (3) translation errors in cultural material; and (4) translation errors in comprehended SL in the text. All the errors found influeced information and message that delivered to the viewers.

The objectives of this research are to find the types and the most dominant type of translation procedures of English into Indonesian Subtitle in “English Vinglish” Movie. This research is descriptive qualitative research. The data of this study are the words, clauses, and sentences in the subtitle movie both English and Indonesian. Data source is taken from “English Vinglish” Movie. The data collection procedure in this research is document analysis. From the result, it shows that the translation procedures used in subtitle English Vinglish movie consist of direct translation and oblique translation. In direct translation, it consists of literal translation as 148 data or 34.89%, borrowing as 82 data or 20.39 %, and calque as 0 data or 0 %. While, in oblique translation consist of transposition as 76 data or 18.67 %, equivalence as 62 data or 15.23 %, modulation as 32 data or 7.86 %, and adaptation as 6 data or 1.47 %. The most dominant type of translation procedures of English into Indonesian Subtitle in “English Vinglish” Movie is in direct translation, especially in literal translation.

This research discusses the speech act equivalence involves in audiovisual translation of English-Indonesian subtitle on Enola Holmes Netflix movie. Since pragmatic equivalence is consider as to be the suitable one to be analyzed in Audiovisual Translation (AVT), this research look closely in case of translating the subtitle especially the movie with genre of adventure and mystery. This audiovisual translation research employs qualitative descriptive with the research design of content analysis. Also, there is involvement of analysis contrastive to be able to figure out the speech act equivalency. The data is taken from the subtitle Netflix movie of Enola Holmes. According to the result of this research, it shows some circumstances firstly the ST that is translated equivalent according to the speech act type can present the message equivalent with the context of the story. Secondly, the translation that cannot reach the speech act equivalency is less able to bring the context of the story into the TT translation. In addition, the implication exists in utterances present in ST can be conveyed in the TT if the speech act equivalency is achieved. Otherwise, there are also found that implication which exists in utterances present in ST cannot be portrayed in TT if the speech act equivalency cannot be achieved. [ABSTRACT FROM AUTHOR]

Movie subtitle translation is the transfer of meaning from source text into target text in the form of text under the screen with limited time and characters. One of the problems in translating movie subtitle is the information pattern. Information patterns are how the information is organized. This information arrangement includes information status and information urgency. This research uses descriptive and comparative methods. The results of the study indicate that (i) there are parallels in information pattern urgency, namely foreground position tends to be in the beginning of the speech; (ii) the misalignment of information status occurs in sentences translation with it subject and that impersonal and in interrogative and imperative sentences translation, as well as in sentences translation with the non-doer subject.

Tessa Dwyer’s Speaking in Subtitles. Revaluing Screen Translation deals mostly with the idea of "errancy” in audiovisual translation, specially subtitling. The book is divided in two parts, and each of these parts subdivided in three chapters. Before reading this book, it seemed like I was about to go on a trip of countless terminologies related to the Translation field, but the author manages to show some interesting facts about the evolution of what was first just a practice of translators into an academic area filled with subtleties. Dwyer also proposes an ample discussion about relevant themes to the area of Translation Studies such as the notions of fidelity and respect to the original text. And through that debate she comes to question the notion of what should be considered right or wrong in translation. She tries to deconstruct the so-called right way to translate an audiovisual product by introducing the idea of “errancy” and how inevitable it might be in some forms of audiovisual translation such as “fansubbing”, an underground and illegal way to make subtitles, and sometimes considered inferior to the official subtitles made by translators, yet a powerful tool to make audiovisual products accessible to the public who is not acquainted with a foreign language.

The purpose of this paper is to analyze the used of discursive creation technique of English to Indonesian subtitle in Harry Potter: The Chamber of Secrets movie. This research is descriptive qualitative method. Data of this research are utterances or sentences in subtitle movie of bilingual edition, both English and Indonesian. While, the source of data of this research is Harry Potter: The Chamber of Secrets movie. The researchers only used one data source; it was document. In analyzing the data, the researchers used comparison method to compare between the SL and TL that were analyzed. The result of this research shows that discursive analysis divided into three catogories of language unit, they are word 23%, phrase 20%, and sentence 57%. Therefore, it can be concluded that the translator has many errors in the sentence translated because he chooses the easy sentence in order to make viewer understand the subtitle.

An analysis of the process of proofreading in communities of Brazilian fans subtitling South Korean dramas.

This study looked at punctuation mark and their relevance in written information although; the objective of the study is to discover the relevance of punctuation mark in subtitle: The Foreign audience example and to re-echo the need to have a well punctuated write-up in literary genres. The study sees language as a system of human communication. The problem of the study sets in from lots of poor and wrongly applied punctuations, as various forms of signs are seen to be used in some of the movies of the entertainment industry -- Nollywood, which in turn, gives rise to wrong interpretation to the foreign audience of that language, and as such, the foreign learner of a particular language, the Igbo example will not enjoy the supposed information. The study adopted the framework of Vinay and Darbelnet principles and strategies as a guide to solving the problem as one of its principles -- equivalence was used to relate the movie wrong punctuated subtitles to their supposed target language. The methodology of explication is equally adopted while the study concludes that punctuation errors are involved with wrong application of punctuation mark to written discourses on where it is not supposed to be since punctuation occurs only in written discourses and not spoken. [ABSTRACT FROM AUTHOR]

The objectives of the research are to identify the types of translation technique, to evaluate the translation quality and to find out the effect of translation techniques on the translation quality used by Pein Akatsuki and Deni Aurora in Indonesian subtitles of Coco movie. This research applies descriptive qualitative method to assess data with documents and informants as source of data. The result shows that there are 16 types of translation techniques used by Pein Akatsuki and Deni Aurora in translating Indonesian subtitles. For both subtitlers, literal translation and borrowing create high level of accuracy, acceptability, and readability. Modulation and the other techniques are showed in high and medium levels of accurate translation, but they result in high levels of acceptability and readability. Based on the findings, the translation techniques applied by the subtitlers contribute positively to the quality of Indonesian subtitles in terms of accuracy, acceptability, and readability.

The topic of this research is The Implementation of Transposition Translation Procedures in English-Indonesian Translation of Epic Movie Subtitle. Movie or film can be considered as the most popular literary work yet brings out language aspects into broaden. As we know, a lot of popular movies are written in English which led translator produce a qualified translation of the movie in order to make the movie easier to understand by the audiences. There are many translation procedures implemented in a movie translation, one of them is transposition translation procedure. The goals of this final project are to reveal how many types and how the transposition translation procedure is implemented in translating the subtitle of Epic movie. This study used qualitative approach in describing the results of the analysis of transposition translation procedure implemented. In gathering data, the writer used two steps, they are watching and transcription.In analyzing data, the writer used several steps, they are identifying, classifying, reducing, and reporting. After analyzing the data, the results of this research were presented by using the qualitative-descriptive method. There are 108 out of 1551 parts of subtitles implemented four types of transposition translation procedure. The results of the analysis are described as follows: transposition translation procedure involving literary translation is 63.9%, transposition translation procedure involving change of words’ position 27.7%, transposition translation procedure involving change of word class 4.6%, and transposition translation procedure involving adjustment and replacement of words 4.6%. It can be seen that the most frequently implemented procedure is transposition translation procedure involving literary translation. The translator implemented all types of transposition translation procedure in order to produce a good translation which high in naturalness and equivalency of meaning between SL and TL.

This research aims to find out the translation strategies in “The Boss Baby: Back in Business” series from the application called Netflix. This research uses descriptive qualitative method in which the data is collected in the form of words or pictures rather than numbers. The analysis of this research focuses on the translation strategies used in the web television series on Netflix. This research applies strategies of translation theory by Gottlieb to analyze the subtitle of the series. The result of this research shows that there are six strategies in the web television series entitled “The Boss Baby: Back in Business,” namely transfer strategy, decimation strategy, deletion strategy, paraphrase strategy, imitation strategy, and transcription strategy.

The present article investigates issues of military terminology in the Hungarian and Romanian subtitles of the highly popular TV mini-series Band of Brothers. The introductory part offers a brief presentation of terms, possible definitions, and their relevance for translators/subtitlers, and then – based on a possible mind map of military terms, including army units, equipment, ranks, commands, tactics, rewards, and punishments – we analyse samples belonging to army equipment and ranks (commanders) in the Hungarian and Romanian subtitles, arguing for the importance of reliable sources and consistency, which directly contribute to the quality of translations or subtitles. A special field of investigation may be represented by the specific military abbreviations and acronyms, which may offer an objective insight into the level of expertise of the translators/subtitlers.

The present article investigates subtitling issues in Hungarian and Romanian connected to the highly popular TV mini-series Band of Brothers. The introductory part offers a brief presentation of the importance of audiovisual translation and the challenge of fansubs to the detriment of professional translators, but we also offer definitions of military culture before analysing terms describing the branches of service (mostly) in the US Army.

This article is aimed at finding out the technique of subtitle and dubbing translation in OST Frozen: Let it Go. The article analyzes the lyrics of the song as the corpus. The data are analyzed qualitatively by using the subtitle translation techniques. The data collection is conducted through reading source language and target language, selecting and comparing the translation techniques done by the translator/dubber, marking, classifying and analyzing them based on the theories of translation technique proposed by Molina and Albir. The result shows that subtitle techniques done by the translator consist of eleven techniques. Based on the analysis of translation process translated from the lyrics into the subtitled version, the translator seems to use most of the technique. While the dubber only uses nine techniques in translating the lyrics into the dubbed version. In general, the translator’s technique applied in the subtitled version is mostly literal translation; While the dubbed version’s most common techniques are modulation and reduction. --- Artikel ini bertujuan untuk mengetahui tentang teknik penerjemahan subtitle dan dubbing dalam OST Frozen: Let It Go sebagai korpusnya. Data dianalisis secara kualitatif dengan menggunakan teknik terjemahan subtitle. Pengumpulan data dilakukan melalui proses membaca bahasa sumber dan bahasa target, memilih dan membandingkan teknik penerjemahan yang dilakukan oleh penerjemah / dubber, menandai, mengklasifikasi dan menganalisisnya berdasarkan teknik penerjemahan yang diajukan oleh Molina dan Albir. Hasilnya menunjukkan bahwa teknik subtitle yang dilakukan oleh penerjemah terdiri dari sebelas teknik. Berdasarkan analisis proses terjemahan yang diterjemahkan dari lirik ke dalam versi subtitle, penerjemah tampaknya menggunakan sebagian besar teknik. Sedangkan dubber hanya menggunakan sembilan teknik dalam menerjemahkan lirik ke dalam versi yang dijuluki. Secara umum, teknik penerjemah yang diterapkan dalam versi subtitle sebagian besar adalah terjemahan harfiah; Sementara teknik yang paling umum dijuluki versi adalah modulasi dan reduksi.

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents the results of an archival study on Polish subtitling of pre-WWII films (until 1939). The main focus will be on the technical aspects of subtitling in Poland in the 1930s, such as the number of lines, number of characters per line, and subtitle display times. We will show the development of Polish film translation in its initial phase. In our article, we will present previously unpublished pictures of early film subtitles, which come from original archival research. Contrary to some previous claims, film translation did not start with the introduction of sound in films -- which occurred in Poland in the 1929/30 cinema season. Prior to that, in the silent cinema period, intertitles were a tested way of delivering content to the viewer. And these silent movies' intertitles were translated. Copies of various foreign films have even been preserved with Polish intertitle translation rather than the original intertitles. Imitating intertitles in silent films, subtitles began to appear in films with sound and dialogue. These were "inserted subtitles" -- between scene edits. Only later were subtitles burnt into the image, which began modern film subtitling. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)