Subtitling

El auge de nuevas formas de consumo audiovisual, de entre las que destaca el vídeo bajo demanda y las plataformas SVOD (subscription video on demand) como Netflix, hace necesario extender el concepto tradicional de accesibilidad de la televisión a toda la comunicación audiovisual. Sin embargo, la normativa, tanto en el ámbito televisivo como en el caso del vídeo bajo demanda, parece ir siempre por detrás del mercado, mostrando una clara distancia entre la implantación de los nuevos servicios y la regulación de los mismos a escala europea y nacional. Este estudio pone de relieve la necesidad de extender la obligatoriedad de la accesibilidad de la televisión a los contenidos bajo demanda para garantizar el derecho a la libertad de expresión y a recibir información en igualdad, fundamental en sociedades democráticas. Este derecho se garantiza mediante la implantación del subtitulado, la audiodescripción, la lengua de signos y los audiosubtítulos en los contenidos audiovisuales. La revisión bibliográfica y documental es el método aplicado en este estudio e incluye la regulación al respecto en la Unión Europea y España, así como la literatura científica publicada en esta área. De entre ella destaca la directiva europea más reciente (Directiva 2018/1808), que en su propia denominación reconoce la modificación de la norma a consecuencia de la "evolución de las realidades del mercado".

Em tempos de um número crescente de textos multimodais, seja em websites, redes sociais ou meios audiovisuais, o tema da multimodalidade é mais relevante do que nunca. O filme Jenseits der Stille (lançado em português do Brasil sob o título A música e o silêncio), tendo em conta que os protagonistas usam tanto a linguagem gestual quanto verbal, apresenta uma situação de multilinguismo que se torna ainda mais complexa na versão legendada para o público estrangeiro. Este artigo propõe um modelo descritivo que leva em conta o multilinguismo, a multimodalidade e a legendagem e que pode eventualmente ser estendido a outros tipos de textos multimodais. PALAVRAS-CHAVE: Tradução Audiovisual, Legendagem, Multimodalidade, Multilinguismo, Modelos de Descrição Multimodal 1. Introdução Um dos primeiros teóricos que se ocupou de fenómenos de multimodalidade na tradução foi Roman Jakobson (1959), utilizando conceitos dos estudos semióticos. Assim definiu tradução intersemiótica em oposição à tradução intralinguística ou interlinguística: "Intersemiotic translation or transmutation is an interpretation of verbal signs by means of signs of nonverbal sign systems" (Jakobson, 1959, p. 233). No meio fílmico, coexistem signos verbais e não verbais, e a informação é transmitida pelo canal auditivo e pelo canal visual. O texto verbal é interpretado ou acompanhado por imagens e vice-versa. Portanto, na tradução audiovisual e, mais explicitamente, na legendagem, vários sistemas de signos têm impacto na tradução. Hoje em dia, os textos audiovisuais são consumidos em múltiplos contextos, muitas vezes legendados, tais como em canais televisivos internacionais, nas salas de espera de consultórios médicos, nos meios sociais, na publicidade onipresente na internet etc. Os estudos de multimodalidade ocupam-se da análise e descrição deste tipo de texto. Existem esquemas de transcrição para textos multimodais: uns descrevem o texto multimodal em si, outros incluem a tradução classificando-a como intra-e interlinguística ou intersemiótica. Estes modelos deram passos importantes para uma descrição multimodal de textos fílmicos legendados, mas não oferecem um modelo abrangente o suficiente para os casos discutidos neste artigo. Nas páginas seguintes, será lançado um olhar sobre aspetos teóricos da legendagem, do multilinguismo e da tradução multimodal. Serão discutidas várias abordagens de estudo de textos multimodais e, com base nestas abordagens, será apresentado um novo modelo

By analysing the context of censorship, fascism under the Estado Novo in Portugal and the institutionalised processes a film was subjected to before reaching the audience, some historical events, which resulted in a tightening of the censors' reigns, will be explored. The Guerra Colonial [Colonial War] was one of the life-changing events that had a direct impact on the censorship of war films. Three films from different eras, the censorship measures − cuts, omitted subtitles and manipulation of the text − and their contents will be examined. The extent to which censorship was able to change the substance of a film will become apparent.

Censorship under the Portuguese Estado Novo (1933-1974) exerted influence on foreign films from the initial translation stage through to the final approval or rejection of a film for the cinema. The Estado Novo was an authoritarian State whose prudish morality and fear of uncontrolled ideas cast a wary eye on eroticism and sexuality. Scenes of kissing or nudity were cut before foreign films reached Portuguese cinemas. Sexual allusions, erotic dialogues or comments were omitted or overwritten in a more neutral tone. Helga – vom Werden des menschlichen Lebens, directed by Erich F. Bender in 1967, a sex-education film, was the only one of its kind shown in Portugal during the dictatorship.

With the ever-increasing entertainment value of feature films and the enormous profit film industry generates, the need to transfer them to other countries and, therefore, other languages arises. Audiovisual Translation (AVT) as a practice, thus, becomes the main medium to do so, and feature films as acts of communication are being translated in tremendous numbers. The theoretical framework of audiovisual translation, however, is only beginning to shape. Subtitling is virtually the most unique type of audiovisual translation since the message is represented in written form on screen leaving the original soundtrack/dialogue undisturbed, yet imposing time and space constraints on the written representation of the dialogue. Audiovisual translation in general and subtitling in particular are in nature semiotic processes, i.e. films (as any other audiovisual material) involve two semiotic channels-verbal and nonverbal. On the basis of this, subtitling is the only type of audiovisual translation that is intrasemiotic in nature yet involves two verbal channels different in nature, i.e. spoken and written. This implies that communication has to undergo inevitable change and reduction due to the different nature of the two verbal semiotic channels, which means that there are principles that operate in this communicative process.

Welche Funktion und Bedeutung nehmen Untertitel im internationalen Musiktheaterbetrieb heute ein und wie präsentiert sich die aktuelle Struktur der Untertitel-Landschaft in italienischen und deutschen Opernhäusern? Wo ist der Ursprung von Untertiteln im Musiktheater zu verorten? Welche Rolle spielen die Tradition der Opernübersetzung einerseits sowie andererseits das Bedürfnis nach Originalsprachlichkeit? Existieren bei Erstellung und Nutzung von Untertiteln ästhetische Aspekte und praktische Ansätze von inter- beziehungsweise transdisziplinärer Relevanz? Werden die diversen Erscheinungsformen und -formate der Untertitelproduktion von der zunehmenden Medialisierung und Digitalisierung unserer Gesellschaft beeinflusst und können sie hiervon profitieren? Inwiefern bilden Untertitel ein wichtiges Element des Kulturtransfers und sollten als Podium interkultureller Kommunikation betrachtet werden?
Diesen und weiteren Aspekten widmet sich in vier Unterkapiteln der folgende Beitrag – eine Reflexion über aktuelle Methoden sowie neue Tendenzen des mittlerweile als ‚dramaturgischer Routineeingriff‘ geltenden Akts der Untertitelung im Musiktheater.

SUBTITLING: DI ANTARA KETERBATASAN BAHASA-BUDAYA DAN MEDIA (SEKILAS TINJAUAN)
Sugeng Hariyanto

Subtitling, seperti halnya sulih suara, bertujuan untuk membantu pemirsa menikmatl film. Di dalam bekelja, pener]emah naskah film menghadapi kesulitan dari segi bahasa-budaya dan media. Dari segi bahasa dan budaya, kesulitannya bersumber dan acuan kultural, Idiom, permainan kata, sindiran, humor dan makna pragmatik. Dari segi media, ada dua hal yang menyulitkan, yaitu pembatasan waktu dan tempat. Kedua keterbatasan utama ini secara khusus menjadi kesulltan khas subtitling. Memang ada prinslp-prinsip dasar yang hendaknya diperhatikan, namun kadang-kadang satu atau beberapa pnnsip ini terpaksa terabaikan untuk mengedepankan kemulusan cerita. Ada beberapa strategi yang bisa dipilih pener]emah naskah film untuk mengatasi kesulitan dari paduan keterbatasan di atas. Seperti halnya pener]emah teks tulis, penerjemah naskah film (subtitler) selalu dihadapkan pada situasi pengambilan keputusan. Namun, penerjemah film didukung oleh petunjuk visual (adegan, tulisn, bahasa tubuh di dalam film).

Kata kunci: subtitling, strategi subtitling, bahasa-budaya, media

In a recent article about viewers' choice of shows and series, The Guardian referred to contemporary television as "comfort TV" and "prestige television", including all those streaming services that have recently pushed the very concept of television beyond traditional borders, while also giving it a new, vibrant life. ‘Comfort’ is most likely referred to the ease of consumption, both in terms of space (with portable technologies) and time (no longer univocally fixed by broadcasters). ‘Prestige’, as the quote says, is related to the incredible, and increasing, array of choices available; whereas quality can be referred to overall production standards, but perhaps not always to translation.
As consumption of contemporary television, including streaming services, increases and diversifies, the need to understand, monitor and cater for the viewers' needs and expectations is ever more important, also through the lens of translation. This article discusses a recent experiment on the reception of a subtitled TV series by young Italian viewers, carried out using eye tracking and questionnaires. The experiment is here presented mainly to highlight the relevance, and the great potential, of reception studies applied to the training of audiovisual translators, and more specifically of subtitlers. After all, learning an eminently practical skill has to encompass as thorough a knowledge of its users as possible. Inspired by the curiosity of a subtitling company about viewers’ comprehension and appreciation of
subtitled audiovisual texts viewed on screens of different sizes, this experiment was conducted using authentic subtitled materials and, as often happens with experimental research, it provided results that were largely unexpected, also bringing to the fore issues (such as reading speed) that had not been considered central at the onset.
In the following sections, key concepts in which the experiment is grounded will be explored, followed by the discussion of issues which have emerged from the experiment itself. As for the results, only a few will be presented, with a view to highlighting their relevance for the training of subtitlers.

This dissertation focuses on quantitative shifts in the Polish subtitles produced by the author for the documentary “That Vitamin Movie”. In the first part of the work a theoretical framework is depicted with a special focus on the translation of documentaries and its specificity, especially the main challenges that are posed by the genre. Prior to the subtitling process, a full unconstrained translation was performed, which was expected to play a potentially pivotal role in the calculation of the quantitative shifts that occurred in the translation ipso facto, and not because of the constraints imposed by the mode and the medium. The analysis performed it top-down, from text level to subtitle level. Several examples are scrutinized in order to show that the comparison of the subtitles with the source text cannot objectively and precisely account for the loss of content in the subtitles, especially if only the word count is considered. The numerical analysis was performed in Microsoft Excel where the data for the three text was juxtaposed. Then, using appropriate formulas, both character and word count were gauged, which allowed for the calculation of the quantitative shifts subtitle per subtitle. These were measured against the source text and against the target text. Such detailed analysis led to a rather a comprehensive, global and individual, image of the shifts which were labelled as: reduction, no shift and expansion. Thanks to the option of filtering (by number and by colour), various juxtapositions were performed and analysed.
Keywords: interlingual subtitles, documentary translation, quantitative shifts, target text, character count, word count, reduction rates

Professional subtitlers' perceptions of quality were studied in an online survey conducted in three German-speaking countries. Fifty-nine subtitlers filled in a questionnaire that contained items on quality parameters and quality assurance measures. The respondents' quality statements were categorized into three overall quality dimensions-correspondence between original and subtitles, intelligibility, and linguistic authenticity-each with its own subset of quality parameters. This was the basis for the construction of the CIA model of interlingual subtitle quality. It is hypothesized that if the model's quality dimensions and parameters are met, subtitle reception will lead to a flow experience. Suggestions for future directions concern time-lag studies to investigate how quality perceptions evolve over time, research into subtitling competence, and testing of the validity of the model by having professional subtitlers assess a set of subtitles while thinking aloud.

The present article deals with cultural challenges of subtitling regarding the highly popular TV-series describing the involvement of the United States of America in World War II, the European Theater of Operations. As reflected in the collected material (10 episodes of a single season), subtitlers must be familiar with an extensive cultural background to create successful renditions. We compare the original English transcript / subtitle of the Band of Brothers with the Romanian and Hungarian subtitles, focusing on translation procedures and strategies, ranging from ‗no translation' (cf. omission and pure borrowing) to possibilities of naturalized borrowing, cultural adaptation or total transformation of the source terms. As the episodes contain a wide range of examples from World War II reality, such as army life (commands, tactics or propaganda), famous people (politicians and entertainers), ethnonyms (people of different ethnic and religious background, specific nicknames), or everyday life (sports, food and drinks, the press), as well as specific measurements and coinage, we present both positive and negative cases how the Romanian and Hungarian subtitlers faced these challenges, including cases when the original book version (Ambrose, 2001) is compared with the TV mini-series, revealing product placement in the latter.

The present article discusses the popularity of English since World War II, which has turned to a decisive lingua franca in Europe over the past decades and has been a major component of the thriving language industry. Our hypothesis is that when it comes to teaching foreign languages, most notably English, the inclusion of translation is rather limited (at least in Eastern Europe), and translation is even "stigmatized and excluded" from instruction (cf. Venuti 2013). However, multimedia products from the USA, most notably Hollywood movies, are highly popular among teenagers-thus, we argue for the benefits of watching (together with their scripts and subtitles) and using them as "natural" sources of language which may be used to counterbalance the textbooks and grammar books originating from the UK. We exemplify specific grammar-and vocabulary-related border crossings of institutionalized language teaching (e.g. Subject-Verb disagreement or double negative) from Band of Brothers, a highly popular TV mini-series. We also highlight the importance of the target language and individual norms when translating or subtitling taboo words. The conclusion section mentions the effectiveness of translations through subtitles, knowing that the effort is diminished when learning and entertainment is combined (cf. Caimi 2006) in the hope of serving the real needs of the learners .

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.

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 examines the Hungarian and Romanian subtitle of one of the most popular TV series, Band of Brothers, mostly focusing on problematic cases. We also provide a possible mind map of Band of Brothers, then we present cultural and linguistic issues in five categories. The categorization mostly stems from Vlakhov and Florin's system of untranslatables or realia (cf. Klaudy, 2003, pp. 205-208), adding further categories as well, such as time. The second part of the article discusses cases when the Hungarian translator of the original book (written by Stephen Ambrose) explains and comments facts and interprets various terms. The conclusion part discusses quality issues and changes regarding subtitling. Az audiovizuális fordítás a fordítóipar egy sajátos ágát képezi, amely a XX. század második felétől kezdve jelentősen fejlődött a technikai forradalomnak köszönhetően. Sokak szerint igazi virágkorát napjainkban éli, amikor se szeri se száma a feliratozásra és fordításra váró sorozatfilmeknek, amelyet rajongók milliói várnak hétről hétre. Mindazonáltal a fordítási határidő lecsökkenése miatt-amely esetenként csak pár órányi lehet-a filmfeliratok minősége gyakran kívánnivalót hagy maga után, és a fordítást végző személy nem is mindig tudhatja, hogy feliratát esetenként nagyon sokáig sokan fogják olvasni és kritizálni. Különösen így van ez olyan videók esetében, amelyek 1 Papp Andrea emlékére; a cím utalás 2015-ös előadásának címére (Papp Andrea és Vihar Judit: Amikor a műfordító elalszik…) A fordítás elméleti és gyakorlati kérdései Modern Filológiai Társaság, Budapest, 115-132. ISBN 978-963-508-910-9.