基本説明
This introductory textbook provides a solid overview of the world of subtitling and teaches the core skills and knowledge needed to subtitle for television, cinema and DVD. Based on sound research and first-hand experience in the field, it focuses on generally accepted practice, while identifying points of contention, regional and medium bound variants, and new developments.
Full Description
"Audiovisual Translationprovides a solid overview of the world of subtitling. Based on sound research and first-hand experience in the field, the book focuses on generally accepted practice but identifies current points of contention, takes regional and medium-bound variants into consideration, and traces new developments that may have an influence on the evolution of the profession. The individual chapters cover the rules of good subtitling practice, the linguistic and semiotic dimensions of subtitling, the professional environment, technical considerations, and key concepts and conventions, providing access to the core skills and knowledge needed to subtitle for television, cinema and DVD. Also included are graded exercises covering core skills. "Audiovisual Translation: Subtitling" can be used by teachers and students as a coursebook for the classroom or for self-learning.It is also aimed at translators and other language professionals wishing to expand their sphere of activity.While the working language of the book is English, an accompanying DVD contains sample film material in Dutch, English, French, Italian and Spanish, as well as a range of dialogue lists and a key to some of the exercises. The DVD also includes WinCAPS, SysMedia's professional subtitling preparation software package, used for broadcast television around the world and for many of the latest multinational DVD releases of major Hollywood projects.
Contents
ContentsAcknowledgementsThe structure of Audiovisual Translation: SubtitlingThe bookThe DVDWinCAPS1. Introduction to Subtitling1.0 Preliminary discussion1.1 Definition1.2 Translation or adaptation? Audiovisual Translation (AVT)1.3 Classification of subtitles1.3.1 Linguistic parameters1.3.2 Time available for preparation1.3.3 Technical parameters1.3.4 Methods of projecting subtitles1.3.5 Distribution format1.4 Surtitles1.5 Intertitles1.6 Fansubs1.7 Discussion points2. The Professional Environment2.0 Preliminary discussion2.1 The subtitling process2.2 The professionals2.3 The working conditions2.3.1 Clients and rates2.3.2 Globalization2.3.3 Deadlines2.3.4 Subtitlers' visibility and professional associations2.3.5 Training2.4 Discussion points3. The Semiotics of Subtitling3.0 Preliminary discussion3.1 The film as text3.1.1 The complexity of the filmic sign system3.1.2 The semiotics of screenwriting and film dialogue3.2 Subtitling and images3.2.1 Semiotic cohesion3.2.2 The multimodality of language3.2.3 Camera movement and editing3.2.4 A blessing in disguise3.3 Subtitling, soundtrack, and text on screen3.3.1 Subtitling's vulnerability3.3.2 Multilingual films3.3.3 Text on screen3.4 Change of medium 3.4.1 Speech to writing: a matter of compromise3.5 Discussion points3.6 Exercises4. Technical Considerations4.0 Preliminary discussion4.1 Subtitling programs4.2 Feet and frames4.3 Dialogue lists4.4 Style guides4.5 Code of good subtitling practice4.6 Spatial dimension4.6.1 Maximum number of lines and position on the screen4.6.2 Font type and number of characters per line4.6.3 One-liners and two-liners4.6.4 Centred and left-aligned4.7 Temporal dimension4.7.1 Spotting and duration of subtitles4.7.2 Synchronization4.7.3 Multiple voices4.7.4 Shot changes4.7.5 Delay function between subtitles4.7.6 One or two lines?4.7.7 Timecodes4.7.8 Reading time4.7.9 Six-second rule4.7.10 DVD reading speed4.8 Exercises5. Punctuation and other Conventions5.0 Preliminary discussion5.1 In search of conventions5.2 Punctuation conventions5.2.1 Commas and semi-colons5.2.2 Full stops5.2.3 Colons5.2.4 Parentheses and brackets5.2.5 Exclamation marks and question marks5.2.6 Dashes and hyphens5.2.7 Triple dots5.2.8 Asterisks5.2.9 Slashes5.2.10 Other symbols5.2.11 Capital letters5.2.12 Quotation marks or inverted commas5.3 Other conventions5.3.1 Italics5.3.1.1 Songs5.3.1.2 Letters and written documents5.3.2 Colours5.3.3 Abbreviations5.3.4 Numbers5.3.4.1 Cardinals5.3.4.2 Ordinals5.3.4.3 Time5.3.4.4 Measurements and weights5.4 A glimpse of the future?5.5 Discussion points5.6 Exercises6. The Linguistics of Subtitling6.0 Preliminary discussion6.1 Subtitling: translation as rewriting6.2 Text reduction6.2.1 Condensation and reformulation6.2.1.1 Condensation and reformulation at word level6.2.1.2 Condensation and reformulation at clause/sentence level6.2.2 Omissions6.2.2.1 Omissions at word level6.2.2.2 Omissions at clause/sentence level6.3 Linguistic cohesion and coherence in subtitling6.4 Segmentation and line breaks6.4.1 Line breaks within subtitles: syntactic-semantic considerations6.4.2 Line breaks across subtitles: syntactic-semantic considerations6.4.3 Rhetorical segmentation6.5 Discussion points6.6 Exercises7. Translation Issues7.0 Preliminary discussion7.1 Linguistic variation7.2 Denotative versus connotative meaning7.3 The translation of marked speech7.3.1 Style7.3.2 Register7.3.3 Dialects, sociolects, and idiolects7.3.3.1 Grammar7.3.3.2 Lexicon7.3.3.3 Accents and pronunciation7.3.4 Emotionally charged language: taboo words, swearwords, interjections7.4 The translation of culture-bound terms7.5 The translation of songs7.5.1 Deciding what to translate7.5.2 Deciding how to translate7.6 The translation of humour7.6.1 Pinning down humour7.6.2 Subtitling humour7.7 Ideological issues: whose voice and whose message7.8 Discussion points7.9 Exercises8. Further Activities8.1 WinCAPS activities8.2 Extra scenes9. A Glossary of Terms Used in Subtitling10. References10.1 Bibliography10.2 Filmography11. Index
