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BK

First published

London ; New York : Routledge, Taylor & Francis Group, 2021

xvii, 273 stran : ilustrace ; 25 cm

ISBN 978-1-138-94054-3 (brožováno)

Translation practices explained

Obsahuje bibliografii, filmografii a rejstřík

001654816

Contents // List of figures ix // List of tables x // Acknowledgements xi // Permissions xiii // How to use this book and its companion website xiv // The book xiv // The companion website xiv // 000NA xvi // Wincaps Q4 xvii // 1 Reconceptualizing subtitling 1 // 1.1 Preliminary discussion 1 // 1.2 The power of the moving image 1 // 1.3 From the periphery to the centre 3 // 1.4 The many instantiations of audiovisual translation 7 // 1.5 Classification ofsubtitles 11 // 1.5.1 Linguistic parameters 11 // 1.5.2 Time available for preparation 21 // 1.5.3 Display mode 25 // 1.5.4 Technical parameters 26 // 1.5.5 Methods of projection 27 // 1.5.6 Distribution 29 // 1.6 Intertitles 30 // 1.7 Exercises 31 // 2 Professional ecosystem 32 // 2.1 Preliminary discussion 32 // 2.2 The subtitling process 33 // 2.3 The professionals 37 // 2.4 Dialogue lists 39 // 2.5 Templates and master (sub)titles 43 // 2.6 Guidelines and style guides 47 // 2.7 Subtitling sofiware editors 48 // 2.8 The profession 51 // 2.8.1 Clients and rates 55 // vi Contents // 2.8.2 Deadlines 57 // 2.8.3 Authors’ rights and professional associations 58 // 2.9 Training 61 // 2.10 Exercises 63 // 3 The semiotics of subtitling 64 // 3.1 Preliminary discussion 64 // 3.2 Films as multisemiotic and multimodal texts 64 // 3.2.1 Screenwriting and film dialogue 66 // 3.2.2 Intersemiotic cohesion 69 // 3.2.3 The multimodality of language 72 // 3.2.4 Camera movement and editing 73 // 3.2.5 A blessing in disguise 74 // 3.3 Subtitling,

soundtrack and text on screen 75 // 3.3.1 Subtitling’s vulnerability 76 // 3.3.2 Multilingualism and multimodality as a resource for translation 78 // 3.3.3 Text on screen 85 // 3.3.4 Speech to writing: a matter of compromise 88 // 3.4 Exercises 90 // 4 Spatial and temporal features 91 // 4.1 Preliminary discussion 91 // 4.2 Code of good subtitling practice 91 // 4.3 Spatial dimension 92 // 4.3.1 Maximum number oflines and position on screen 93 // 4.3.2 Centred and left-aligned 95 // 4.3.3 Font type, font size and colour 96 // 4.3.4 Maximum number of characters per line 97 // 4.3.5 One-liners and two-liners 99 // 4.4 Temporal dimension 100 // 4.4.1 Frames per second 100 // 4.4.2 Synchronization and spotting 101 // 4.4.3 Timecodes 103 // 4.4.4 Duration of subtitles 105 // 4.4.5 Subtitle display rates: characters per second and words per minute 106 // 4.4.6 The six-second rule 109 // 4.4.7 Gap between subtitles 113 // 4.4.8 Shot changes 114 // 4.4.9 Feet and frames in cinema 116 // 4.5 Exercises 117 // 5 Formal and textual features // 5.1 Preliminary discussion 118 // 5.2 In search of conventions 118 // 5.3 Punctuation conventions 120 // 5.3.1 Comma (,) 120 // 5.3.2 Full stop (.) 121 // 118 // Contents vii // 5.3.3 Colon (:) 122 // 5.3.4 Parentheses () 122 // 5.3.5 Exclamation marks (!) and question marks (?) 123 // 5.3.6 Hyphen (-) 124 // 5.3.7 Triple dots (...) 125 // 5.3.8 Asterisk (*) 127 // 5.3.9 Slash (/) 128 // 5.3.10 Other symbols 128 // 5.3.11 Capital letters 129

// 5.3.12 Quotation marks or inverted commas ("..."), ("..."), (�...�) 130 // 5.4 Other conventions 132 // 5.4.1 Italics 132 // 5.4.1.1 Songs 134 // 5.4.1.2 Onscreen text 135 // 5.4.2 Colours 136 // 5.4.3 Abbreviations 137 // 5.4.4 Numbers 139 // 5.4.4.1 Time 140 // 5.4.4.2 Measurements and weights 140 // 5.5 Subtitling quality 141 // 5.6 Exercises 144 // 6 The linguistics of subtitling 145 // 6.1 Preliminary discussion 145 // 6.2 Subtitling: translation as text localization 145 // 6.3 Text reduction 146 // 6.3.1 Condensation and reformulation 151 // 6.3.1.1 Condensation and reformulation at word level 151 // 6.3.1.2 Condensation and reformulation at clause/sentence level 154 // 6.3.2 Omissions 161 // 6.3.2.1 Omissions at word level 162 // 6.3.2.2 Omissions at clause/sentence level 164 // 6.4 Linguistic cohesion and coherence in subtitling 168 // 6.5 Segmentation and line breaks 169 // 6.5.1 Line breaks within subtitles 172 // 6.5.2 Line breaks across subtitles 174 // 6.5.3 Rhetorical spotting 175 // 6.6 Exercises 177 // 7 Subtitling language variation and songs 178 // 7.1 Preliminary discussion 178 // 7.2 Marked speech and language variation 178 // 7.2.1 Marked speech: a pragmatic classification 179 // 7.2.1.1 Intra-speaker variation: style and register 179 // 7.2.1.2 Inter-speaker variation: dialect, sociolect, slang 180 // 7.2.1.3 Intra- and inter-speaker variation: entanglements 180 // 7.2.1.4 Intra- and inter-speaker variation: swearwords and taboo words 181

// viii Contents // 7.2.2 Subtitling marked speech and language variation 182 // 7.2.2.1 Complexity in abundance 182 // 7.2.2.2 Conflicting priorities, difficult decisions 184 // 7.2.2.3 Subtitling intra- and inter-speaker variation 185 // 7.2.2.4 Literary styles 186 // 7.2.2.5 Forms of address 186 // 7.2.2.6 Agrammaticalities 187 // 7.2.2.7 Lexical variation 188 // 7.2.2.8 Swearwords, expletives and taboo words 189 // 7.2.2.9 Accents and pronunciation 194 // 7.3 The translation of songs 195 // 7.3.1 Deciding what to translate 196 // 7.3.2 Deciding how to translate 199 // 7.4 Exercises 200 // 8 Subtitling cultural references, humour and ideology 201 // 8.1 Preliminary discussion 201 // 8.2 The translation of cultural references 201 // 8.2.1 Cultural references: what are they? 202 // 8.2.1.1 Real-world cultural references 203 // 8.2.1.2 Intertextual cultural references 204 // 8.2.2 Cultural references: what determines their translation? 204 // 8.2.3 Cultural references: translation strategies 207 // 8.3 The translation of humour 217 // 8.3.1 Pinning down humour 217 // 8.3.2 Subtitling humour 220 // 8.3.2.1 Detecting and interpreting humour 220 // 8.3.2.2 Translating humour in subtitles 222 // 8.4 Ideology, manipulation and (self )censorship 238 // 8.5 Exercises 241 // Technology in motion // 9.1 Preliminary discussion 242 // 9.2 Tools for subtitlers 242 // 9.3 Machine translation and translation memory in subtitling 243 // 9.4 Migrating to the cloud 245 // 9.5 Exercises 248

10 References // 10.1 Bibliography 249 // 10.2 Filmography 262 // Index // Glossary - available on companion website // Appendices - available on companion website // 266