Faculdade de Letras da Universidade do Porto INFORMÁTICA DE TRADUÇÃO FALL SEMESTER 2010 Lesson

1. Faculdade de Letras da Universidade do Porto INFORMÁTICA DE TRADUÇÃO FALL SEMESTER 2010 Lesson 3 November 2010 Teacher: Elena Zagar Galvão elenazagar@gmail.com egalvao@letras.up.pt Webpage: web.letras.up.pt/egalvao FLUP - Elena Zagar Galvão

2. SUBTITLES – SUBTITLING • Legendas – Legendagem (PT) • ?????? (FR) • ?????? (ES) • ?????? (DE) • ?????? (FI) • ?????? (IT) • ?????? (PL) • ?????? (CS) FLUP - Elena Zagar Galvão

3. Who needs subtitles? • http://br.youtube.com/watch?v=cv9Zmy9rSd4 • http://ticklebooth.com/2006/09/iraqi-insurgents-dont-need-subtitles/ FLUP - Elena Zagar Galvão

4. Why subtitling? • ???? • ???? • ???? FLUP - Elena Zagar Galvão

5. Roman Jakobson, “On Linguistic Aspects of Translation”, 1959 TRANSLATION INTERLINGUAL INTERSEMIOTIC (between communication systems: written text into film, painting, music and vice versa) INTRALINGUAL FLUP - Elena Zagar Galvão

6. Definition (from Audiovisual Translation:Subtitling, p.8) Translation practice consisting of presenting a written text (usu. on the lower part of the screen) which recounts: - the original dialogues of the speakers; - the dicursive elements that appear in the image (letters, graffiti, placards, etc.) - the info contained in the soundtrack (songs, voices off). FLUP - Elena Zagar Galvão

7. All subtitled programmes are made of three main components: • the spoken word; • the image; • the subtitles Their interaction + viewer’s ability to read the images and the the written text at a certain speed determine the basic characteristics of the audiovisual medium. FLUP - Elena Zagar Galvão

8. Subtitles: - synchrony with image+dialogue; - semantically adequate account of SL dialogue; • remain on screen long enough for viewers to read them. NB: synchrony, time and space(p. 9) FLUP - Elena Zagar Galvão

9. Subtitling A way of translating what is being said in an audiovisual text. Two characteristic features: • Change of code (intersemiotic: oral to written) • Oral message of the source AV text is present in the translated product. The oral and written message are received simultaneously, allowing for comparison between source text and target text. FLUP - Elena Zagar Galvão

10. Television  Six-second rule In six seconds an average viewer can comfortably read the text written on two full subtitle lines, when each line contains a maximum of some 37 characters, i.e. a total of 74 characters. This calculation implies a rather low reading speed of some 145 words per minute (about 2.5 words per second). (seconds and frames are the measurement units used in TV) FLUP - Elena Zagar Galvão

11. Cinema  feet and frames A motion picture is measured using the Imperial units feet and frames. 1 foot = 16 frames 1 second = 24 frames (cinema) 1 second = 25 frames (TV) 1 second = 1 foot and 8 frames (1.5 feet) To guarantee a comfortable reading speed, it is commonly accepted that a film foot (1 frames) should contain 10 characters (including letters, spaces and punctuation marks). In other words, a frame can contain 0.625 spaces or characters. FLUP - Elena Zagar Galvão

12. Subtitling:Translation or Adaptation? • Adaptation: a lesser activity? Jakobson (1959) K.Reiss (1977; 1981) Delabatista (1989) Asensio (2001) Gambier (1994;2003) Neves (2005) FLUP - Elena Zagar Galvão

13. Subtitling: Translation Terminology 1980s early 1990s constrained translation Then audiovisual translation (AVT) Film translation, cinema translation Screen translation Multimedia translation FLUP - Elena Zagar Galvão

14. AVT • SDH • AD • Concept of accessibility (Diaz Cintas 2005) • Computer games and interactive software programmes (convergence of AVT and localization) FLUP - Elena Zagar Galvão

15. Classification of subtitles according to 5 criteria: • Linguistic • Time available for preparation • Technical • Methods of projection • Distribution format FLUP - Elena Zagar Galvão

16. Linguistic criteria FLUP - Elena Zagar Galvão

17. Linguistic criteria FLUP - Elena Zagar Galvão

18. Technical parameters • Open subtitles (viewer has no choice as to the presence of subtitles on screen) • Closed subtitles (translation can be added to the programme at the viewer’s will) FLUP - Elena Zagar Galvão

19. Distribution format (p.23) • Cinema • Television • DVD • Video, VHS • Internet FLUP - Elena Zagar Galvão

20. Surtitles (supertitles, supratitles) Live performances: opera, concerts, musicals theatre conferences FLUP - Elena Zagar Galvão

21. Priorities in subtitling:* • Synthesis (condensation/concision; elemination/suppression) • Readability (accuracy, fluency, credibility) • Orality (written subtitles should sound like spoken language) *from: Bartrina, Francesca and Eva Espsasa, Audiovisual Translation FLUP - Elena Zagar Galvão

22. Stages in subtitling process: • Viewing • Spotting (timing/cueing) • Translating • Editing *from: Bartrina, Francesca and Eva Espsasa, Audiovisual Translation FLUP - Elena Zagar Galvão

23. For tomorrow: Watch a programme (movie, talk show, serial, documentary, etc.) with subtitles in Portuguese and draw up a list of at least 5 different features that define/characterize the subtitles you have seen on screen. Remember to note down the name of the programme as well as when and where (TV channel) you watched it. FLUP - Elena Zagar Galvão

24. For next week Visit this website and read the Code of Good Subtitling Practice at http://www.esist.org/Code.pdf FLUP - Elena Zagar Galvão

25. You can also read: Translator, Adapter, Screenwriter Translating for the audiovisual by Robert Paquin at: http://accurapid.com/journal/05dubb.htm FLUP - Elena Zagar Galvão

26. As well as: A Proposed Set of Subtitling Standards in Europe by Fotios Karamitroglou at: http://accurapid.com/journal/04stndrd.htm FLUP - Elena Zagar Galvão