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Subtitling

Subtitling: Concepts and Practices provides students, researchers and practitioners with a
research-based introduction to the theory and practice of subtitling. Te book, inspired
by the highly successful Audiovisual Translation: Subtitling by the same authors, is a new
publication refecting the developments in practice and research that mark subtitling today,
while considering the way ahead.
It supplies the core concepts that will allow its users to acquaint themselves with the
technical, linguistic and cultural features of this specifc yet extremely diverse form of
audiovisual translation and the many contexts in which it is deployed today. Te book
ofers concrete subtitling strategies and contains a wealth of examples in numerous languages
for dealing with specifc translation problems. State-of-the-art translation technologies and
their impact on the profession are explored along with a discussion of the ways in which
they cater for the socio-political, multicultural and multilingual challenges that audiovisual
productions and their translations must meet today.
A truly multimedia package, Subtitling: Concepts and Practices comes with a companion
website which includes a wide range of exercises with answer keys, video clips, dialogue
lists, a glossary of concepts and terminology used in the industry and much more. It also
provides access to a professional desktop subtitle editor, Wincaps Q4, and a leading cloud-
based subtitling platform, OOONA.

Jorge Díaz Cintas is Professor of Translation and founder director (2013–2016) of

the Centre for Translation Studies (CenTraS) at University College London. He is the
author of numerous articles, special issues and books on audiovisual translation. He
is the chief editor of the Peter Lang series New Trends in Translation Studies and a
member of the European Union expert group LIND (Language Industry). He is the
recipient of the Jan Ivarsson Award (2014) and the Xènia Martínez Award (2015) for
invaluable services to the feld of audiovisual translation.
Aline Remael is Professor Emeritus of Translation Teory and Audiovisual Translation
in the Department of Applied Linguistics/Translation and Interpreting at the University
of Antwerp. She is founder of OPEN, the departmental Expertise Centre for Accessible
Media and Culture, and a member of the departmental research group TricS. Her
main research interests and publications are in audiovisual translation, media
accessibility and translation as a multimodal practice. She is the former chief editor
of Linguistica Antverpiensia NS – Temes in Translation Studies and has been a partner
in numerous European accessibility projects and a board member of ESIST, ENPSIT
and EST. In 2018 she received the ESIST Jan Ivarsson Award for invaluable services
to the feld of audiovisual translation.
Translation Practices Explained
Series Editor: Kelly Washbourne

Translation Practices Explained is a series of coursebooks designed to help self-learners and

students on translation and interpreting courses. Each volume focuses on a specifc aspect
of professional translation and interpreting practice, usually corresponding to courses avail-
able in translator- and interpreter-training institutions. Te authors are practicing translators,
interpreters, and/or translator or interpreter trainers. Although specialists, they explain their
professional insights in a manner accessible to the wider learning public.
Each volume includes activities and exercises designed to help learners consolidate their
knowledge, while updated reading lists and website addresses will also help individual
learners gain further insight into the realities of professional practice.

Most recent titles in the series:

Consecutive Interpreting
A Short Course
Andrew Gillies
Healthcare Interpreting Explained
Claudia V. Angelelli

Revising and Editing for Translators 4e

Brian Mossop

A Project-Based Approach to Translation Technology

Rosemary Mitchell-Schuitevoerder

Translating Promotional and Advertising Texts 2e

Ira Torresi

Subtitling
Concepts and Practices
Jorge Díaz Cintas and Aline Remael

For more information on any of these and other titles, or to order, please go to
www.routledge.com/Translation-Practices-Explained/book-series/TPE
Additional resources for Translation and Interpreting Studies are available on the
Routledge Translation Studies Portal: http://routledgetranslationstudiesportal.com/
Subtitling
Concepts and Practices

Jorge Díaz Cintas and Aline Remael

First published 2021
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2021 Jorge Díaz Cintas and Aline Remael
Te right of Jorge Díaz Cintas and Aline Remael to be identifed as authors of this
work has been asserted by them in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in
any form or by any electronic, mechanical, or other means, now known or hereafter
invented, including photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered
trademarks, and are used only for identifcation and explanation without intent to
infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Díaz Cintas, Jorge, author. | Remael, Aline, author.
Title: Subtitling : concepts and practices / Jorge Díaz Cintas and Aline Remael.
Other titles: Audiovisual translation
Description: First edition. | Abingdon, Oxon ; New York, NY : Routledge,
1. Series: Translation practices explained, 1470-966X | First edition was frst
published in 2007 by St. Jerome Publishing under the title ‘Audiovisual
Translation: Subtitling’. | Includes bibliographical references and index.
Identifers: LCCN 2020038206 | ISBN 9781138940536 (hardback) |
ISBN 9781138940543 (paperback) | ISBN 9781315674278 (ebook)
Subjects: LCSH: Translating and interpreting. | Mass media and language. |
Dubbing of motion pictures. | Television programs—Titling. | Motion pictures—Titling. |
Audio-visual translation.
Classifcation: LCC P306.2 .D53 2021 | DDC 778.5/2344—dc22
LC record available at https://lccn.loc.gov/2020038206
ISBN: 978-1-138-94053-6 (hbk)
ISBN: 978-1-138-94054-3 (pbk)
ISBN: 978-1-3156-7427-8 (ebk)
Typeset in Garamond
by Apex CoVantage, LLC
Visit the companion website: www.routledge.com/cw/diaz-cintas
Contents

List of fgures ix
List of tables x
Acknowledgements xi
Permissions xiii
How to use this book and its companion website xiv
Te book xiv
Te companion website xiv
OOONA xvi
Wincaps Q4 xvii

1 Reconceptualizing subtitling 1
1.1 Preliminary discussion 1
1.2 Te power of the moving image 1
1.3 From the periphery to the centre 3
1.4 Te many instantiations of audiovisual translation 7
1.5 Classifcation of subtitles 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 Te subtitling process 33
2.3 Te 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 software editors 48
2.8 Te 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 Te semiotics of subtitling 64
3.1 Preliminary discussion 64
3.2 Films as multisemiotic and multimodal texts 64
3.2.1 Screenwriting and flm dialogue 66
3.2.2 Intersemiotic cohesion 69
3.2.3 Te 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 of lines 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 Te 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 118

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
 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 Te 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 classifcation 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 Conficting priorities, difcult 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 Te 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 Te 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 Te 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

9 Technology in motion 242

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 249
10.1 Bibliography 249
10.2 Filmography 262

Index 266
Glossary – available on companion website
Appendices – available on companion website
Figures

1.1 Classifcation of subtitles according to linguistic parameters 11

1.2 Bilingual subtitles 20
1.3 Classifcation of subtitles according to the time available for preparation 21
1.4 Classifcation of subtitles according to the display mode 25
1.5 Cumulative subtitle – part 1 25
1.6 Cumulative subtitle – part 2 26
1.7 Tree-dimensional subtitles 29
2.1 Typical subtitling workfow 38
2.2 Detailed dialogue list 41
2.3 Content of a typical dialogue list, as required by Netfix 42
2.4 Industry evolution 49
3.1 Multilingualism in subtitling 82
3.2 Dealing with multilingualism in subtitling 83
3.3 Running text at the bottom of the screen 85
3.4 Concurrent dialogue and onscreen text 86
3.5 Concurrent dialogue and onscreen text 86
3.6 Onscreen text and subtitles – 1 86
3.7 Onscreen text and subtitles – 2 86
3.8 Text messaging on screen 87
3.9 Text messaging on screen 87
4.1 Use of proportional lettering 98
4.2 Frames per second 102
4.3 Frame with timecode – top 104
4.4 Frame with timecode – bottom 104
4.5 Timing rules confguration in Wincaps Q4 108
4.6 Timing rules confguration in OOONA 108
4.7 Spotting before the shot change 115
4.8 Spotting after the shot change 115
5.1 & 5.2 Joanna Lumley’s Greek Odyssey, episode 4, “Mount Olympus
and Beyond” 128
6.1 View [Compact Alt+3] in Wincaps Q4 170
8.1 Astérix & Obélix : Mission Cléopâtre 210
8.2 Pulp Fiction 210
8.3 A Touch of Spice 212
8.4 Baby Cart in the Land of Demons 212
9.1 OOONA’s Online Captions & Subtitle Toolkit 246
Tables

4.1 Equivalence between seconds/frames and characters, including spaces

(12 cps/150 wpm) 109
4.2 Equivalence between seconds/frames and characters, including spaces
(15 cps/180 wpm) 110
4.3 Equivalence between seconds/frames and characters, including spaces
(17 cps/200 wpm) 111
4.4 Equivalence between seconds/frames and characters, including spaces
(13 cps/160 wpm) 111
4.5 Viewing speed and distribution of gaze between subtitles and images
(Romero-Fresco 2015: 338) 113
4.6 Equivalence between feet/frames and number of characters
(including spaces) 116
Acknowledgements

We would like to express our gratitude to the many people who have assisted and
supported us in the writing, editing and designing of this book and its companion
website. For their invaluable help with some of the examples, exercises and useful
advice, special thanks go to:

Amer Al-Adwan Jan-Louis Kruger

Fatimah Aljuied Katrien Lievois
Alina Amankeldi Serenella Massida
Paola Amante Josélia Neves
Jackie Ball Minako Ohagan
Rocío Baños Eirik Olsen
Laura Barberis Albert Feng-shuo Pai
Kathrine Beuchert Sara Papini
Alejandro Bolaños-García-Escribano Jan Pedersen
Isabel Caddy Cécile Renaud
Mary Carroll Nina Reviers
Frederic Chaume Isabelle Robert
Hasuria Che Omar Pablo Romero-Fresco
Hao Chen Leena Salmi
Claudia Corthout Roula Sokoli
Ian Crane Agnieszka Szarkowska
Sriparna Das Ayumi Tanaka
Max Deryagin Adriana Tortoriello
Lucile Desblache Reinhild Vandekerckhove
Elena Di Giovanni Gert Vercauteren
Sara Elshlmani Chengcheng Wang
Andrés García García Rachel Weissbrod
Yota Georgakopoulou Maddie Wontner
Ali Gürkan Xiaochen Xu
Jing Han Şirin Yener
Tiina Holopainen Justin Long Yuan
Helle Hylleberg Patrick Zabalbeascoa
Huihuang Jia Juan Zhang
Lily Kahn Jiaxin Zhu
Péter Krizsán Yingyi Zhuan
xii Acknowledgements
We are equally indebted to many colleagues in academia and in the subtitling profes-
sion worldwide, as well as to flmmakers, production and distribution companies,
professional associations, graphic designers, students and colleagues. Warm thanks also
to our colleagues at the Faculty of Arts, TricS Research Group and OPEN-Expertise
Centre Accessible Media and Culture at University of Antwerp, and the Centre for
Translation Studies (CenTraS) at University College London.
Special thanks are due to colleagues that have given us the opportunity to make
this project truly multimedia and relevant to the industry: to John Birch and John
Boulton, from BroadStream Solutions, for allowing us to use their professional, subtitle
creation software Wincaps Q4; and to Wayne Garb and Alex Yofe, from OOONA,
so that learners can use their subtitling toolkit to practice in the cloud.
Our gratitude goes also to Louisa Semlyem and Eleni Steck, our editors at Rout-
ledge, for their unwavering support from inception through to production, and to
Kelly Washbourne, the series editor, for his thorough reading of the manuscript and
insightful feedback.
Finally, we would like to thank our family and friends for being always there, either
in person or, in challenging times, at the other end of the camera. And, of course,
more than thanks go out to Ian and Mary, for the many reasons they know best.
Permissions

Every efort has been made to secure permission to reproduce copyrighted material.
Any omissions brought to our attention will be remedied in future editions.
Te vast majority of videos used in this multimedia project are public domain, as
indicated in the Public Domain Movies website (publicdomainmovies.net) and, as
such, are not subject to copyright or other legal restrictions. Te flms and cartoons
under this category are: 90 Day Wondering, Beneath the 12-Mile Reef, Charade, Cyrano
de Bergerac, Father’s Little Dividend, House on Haunted Hill, Horror Express, It’s a
Wonderful Life, Little Shop of Horrors, McLintock!, Popeye for President, Royal Wedding,
Sita Sings the Blues, Te Flying Deuces, Te Last Time I Saw Paris, Te Man with the
Golden Arm, Te Night of the Living Dead, Te Snows of Kilimanjaro and Te Stranger.
Te authors and the publishers would like to thank the following copyright holders
for granting their permission to use this material:

Aaron Lee, for the photograph used on the front cover of the book (unsplash.com/@
aaronlee224);
Aliakbar Campwala, director of the documentary Te Invisible Subtitler (youtube.
com/watch?v=Pz75i6EsOto);
Chris Fetner, executive producer of the video Meridian, released under a Creative
Commons license (youtube.com/watch?v=u1LTx4h7D_0);
Firdaus Kharas, founder of Chocolate Moose Media, for the videos Te Tree Amigos
(chocmoose.com);
Jean-Luc Ducasse, producer of the flm Aislados (imdb.com/title/tt0455073);
Jens Rijsdijk, director of the flm Tese Dirty Words (jensrijsdijk.nl);
Marge Glynn, Greenpeace, for the video Turtle Journey: Te Crisis in Our Oceans,
(youtube.com/watch?v=cQB4RAZVMf4);
Nils, from Goodnight Productions, for the video Te Time Is Now! (youtube.com/
watch?v=WnWTB5MCMPk);
Peter Hartzbech and Jef Zornig, from iMotions, for the video Mobile Eye Tracking
& EEG (imotions.com);
Rafeef Ziadah, for the video Hadeel, music by Phil Monsour (rafeefziadah.net/
js_videos/hadeel-live-dublin);
Roland Armstrong and Victor Jamison, producers and directors of the video series
TellyGiggles (youtube.com/user/TellyGiggles);
Soledad Zárate, director of the documentary You Don’t Know Me (youtube.com/
watch?v=sLfFFEkyrPY and youtube.com/watch?v=v82KcQsTGIk).
How to use this book
and its companion website

Tis multimedia project is addressed to translation trainers, students, researchers,

professionals and all those interested in the practice and theory of subtitling. Eminently
interactive, it consists of a book and a companion website, containing a wealth of
audiovisual material and exercises. Te vehicular language is English, and examples
taken from existing subtitled flms and TV programmes are provided in a wide range
of languages, with back translations. In addition, Subtitling explores the most relevant
academic challenges of this very specifc form of translation and raises a number of
fundamental research questions.
Writing for an international audience is certainly ambitious and means that some
generalization is inevitable, whereas subtitling traditions vary from country to country
and even from company to company. However, the degree of variation is relative and
professional practices are often beginning to converge, due to factors related to glo-
balization as well as technological advancements. Most diferences in professional
practice do not really afect the fundamentals of subtitling, and learners who have
acquired an insight into these specifc issues will be able to apply this knowledge and
these skills in any context.
Unique to this project is the opportunity for readers to engage in the actual practice
of subtitling. To this end, a special agreement has been reached with BroadStream
Solutions to allow learners to use their professional, subtitle creation software Wincaps
Q4, as well as with OOONA, so that learners can also practice subtitling in the cloud.

Te book
Te book is divided into nine chapters that cover all major aspects of the subtitling
practice and profession. Tey all start with suggestions for a preliminary discussion
and end with a selection of graded exercises, to refect on the theory of subtitling and
to have a go at real subtitling practice. Te book contains only some exercises, while
many other activities and materials are hosted on the companion website.

Te companion website
Te book is meant to be used in combination with a dedicated companion website,
which contains additional resources:

routledge.com/cw/diaz-cintas
 How to use this book and its companion website xv
You will need a code to gain access to the website, for which a question and answer
method is used by Routledge. On the website portal, you will be asked to fll in a
request form and, provided the answer is correct, you will then receive a token by
email.
Once inside the portal, the material is grouped in sections that, on the whole,
coincide with the nine chapters of the book, plus a few more areas, as illustrated next:

OOONA
Registration
OOONA guides
Video tutorials
Initiation exercise
Wincaps Q4
Registration
Set-up
Wincaps Q4 guides
Video walkthrough tutorials
Initiation exercise
Book of Exercises (all chapters)
Chapter 1
List of exercises – 1
Exercises
Chapter 2
Additional material
Preliminary discussion
List of exercises – 2
Exercises
Chapter 3
Examples
List of exercises – 3
Exercises
Chapter 4
Examples
List of exercises – 4
Exercises
Chapter 5
List of exercises – 5
Exercises
Chapter 6
List of exercises – 6
Exercises
Chapter 7
List of exercises – 7
Exercises
Chapter 8
List of exercises – 8
Exercises
xvi How to use this book and its companion website

Chapter 9
List of exercises – 9
Exercises
Extra Exercises
List of extra exercises
Exercises
Glossary
Appendices
Appendix 1 – Subtitling software programs
Appendix 2 – AVT companies
Appendix 3 – AVT associations and groups
Appendix 4 – Subtitling language guidelines
Appendix 5 – Cloud-based subtitling platforms
Appendix 6 – Adding subtitles to video
Acknowledgements
Permissions

Te section OOONA contains information on how to register for a free trial version,
while Wincaps Q4 includes details on how to get hold of your free copy of the soft-
ware, install it on your computer and use it. A Book of Exercises (.pdf ) lists all the
activities designed by the authors for all the chapters, with instructions on how to
exploit them. Te nine chapters contain a list of the exercises created for each indi-
vidual chapter together with material for the various tasks, such as video clips (.mp4),
dialogue transcripts (.pdf ), Wincaps fles (.w32), subtitle fles (.ooona), OOONA
project fles (.json) and the keys (.pdf ) to some of the activities. Instructions on how
to work with the exercises can be found in the comprehensive Book of Exercises or
the individual List of exercises, where all the tasks for that particular chapter are listed,
including details on where the material for a given activity (e.g. video, subtitle fle,
dialogue list) is located on the companion website.
Te website also features a glossary of terms commonly used in the profession and
six appendices with information on the industry and the technology employed in this
feld. It concludes with a section on copyright issues and acknowledgements.

OOONA
One of the highlights of this multimedia project is the inclusion of exercises to be
exploited with the professional cloud-based subtitling platform developed by OOONA
(ooona.net). Committed to addressing any subtitling or captioning needs, OOONA
have developed a wide range of tools for the creation, translation, review and burning
of subtitles and captions. OOONA’s top-of-the-line, cutting-edge technology products
are trusted and used by thousands of users around the world. Te company has also
developed their OOONA EDU (ooona.net/ooona-edu), which is the frst ever edu-
cational cloud-based platform to be used by educational centres in their training of
new subtitlers.
 How to use this book and its companion website xvii
On the companion website, there is an area with information on how to register
for a free trial account [Web > OOONA > Registration]. Once you have registered,
you will be able to create subtitles from scratch, to translate from templates and to
review the subtitles created by someone else. To facilitate your frst approach to OOONA,
you should start with the Initiation Exercise [Web > OOONA > Initiation exercise].
To help you with the process of creating subtitles, translating with the help of tem-
plates and revising subtitles, you may fnd useful the various easy guides [Web > OOONA
> Guides] as well as the video tutorials [Web > OOONA > Video tutorials].

To work in OOONA with some exercises, you will have

to download the appropriate material from the companion
website and save it on your computer.

Wincaps Q4

Equally exciting is the inclusion of Wincaps Q4, a professional subtitling software

program developed by Screen Subtitling Systems, part of BroadStream Solutions
(subtitling.com) and widely used in the broadcast market worldwide, including numer-
ous television stations, access services companies and language service providers spe-
cializing in subtitling. Wincaps is also the leading subtitling program for education,
used by many universities and colleges around the world to train future subtitlers.
Te companion website contains a section where you will fnd details about how
to download and activate Wincaps Q4 [Web > Wincaps Q4 > Registration]. Tis
version of Wincaps will be valid for three months and will only work on Windows
PC and on one computer.
Once you have successfully installed the program on your computer, you can start
producing your own subtitles. To facilitate your frst approach to Wincaps, we suggest
you start with the Initiation Exercise [Web > Wincaps Q4 > Initiation exercise].
To help you with the process of creating subtitles, you may fnd useful the various
easy guides [Web > Wincaps Q4 > Guides] as well as the video tutorials [Web >
Wincaps Q4 > Video tutorials].
A datasheet listing the full specifcations of Wincaps Q4 can be found on [Web >
Wincaps Q4 > Set up > Wincaps Q4 specifcations]. Comprehensive instructions on
using Wincaps Q4 can be found on the in-product Help menu as well as on [Web >
Wincaps Q4 > Set up > Wincaps Q4 user guide].

Important: This free Wincaps Q4 version is to be used exclusively for edu-

cational purposes to support the exercises in this book; it is not licensed for
any form of commercial use. To purchase a personal subscription when this
[ free version expires, just visit the BroadStream Solutions website: broadstream.
com/store

To work with Wincaps Q4, you will have to download the appropriate
material from the companion website and save it on your computer.
1 Reconceptualizing subtitling

1.1 Preliminary discussion

1.1 What is meant by the umbrella concept of audiovisual translation?

1.2 Which professional practices do you think this term encompasses?
1.3 How would you define the practice of subtitling?
1.4 Do you consider subtitling to be a case of translation or adaptation? What
are the reasons for your choice?
1.5 Do you think that you, personally, watch more subtitled productions now
than a few years back? If so, why?
1.6 Is subtitling popular in your country? In which contexts?
1.7 Explain how subtitling may have been affected by social media.
1.8 Thinking about video games, 3D, virtual reality and immersive environments,
how do you imagine the subtitles of the future?

1.2 Te power of the moving image

In recent decades, audiovisual translation has been, without a doubt, one of the most
prolifc areas of research in the feld of Translation Studies, if not the most prolifc
one. Although it was ignored in academic and educational circles for many years,
audiovisual translation (AVT) has existed as a professional practice since the invention
of cinema at the turn of the 20th century. However, it was not until the mid-1990s,
with the advent of digitization and the proliferation and distribution of audiovisual
materials, that it began to gain scholarly prominence and boost its number of
acolytes.
In a technologically driven multimedia society like the present one, the value of
moving images, accompanied with sound and text, is crucial when it comes to engag-
ing in communication. Te transition from the paper page to the digital page has
brought about a number of substantial changes that have had a great impact not only
on the way in which information and messages are produced and transmitted but
also on the role played by users and consumers in this new and dynamic mediascape.
In our working and personal lives, we are surrounded by screens of all shapes and sizes:
television sets, silver screens, desktop computers, laptops, videogame consoles and smart
phones are a common feature of our socio-cultural environment, heavily based on the
omnipresence and omnipotence of the image. Enmeshments with technology punctuate
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