| When we talk about what Subtitling is, we can say in | | | | by sentence. As subtitling doesn't just mean to |
| simple words that it is a printed translation. Which | | | | translate the dialogue, thus other meaningful language |
| surely is true, but what if we take it as an art. You'll | | | | in films such as signs, letters, captions and other |
| not agree with me on the first place. When given | | | | written words are also an important area needed to |
| some deep thoughts to it, nobody can deny the | | | | be considered upon. When a film has lots of written |
| importance and skills required to be a subtitler. | | | | language and dialogue happening together, this can |
| On a simple note subtitling is one of the several | | | | result in some very difficult choices for the |
| processes commonly used in the translation of | | | | subtitler.The subtitler may or may not have access |
| audio-visual products. It can be in the form of | | | | to a written transcript of the dialog. Especially in |
| captions or simple subtitles shown at the bottom on | | | | commercial subtitles, the subtitler often interprets |
| the screen. | | | | what is meant, rather than translating how it is said, |
| Subtitling is much cheaper than dubbing, and it takes | | | | i.e. meaning being more important than form. The |
| less time, so it is common in smaller countries for | | | | subtitler does this when the dialog must be |
| which the audience is too small to justify dubbing on | | | | condensed in order to achieve an acceptable reading |
| a large scale. | | | | speed. |
| Now lets discuss it further. | | | | The subtitler's task is already difficult because |
| From a linguistic point of view, subtitling can be | | | | subtitles are so limited in space (about 37 characters |
| divided into two types: a) Intralingual subtitling, also | | | | per line, and a maximum of two lines) and time |
| known as captioning, which is primarily aimed at the | | | | (subtitles should not stay on the screen longer than |
| deaf and hard of hearing, but also extremely useful | | | | six seconds). The result is that the content of the |
| for people learning a foreign language; b) Interlingual | | | | dialogue has to be cut down to fit in the subtitles. |
| subtitling, the spoken/written message of the original | | | | Not only that, but the content has to be translated, |
| product which is translated into the language of the | | | | and the subtitles also have to be ‘spotted' or |
| target audience. From technical point of view it can | | | | timed carefully to match the dialogue. |
| again be of two type: a) Open Subtitling, which | | | | The basic aim of any translation is to reformulate a |
| refers to subtitles that appear permanently on screen | | | | source language message in a given target language, |
| and cannot be ‘switched off' by the viewer; b) | | | | avoiding at all costs any misunderstandings in the |
| Closed subtitles, which the viewer can choose to see | | | | process. In other translation practices mistakes can |
| or not. | | | | easily pass unnoticed, but this is rarely the case in a |
| Translation of subtitling is sometimes very different | | | | mode of translation as uniquely vulnerable as |
| from the translation of written text. Usually, when a | | | | subtitling. Hence it will no be incorrect to project |
| film or a TV program is subtitled, the subtitler | | | | subtitling as another real art form of contemporary |
| watches the picture and listens to the audio sentence | | | | time. |