1. FLUP - Elena Zagar Galvão Faculdade de Letras da Universidade do Porto Mestrado em Tradução e Serviços Linguísticos MULTIMEDIA TRANSLATION ENGLISH - PORTUGUESE SPRING SEMESTER 2009 Wed. 17:30-19:30 – Room 205 Teacher: Elena Zagar Galvão elenazagar@gmail.com egalvao@letras.up.pt Webpage: web.letras.up.pt/egalvao

2. FLUP - Elena Zagar Galvão Roman Jakobson, “On Linguistic Aspects of Translation”, 1959TRANSLATION INTERLINGUAL INTRALINGUAL INTERSEMIOTIC

3. FLUP - Elena Zagar Galvão Assignment for today: 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.

4. FLUP - Elena Zagar Galvão Students’ findings

5. FLUP - Elena Zagar Galvão 3 main ways of translating AV programmes: Dubbing (lip-sync) Dubbing (lip-sync) Subtitling Subtitling Voice-over Voice-over

6. FLUP - Elena Zagar Galvão Discuss Do you see subtitling as a case of translation or adaptation? Do you see subtitling as a case of translation or adaptation? In your opinion, does it matter whether subtitling is perceived one way or another? In your opinion, does it matter whether subtitling is perceived one way or another? Make a list of situations where subtitles are consumed in your country. Make a list of situations where subtitles are consumed in your country. (from Audiovisual Translation:Subtitling, p.8)

7. FLUP - Elena Zagar Galvão 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).

8. FLUP - Elena Zagar Galvão All subtitled programmes are made of three main components: the spoken word; the spoken word; the image; the image; the subtitles 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.

9. FLUP - Elena Zagar Galvão 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)

10. FLUP - Elena Zagar Galvão Subtitling A way of translating what is being said in an audiovisual text. Two characteristic features: Change of code (intersemiotic: oral to written) 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. 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.

11. FLUP - Elena Zagar Galvão 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)

12. FLUP - Elena Zagar Galvão 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.

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

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

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

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

17. FLUP - Elena Zagar Galvão Linguistic criteria Intralingual subtitles SDH For language learning purposes For Karaoke For notices and announce- ments For dialects of the same language

18. FLUP - Elena Zagar Galvão Linguistic criteria Interlingual subtitles For hearers SDH

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

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

21. FLUP - Elena Zagar Galvão Surtitles (supertitles, supratitles) Live performances: opera, concerts, musicals theatreconferences

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

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

24. FLUP - Elena Zagar Galvão For next week please read: Chapter 2 in set book