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People watch subtitled audiovisual materials more than ever before. With the proliferation of subtitled content, we are also witnessing an increase in subtitle speeds. However, there is an ongoing controversy about what optimum subtitle speeds should be. This study looks into whether viewers can keep up with increasingly fast subtitles and whether the way people cope with subtitled content depends on their familiarity with subtitling and on their knowledge of the language of the film soundtrack. We tested 74 English, Polish and Spanish viewers watching films subtitled at different speeds (12, 16 and 20 characters per second). The films were either in Hungarian, a language unknown to the participants (Experiment 1), or in English (Experiment 2). We measured viewers' comprehension, self-reported cognitive load, scene and subtitle recognition, preferences and enjoyment. By analyzing people's eye gaze, we were able to discover that most viewers could read the subtitles as well as follow the images, coping well even with fast subtitle speeds. Slow subtitles triggered more re-reading, particularly in English clips, causing more frustration and less enjoyment. Faster subtitles with unreduced text were preferred in the case of English videos, and slower subtitles with text edited down in Hungarian videos. The results provide empirical grounds for revisiting current subtitling practices to enable more efficient processing of subtitled videos for viewers.

High subtitle speed undoubtedly impacts the viewer experience. However, little is known about how fast subtitles might impact the reading of individual words. This article presents new findings on the effect of subtitle speed on viewers’ reading behavior using word-based eye-tracking measures with specific attention to word skipping and rereading. In multimodal reading situations such as reading subtitles in video, rereading allows people to correct for oculomotor error or comprehension failure during linguistic processing or integrate words with elements of the image to build a situation model of the video. However, the opportunity to reread words, to read the majority of the words in the subtitle and to read subtitles to completion, is likely to be compromised when subtitles are too fast. Participants watched videos with subtitles at 12, 20, and 28 characters per second (cps) while their eye movements were recorded. It was found that comprehension declined as speed increased. Eye movement records also showed that faster subtitles resulted in more incomplete reading of subtitles. Furthermore, increased speed also caused fewer words to be reread following both horizontal eye movements (likely resulting in reduced lexical processing) and vertical eye movements (which would likely reduce higher-level comprehension and integration).

This paper hinges on the correctness of the subtitled expressions in context: The translator in film making process. The objective of the study is to ascertain the correctness of subtitled expressions in context, in the movie used for the study. It focuses on fishing out the wrong subtitled expressions in context of discourses in the movie Onye Bụ Nna M. The study sees subtitle as substituting the vocal utterances in a filmic material to a written equivalence on the screen of the television. The discredit of subtitle in the Nollywood touches the areas of wrong expression of a particular utterance in a movie into another language through subtitle and non alignment of the spoken utterances with its subtitled equivalences. However, all these formed the problem of the study. This study adopts the formal and dynamic equivalence of Nida as well as Gottlieb’s strategies of subtitle as the frameworks of the study in order to effectively carry out this research. This research adopts the emergent design approach in its methodology. The study reveals that if information is subtitled well with the correct tenses in context, there will be no misinterpretation of ideas or information by the target audience.

By placing China in the center of the monograph's subtitle (England, China and the Rainbow Portrait), the author already signals the centrality of China in his novel conceit of Elizabethan globalism beyond the received notion of Elizabethan England, which has also shaped the discourse on the symbolic and emblematic significance of the Rainbow Portrait—a strange but well-known image of the Virgin Queen—articulated largely based on Western sources, including classical mythologies. Unlike Spain, which, driven by aggressive religious and imperial ambitions, had established itself as a hegemon in Asian and other parts of the world by the mid-fifteenth century, England gained fluency in the newly acquired language of international diplomacy and practiced ambassadorial luxury gift bearing as learned from the Ottoman Empire and other non-European countries. Dimmock delivers this fascinating tale by focusing on a single event, the sumptuous housewarming party hosted by Robert Cecil, secretary of state, on 6 December 1602 at Cecil House built on the Strand, which Queen Elizabeth herself attended.

Subtitling is one of the most widely used translation practices in the localization of video games and enjoys great popularity among end-users. Given the language-bound nature of subtitling practices, the present study seeks to shed light on the subtitling practices followed in Persian game localization and empirically provide a descriptive account of how game localization is carried out in the Iranian context. To this end, five video games were tested and played by the authors, and 300 subtitle segments were extracted from each title (totaling 1500 subtitle segments) and their respective translations in localized versions (totaling 3000 segments). Subtitles were analyzed in terms of subtitle length and segmentation, font (size adjustability, type, color, and background), character identification, sound effects, emotions, and line breaks. It was revealed that the Persian localized versions were very similar to the original regarding font, character identification, sound effects, and emotions. However, subtitle length and segmentation varied between the original and localized game versions.

BVA has launched a series of short, subtitled films that are available for vets from all areas of the profession to screen in their practice waiting rooms, use in giving talks, or to share on social media and with other stakeholders. Amy Waddell, head of media and public affairs, explains more.

Foreign language (FL) films with subtitles are becoming increasingly popular, and many European countries use subtitling as a cheaper alternative to dubbing. However, the extent to which people process subtitles under different subtitling conditions remains unclear. In this study, participants watched part of a film under standard (FL soundtrack and native language subtitles), reversed (native language soundtrack and FL subtitles), or intralingual (FL soundtrack and FL subtitles) subtitling conditions while their eye movements were recorded. The results revealed that participants read the subtitles irrespective of the subtitling condition. However, participants exhibited more regular reading of the subtitles when the film soundtrack was in an unknown FL. To investigate the incidental acquisition of FL vocabulary, participants also completed an unexpected auditory vocabulary test. Because the results showed no vocabulary acquisition, the need for more sensitive measures of vocabulary acquisition are discussed. Finally, the reading of the subtitles is discussed in relation to the saliency of subtitles and automatic reading behavior.

The present study is set to explore the way the orthographic distributional properties of novel written words and the number of exposures to these words affect their incidental learning in terms of recall and recognition. To that end, two experiments were conducted using videos with captions. These videos included written nonwords (orthographically marked language-specific items) and pseudowords (orthographically unmarked items) as captions paired to the spoken targets, presented either in isolation (Experiment 1) or within sentences (Experiment 2). Our results consistently show that items containing legal letter combinations (i.e., pseudowords) are better recalled and recognized than those with illegal combinations (i.e., nonwords). Further analysis in the recall task indicate that frequency modulates the learning of pseudowords and nonwords in a different way. The learning of pseudowords increases linearly with repetitions, while nonwords are equally learned across frequencies. These differential effects found in the recall task do not show up in the recognition task. Although participants took more time to recognize nonwords in the recognition task, increased exposure to the items similarly modulated reading times and accuracy for nonwords and pseudowords. Additionally, higher accuracy rates were found in Experiment 2, which underscores the beneficial effect of supportive visual information.

Abstract Accessibility in immersive media is a relevant research topic, still in its infancy. This article explores the appropriateness of two rendering modes (fixed-positioned and always-visible) and two guiding methods (arrows and auto-positioning) for subtitles in 360° video. All considered conditions have been implemented and integrated in an end-to-end platform (from production to consumption) for their validation and evaluation. A pilot study with end users has been conducted with the goals of determining the preferred options by users, the options that result in a higher presence, and of gathering extra valuable feedback from the end users. The obtained results reflect that, for the considered 360° content types, always-visible subtitles were more preferred by end users and received better results in the presence questionnaire than the fixed-positioned subtitles. Regarding guiding methods, participants preferred arrows over auto-positioning because arrows were considered more intuitive and easier to follow and reported better results in the presence questionnaire.

This study investigated how semantically relevant auditory information might affect the reading of subtitles, and if such effects might be modulated by the concurrent video content. Thirty-four native Chinese speakers with English as their second language watched video with English subtitles in six conditions defined by manipulating the nature of the audio (Chinese/L1 audio vs. English/L2 audio vs. no audio) and the presence versus absence of video content. Global eye-movement analyses showed that participants tended to rely less on subtitles with Chinese or English audio than without audio, and the effects of audio were more pronounced in the presence of video presentation. Lexical processing of subtitles was not modulated by the audio. However, Chinese audio, which presumably obviated the need to read the subtitles, resulted in more superficial post-lexical processing of the subtitles relative to either the English or no audio. On the contrary, English audio accentuated post-lexical processing of the subtitles compared with Chinese audio or no audio, indicating that participants might use English audio to support subtitle reading (or vice versa) and thus engaged in deeper processing of the subtitles. These findings suggest that, in multimodal reading situations, eye movements are not only controlled by processing difficulties associated with properties of words (e.g., their frequency and length) but also guided by metacognitive strategies involved in monitoring comprehension and its online modulation by different information sources.