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Given the increasing pace of dissemination of cultural content across global borders, subtitling as a cost-effective solution for rendering audiovisual programs is gaining more popularity, even in societies, which have been traditionally using dubbing as the dominant modality for foreign films and television series. Likewise, various types of subtitling practices have developed and are used in Iran both at official and non-official outlets. While official dubbing has failed in some aspect in addressing the growing interest of Iranian viewers of foreign content, a variety of non-professional subtitling has been filling the gap, and subtitling appears to be dominating the audiovisual media market. Despite such developments, the necessities of professional practice of subtitling, including standardized guidelines, codes of ethics and practice, and training, have never been realized in Iran. In the absence of a professional subtitling tradition, this article presents the status quo of non-professional subtitling into Persian and introduces the specific typology of this practice in the Iranian mediascape.

This study investigates the balance between naturalness and accuracy in the Indonesian fan-sub of Kung Fu Panda 4. It examines the subtitling strategies employed by fan translators, utilizing Gottlieb’s (1992) subtitling strategies and Larson’s (1984) principles of translation quality. Adopting a descriptive qualitative approach, the research analyzed 139 lines from the movie, focusing on their cultural and linguistic complexity. The findings reveal that paraphrasing was the most frequently applied strategy (63.31%), followed by transfer (15.11%), expansion (9.35%), condensation (7.91%), and imitation (4.32%). These strategies enabled fan translators to adapt the source text while preserving its meaning, ensuring the subtitles were culturally and linguistically suitable for the Indonesian audience. Most subtitles were rated as moderately natural (79.86%) and moderately accurate (50.36%), with a smaller portion achieving high ratings. The study underscores the need to enhance naturalness and accuracy while emphasizing the importance of incorporating subtitling strategies in translation education to address real-world challenges.

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.

The bourgeoning and rapid evolution of cloud-based applications has triggered profound transformations in the audiovisual translation (AVT) mediascape. By drawing attention to the major changes that web-based ecosystems have introduced in localisation workflows, we set out to outline ways in which these new technological advances can be embedded in the AVT classroom. Along these lines, the present study sets out to explore the potential benefits of cloud platforms in AVT training curricula by exploring ways in which this technology can be exploited in subtitling training. An analysis of current subtitling practices and tools, localisation workflows, and in-demand skills in the AVT industry will be followed by an experience-based account on the use of cloud-based platforms in subtitler training environments to simulate and carry out a wide range of tasks. Our study pivots around the idea that cloud subtitling might prove useful to bridge the technological gap between academic institutions and the profession as well as to enhance the distance-learning provision of practice-oriented training in subtitling.

This study investigates Netflix translation of English movie lyrics into Arabic. It examines and categorizes the subtitles of the movie lyrics based on the translation options proposed by Franzon. Translation options refer to the different methods or approaches a translator can use when translating a song. A parallel corpus of 60 lyrics extracted from 10 musical movies was compiled by aligning the English script and Arabic subtitles. The researchers found that Netflix’s subtitlers employed four options for rendering English lyrics into Arabic. These are neglecting the music in translating the lyric (literal subtitling), which was used in rendering 60% of the investigated lyrics, not translating the lyrics (deletion), which was observed in 17% of the cases, and adapting the music to the translation (esthetic subtitling) was followed in rendering only five lyrics (8%). Finally, incorporating the three previous options (blended subtitling), which was adopted in subtitling 15% of the investigated data. This study recommends further research on the audience reception of the different subtitling options of lyrics. The findings of the current study can be useful for subtitlers and translation students, especially those interested in literary translation and musical movie translation.

We present a new database of Dutch word frequencies based on film and television subtitles, and we validate it with a lexical decision study involving 14,000 monosyllabic and disyllabic Dutch words. The new SUBTLEX frequencies explain up to 10% more variance in accuracies and reaction times (RTs) of the lexical decision task than the existing CELEX word frequency norms, which are based largely on edited texts. As is the case for English, an accessibility measure based on contextual diversity explains more of the variance in accuracy and RT than does the raw frequency of occurrence counts. The database is freely available for research purposes and may be downloaded from the authors’ university site at http://crr.ugent.be/subtlex-nl or from http://brm psychonomic-journals.org/content/supplemental.

This article uses the debate raging around Samuel Richardson's novel-inletters Pamela; or, Virtue Rewarded (1740) as a case study in eighteenthcentury reading practices. At a time when reading took place both in shared public spaces and the privacy of the home and was performed aloud as well as in solitary silence, the form of the epistolary novel rendered Richardson's Pamela suitable to a variety of reading practices - yet with widely differing assessments as to the rewards of 'virtue' promised in the novel's subtitle. By focusing on what is introduced as the 'epistolary complex', the article aims to show how one and the same novel could encourage diametrically opposed protocols of reading. Viewed through the prism of the epistolary genre, one answer to Pamela's success as a novel for public consumption (mirrored in the commodity culture surrounding the text) is its sententiousness and easy extricability.

The present paper explores all the cultural references (CRs) and sensitive elements (SEs) found in the English and Arabic subtitles of the two films available on Netflix, entitled: “عسل أسود” (Bittersweet) and “Holidate,” examining the subtitling strategies adopted for translating them and analyzing the translation issues associated with their translations. The paper uses a mixed method, conducting both quantitative and qualitative analyses. The paper claims that different CRs and SEs found in the two films under study have been translated, using diverse subtitling strategies. Their translations in both the two films have caused translation loss, particularly in the cultural references attached thereto. Such loss is mainly due to the inappropriate use of the subtitling strategies adopted for the translation of CRs and SEs. Certain translations of CRs and SEs are justifiable due to different factors, such as multimodality, time and space restrictions, cultural religious sensitivity, translator ethics, and so on.

The issue of multilingualism often arises in the context of audiovisual translation, when dubbing, subtitling or voice-over is under discussion. This aspect also does not lose its significance in subtitling multilingual films for the deaf and hard of hearing. By applying this mode, the content of audiovisual product is conveyed to the deaf by employing a special instrument of audiovisual translation, namely, specialized subtitles (SDH). In this case, subtitles must include not only a translated dialogue text; the additional information that helps the deaf perceive the off screen non-verbal and verbal cues, understand the narrative and mood of the film and estimate roles of foreign languages must be added as well. The paper aims at exploring strategies for conveying multilingualism to the deaf in the films created by Lithuanian filmmakers. Three Lithuanian multilingual films “Back to Your Arms“ (2010, directed by K. Vildžiūnas), „How We Played the Revolution“ (2011, directed by G. Žickytė) and „Miracle“ (2017, directed by E. Vertelytė) as the research material were selected for the analysis. In the theoretical part, strategies of application of multilingual films suggested by foreign scholars (De Higes-Andino et al., 2013, 2014, Szarkowska & Żbikowska & Krejtz, 2013, 2014) are outlined; insights into multilingualism presented by Lithuanian researchers are reviewed and practical principles that help reveal multilingualism for the deaf audience in Lithuanian films are examined. A descriptive-analytical approach is employed to analyze the rendition of multilingualism to the target audience; whereas, to reveal needs of the Lithuanian deaf the analysis of achieved quantitative data is made. The study has revealed that the process of conveying multilingualism to the deaf viewers in Lithuanian films is a process that requires creativity. Moreover, the results of the analysis suggested that in the analyzed Lithuanian films a multilingual source text was only translated and subtitled by applying a standard subtitling format. With regard to the multilingualism rendering for the deaf, it can been noted that standard subtitles only partially revealed the content of the film; though, the information and aspects about multilingualism as such still remained inaccessible. For this reason, special subtitles (SDH) for the hearing impaired viewers should be prepared; however, this type of subtitles has stayed uncommon for the Lithuanian filmmakers.

Subtitled Journal for Linguistics in Belgium and The Netherlands, Nota Bene’s intention is to reflect the current research in linguistics in Belgium and the Netherlands, addressing topics that are of current interest to the linguistic communities in both countries and that are discussed during the conferences of the respective Societies. On the one hand, both Societies are internationally oriented, with members that are not from the respective countries, a fact that will also be reflected in the journal; on the other hand, we also invite papers from scholars from abroad that can enrich the discussion of issues that are of topical interest to the linguistic communities in Belgium and the Netherlands. [...]we are always open to ideas or theme proposals for the theme issue published under the auspices of BKL/CBL; if you have any ideas or if you would like to (co-)edit an issue, you can always get in touch with the Belgian editor for further information.