Collaboration Between Subtitling Academics and Practitioners

This article proposes the application of public translation studies put forward by Koskinen (2010) to the field of audiovisual translation (AVT). We argue that AVT scholars and practitioners would benefit from the implementation of a long-term, reciprocal collaboration. This would involve the formation of a community of academics and subtitlers, creating a space for regular dialogic communication that would be mutually beneficial. The article first explores the concept of public translation studies, examining how and why this framework might be useful in AVT. We then present the findings of a scoping questionnaire, in which subtitlers working in the UK and Ireland were surveyed about their interest in collaborating with academics. Respondents indicated an interest in opportunities for professional development, community-building and collaboration. In addition, based on the results we highlight a number of areas around which these activities could be centred, including, for example, opportunities for subtitlers to enhance their practical skill set, to improve their career opportunities and the collective standing of the profession, to discuss translation dilemmas and to inform academia. We end by proposing some concrete next steps for the development of a subtitling community, and the possible role of academics and subtitlers within such an initiative. Lay Summary Working as a subtitler can be challenging in many ways: technological developments such as machine translation are changing the work rapidly, working conditions are sometimes demanding, and the work can be lonely because it is often done on a freelance basis. Therefore, subtitlers could benefit from new ways to work together, share information and advocate for better working conditions. It could also be useful to build closer contacts with researchers who have an interest in subtitling. Contacts with academia would allow practitioners to learn how research might benefit them and to contribute to future projects. This article presents a proposal for forming a community of practitioners and academics. As a first step, we conducted a survey with subtitlers based in the UK and Ireland to find out what topics practitioners would like to discuss with academics. The responses indicate that many practitioners want to enhance their practical skills by learning about topics such as new technology, and they want to network and improve their working conditions. There is also some interest in learning about and contributing to research. Based on these responses, we will conclude the article by introducing a new community of subtitlers and practitioners we are launching: SubComm.

Sharing Knowledge Between Academia and The Industry

Audiovisual translation and accessibility research have huge potential to transform and improve the work of practitioners in these areas. However, research publications are not necessarily designed to address the practical implications of research, or to be accessible to practitioners outside academia. This special issue is for practitioners, and it aims to demonstrate how research can be useful to them. The research projects presented in the articles serve practical purposes in a variety of ways, from proposing analytical models to aid in selecting translation strategies, to exploring developments in working practices. Vibrant collaboration between all stakeholders in AVT and accessibility could bring benefits to both research and practice. This introduction discusses some of the challenges involved in making such exchanges happen and examines how those challenges could be overcome.

Audiovisual Translation at the Service of the EU Public Communication 2.0

Communication is becoming more and more (audio)visual, social and mobile. This is true not only of the entertainment industry but also of commercial advertising and institutional public communication. Consequently, the audiovisual translation industry is flourishing. Although a growing array of products outside the field of entertainment are being localised and/or made accessible, they have received scant attention so far, whether in academic or professional circles. This is notably the case of the institutional video subgenre. This practice report will first address the importance of using increasingly multilingual and multimodal audiovisual products in EU external communication – a tool for reaching out to more citizens on social media and boosting their active participation at a time when populism and Euroscepticism are on the rise. The focus will then shift to the audiovisual communication of the Council of the EU. Through a case study which aims to investigate the internal localisation in all EU official languages of the “#Europeans” series of videos – produced for the 2019 EU elections – the rest of the paper will then outline the main features of the institutional audiovisual translation subgenre. It will also identify some opportunities for improvement: a more integrated and interdisciplinary approach which – together with reinforced collaboration with academia – could lead to a real multilingual creative process right from the initial steps of the audiovisual production process.

Generic Fluency in Professional Subtitling:

This article evaluates the translation of neologies in professional subtitling of audiovisual science fiction from the point of view of genre-specific features. Neologies are seen to be the most important linguistic element of science fiction as they produce the science fiction genre-specific cognitive estrangement and hence cognitively estrange the viewer from reality. Evaluating the translation of neologies is thus used as a tool to evaluate the transfer of the source text genre to the target text and to hypothesise whether the target text meets the expectations of the viewers. When the neologies are retained as genre-specific features of science fiction, the target text genre is seen to be generically fluent and the target text meets the viewer’s expectations. Even though the translation solutions which render the genre unfluent (misplace the science fiction cognitive estrangement produced by the source text) are in minority in the study material, the neologies can be seen to normalise towards common language in the translation process. This means that as neologies are considered as one of the producers of the science fiction genre-specific cognitive estrangement, the source text genre becomes less accessible for the target text viewer. Lay summary Science fiction is one of the most popular contemporary film and tv-series genres. The audience has expectations on the content of a science fiction film or tv-series based on their previous experiences with the genre, in other words, the genre-specific features. This article evaluates the translation of neologies in professional subtitling of audiovisual science fiction from the point of view of these genre-specific features. Neologies are seen to be the voice of science fiction as they cognitively estrange the viewer from reality. Evaluating the translation of neologies is used as a tool to evaluate the transfer of the source text (the original tv-series) genre to the target text (the subtitled tv-series) and to hypothesise whether the translation meets the expectations of the viewers. When the dialogue’s neologies are retained in the subtitles, the target text is seen to meet the viewer’s expectations. The study revealed that the neologies can be seen to normalise towards common language in the translation process. This means that as neologies are considered as one of the producers of the science fiction genre-specific cognitive estrangement, the source text genre becomes less accessible for the target text viewer.

Insights From Mental Model Theory and Cognitive Narratology as a Tool for Content Selection in Audio Description

One of the main questions in audio description (AD) to which no systematic answers have been provided yet, is how to decide what information you include in your description and – if there is not enough time to describe everything – how you prioritize that information. In the present paper I want to propose an answer to this problem by asking the question: how do audiences process (filmic) stories and what information do they need to process them? The basic idea underlying this question is that people process and interpret stories by creating mental models (Johnson-Laird, 1983) of these stories. The paper explains how these models are created, what information is necessary to create them and what is optional, thus helping describers to decide what information in their description is “need-to-have” and what is “nice-to-have”. The theoretical explanation will be applied to the opening of the film Slumdog millionaire (Boyle, 2008), to illustrate how the theory works and can be used in daily practice. Lay summary Audio description (AD) for film is a service for people with sight loss that weaves a verbal description of visual elements and unclear sound effects they do not have access to, between the dialogues of the original production. Since this description cannot interfere with the dialogues, there often is very little time for AD and describers will have to decide what to include and what to leave out of their descriptions. In this article, I present a way to tackle this problem, based on the basic idea that films generally tell stories and that the audio description should allow the target audience to recreate that story in their minds. More specifically I focus on two questions, namely a) how do audiences mentally recreate stories and b) what elements do they need to do so. Insights into these two questions will show audio describers what information the target audience needs to recreate the story told in the film, and hence will help them to decide what information they really need to include in their AD. After a theoretical exploration of these two questions, the approach will be illustrated by means of a concrete example, taken from the film Slumdog millionaire (Boyle, 2008).

Getting the Full Picture in English and Spanish?

Drawing on the mental model theory of fictional characters (Schneider, 2001) applied to audio description (Fresno, 2016), this paper examines the audio description (AD) of characters in English and Spanish for the Netflix series Élite. The study is based on the premise that semantic descriptions of characters, rather than merely visual descriptions of physical traits, contribute to a better understanding of the narrative complexities of a film, favour AD users’ memory, and reduce cognitive effort (Fresno et al., 2016). This contrastive analysis shows how pertinent description of action movements and appearances together with lexical accuracy can trigger helpful semantic meanings that reveal characters’ psychological features. Because Élite is a thriller in which the majority of the characters are murder suspects, accessing all types of information about them is essential to fully understand the plot. In addition, this analysis indicates that the English AD emphasizes certain character attributes which are absent from the Spanish AD, a distinction that influences the semantic domains, filmic cohesion and coherence of the narrative. This finding underscores the fact that cross-linguistic and cultural differences actually affect the reception of a fictional character by AD users (Orero, 2008; Mazur & Chmiel, 2012) and consequently, their appreciation and enjoyment of the program in question. Lay summary This paper examines the audio description (AD) of characters in English and Spanish for the Netflix series Élite. Based on previous studies (Fresno, 2014; Fresno, 2016), this analysis shows that not only physical traits, but also the description of action movements and looks can trigger helpful semantic inferences that reveal crucial characters’ psychological features. Because Élite is a thriller in which most of the characters are murder suspects, grasping all types of information about them is essential to fully understand the plot. In addition, this paper indicates that the English AD emphasizes certain character attributes which are absent in the Spanish AD. This finding underscores the fact that cross-linguistic and cultural differences actually affect the reception of a fictional character by AD users (Orero, 2008; Mazur & Chmiel, 2012) and consequently, their appreciation and enjoyment of the show in question.

Automation in the Intralingual Subtitling Process

The demand for intralingual subtitles for television and video content is increasing. In Finland, major broadcasting companies are required to provide intralingual subtitles for all or a portion of their programming in Finnish and Swedish, excluding certain live events. To meet this need, technology could offer solutions in the form of automatic speech recognition and subtitle generation. Although fully automatic subtitles may not be of sufficient quality to be accepted by the target audience, they can be a useful tool for the subtitler. This article presents research conducted as part of the MeMAD project, where automatically generated subtitles for Finnish were tested in professional workflows with four subtitlers. We discuss observations regarding the effect of automation on productivity based on experiments where participants subtitled short video clips from scratch, by respeaking and by post-editing automatically generated subtitles, as well as the subtitlers’ experience based on feedback collected with questionnaires and interviews. Lay summary This article discusses how technology can help create subtitles for television programmes and videos. Subtitles in the same language as the content help the Deaf and the hard-of-hearing to access television programmes and videos. They are also useful for example for language learning or watching videos in noisy places. Demand for subtitles is growing and many countries also have laws that demand same-language subtitles. For example, major broadcasters in Finland must offer same-language subtitles for some programmes in Finnish and Swedish. However, broadcasters usually have limited time and money for subtitling. One useful tool could be speech recognition technology, which automatically converts speech to text. Subtitles made with speech recognition alone are not good enough yet, and need to be edited. We used speech recognition to automatically produce same-language subtitles in Finnish. Four professional subtitlers edited them to create subtitles for short videos. We measured the time and the number of keystrokes they needed for this task and compared whether this made subtitling faster. We also asked how the participants felt about using automatic subtitles in their work. This study shows that speech recognition can be a useful tool for subtitlers, but the quality and usability of technology are important.

Quality Control of Subtitles

Quality control of subtitles is a relatively unresearched field, even though it has a significant influence on the overall quality, and thus viewers’ experience of subtitles. It is carried out in different ways: various language service providers and broadcasters have different procedures, for instance, it sometimes solely involves proofreading. An online questionnaire has been distributed among professionals involved in the production chain of subtitles: broadcasters, streaming and video-on-demand services, vendors also known as language service providers, subtitlers, quality controllers and proofreaders.The hope is that this report will enable professionals involved in quality control of subtitles to further enhance their quality control procedures. The results of this research could also be used in experimental investigation of viewers’ perception of quality in subtitling by using the same research methods applied in this study. Lay Summary We do not know much about the quality control of subtitles on which many viewers depend to be able to follow TV content in foreign languages, or because they are deaf or hard-of-hearing. I conducted research by means of an online questionnaire among professionals and organisations involved in the production of subtitles to check how and whether they ensure viewers get subtitles of the highest possible quality. One of the main findings of the survey is that all professionals involved in the subtitling process think that the quality of subtitles is important, and that freelance subtitlers largely don’t think their clients pay enough attention to subtitling quality. The questionnaire was sent to TV and streaming broadcasters, agencies that work as intermediaries between broadcasters and subtitlers, quality controllers and proofreaders. Based on the findings of this survey, I have recommended several steps that can be taken to ensure better quality subtitles.

Respecting the GDPR in Online Interviewed Focus Groups

Since March 2020 the Corona virus has limited personal encounters due to social distancing measures. Thus, many data collection techniques relying on face-to-face interaction, like interviews or Focus Groups (FG), are now being practised in online environments. Such change requires the implementation of innovative measures to comply with Regulation EU 2016/679 (GDPR) and obey national data protection laws. Processing personal data of voluntary participants has to have a lawful ground and a clear purpose behind it. Moreover, the researcher has to respect legal requirements and principles for processing personal data, provide the participants with information about the research procedure and apply security measures to avoid risks to the rights and freedoms of individuals. This process has to apply to any interaction mediated by Web-Conferencing Systems (WCS). The purpose of this paper is to describe the legal requirements for conducting online interviews or FG under social distancing conditions. The project of reference for the application of these requirements is the EU Horizon2020 HELIOS project consisting of the development of a decentralised social media platform. Lay summary At universities or in industry researchers can interview people personally to test, for instance, the use of a specific technology. The objective is to collect data for future improvements. In 2020 people all over the world found themselves in a pandemic. The Covid-19 limited social meetings with beloved ones and also restricted the work of scientific researchers. Individual or group interviews could not take place in presence. Thus, a solution was seen in online conferencing platforms such as Zoom. Modifying the space and the way in which an interview takes place poses some legal challenges regarding data protection. Such conversations with individuals always have to apply European and national data protection laws. Among other things, this means that there needs to be a specific legal reason to process personal data and a specific purpose behind the interview. Additionally, the researcher has to inform participants about all the legal terms, legal guarantees and research procedure. All this applies as well if online conferencing platforms are used. In this article, you can find a description of the necessary legal steps to develop online interviews with individuals or focus groups and fulfil European data protection requirements.

Food for Thought on Conducting Research Projects on Media Accessibility During the Covid-19 Pandemic and the New Normal

The following practice report is based on observational experiences of a project group running a research project on accessibility during the COVID-19 pandemic. The project aimed to provide accessibility using plain language in children’s programs on a public television channel. The project included three groups of end-users: Deaf, hard of hearing, and visually impaired children. An overview of the project is presented to provide background for the practice report. The second part of the report deals with changes encountered in the running of the project during the pandemic: compensating for the lack of interactivity, social interaction and collective experience; using video conferencing; monitoring research; at-home research spaces and technological availability; network availability and performance; dealing with home computers; communication load; workload and work-life balance. Some key concepts of actor-network theory are used to analyse new actors, networks and shifts encountered in the process of implementing the project in the “new normal” in comparison to its planned implementation pre-COVID-19. In conclusion, a summary of possible options is cited to provide food for thought in running such projects. Lay summary The following practice report is based on the observations of a group running a research project on accessibility for Deaf, Hard of Hearing and blind children to children’s programs during the Covid-19 pandemic. We aimed to provide accessibility using plain language (easy to understand and easy to follow language in subtitles, through sign language and audiodescription) in children’s’ programs on a public television channel. Initially, an overview of the project is presented to provide background, then the changes encountered in the running of the project due to the pandemic are studied. Some of the issues discussed are: How to compensate for the lack of interactivity and social interaction since there was no face-to-face interaction; using video conferencing, monitoring research; at home research spaces and technology availability; issues about network availability and performance; dealing with home computers; communication load, and workload. Some key concepts of the actor-network theory (ANT) are used to explain changes. ANT is concerned with exploring how networks come into existence, looking into which relations exist, how those relations are sustained, how actors come together to constitute and maintain a network and how networks maintain impermanent stability. In conclusion, a summary of possible options is cited to provide food for thought in running such projects.