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oapen-20.500.12657-295502021-11-12T16:15:34Z Can integrated titles improve the viewing experience? Fox, Wendy Linguistics Aesthetics Eye tracking Hearing loss Subtitles Typography bic Book Industry Communication::C Language::CF linguistics Historically a dubbing country, Germany is not well-known for subtitled productions. But while dubbing is predominant in Germany, more and more German viewers prefer original and subtitled versions of their favourite shows and films. Conventional subtitling, however, can be seen as a strong intrusion into the original image that can not only disrupt but also destroy the director’s intended shot composition and focus points. Long eye movements between focus points and subtitles decrease the viewer’s information intake, and especially German audiences, who are often not used to subtitles, seem to prefer to wait for the next subtitle instead of looking back up again. Furthermore, not only the placement, but also the overall design of conventional subtitles can disturb the image composition – for instance titles with a weak contrast, inappropriate typeface or irritating colour system. So should it not, despite the translation process, be possible to preserve both image and sound as far as possible? Especially given today’s numerous artistic and technical possibilities and the huge amount of work that goes into the visual aspects of a film, taking into account not only special effects, but also typefaces, opening credits and text-image compositions. A further development of existing subtitling guidelines would not only express respect towards the original film version but also the translator’s work. 2018-09-04 23:55 2020-03-10 03:00:38 2020-04-01T12:31:58Z 2020-04-01T12:31:58Z 2018-03-02 book 1000384 OCN: 1051775233 2364-8899 9783961100651 http://library.oapen.org/handle/20.500.12657/29550 eng Translation and Multilingual Natural Language Processing application/pdf n/a 1000384.pdf Language Science Press 10.5281/zenodo.1180721 103526 10.5281/zenodo.1180721 0bad921f-3055-43b9-a9f1-ea5b2d949173 b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9783961100651 Knowledge Unlatched (KU) 103526 Language Science Press 2018 - 2020 Knowledge Unlatched open access
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Historically a dubbing country, Germany is not well-known for subtitled productions. But while dubbing is predominant in Germany, more and more German viewers prefer original and subtitled versions of their favourite shows and films. Conventional subtitling, however, can be seen as a strong intrusion into the original image that can not only disrupt but also destroy the director’s intended shot composition and focus points. Long eye movements between focus points and subtitles decrease the viewer’s information intake, and especially German audiences, who are often not used to subtitles, seem to prefer to wait for the next subtitle instead of looking back up again. Furthermore, not only the placement, but also the overall design of conventional subtitles can disturb the image composition – for instance titles with a weak contrast, inappropriate typeface or irritating colour system.
So should it not, despite the translation process, be possible to preserve both image and sound as far as possible? Especially given today’s numerous artistic and technical possibilities and the huge amount of work that goes into the visual aspects of a film, taking into account not only special effects, but also typefaces, opening credits and text-image compositions. A further development of existing subtitling guidelines would not only express respect towards the original film version but also the translator’s work.
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