
Contents
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25.1 Historical overview 25.1 Historical overview
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25.1.1 Intertitles in silent cinema; the advent of sound 25.1.1 Intertitles in silent cinema; the advent of sound
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25.1.2 Recent developments 25.1.2 Recent developments
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25.1.2.1 Subtitling for the deaf and hard of hearing 25.1.2.1 Subtitling for the deaf and hard of hearing
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25.1.2.2 Transnational cinema 25.1.2.2 Transnational cinema
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25.2 Technical aspects 25.2 Technical aspects
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25.2.1 Screenspace; speed of dialogue; transfer to written language of a full speech act 25.2.1 Screenspace; speed of dialogue; transfer to written language of a full speech act
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25.2.2 Subtitling vs. dubbing (plus interpreting; simultaneous translation) 25.2.2 Subtitling vs. dubbing (plus interpreting; simultaneous translation)
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25.3 Documentary, and the ethics of subtitling 25.3 Documentary, and the ethics of subtitling
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25.4 The narrative stakes of subtitling decisions 25.4 The narrative stakes of subtitling decisions
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25.4.1 Titles 25.4.1 Titles
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25.4.2 Cultural specificity plus pun 25.4.2 Cultural specificity plus pun
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25.4.3 Subtitling when there are two channels of information 25.4.3 Subtitling when there are two channels of information
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25.4.4 The interpretative power of subtitling 25.4.4 The interpretative power of subtitling
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Further reading and relevant resources Further reading and relevant resources
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25 Spoken Word to Written Text: Subtitling
Get accessRoger Hillman is an Associate Professor teaching German Studies and Film Studies (Schools of Language Studies and Cultural Inquiry) at the Australian National University, Canberra. Research interests include Turkish-German cinema and literature; European film and history; film and music. Recent publications include Unsettling Scores: German Film, Music, Ideology (Indiana University Press, 2005); (co-editor) Reading Images, Viewing Texts: Crossdisciplinary Perspectives (Lang, 2006); (co-author) Transkulturalitiät: Türkisch-deutsche Konstellationen in Literatur und Film (Münster, 2007).
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Published:18 September 2012
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Abstract
This article describes the history of the development of subtitling, from the era of silent movies to its recent development. Subtitles mainly convey dialogue. Not completely congruent with dialogue, subtitles can also apply to other forms of information within the frame e.g. graffiti or else lyrics present on the soundtrack. Among recent developments, subtitling (including intralingual subtitling) for the deaf and hearing impaired has generated considerable momentum as an ethical issue. Transnational tendencies have created new issues for subtitling and in particular for dubbing. The technical aspects of subtitling include screenspace, speed of dialogue; transfer to written language of a full speech act, and dubbing. Outside one's linguistic comfort zones, everyone is at the mercy of subtitles. Their position of power is that of a simultaneous interpreter, their technical structures more confining, and their equal responsibility towards both cultures.
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