History of subtitles Essay Example

History of subtitles Essay Example History of subtitles Essay History of subtitles Essay Chapter 2. Subtitling and nicknaming Subtitles Captions displayed at the underside of a film or telecasting screen that translate or transcribe the duologue or narrative. ( Ex-husband:movies in foreign linguistic communications with English captions )( hypertext transfer protocol: //www.oxforddictionaries.com ) Harmonizing to Cintas and Remael, subtitling is defined as a interlingual rendition pattern dwelling of showing a written text ( by and large on the lower portion of the screen ; Nipponese – vertically, on the right-hand side of the screen ) that endeavors to tell the duologue of the talkers, and all the dianoetic elements that appear in the image ( inserts, letters, letterings, etc ) and the information contained in the soundtrack ( vocals, voices off ) . Video games are besides covered by the field of captions, and as in the instance of movies, or Television plans, they can be intralingual ( made in the same linguistic communication as the sound ) or interlingual ( the written text is in a different linguistic communication than the sound ) History of captions The phantom of the captions is tightly connected with the birth and development of the film. The transition from soundless movies, to movies in which the duologue could be heard by the witnesss, sits at the beginning of the audio-visual interlingual renditions ( captions, nicknaming, etc. ) In the age of the soundless film, the image and the written ocular AIDSs were the lone beginnings of information for the witnesss. The action, the gestures, the dumb show of the histrions was supplemented by slides inserted between two sequences. These slides were called inter-titles , because they were denoting the rubrics of the scenes or of the sequences. As for interpreting these inter-titles, the procedure was rather simple: they would replace the original inter-title with the translated one, or, they would engage a transcriber to construe them at the same time. Then, as clip went by, and engineering advanced, inter-titles were bit by bit replaced by captions. When films were added sound, the witnesss could hear the duologues, therefore the inter-titles disappeared and new troubles arose. One of the jobs was the followers: after the phantom of sound in movies, in order to get the better of the linguistic communication job, one could do assorted versions for assorted linguistic communications, or they could utilize the dubbing procedure, procedure which was largely considered as excessively bing and complicated. That is why the captions easy became more popular ; they were well cheaper than nicknaming. Another job was/is the bilingual audience. The transcriber had, and still has, to maintain in head that some of the witnesss sing a certain movie or telecasting plan might be bilingual, significance that he can easy knock and nail the possible mistakes in the interlingual rendition and to a certain sum, even damage one’s repute. Basic rules of subtitling There are certain regulations that must be followed when doing subtitling, and of class, there are several jobs that must be overcome in order to do a proper caption. In the undermentioned lines I intend to nail several guidelines, or better said, rules, that must be taken into history when working with captions. First of all, all that can be seen on the screen needs to be translated. That includes assorted names, locations, rubrics, hoardings, etc. second of all, you should non interpret literally. As a transcriber and/or subtitler, you foremost have to follow and calculate out the secret plan so you can do the interlingual rendition every bit accurate as possible. You do non hold to interpret every word because the significance is more of import than the existent words that were spoken. Besides, you have a limited figure of characters available, so you must seek to give an accurate interlingual rendition utilizing merely a limited sum of words and in the same clip cover the significance of the duologue. A trouble in translating/subtitling is interpreting gags, wordplaies or word dramas. In these instances a transcriber needs to seek to happen an equivalent or to accommodate the certain gag or word drama so it would do sense in the Target Language and be every bit near as possible to the significance from the Source Language. Of class, the two linguistic communications may hold similar gags or wordplaies so in these instances the transcribers work is midway done. As in every interlingual rendition, captions are required to hold a high degree of consistence. That means that you must maintain the same registry, or the same measurement units etc. Furthermore, every linguistic communication has different punctuation regulations, so you must thoroughly research each language’s regulations before get downing the interlingual rendition. A subtitler must besides take into consideration the use of italics. They normally must be used for background noises, such as the Television or the wireless, for vocal rubrics and wordss, book rubrics, or words from another linguistic communication. And last but non least, a interlingual rendition is ever needed when we talk about different measuring systems, chiefly the imperial and the metric systems. One must make up ones mind when it is perfectly necessary to render the Numberss from imperial to metric system ( or frailty versa ) and when they can be left as they are in the original. Categorization of captions Due to its close relationship with engineering, the categorization of the subtitling procedure is non a fixed one, but instead an always-changing one due to the velocity rate at which engineering develops. Cintas A ; Remael ( 13-25 ) grouped captions harmonizing to 5 standards: Linguistic Time available for readying Technical Methods of projection Distribution format Linguistic parametric quantities Intralingual captions: this sort of subtitling involves a displacement from unwritten to written but corsets within the same linguistic communication. This sort of captions is made foremost of all for the deaf and the hard-of-hearing and it implies change overing the spoken duologues into written address. A alteration in colour is normally used to stipulate who is talking at the minute, or to stress a certain portion of the duologue ( words, the sarcasm of a statement, hand clappings, laughter, a knock on the door, etc ) The intralingual captions are besides made for linguistic communication acquisition intents. Reading on the screen the duologue of the characters helps the pupil to verify if they have understood decently what was spoken. For karaoke consequence For idioms of the same linguistic communication in order to get the better of the troubles posed by different speech patterns which are difficult to understand, or the spectator is non accustomed to ( e.g. The movieTrainspottinghas a strong Scots speech pattern, therefore it needs intralingual interlingual rendition ) For notices and proclamations: seen on the screen in public countries, in Stationss, airdromes, or the broadcast of intelligence so as to offer information to the viewing audiences without upseting them. Interlingual captions. They besides imply a alteration from unwritten to written, but in this state of affairs, the displacement is made besides from one linguistic communication into another For listeners For the deaf and hard-of-hearing Foreign linguistic communication acquisition intents – it is used as a didactic tool, assisting the pupils to better their lingual accomplishments, and their cognition sing the civilization and the linguistic communication of other states. Bilingual captions – this sort of subtitling is used in countries in which two linguistic communications are spoken or in international movie festivals. Time available for readying Pre-prepared captions are done before the program’s release and may be done in complete sentences or in decreased 1s ( merely what is considered relevant will be translated ) Live or real-time captions – this means that there is no clip to fix in front ( normally made by a group of professionals: an translator and a amanuensis ) . They can besides be made by a machine ( speech acknowledgment package ) but is susceptible to spelling errors and it is deemed impractical in most of the linguistic communications. Technical parametric quantities Open captions – which are projected onto the image and can non be removed or turned off Closed captions – which can be added or removed at will and can be opened with the appropriate plan ( decipherer ) Methods of projecting captions Mechanical and thermic subtitling Photochemical subtitling Optical subtitling Laser subtitling Electronic subtitling Distribution format Film Television Video, VHS Videodisk Internet In the field of captions we besides have supertitles, intertitles and fansubs. The supertitles are regarded as an equivalent of captions in the film and are called captions by many professionals. They are used in interpreting Sung words, if they are sung in a different linguistic communication. Supertitles are chiefly used in unrecorded public presentations such as the opera, conferences, in the theater, at concerts, etc. Intertitles are known to be the beginning of captions and are tightly connected with the birth of the film, as I have stated above. They were used in soundless movies and were outdated with the phantom of soundtrack. Fansubs are rather a recent signifier of subtitling and is made by fans, for fans. They are done for free and posted on the cyberspace, available for anyone, although their rightness is rather questionable, as they are non made by professionals. Dubing procedure Dub/Dubbing: To alter an bing tape or recording by adding new sound to it. [ Normally passive ] CINEMA: to replace the soundtrack of a film with one in a different linguistic communication, so that the histrions seem to be talking the other linguistic communication. ( Ex: It was an English film dubbed into German ) To do a transcript of a tape or recording ( hypertext transfer protocol: //www.macmillandictionary.com ) Dubbing is a postproduction technique which consists in replacing the original duologue of a movie or series with an orally translated version, synchronized with the scenes of the movie. Most often, the term refers to the replacing of the on-screen actors’ voices with the voices of the translators, which frequently speak another linguistic communication ( although there are instances in which, because of assorted grounds, the on-screen voices are dubbed in the same linguistic communication ) . The dubbing technique is besides used in musicals, in instance the on-screen histrion has an unsatisfactory voice, but chiefly, nicknaming is used for permuting movies from one linguistic communication into another. Dubbing is used on a big graduated table in film, telecasting, picture games, lifes and anime series that are distributed in foreign states. As everything, the procedure of dubbing has both advantages and disadvantages. One of those advantages would be that it keeps the spectator focused on the image without any intervention. Another advantage would be that it can be highly utile for kids who have yet to larn how to read, or for those who face troubles in making it. On the other manus, the first disadvantage that this procedure poses is the cost effectivity. The procedure of dubbing is manner more dearly-won than the subtitling one is. Another disadvantage is that the originality of the film/series is partly lost. Following, on the list of disadvantages the fact that if two different linguistic communications are spoken in the movie, and they are dubbed, they might make a certain grade of confusion among the viewing audiences, particularly if one of those linguistic communications is the native linguistic communication of those viewing audiences. Technology before and after the cyberspace Life was rather different before the phantom of the cyberspace. Thingss were non that easy so. You had to make everything in individual. For illustration, in order to direct mail, you had to compose a missive and travel personally to the Post Office to direct it, you really knew all your friends, they were non merely practical individuals, people that you have neer met in individual. There was no online banking, so if you wanted to direct money to person you had to travel to the bank and do so. Besides, research was made at libraries, from books, non with the aid of Google, Wikipedia, Yahoo and everything resembling these sites. When you wanted to compare two things, you had to really travel to the shop and compare them, non merely look into them online. Games were non on-line, or on the computing machine, you had to travel out and play or take hikings. If you wanted to see a film at the film, you had to travel to the film and see what films were on. As for human interaction, it was more physical, if you wanted to see person, you obviously visited them and if you wanted to speak to more than one friend at one time you had to be in the same room or topographic point. If you wanted to purchase music, once more, you had to travel to the shop as you did non hold iTunes or similar applications ; the same thing goes with the films. If you wanted to see a film at place, you either watched Television, or rented a film from the shop and watched it on a VCR. If you wanted to happen a telephone figure you had to seek it in a phone book, and to maintain in touch with the current intelligence you had to watch Television, or to wait for the newspaper. And speech production of the newspaper, if you wanted to purchase or sell something you had to put an ad in it, and hope for person to detect it and reach you. Nowadays, we use the cyberspace for about anything ; paying our measures, reassigning money from the safety of our places, reaching friends and relations, run intoing new people, purchasing music, films or any point we are in demand of, and selling points we do non necessitate any longer, we can maintain in touch with the universe intelligence more easy, we can make research more easy, as there are dozenss of information available now, etc. From the technological point of position, life is now a batch much easier since the cyberspace appeared even though it has advantages and disadvantages, as does everything. There is no such thing as merely evil or merely good. Everything has two sides. Life is easier with the cyberspace for the grounds I have stated above, the lone downside being that the usage of the cyberspace has diminished the face-to-face human interaction and physical attempt. That being said, with the development of engineering, the one time complicated procedure of subtitling was majorly simplified through the use of more and more evolved plans and package, doing a subtitler’s occupation manner easier.

Battle of Lutzen in the Thirty Years War

Battle of Lutzen in the Thirty Years' War Battle of Lutzen - Conflict: The Battle of Lutzen was fought during the Thirty Years War (1618-1648). Armies Commanders: Protestants Gustavus AdolphusBernhard of Saxe-WeimarDodo Knyphausen12,800 infantry, 6,200 cavalry, 60 guns Catholics Albrecht von WallensteinGottfried zu PappenheimHeinrich Holck13,000 infantry, 9,000 cavalry, 24 guns Battle of Lutzen - Date: The armies clashed at Lutzen on November 16, 1632. Battle of Lutzen - Background: With the early onset of winter weather in November 1632, Catholic commander Albrecht von Wallenstein elected to move towards Leipzeig believing that the campaign season had concluded and that further operations would not be possible. Splitting his army, he sent the corps of General Gottfried zu Pappenheim on ahead while he marched with the main army. Not to be discouraged by the weather, King Gustavus Adolphus of Sweden decided to strike a decisive blow with his Protestant army near a stream known as the Rippach where he believed von Wallensteins force was encamped. Battle of Lutzen - Moving to Battle: Departing camp early on the morning of November 15, Gustavus Adolphus army approached the Rippach and encountered a small force left behind by von Wallenstein. Though this detachment was easily overpowered, it delayed the Protestant army by a few hours. Alerted to the enemys approach, von Wallenstein issued recall orders to Pappenheim and assumed a defensive position along the Lutzen-Leipzig road. Anchoring his right flank on a hill with the bulk of his artillery, his men quickly entrenched. Due to the delay, Gustavus Adolphus army was behind schedule and encamped a few miles away. Battle of Lutzen - Fighting Begins: On the morning of November 16, the Protestant troops advanced to a position east of Lutzen and formed for battle. Due to heavy morning fog, their deployment was not completed until around 11:00 AM. Assessing the Catholic position, Gustavus Adolphus ordered his cavalry to assault von Wallensteins open left flank, while the Swedish infantry attacked the enemys center and right. Surging forward, the Protestant cavalry quickly gained the upper hand, with Colonel Torsten Stalhandskes Finnish Hakkapeliitta cavalry playing a decisive role. Battle of Lutzen - A Costly Victory: As the Protestant cavalry was about to turn the Catholic flank, Pappenheim arrived on the field and charged into the fight with 2,000-3,000 horsemen ending the imminent threat. Riding forward, Pappenheim was struck by a small cannonball and mortally wounded. Fighting continued in this area as both commanders fed reserves into the fight. Around 1:00 PM, Gustavus Adolphus led a charge into the fray. Becoming separated in the smoke of battle, he was struck down and killed. His fate remained unknown until his rider-less horse was seen running between the lines. This sight halted the Swedish advance and led to a rapid search of the field which located the kings body. Placed in an artillery cart, it was secretly taken from the field lest the army become disheartened by their leaders death. In the center, the Swedish infantry assaulted von Wallensteins entrenched position with disastrous results. Repulsed on all fronts, their broken formations began streaming back with the situation made worse by rumors of the kings death. Reaching their original position, they were calmed by the actions of the royal preacher, Jakob Fabricius, and the presence of Generalmajor Dodo Knyphausens reserves. As the men rallied, Bernhard of Saxe-Weimar, Gustavus Adolphus second-in-command, took over leadership of the army. Though Bernhard initially wished to keep the kings death a secret, news of his fate quickly spread through the ranks. Rather than causing to the army to collapse as Bernhard feared, the kings death galvanized the men and yells of They have killed the King! Avenge the King! swept through the ranks. With their lines re-formed, the Swedish infantry swept forward and again assaulted von Wallensteins trenches. In a bitter fight, they succeeded in capturing the hill and the Catholic artillery. With his situation rapidly deteriorating, von Wallenstein began retreating. Around 6:00 PM, Pappenheims infantry (3,000-4,000 men) arrived on the field. Ignoring their requests to attack, von Wallenstein used this force to screen his retreat towards Leipzig. Battle of Lutzen - Aftermath: The fighting at Lutzen cost the Protestants around 5,000 killed and wounded, while Catholic losses were approximately 6,000. While the battle was a victory for the Protestants and ended the Catholic threat to Saxony, it cost them their most able and unifying commander in Gustavus Adolphus. With the kings death, the Protestant war effort in Germany began to lose focus and the fighting continued another sixteen years until the Peace of Westphalia. Selected Sources History of War: Battle of LutzenGustavus Adolphus Sweden