Masaryk University Faculty of Arts

Department of English and American Studies

English-language Translation

Taťána Marešová

Towards Norms in Subtitling: Nonverbal Information Encoded in Subtitles Master‟s Diploma Thesis

Supervisor: Mgr. Renata Kamenická, Ph.D.

2013

I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography.

…………………………………………….. Author‟s signature

Table of Contents

List of Abbreviations ...... 6 1 Introduction ...... 7 2 Focusing on subtitling ...... 10 2.1 Semiotics ...... 10 2.2 Text and Audiovisual text from semiotic perspective ...... 11 2.3 Translation from semiotic perspective ...... 12 2.4 Audiovisual translation from semiotic perspective ...... 14 2.5 Subtitling from the semiotic perspective ...... 14 2.6 Subtitling method ...... 15 2.7 Time and space constraints in subtitling ...... 17 2.8 Problems arising in subtitling ...... 18 2.8.1 Intersemiotic shift ...... 20 2.9 Redundant information and anchoring information ...... 22 2.9.1 Situational and linguistic redundancy, anchoring information ...... 22 2.10 Means for message transfer in subtitling ...... 24 2.11 Norms ...... 26 2.12 Norms in general ...... 27 2.13 Taxonomy ...... 29 3 Method ...... 34 3.1 Possible means of nonverbal-meaning production in audiovisual text ...... 35 3.2 The method of research ...... 37 3.2.1 Professional norms ...... 38 3.2.2 Expectancy norms ...... 39 4 Material ...... 43 4.1 Research material specifics ...... 43 4.2 Britcom ...... 44 5 Practical application ...... 47 5.1 Czech television ...... 47 5.2 Genre suitable for the present research ...... 50 6 Research results ...... 52 6.1 Repeated nonverbal-meaning-productive translation solutions occurring regularly in the researched material ...... 53 6.1.1 Dialogues ...... 54

6.1.2 Acoustic nonverbal channel ...... 61 6.1.3 Visual nonverbal channel ...... 68 6.1.4 Visual verbal channel (inserts, intertitles, end credits, displays) ...... 69 6.2 Expectancy norms investigation results ...... 74 6.2.1 Accountability and Communication ...... 75 6.2.2 Relation norms ...... 79 6.2.2.1 Acoustic verbal channel ...... 79 6.2.2.2 Acoustic nonverbal channel ...... 83 6.2.2.3 Visual nonverbal channel ...... 92 6.2.2.4 Visual verbal channel ...... 93 7 Conclusion ...... 97 8 Bibliography ...... 100 9 Abstract ...... 102 10 Anotace ...... 103 11 Appendix ...... 104

List of Abbreviations

AV audiovisual

AVT audiovisual translation

BB Black Books

CP communication principles

CT Czech Television

ITCK The IT Crowd (Kratochvíl)

ITCZ The IT Crowd (Ţídek)

O The Office

ST source text

TV television

1 Introduction

Studies in audiovisual translation have introduced another point of view on the nature of the translated material in terms of its semiotic composition which brings about difficulties in subtitling. It is possible to find manifold recommendations or instructions dedicated to both prospective and professional subtitlers. The suggested solutions to problems brought by subtitling mostly aim at the improvement of translator‟s performance.

Nevertheless, the issue of quality assessment in subtitling is a rather complex issue that can be fully described and understood within the context of norm theory. It is therefore the aim of this thesis to introduce theoretically the whole range of translation norms which, in fact, represent the evaluative criteria for quality assessment in subtitling with the focus on the description of norms governing the translation of audiovisual-text phenomena that seem to be out of the primary focus of the studies in subtitling. In semiotic terms, these are phenomena included in four semiotic channels of audiovisual text which tend to be incorporated into one semiotic channel of subtitles despite their possible redundancy (linguistic or situational). The present thesis will then approve or disapprove the central hypothesis according to which the presence of the phenomena inherent to the above-presented semiotic channels directly influences the resulting quality of subtitles. This embraces the investigation of professional

7 and expectancy norms. The degree of conformity to those norms determines the degree of professionalism in translator‟s performance.

The present research hence defines the means for encoding nonverbal information into subtitles, as well as it identifies the situations in which it is necessary to include a portion of nonverbal meaning in order to achieve a quality translation product. British situation comedy, the material chosen for the present research, involves a high concentration of the phenomena on which the research focuses. These phenomena are mostly employed in order to create a humorous effect which means that they also often carry additional meaning.

The research sample used for the investigation into professional subtitling norms consists of five episodes from three British situation comedies translated by four different teams (Black Books, The Office, and The IT Crowd). All the investigated material was translated and broadcasted within the Czech Television.

The audience expectations were investigated via general questionnaire with open questions, and through practical questionnaire that included modified subtitles of the examined audiovisual material.

The body of the present thesis is structured in the following way: First, it includes three introductory (rather theoretical) chapters focusing on the norm theory (first chapter), the theory of audiovisual translation in semiotic context

(second chapter), and the description of the investigated material and the environment in which the translation took place (third chapter). Second, the practical section of the work (fourth chapter) includes a sub-chapter describing

8 regularities in translational behaviour that were identified within and across the individual team‟s translations, and it also includes a sub-chapter summarizing the results of the research into audience expectations. Moreover, the second subchapter summarizes and links the results of the present research on the background of the theory outlined within the theoretical chapters. The last chapter

(conclusion) summarizes the research-results and includes the hypothesis‟ assessment.

2 Focusing on subtitling

The topic of the present thesis, nonverbal information encoded in subtitles, needs to be addressed in theoretical terms first. Subsequently, the theoretical preliminaries are to be applied to the practice, and the present thesis will present the research results that were interpreted from the perspective of the respective theoretical concepts.

The very first chapter of the present thesis must be therefore, without any doubt, dedicated to subtitling, as subtitling is in the central focus of the present thesis. In the first place, it will be necessary to make a short introduction to the theory of meaning-creation (semiotics in other words), then the present chapter proceeds to describing text, and audiovisual text in particular, further, it continues with subchapters dedicated to subtitling itself, its semiotic structure, restricted nature, and problems that stem from this restricted nature. Last but not least, the present chapter presents the examined phenomena (defined on the bases of the theoretical implications of the audiovisual translation type) within the theoretical framework of audiovisual translation studies context.

2.1 Semiotics

As the present thesis attempts to define the ways in which it is possible to express nonverbal meaning in subtitles, it is necessary to define the field of study embracing such a topic: Semiotics. Online dictionaries define the notion of

10 semiotics as follows: Oxford dictionary defines the notion as: “the study of signs and symbols and their use or interpretation” 1, Merriam-Websterdictionary as: “a general philosophical theory of signs and symbols that deals especially with their function in both artificially constructed and natural languages and comprises syntactics, semantics, and pragmatics” 2. After this brief introduction, it is possible to proceed to the theoretical definition of the material that was investigated for the purposes of the present thesis – text.

2.2 Text and Audiovisual text from semiotic perspective

It is clear that watching TV is not the same type of reading as reading a book.

Hence the traditional use of the concept of text is very far from what could describe the nature of audiovisual material. The material is not only a book or other written or printed work, regarded in terms of its content rather than its physical form3. The audiovisual material combines four semiotic channels that form the text of such material. These channels are: image, writing, sound effect, and speech. There must be a new definition of text presented, reflecting its typical features in semiotic terms. It is clear from its very denomination that any audiovisual material does not work exclusively with one semiotic channel (as e.g. writing does). As there are four semiotic channels involved in the creation of meaning of audiovisual material (aural and visual, verbal and nonverbal), audiovisual text is classified as a polysemiotic material, a text of

1 http://www.oxforddictionaries.com/definition/english/semiotics

11 polysemiotic nature. On those bases, Gottlieb redefines the notion of text as follows: The notion of text must embrace “verbal and nonverbal acts of communication”, therefore text can be defined as “any combination of sensory signs carrying communicative intention”.

Another theoretician, Stavroula Sokoli, calls the channels through which the audiovisual material communicates its message visual nonverbal, visual verbal, acoustic nonverbal and acoustic verbal. This terminology (adopted in this thesis) precisely describes the character of Gottlieb‟s channels of communication.

Sokoli claims that the “AV (audiovisual) text is defined by the medium: It appears on screen and it includes constantly moving images”. For Federic

Chaume, “the audiovisual text is a semiotic construct... (including) several signifying codes... (operating) simultaneously in the production of meaning.” In other words, the audiovisual text must be understood as the succession of the individual pieces of audiovisual information that develop in time towards the message of the audiovisual text.

2.3 Translation from semiotic perspective

In order to define subtitling, translation practice that is to be investigated in this thesis, it is necessary to define the notion of translation first. There are more points of view from which the individual theoreticians approach the definition of translation. Toury, for example, claims that there are three conditions to be met

2 http://www.merriam-webster.com/dictionary/semiotics

12 when speaking about translation. There has to be a source text, the target text must be derived from this source text via transfer process, and there must be an intertextual relationship between those two. Chesterman defines translation as everything that is perceived as translation in a given culture (i.e. the target-culture norms define what translation is and what is not). Anyway, it is more convenient

(for the purposes of this thesis) to approach translation in semiotic terms.

According to Gottlieb, translation is “any process or product hereof (language and text) , in which a combination of sensory signs carrying communicative intention is replaced by another combination reflecting, or inspired by, the original entity.”(GOTTLIEB/3)

Gottlieb created a semiotically based taxonomy of 30 different types of translation based on the categorization of the following phenomena. According to the difference/equality of sign systems used in the source text and target text, he distinguishes intrasemiotic translation and intersemiotic translation. According to the changes in the semiotic composition of a text, he speaks about isosemiotic, diasemiotic, supersemiotic, and hyposemiotic translation.

Another determining factor is the degree of freedom given to the translator

(inspirational or conventionalized translation). The last phenomenon that contributes to Gottlieb‟s taxonomy is the presence or absence of verbal or nonverbal material in source text and in target text (translation that remains verbal x introduces nonverbal elements x introduces verbal elements x remains nonverbal).

3 http://www.oxforddictionaries.com/definition/english/text 13

2.4 Audiovisual translation from semiotic perspective

Semiotic perspective is also suitable for describing and defining audiovisual translation (as one of the above-mentioned translation types). Now, it is possible to proceed to the definition of the audiovisual translation on the bases of what has been pointed out above.

Gottlieb calls audiovisual translation screen translation. He defines screen translation simply as “the translation of transient polysemiotic texts presented on screen to mass audiences”. He recognizes five types of screen translation: Dubbing, subtitling, voice-over, subtitling for the deaf and hard of hearing, and the audio description for the blind and visually impaired. Another theoretician that dedicates his efforts to the study within this category of translation studies is Díaz-Cintas. He mentions that the very term (audiovisual translation) includes a semiotic dimension (and this is why it is necessary to approach it in semiotic terms), and it implies the multiplicity of communication channels. Therefore he formulates his definition of AVT as follows: “Audiovisual translation involves language transfer from source language to target language, and interaction with sound and image.”

2.5 Subtitling from the semiotic perspective

As stated above, subtitling is one of the types of audiovisual translation. In, Díaz-

Cintas, it is defined as “a translation practice that consists of presenting a written text, generally on the lower part of the screen, that endeavours

14 to recount the original dialogue ..., as well as the discursive element appearing in the image ... and on the soundtrack.” Subtitles represent an additional semiotic channel that appears on the screen together with the original audiovisual material. Gottlieb describes subtitling as “Prepared communication using written language acting as additive and synchronous semiotic channel as part of a transient and polysemiotic text”.

According to the above-presented criteria for defining the type of translation, subtitling is intersemiotic – i.e. source text and target text are semiotically non- equivalent (involves a shift from source language to target language, and a shift from speech to writing), supersemiotic – i.e. target text has more semiotic channels than source text (subtitles are an additional channel to the four channels of source text), conventionalized – i.e. there is a direct link between source and target text (synchronous n successive rendering of info), and, finally, it introduces non-verbal elements.

2.6 Subtitling method

In order to avoid possible misinterpretations, it must be stated here that subtitling is rarely a solitary activity. There can be more people responsible for different properties of subtitles at the individual stages of the subtitling process. As it will be discussed further in the chapter, the professional subtitling usually engages more people who are in charge of different stages of the process in order to maintain the highest attainable quality. The stages in subtitling process outlined below are

15 to be further addressed within the chapter dedicated to the description of the material used for the research into professional norms.

The following lines should provide the information about what the stages are and who the people involved in the translation are. The latter is important because those people bring their own standards for a good translation into every stage of subtitling. The resulting product thus reflects norms as they are perceived, and agreed upon, by different people.

First, it is necessary to have a material to translate, and a translator (a company) to translate it. The translator is usually provided with the original material and a dialogue list, and he is also provided with all the special demands on translation, what to translate and what not to translate) from the translation commissioner (the one who delivers the material to be translated). The translator is given a working copy of the material. This should include a recorded time code so that the translator himself can do the spotting (cueing, timing) of created target text. As soon as the translator is provided with the abovementioned material, he can proceed with the translation by translating polysemiotic text (with all that such a translation comprises, e.g. spotting, songs, visual representations of texts, dialogue structuring etc.) from source to target language. Once the translation is finished, the resulting text is edited or revised (e.g. the target text is divided into individual subtitles, the subtitles are spotted and their display times are corrected, the length of the text of the individual subtitles is adjusted, the text of subtitles is proofread. The edited and revised version of the target language material is then

16 screened to the translation commissioner (or his representatives) whose comments are taken into account and included into the final version of the subtitles.

2.7 Time and space constraints in subtitling

By definition, subtitles are the only semiotic channel of the target text that is a result of translation process. The rest of the semiotic channels remain unchanged

(when comparing the target text to the source text). As the purpose of translation is to replace one combination of sensory signs that carry meaning by

[an]other combination that reflect[s]/is inspired by the source text

(GOTTLIEB/3), and as the subtitles function as a complementary semiotic channel that is presented onscreen together with the original, they must enable the readability of both source and target text. In other words, the semiotic composition and the transient nature of source text (audiovisual material) are to be reflected in the target text, i.e. in the subtitles. To meet this basic requirement of subtitling, subtitles have to be determined. This determination is encoded into particular norms. The existence of these norms explains the presence of spatial and temporal constraints in subtitling, which is to be described below.

Temporal limitation of subtitling is connected with the cognitive processing speed of a target text readership. It is necessary to adjust the display time to the needs of the particular audience. Moreover, subtitle can appear on screen only for a limited time as it has to cover the dynamism of the original audiovisual text. In other words, the display time is optimized so as it allows

17 audience to read what is written in the subtitle, but also in such a way that does not disrupt the dynamism of the source text (an appropriate spotting/cueing).

Spatial limitation is also twofold, and it is derived from the fact outlined above (i.e. subtitles are an additional channel appearing onscreen together with source text). The subtitles can take up only limited space as they must enable the viewer to read the original audiovisual text (enable cognitive processing of source text and subtitles). On the other hand, they must have such dimensions which make them technically readable.

2.8 Problems arising in subtitling

The problems arising in subtitling have a common denominator: dynamic and polysemiotic nature of the source text. There are two types of problems that can arise. First one stem from two processes necessarily inherent to subtitling as an interlingual and an intersemiotic translation type – interlingual4 and intersemiotic5 shift. The second type of problem is caused by the continuous nature of the audiovisual material. In other words, with respect to the abovementioned subtitling constraints, subtitles must embrace information rendered by four semiotic channels, under restricted conditions, while translating from source to target language.

4 i.e. shift from source to target language

5 i.e. shift from audiovisual mode to writing.

The degree to which the subtitles reflect the semiotic system of the original text varies and it is determined by the prevailing relation norms. If subtitles were not limited in time and space, they could include every piece of the audiovisual information as e.g. script can do. Anyway, not every piece of information requires translation. Subtitles appear onscreen together with the source text and therefore do not have to necessarily include features that are derivable directly from one of the semiotic channels of the source text (features that do not require to be translated as they are understandable to target text readers). Including such information into the text of subtitle could be redundant (which is not desirable with regards to spatial and temporal constraints) as the information could be derived directly from the four channels of the source text. Apart from what is covered by

Grice‟s CP‟s (maxims of Quality, Quantity, Manner, and Relevance), this also embraces the abovementioned temporal and spatial constraints of subtitling.

Accordingly, if the subtitles did not match the information that is communicated via all four semiotic channels of source text, they would not be successful as the audience would not be able to process cognitively the resulting target text. In other words, if the subtitles were not synchronized with the original material, the product of translation would be cognitively unprocessable. It is therefore necessary to enhance the textual readability of the target text by accurate timing of the subtitles. The target text should then reflect and “preserve the sequence of speech acts […] in such a way as to relay the dynamics of communication” (Mason,1989:15) “ (SUBBING4DVD INDUSTRY/23). When

19 attaining the desired result, the most important criterion is readability. Apart from the accurate timing, the textual readability can be further enhanced by the organization of the text into lines (line breaks etc.)

The imperative of textual and linguistic readability (that must be achieved under restricted conditions) hence causes several problems while subtitling:

“Subtitles change film from an audio-visual medium to a more literary medium which requires a greater level of attention from the viewer than a dubbed film.”(MERA/79)). . In other words, the “time spent reading subtitles is time spent away from the screen action and this is clearly a problem where there is both a great deal of visual information as well as dialogue.”(MERA/79)

2.8.1 Intersemiotic shift

Due to the semiotic composition of target text, subtitling has to shift speech into writing which causes that some of the typical features of speech inevitably disappear or have to be reflected in the subtitles in some way. As already stated above, the subtitles embrace all four semiotic channels while communicating the message in writing. This intersemiotic shift causes problems as there is more information than can be fitted into subtitle that is limited in space and time.

Subtitling necessarily employs a shift from audiovisual mode to writing. “This shift of mode creates a number of processing and cohesion issues that make it

20 difficult to maintain the filmic illusion in the target product.”(SUBBING4DVD INDUSTRY/22)

With respect to the primary limitations, the subtitle must embrace information rendered by acoustic verbal and nonverbal channels of communication, as well as by visual verbal and nonverbal channels under restricted conditions. If subtitles were not limited in time and space, they could include every piece of the audiovisual information as e.g. script can do. Anyway, not all information requires translation because it is either shared by source and target audiences, or it is conveyed by more semiotic channels at once. Thus the space and time limitations of textual nature have to do with encoding as much information rendered by all semiotic channels of audiovisual material into subtitle as necessary for the smooth cognitive processing of the target text (i.e. AV material plus subtitles) in other words to enhance its textual readability (in the sense of the preceding paragraph).

Due to the problematic situations that can occur in subtitling, the translators may need to adopt reduction strategy. The decisions about what information include and how to do that are a matter of decisions that must be done during the subtitling process. There are theoretical concepts and theories about such decisions and those are to be described in the following part of the present chapter.

2.9 Redundant information and anchoring information

As the audiovisual text uses four semiotic channels that together communicate the meaning, it is sometimes unnecessary to include all the information contained in all the four semiotic channels into subtitles (i.e. the fifth semiotic channel of the target text). A huge part of the source text remains comprehensible and accessible to the target audience (readers), hence it is not necessary to include the information derivable directly from the four channels of the source text into the written text of subtitles. In other words, a large portion of information contained in the source text, in case that this information was included into subtitles, would be redundant. Accordingly, due to temporal and spatial limitation mentioned above, it is necessary to be as brief but accurate as possible. Subtitles must therefore reduce the amount of source-text information (of different nature or kind, be it e.g. stylistic or syntactic structure of the source text, the omission of information etc.). The concept of redundancy and its theoretical implication to the present thesis (i.e. defining the phenomena that were expected to occur in subtitles) are to be described within the following paragraphs.

2.9.1 Situational and linguistic redundancy, anchoring

information

There are two different types of textual redundancy: situational and linguistic.

Linguistic redundancy includes features characteristic of speech. These features are (to some degree) derivable from the original audiovisual material (e.g.

22 intonation, rhythm of speech, gestures etc.). These are the elements of segmental and non-segmental phonology, and extralinguistic features of spoken communication. Situational redundancy covers the features of interpersonal communication (Subbing4DVD/25) such as turn taking in dialogues, overlapping, or false starts. Moreover, this category can include information rendered by visual nonverbal channel (scene setting, shots sequencing, and cuts).

Nevertheless, not all of these features (even if they are in principle derivable from the source text) are liable to omission. On the contrary, they tend to be incorporated into the text of subtitles to some extent6. It is the aim of this thesis to point out how these features are incorporated into subtitles, and how this increases the quality of subtitles. This is to be further discussed in the chapter .

The information rendered by the source text can be either aural or visual.

Words and images represent the main carriers of the meaning. There are two possible situations that can arise while subtitling. First, that the verbal channel further defines the visual presentation which is called anchoring. Second, words and image carry the same information which is called redundancy. As reading requires more effort than listening, subtitles must include reduced amount of the original text. The redundant information must be omitted or at least condensed to some degree. With respect to space and time limitation, the redundant features are omitted and the content of utterances is reduced, which enhances the readability (textual) of the resulting product of translation.

6 Subtitling has/had to develop a new sign system due to “the effect of non-verbal factors on the verbal rephrasing of polysemiotic text.” (GOTTLIEB/2)

Such decisions are the subject of the reduction strategy. The “indispensable elements (must be translated)” as they are essential for the understanding of the plot, “partly dispensable elements (can be condensed”), and

“dispensable elements (can be omitted).” (SUBBING4DVD

INDUSTRY/26).

To summarize, subtitling must deal with the inevitable loss of the part of the original message even if this one could be at least partially compensated via the original soundtrack and picture. After all, it always is a subtitler (or other people involved in translation) who decides what information could be incomprehensible to the audience, and should therefore be incorporated into the subtitles. These decisions are usually preceded by manifold considerations (e.g. source culture awareness, source language awareness etc.). Nevertheless, the considerations about the redundancy of information included in the source text are further defined by the nature of subtitling, which is to be explained in the following subchapter.

2.10 Means for message transfer in subtitling

The above-stated definition (is key for the present research as it implies the presence of nonverbal phenomena, as well as it states that subtitling is a conventionalized translation as it basically means that it is norm-governed.

Moreover, the presence of the phenomena in the focus of the present work is

24 expected due to the intersemiotic and the supersemiotic nature of subtitling which brings several problems that arise due to spatial and temporal restrictions. These two last are going to be discussed in the following paragraphs.

Audiovisual text includes four types of communication channels (in other words possible means of message transfer) available for the encoding of information: verbal and nonverbal, which can be further defined according to their pertinence to aural or visual semiotic channel.

Subtitle, on the other hand, is a short unit of written text, does not have more than two lines, present on the screen together with the translated audiovisual material. This short unit of written text is assigned to the corresponding units of the source material so as it was following its dynamism, and so as the information included in the subtitle remained accessible to the target audience.

One of the most economical techniques (that accordingly enhances the intertextual readability) is to draw audience‟s attention to the contents of the source text by making it aware that there is more meaning to the actual text of subtitler through employing semantically loaded punctuation or typographic or orthographic changes. Needless to say, that this has to be done in such a manner so as the audience was technically capable to process such information, while making the screening to the target audience as enjoyable as possible (so the target text meets the same purpose as the source text - so as the translation, and translator, was loyal to the source text authors and material. While the lexical

25 meaning is out of the focus of the present research, the standard rules for written communication in Czech also include the semantic/semiotic properties of written texts (punctuation, typography, orthography). These include the rules for using: full stop, question mark, exclamation mark, hyphen and dash, triple dot, quotation marks etc.

The fact that all the above-listed means of writing are included within an authoritative linguistic literature implies, that the translators to the Czech language are expected to follow the rules set by the Code, as they are expected to act professionally i.e. in conformity with the rules prevalent in the given field and time.

This explains not only the method for norms-identification (i.e. observing the regular use of meaning-productive punctuation), but also the expectation of intersemiotic relationships that can be found between the semiotic channel of subtitles and the other four channels of targets text (visual and aural, nonverbal and verbal). This is to be discussed in the following chapter on norms.

2.11 Norms

After having discussed the semiotic context of audiovisual translation, and the role of semiotic point of view upon the notion of text, and after having discussed the individual aspects of subtitling, it was possible to draw the connection between subtitling and the presence of translation norms. Accordingly, on the bases of the preceding chapter, it is possible to set the phenomena in the focus of this thesis into the context of norm theory. For those purposes, the present thesis adopts the

26 theoretical approach, as well as terminology, of Theo Hermans and Andrew

Chesterman. The present chapter will introduce the theoretical concept of norms, subsequently, it will describe the general properties of norms, present theoretical taxonomy of norms, and finally, it will introduce taxonomy of subtitling norms

(their content is determined by the content of the definition of the individual norm- types according to Chesterman‟s taxonomy). The following paragraphs aim to point out that translation is a complex human activity, socially and culturally determined action.

2.12 Norms in general

Norms (in general) increase the predictability of human acting, and thus they save the effort and time, and they enable to act rationally; they help to maintain a sustainable coexistence (HERMANS/72) of individuals within a group by establishing regular patterns that all aim at facilitation of complicated or potentially dangerous situations that may arise in human coexistence. In other words, they

“…guide and facilitate decision-making”. (HERMANS/80) Hermans describes norms as “the regularity in behaviour (...) and the underlying mechanism which accounts for this regularity7.” This mechanism operates between the individual‟s intentions/acting and a collective belief about the correctness of individuals intentions/acting (in order to co-exist “effectively”).

7 “The underlying mechanism is a psychological and social entity”. (HERMANS/80)

It is broadly agreed that norms originate in conventions. They arise from repeated behaviour that has proven itself successful in particular situations. Such behaviour becomes binding, and conventions become norms. The imperative theory claims that norms are validated by norm norm-making authorities (i.e. by individual or group of people having the authority to stipulate the rules/norms).

Norms are valid because they are used – they are commonly recognized as valid and therefore they are valid. This indicates that norms exist intersubjectively; they influence individuals within a group. The individuals adopt preferred solutions as they are required to do so by other members of their group, and, vice versa, the individuals expect other members of their group to adopt the same solutions in the given situations (i.e. there are mutual expectations about the correctness in acting). The character of norms is directive; there are preferred actions that are commonly considered to be correct or appropriate and such actions are forced. If they are not carried out as it is set by the respective norms, such instances of odd behaviour are then exposed to criticism and call for correction. This means they imply “social and psychological pressure” (HERMANS/82) by excluding the totally unacceptable options. They are sometimes seen as constraints (e.g. Toury).

This approach is typical of prescriptive theories. However, Andrew Chesterman, one of the descriptive translation studies theorists, claims that norms are not constraints. He describes norms as solutions that are useful or beneficial to all parties involved. Hermans, as Chesterman, also describes the twofold nature of norms. It is necessary to admit, that they are constraints (as they exclude the

28 undesired solutions to particular situations) but they are also agencies as they equally represent “ready-made solutions to practical problems”(HERMANS/79).

Norms have content, directive force and scope. The content of a norm describes what the norm regulates and how. It represents the desired solution to a situation; the range/array of possible options that are available. The directive force of a norm denotes and defines what is correct and what is not. This also includes hierarchy between the correctness notions: The strength of a norm ranges from what is possible to what is obligatory. Correctness is a relative construct of society, culture and ideology; what is correct within one group does not have to be necessarily perceived as correct in other ones). The scope of a norm can be broad or narrow, i.e. norms can be more or less permissive. The less permissive the norm is, the harder punishment for breaching it. Less permissive norms stabilize over time and become institutionalized (become strong rules). More permissive norms are more liable to (there are strong and weak norms). Strong norms are often expressed explicitly and call for strong sanctions if breached.

2.13 Taxonomy

Chesterman‟s approach to the study of norms covers the following types of norms: social (“regulate the interpersonal coordination” HERMANS/77), ethical

(“calling for the clarity, truth, trust, and understanding”

(HERMANS/77)), and technical. The latter type of norms can be further divided

29 into two main categories called product and process norms. Product norms are also called expectancy norms or constitutive norms and process norms are also known as production norms or professional norms.

Translation norms are the technical norms of human activity called translation. These are (product) expectancy norms and (process) professional norms. Process norms further include norms that are of social and ethical character (see below). Product norms describe the desired form of translation product while process norms represent solutions that can be adopted in order to meet the expectations about the product. In other words, process norms indicate the possible ways for treating problems arising in translation under the given conditions and circumstances so as the process leads to the creation of the product in its desired form.

Expectancy norms represent target language readership expectations about translation. They are influenced by numerous factors such as translation tradition within the target culture, economic or ideological factors etc. The expectations of target text readers include the expectations about “text type and discourse conventions ... style and register ... distribution of text features of all kinds ... collocations, lexical choice, and so on.”(CHESTERMAN/64) Conformity to or deviance from expectancy norms make it possible to evaluate translations as some of them conform to the expectancy norms better or worse, which signals a good or a bad translation

(especially in overt translations, e.g. subtitling). As they represent individual

30 expectations about translation, they are likely to change over time and they are heterogeneous (in the sense that they do not have to be necessarily shared by the whole community). What is more, the expectations differ from one text type to another. This type of norms is validated through their own existence among the target language readership or, sometimes, also by norm authority (e.g. critics, translation commissioner etc.).

Professional norms (process norms) cover three further categories of norms: accountability norms (i.e. ethical), communication norms (i.e. social), and relation norms (i.e. linguistic). Professional norms are all determined by the expectancies as already pointed out above. They are inherent to a group of professionals in the given field (professional translators, editors etc.). They are derived from translational behaviour of competent professional translation creators

(norm authorities). The notions of competency and professionalism are defined intersubjectively.

Accountability norms ensure honest communication; they ensure that the translator is not going to betray the trust of translation commissioner, of the target text readers, and his own beliefs. They also ensure the loyalty towards the original writer and basically to everyone else who is involved (has to do with) in the translation. Translators act according to their best knowledge and belief. “This is thus an ethical norm concerning professional standards of integrity and thoroughness.” (CHESTERMAN/68)

Communication norms ensure that the translation is carried out optimally, as required by the situation. These norms help to mediate other people‟s intentions with respect to what is necessary within the given context. They ensure that the message will get across as it is meant to get across; that the information included in the source text will get to the reader, and that the reader will interpret it as the source-text author meant the information to be interpreted.

Communication norms, as well as accountability norms, are hierarchically superior to the third type of translation norms, i.e. relation norms.

Relation norms are also known as linguistic norms. Their purpose is to

“establish and maintain appropriate relation of relevant similarity between source text and target text.” (CHESTERMAN/69) The appropriate relation is established after considering the context of translation, the translated text type, the wishes and needs from the part of translation commissioner, the original writer‟s intentions, and the specific needs of target readership (taking into account the accountability and communication norms). This basically involves the choice of a translation strategy while resolving the individual problems that arise while translating.

Subtitling norms are different from other translation-types‟ norms. The treatment of translated audiovisual text requires special norms that will facilitate decision-making, and that will accordingly ensure that the result of a translation process will reach its audience in such a form and way that will be accepted (and that is expected).

This chapter aims to emphasize the crucial issues of subtitling which, if mishandled, can lead to severe disruption of (or even total failure in) this type of communication. It has been already mentioned that translation of audiovisual texts requires a different approach that translation of e.g. written text due to the number of communication channels such texts include (and that carry meaning).

The first chapter has introduced basic principles of norms theory: how norms arise, how are they sustained and how they disappear; that they have content, force, and scope; and last but not least, that there are different types of norms for any human activity in general, as well as there are different types of norms for translation. Now, it is necessary to describe how the individual types of norms of translation function in subtitling. By exploring the individual aspects of subtitling as one of the (audiovisual) translation types, it is possible to draw a link between these aspects and the particular types of norms.

Norms that operate within interlingual and intersemiotic shifts represent translation solutions that have to be adopted in order to create a target text which is complying with the requirements for a good translation that are set by expectancy norms. They establish appropriate relationship between source text and target text. What is more, they are determined by the content of communication and accountability norms that are hierarchically superior to relation norms. The rules for encoding nonverbal information into subtitles (including the abovementioned meaningful punctuation etc.) cover the content of relation norms.

3 Method

In order to embed the information provided in the preceding chapters into the context of the present thesis, and, in order to describe closer the present research investigation technique, the following paragraph will briefly reiterate all the important facts that have been outlined within the precedent chapter on Norm theory, explain its effect on translation in general, and subtitling in particular. The rest of the chapter is dedicated to the description of the research method.

Given the semiotic properties, and possibilities, of subtitled audiovisual text

(space and time available, “speech to writing” shift - i.e. intersemiotic shift), there are just few solutions available to the translators. Saving the cognitive-processing effort necessary to process the target text is also desired by the definition. The nature of subtitles (transient polysemiotic text) permits to use limited amount of text within a limited time span. Hence the translator can choose to enhance the intertextual readability of subtitles by adjusting spotting/cueing, display time and the amount of the text of subtitle, and adjusting/making use of pragmatic implications of scripture/typographic ortographic changes. All those actions are observable directly while comparing the content of the semiotic channels of the source text and the content of the semiotic channel of subtitles, which is possible to be done simply through screening the target text. Theresearch of subtitles observed the manifestations of regularities in the use of defined textual means across all the material.

3.1 Possible means of nonverbal-meaning production in

audiovisual text

It was already discussed, given the restricted requirements on the product (of subtitling), subtitling has to deal with manifold problems of manifold nature, given that it has to resolve how to include information necessary for correct understanding of the source text (which includes four of the five channels of the target text, meanwhile the only information in the target language is available in one of the five channels of the target text).

Subtitlers can use a limited amount of text within a limited time span, while the text is expected to cover the message communicated via source text. It is actually restricted to such a degree that the translator must consider the lexical choice very carefully, grammatical construction (and so on) in order to be able to reduce the message to the necessary minimum. Hence it may seem surprising that subtitlers tend to employ punctuation very frequently. Punctuation helps readers to identify the individual utterances, and it also helps the readers to interpret the meaning of the individual utterances. What is more, for the same reasons, subtitlers use capitals that are interpreted as carrying additional meaning.

However, such information is not marginal at all. On the contrary, the information included in nonverbal and visual verbal channels may turn out essential as the information included within these channels can (absolutely) change the message included in the respective utterance.

In Britcom, a lot of humorous or other meaningful effects arise from misunderstandings, extreme situations, and characters‟ actions carried out within these situations. Britcom often employs deliberate breaches of the Gricean CP‟s that create different effects hence also different meaning (i.e. changing the propositional content of utterances). Usually, this is the reason why certain features that are not of acoustic verbal origin appear to be reflected in the text of subtitles. The information incorporated into subtitles in this way thus can be labeled as anchoring. It is crucial for the target text reader to realize that the utterance breaches norms (e.g. CP‟s), or that its propositional content is also included in other semiotic channels than the acoustic verbal one, so that he can interpret the translated verbal content of a subtitle in such a way as it was meant to be interpreted by the source text author(s). When the dialogues are dense and when they involve fast verbal exchanges, the audience shifts its attention towards the text of subtitles; hence the audience is incapable of cognitive processing of the visual channels. Nevertheless, even though the acoustic channels can be perceived in such situations, certain elements of acoustic semiotic channels tend to be incorporated into the text of subtitles as well, again, by means of punctuation or capital letters. The latter (elements of written text) thus provide the audience with more complex information about what is happening on the screen; they help the readers to interpret the meaning of the target text. The instances of inclusion of the aforementioned features of AV text (and Britcom in particular) into the text of

36 subtitles are to be further discussed according to the respective type of semiotic channel within this section of the thesis.

As the present thesis aims to point out there really are existing regularities that appear across material produced under charge of a number of different individuals, and that really there really is some space within the subtitle carrying information of nonverbal nature, and that the previous two claims enforce the need for taking such occurrences into account, it was, in the first place, necessary to consider, what is really available to the producers of the only semiotic channel carrying information in source language.

3.2 The method of research

As the norms of subtitling include two types of norms (i.e. expectancy norms and professional norms), the investigation has been accordingly carried out separately

(i.e. professional norms and expectancy norms were investigated separately). First, the research involved investigation of graphemic, typographic, and orthographic deviations from the usual (i.e. following the prevalent norms for Czech language) use of writing and script.

Second phase of the research included comparing the content and information of source text with the subtitles, and it was also trying to identify regularities in their occurrence along with the analysis of the particular conditions of occurrence. In other words, it was necessary to analyse the context in order to define the solutions available to translators who resolved the particular problematic

37 situations that required to be enhanced in terms of subtitles„readability as it employed informationally loaded source text. It was expected from the very beginning, that the subtitles will include mostly verbal information, but there were certain manifestations of nonverbal features-occurrence found across all the examined material.

After identifying the regularly occurring translation solutions, and after defining the situation in which the solutions are adopted, it was necessary to prove or disprove, that those solutions adopted in the defined situation are of normative character. The regularities found across the examined audiovisual material have been tested on 6 volunteers, using re-subtitled versions of typical specimen exemplifying the particular regularity in translation solution (always opposing as following the regularity - not following the regularity).

The following paragraphs will discuss the research methodologies in greater detail.

3.2.1 Professional norms

Obviously, it was not possible to investigate the particular processes of translation directly (as the examined target texts were already broadcasted). The present research therefore observed repeatedly adopted translation solutions, and tried to identify the regularities underlying their occurrence. In particular, the text of subtitles was then searched for punctuation (except single quotation marks, commas, and single full stops), morphologically distinctive features (i.e. not

38 following the standard rules of orthography), and typographically distinctive features. The next stage of the research then comprised watching the subtitled material, and searching for regularities in translation strategies used in the case of the pre-identified features of subtitles‟ text.

3.2.2 Expectancy norms

To reiterate, product norms stipulate the rules for optimum subtitles in their desired form. They determine the content of process norms as the process norms represent the solutions adopted in order to receive the product of the required quality. In subtitling, the juxtaposition of the original soundtrack, and the text of subtitles enables the target-text readers that are acquainted with the source language to evaluate the quality of translation. In the case of the present research into expectancy norms, it has shown that even a reader who is not acquainted with the source language evaluates the quality of subtitles in terms of their readability (grammatical and stylistic correctness, display time, accurate spotting/cueing) and content (correspondence between the onscreen action and the propositional content of subtitles‟ text).

The research into expectancy norms has embraced the whole range of qualities covered by the content of accountability norms, communication norms, and relation norms. This includes expectations about translator‟s loyalty towards the prospective readership, display time, spotting/cueing, linguistic properties of the subtitle‟s text, as well as the translation of the phenomena that are in the

39 focus of this thesis. As it was already pointed out within the introductory paragraphs of the present chapter on translation norms of British sitcom subtitling, the expectancy norms were investigated in two ways. First, through a general online questionnaire with open questions, and, second through screening AV material including modified subtitles and the original versions of subtitles.

The questionnaires used for the investigation of product norms were not focused exclusively on Britcom subtitles; rather they were focused on the quality of subtitling product in general. Nevertheless, it is expected that these norms are to be common to all subtitled production. Respondents of questionnaire research were encouraged to describe the properties of high-quality subtitles, as well as they were encouraged to describe the properties of low-quality subtitles. The questionnaire statistics are included under Appendix.

The second part of expectancy norms investigation focused on the abovementioned screening of (re)subtitled target text, and its evaluations by the volunteering audience.

The research material consisted of an answer-sheet, and the researched

AV-material excerpts that were either re-subtitled or left subtitled in the same way in which the respective Britcoms were broadcasted. The answer sheet included three options: suitable, contestable, and unsuitable. In case that the two last options were ticked, the research participant was asked to comment on the reasons for such a choice (in other words he/she was asked to explain why the subtitles were considered to have contestable or objectionable character).

All the excerpts were included twice. As outlined in the preceding paragraph, they consisted of bipolar representations of the same text (i.e. including the translation solutions that were found to be repeated in the translational behaviour across the individual team's translations, and, on the other hand, including translation solutions deprived of the regularities identified within the repeated translation solutions observation. The purpose of such a bipolar presentation was to provide the research participants with two comparable specimens of translation, as well as to demonstrate that the regularities found in translational behaviour of the individual teams were purposeful solutions to problems described under the chapter on professional norms. As this thesis' primary aim was not to investigate the translation of acoustic verbal phenomena, both of the subtitles' sets included the same texts (i.e. the verbal content of subtitles included in the modified subtitle(s) was the verbal content of the original text of subtitles).

The individual excerpts chosen for the research represent typical examples of the investigated phenomena as they were described and exemplified within the preceding subchapter on professional norms. Nevertheless, it would have been impossible to cover all the examples introduced within the preceding chapter in the practical research into expectancy norms. Thus the following paragraphs will describe the excerpt identified as a typical example of the regularities in translational behaviour across all the investigated material. Moreover, the following

41 paragraphs will also include some of the extraordinary translation solutions found within the individual team‟s translations.

4 Material

Having explained the presumption of the presence of norms in subtitling and the theoretical implications of these presumptions, it is now possible to proceed to the description of the examined material, and of the environment it originates in, and to interconnect the theory with practice, in other words, to interpret the outcomes of the practical part of the present work with its theoretical presuppositions.

After discussing the theoretical underlining of the research, and, after discussing the research method in detail, it is now necessary to proceed to the description of the material used in the present research in terms of its: genre- related qualities, semiotic composition, and origin. The present chapter aims to apply the facts to the theoretical preliminaries outlined and discussed in the preceding chapters of the present work. Finally, the chapter discusses the suitability of the chosen genre for the present research (i.e. encoding nonverbal information into subtitles).

4.1 Research material specifics

The preceding section has described and explained the motivations for choosing the particular material for the research. It is therefore possible to continue with more exact and specific data about the researched material.

Material used for the research consisted of digitalized audiovisual material from the production of Czech Television that has been further processed and added time codes. The audiovisual material was annexed to the thesis on DVDs.

4.2 Britcom

British situation comedy (Britcom) as the very denomination of the genre suggests, shares the main features of situation comedy. “Situation comedy, also called sitcom, radio or television comedy series that involves a continuing cast of characters in a succession of episodes ... typically half an hour in length ... either taped in front of a studio audience or employ(ing) canned applause ... marked by verbal sparring and rapidly resolved conflicts.” (BRITANNICA.COM)

By definition, British situation comedy is a “genre about decorum, social norms and manners that are mostly class based.” It “offers representation of social order and social hierarchy through stereotyped social categories, through characters with unrealistic social aspirations.” (TOMAŠČÍKOVÁ/207) It offers a wide range of situations that require the adoption of unusual translation methods.

As any AV material, it communicates message via the four semiotic channels.

BRITCOM, as an audiovisual text genre, employs various means of getting the message across to its prospective audience, be those nonverbal or verbal, and visual or aural. In order to create a humorous effect, it tends to juxtapose unreal situations and real facts (in case of Britcoms mostly of cultural origin); it tends to employ irony and metaphors (both often not only of verbal but also of

44 nonverbal origin e.g. achieved through physical actions taking place on the screen such as gestures, body language etc..). Gestures, facial expressions, and any other physical actions carried out on the screen, as well as the visual arrangement of the

AV material (such as shots sequencing, camera movement etc) including visual representations of written text, speech stylizations, and dialogue arrangements: All these features of AV text are productive to the creation of meaning in Britcom, and they all contribute to the creation of humorous effect which is the main ingredient of this genre (as it is a comedy genre, it necessarily employs humour that is usually character-driven and, in case of Britcom, usually centred on socio-cultural topics). Nevertheless, dialogues represent the main ground for the creation of meaning (and the content of episodes plots). Britcom includes a great portion of features typical of unprepared face-to-face communication which contains elements liable to reduction that, in some cases, tend to be incorporated into the text of subtitles. It is typical of Britcoms that they include and employ contrasting techniques. Hence it is possible to find both dense or rapid dialogue exchanges delivering a considerable amount of information as well as long nonverbal AV sections. There are two possible arrangements of dialogues: the speed (or rhythm) of delivering the individual speaker‟s utterances that further influence the translation method. In the first case, the characters‟ utterances are delivered in what can be called normal speed, while the form of such a dialogue respects the communication maxims (Grice‟s CPs) and the message develops linearly, through speakers‟ utterances. In the second case, it is

45 possible (and also very typical of Britcom) that the dialogue breaches the rules for optimum communication and the speakers deliver overlapping, unfinished, or other

“deformed” utterances. Such situations often bring about (or take part in) the humour.

Namely, the Britcoms investigated in this thesis are: Black Books (subtitled in

2006 by Tomáš Pechoušek), The Office (subtitled in 2007 by Alţběta Šáchová), and The IT Crowd (subtitled in 2008 by Radim Kratochvíl, and, in 2011, subtitled by Jan Ţidek).

5 Practical application

5.1 Czech television

The preceding paragraphs have introduced Britcom as a genre of television comedy, and the particular investigated Britcoms in greater detail.

Czech Television (CT) is the only public service provider of television broadcasting in the Czech Republic. The form of service it is supposed to deliver is set by law8. The production of broadcasted material, and public service requirements are (apart from the abovementioned law) regulated also by the CT

Code and CT Statute. Those two are internal documents (both available at the CT website in Czech language as well as translated into English9). According to the

Code, CT aims to satisfy as many audience groups as possible10 by broadcasting a broad variety of TV programmes belonging to different TV genres11. Moreover,

CT also aims at broadening cultural and artistic horizons of its audience12.

8 “Czech Television is a legal entity established as of 1 January 1992 by Act No. 483/1991 Coll., on Czech Television.” (CT Statute/Article 1/1.)

9 http://www.ceskatelevize.cz/english/ct-code/

10 “Czech Television must be aware of the fact that the viewers, or individual audience groups, differ in their cultural and artistic perception and in their preferences for particular genres or artistic trends. It is the duty of Czech Television to satisfy, if possible, the whole range of its audience groups.” (CT Code/8.2.)

11 “Czech Television shall respect both individual and group differences in the tastes and preferences of the television audience. It must take into account the plurality of viewer expectations and through the broadcasting of a variety of programmes, differing also in style and design, satisfy different audience groups.” (CT Code/8.3.)

12 “It is therefore its duty to offer the viewers a broad range of programmes, diverse both in genre and content, thus contributing to the cultural and artistic enrichment of the audience.” (CT Code/8.1.)

The subtitling process in CT does not rely exclusively upon translators. As it is usual in any other field, there are also many professionals who cooperate in order to achieve the highest quality product possible. Those professionals take part in the individual stages of the subtitling process.

The translation norms as they were set forth earlier should theoretically correspond to what is in fact happening within CT, and they actually really correspond. This ensures highly professional (and correct) result of translation.

Accordingly, it is obvious that the resulting product reflects norms that were internalized by a group of professionals that had to agree on them. This fact supports the abovementioned statement about the intersubjective nature of norms. Among other CT‟s departments that produce different types of programmes that appear on the screen, the production of foreign programmes is provided by

Foreign Programmes Centre (Centrum převzatých pořadů). If the department‟s suggestions pass through internal approval process, they charge a translator according to their own choice with the translation of the material giving him/her further instructions about what is, and what is not, to be included in the translation

(as far as it concerns written text displays and captions, lyrics, the degree of formality etc.). The translator (with respect to the accountability norms13) translates the AV text and creates the text of subtitles. Usually, it is the translator who also designs the spotting/cueing of subtitles. In the vast majority of cases,

13 “Authors working for Czech Television must comply with the provisions of the Code, even if they are not employees of Czech Television. The authors are also obliged to comply with the generally accepted self-regulatory professional and ethical standards of their respective professions.” (CT Code/4.6.)

48 this happens via subtitling software that is at translator‟s disposal. CT uses

CompoST developed by RNDr. Raimund Koplík. This software has been originally designed for subtitling for deaf and hard of hearing. Anyway, since (approximately)

2004, it is used as an interface for “regular” subtitling in CT as well. In the next stage of the process, translator consults his translation with the dramaturgist who comments on the quality of the product, and who may demand its further adjustments. After satisfying dramaturgist‟s requirements, the “raw” target text is passed to an editor who checks language correctness and also adjusts the spotting/cueing if he/she finds it not conforming to (communication) norms. The editor does not correct the subtitles in terms of their content, or, if so, it has to be agreed within the department hierarchy14 (i.e. by the dramaturgist). The last stage of the process then consists in trial screening of the created target text in front of

CT‟s employees hierarchically superior to dramaturgist (chief dramaturgist, chief producer, and producer). If there are no comments towards the quality of the product, the material is ready to be processed technically and prepared for public screening. In case that there are comments to the product, it is adjusted and approved as before (until there are no further comments to its quality)15.

14 “The decision-making procedure concerning the use and potential modifications of an original work created by an employee in the performance of his or her tasks shall be based on the organisational hierarchy of Czech Television and the author‟s superior shall be authorised to decide on the modifications of such work on condition that the proposed modifications would not detract from the value of the work.”(CT Code/4.5.)

15 It should be mentioned that “Czech Television is obliged to protect by all possible means the intellectual property of authors.” (CT Code/4.4.)

5.2 Genre suitable for the present research

The implications of the preceding paragraphs for discussing the suitability of

Britcom genre for the present research are following: It is expected to find quite a large number of translation solutions enhancing the intersemiotic readability within the examined material, as the translated genre itself, by definition, often employs simultaneously more semiotic channels in order to create meaning (especially, it employs of the nonverbal semiotic channels), and, as the nature of subtitling, by definition, involves the interaction with the original sound and image (be it of verbal or nonverbal origin).

As the semiotic channels that are available to Britcom producers should undoubtedly agree with the above-defined semiotic channels of audiovisual text, and given that there is only about thirty minutes for each episode, all the four semiotic channels (visual, aural, both nonverbal or verbal) often carry a lot of information that altogether creates meaning, that does not follow the regular way of meaning creation (uses irony, metaphors, body language..). Such a meaning can be usually derived only if the audience has processed all the pieces of information communicated through all the employed semiotic channels. Having learnt about the (highly) restricted possibilities that translators have while subtitling, it is clear that such an information (in case that it requires to be translated) will be quite difficult to be included into the text of subtitle in the most convenient manner possible. It is necessary to encode all the information indispensable for correct message transfer into the available space and time.

Although the dramaturgist has the last word, it is always the translator who sets forth translation solutions that are further subjected to control of other parties involved in the process. Translators may intervene in all the stages of translation.

Therefore it was also important to use material translated by different translators, in order to examine the degree to which they adopt the same translation solutions for similar situations. As with the occurrence of norms across the translations made within different periods, the occurrence of the same translation solutions points at the directive force of norms, and thus the importance of such-norms-internalization by the translator, and the consequences that their disobedience may bring to the quality of the translation product.

Accordingly, there are several editors of translation across the researched material, which, again, increases the objectivity of the research results as the individual editors are, again, expected to bring their own expectations and correctness framework into the process. Last but not least, the genre in the focus of the thesis is expected a high number of nonverbal phenomena by definition.

6 Research results

After discussing the theoretical implications, the properties of the researched material (in terms of the genre and the context of media within which it appears), it is now possible to proceed to the presentation of the research results. The present thesis aims to describe professional norms for encoding nonverbal information into subtitles. As subtitling is an overt-translation type (i.e. juxtaposes the original material and its translation), it is possible (for target text readers) to evaluate the quality of translation of nonverbal information (that is likely to be understandable to the audience unacquainted with the source language). It is therefore very important for a translator, who attempts to achieve high quality of his/her work (i.e. professional translation), to be familiar with the expectations of the prospective readership, and to be aware of the ways and means that enable to meet the readership expectancies. This makes the investigation into professional norms for subtitling concerning translation of such phenomena important for any professional in the field of subtitling. The familiarity with the professional norms increases translator‟s productivity as well as it increases the quality of his/her work.

In order to present a comprehensible classification, it is necessary to explain the logical reasoning of the classification adopted for the presentation of the research outcomes. After identifying the individual translations solutions and matching them with the particular situations that may cause difficulties when

52 translating the audiovisual text, it was possible to classify them according to their pertinence to the relevant channel of audiovisual text. As the research was carried out descriptively, by observing the solutions, it would not be suitable for the purpose of this thesis to adopt classification based on the types of the individual observed phenomena. According to the norm theory, where there is a problem, there is a solution that has proven itself the most suitable for the given situation.

Hence it was convenient to classify the research results along the communication channels of audiovisual text that include the individual means for delivering information as those means of message-communication basically represent what has just been labeled as a problem. Similarly, the particular translation solutions

(or observed phenomena) represent the above-mentioned counterpart to those problems. However, when describing the properties of dialogues, the latter were classified as a separate category as the research prove that encoding dialogue nonverbal properties into subtitles is rather a complex matter influenced by various combinations of information included in all the four channels of audiovisual text.

6.1 Repeated nonverbal-meaning-productive translation

solutions occurring regularly in the researched material

Britcom, as a genre of audiovisual text, includes several features that can become troublesome in subtitling (under conditions that are to be discussed further in the sections dedicated to the results of the present research). As already discussed before, subtitling is a highly restricted activity, and its restrictions may turn up

53 extremely difficult to be dealt with while subtitling. All the investigated sitcoms have included the problematic features to a different extent. Nevertheless, the presence of these features was traceable in each one of them.

To reiterate, the research, studying the regularities in the occurrence of nonverbal-meaning-productive means of written text, included the observation of the following phenomena: hyphen, triple dot, exclamation mark (single or multiple use, including combinations with question mark), asterisk, quotation marks, qualitative and quantitative changes of orthography (on graphemic level), typography (upper case letters ), layout of target text (changing the position of subtitles), changing the colour of subtitles, distribution of text among and within subtitle, announcing turn-taking (explicitly or implicitly), and also display time and spotting.

The translation solutions to the potentially problematic situations identified across all the examined material are presented below according their pertinence to the particular semiotic channel (with the above-mentioned exception of dialogue properties that are treated under separate chapter).

6.1.1 Dialogues

The properties of dialogue were found to be reflected in subtitles either implicitly, by reserving the text of the subtitle for one speaker only, or explicitly, by indicating turn-taking within the given dialogues. The choice whether to announce turn-taking in dialogue is influenced by acoustic and visual channels.

The turn-taking is introduced implicitly through the division of utterances among the individual subtitles.

The scene does not involve any “extreme” visual dynamism, the pace of uttering and turn-taking is normal. The part of scene covered by the following subtitles includes two turns of two speakers, and it includes four cuts after which both of the speakers remain in the shot. From the utterance included in the subtitle 210, the camera zooms in and leaves only the present speaker in the shot.

The following subtitles‟ set is a representative example of unannounced turn- taking. The utterances (especially the subtitles 206-8) do include neither too much nor too little information (except the subtitles 205 and 209-11 which are rather dense utterances with high concentration of verbal phenomena), and there was no need to announce the turns as these are easily derivable from the nonverbal channels of AV text. The speakers and their turns are indicated in colour (which is also going to be used with other examples that follow).

The following paragraphs will introduce examples of the influence of acoustic channel. Fast tempo of utterance-delivering can lead to the necessity of announcing turn-taking in dialogues as it is necessary to fit more speakers‟ utterances that do not include much verbal information (i.e. including short utterances) into one subtitle. This happens because the floor-taking is too fast

(staccato exchanges), and it is not possible to fit the individual utterances into separate subtitles. If the individual utterances of such a staccato exchange were divided into separate subtitles, the display time would be too short to enable

55 effortless cognitive processing of target text. Thus it is preferable to fit the utterances of more speakers into one subtitle. In such cases, the turn-taking is announced by using hyphen followed immediately by the respective utterance (as it is necessary to save the space for the translation of verbally loaded utterances that are to be covered within restricted time span).

The following paragraphs will explain the influence of acoustic channel on grouping more speakers‟ utterances within one subtitle.

In case that subtitles were found to cover scenes that do not include any cuts, while both of the speakers involved in the conversations were in the shot during the whole dialogue, and while the exchange included rapid turn-taking (i.e. staccato exchange), all the examined translations accordingly employed the same translation solution of announced turn-taking by means of hyphen placed at the beginning of the respective utterances while grouping the individual speaker‟s utterances into one subtitle. This translation solution was found to be used not only within exchange of two speakers, but also within the exchange of more speakers. Mostly, the subtitles cover rather shorter utterances that follow in an immediate sequence. If the dialogue includes staccato exchange(s) that consist of short utterances, those utterances are grouped into one subtitle and the individual utterances are announced to the readers via hyphens. If the staccato exchange includes a combination of short and long utterances, it is possible to include the beginning of the longer utterance into the second line of a subtitle while the rest of the utterance is covered in the following subtitle.

Another phenomenon that must be mentioned within this subchapter (a feature typical of dialogue) is overlapping. Overlaps (the case of abusive turn- taking) are marked by triple dots which suggest that there was something to be continued apart from what was included into the text of subtitles. The explicitation of overlaps by means of triple dots was found within dialogues with announced turn-taking, as well as in unmarked utterances (both one- and two-liners), even though the latter was found rather exceptionally. Some of the unfinished utterances were to be finished later, which was also marked by using triple dots immediately followed by text in small letters (introducing the final part of overlapped utterance).

The AV text dynamism in no case relies exclusively upon acoustic channels.

The information delivered by visual channels can accordingly become troublesome when it is to be reflected in the target text to enable this information to be processed by the readers. First, this covers the visual means of emphasis on turn-taking which is found Britcom frequently (it is one of it typical features).

Second, this embraces the inclusion of visual verbal phenomena into text of subtitles while these are presented onscreen together with acoustic verbal information (this is to be further discussed in the subchapter on visual verbal information). The information delivered by acoustic verbal channel does not necessarily have to be the only reason for employing the strategy of announced turn-taking. It could also be the facing camera cuts, and the visual rendering of

57 information that sometimes matters even more, hence its succession tends to be reflected in the text of subtitles.

If the exchange includes utterances of two speakers that take turns in a normal pace (the exchange is not rapid) and the lexical density of the individual utterances is low, the turn-taking was found to be explicitated as each turn is preceded by a cut that brings the respective speaker into the shot (i.e. the dialogue exchange includes facing cuts). Similarly, in case that the camera movement (or any other visual means supporting the individual speaker‟s turns) brings the uttering speakers into the shot, such an exchange groups the utterances into one subtitle and announces the individual turns via hyphens.

It is possible to state here, that in case that the dialogue exchange involves short utterances (delivered in regular or even slow pace), which are matched with the individual speakers via visual nonverbal channel (i.e. by means of facing cuts or camera movement), such utterances then tend to be grouped into one subtitle announcing the individual turns.

When discussing the influence of visual channel on the strategy of the individual-speakers‟ identification, it is necessary to point out, that the presence of speaker on the screen also plays role in the decision whether to announce turn- taking or not. The onscreen absence of speaker was found to be reflected in dialogues as well.

However, taking into account the facts pointed out within the paragraphs dedicated to the influence of verbal and visual phenomena on explicitation of turn-

58 taking, the most frequent reason for employing announced turn-taking has been identified as a combination of visual and verbal features. It is a combination of rapid acoustic verbal exchange with or without high density of utterances, and cuts to shots in which the individual speakers are facing the camera that lead to the necessity to announce the individual turns.

Except isolated instances in some of the translations all the investigated material always includes capital letter after the dash. All of the turns represent the respective utterances of the speakers involved it the dialogue. In all of the investigated translations, it was possible to find manifold examples of announced turn-taking strategy. The maximum number of utterances found within one subtitle was four. This dialogue included utterances of four speakers that delivered their utterances within approximately 40 seconds. This underlies the importance of such translation solution within the given circumstances. This strategy saves the audience cognitive processing effort and it enables to cover the dynamism of source text in a manner acceptable for all parties involved.

When discussing irregularities in translational behaviour discovered in the researched material, it is necessary to comment also on some specific translation solutions recorded in the translations of ITCK team. The translations of this team manifested manifold examples of announced turns even if the respective subtitles did not include utterances of more speakers (in other words each subtitle includes the utterance of one speaker and it begins with a hyphen followed immediately by the text of subtitle). Even though it was possible to fit the utterances into one

59 subtitle, the priority has been given to the abovementioned arrangement (i.e. announcing turn by hyphen and reserving the subtitle for one speaker only. This happened in situations that did not involve extreme visual dynamism or excessively fast exchange. What is even more remarkable, all the ITCK translations have actually included manifold examples of announced turn-taking employing the same strategy as O, ITCZ, and BB (i.e. grouping more speaker‟s utterances into one subtitle while announcing the individual turns).

At this point, a question arises. How to substantiate the differences found within the translation strategies for announcing turns in ITCK translations? It is assumed that the unusual strategies‟ examples listed above stem from a substandard quality of this team‟s translations. It is not that the target text was incomprehensible, but it still remains true that it sometimes involves excessive processing effort. If this thesis aimed at evaluation of the translations, this one would be listed under lower-quality ones. Radim Kratochvíl is not a professional translator. Despite this fact, it cannot be blamed on this person that this team‟s translations include mistakes and typos. It is the responsibility of the translation commissioner to supervise and correct mistakes that inevitably occur within any activity carried out by people. This should emphasize the importance of plurality in opinions, in other words, this shows that highly professional result of translation can be ensured if the translation involves several professionals of their field (e.g. editor). To conclude, it is really difficult to explain the above-presented irregularities in the translational behaviour in any other way than they have been

60 mistranslated (or over-translated) and that this escaped the attention during the editing process.

6.1.2 Acoustic nonverbal channel

Apart from the dialogue properties (discussed above), the present chapter is going to point out the regularities identified within translation solutions connected with the translation of the following phenomena: rhythm of utterance-delivering

(including silent, voiced, and suggestive pauses), the rhythm of delivering of the individual parts of an utterance (including gabbling/stammering, and syllabifying), stress, loudness, tone and intonation, pronunciation features (including English- language accents, speech defects, and qualitative or quantitative changes on phonemic level), vocal effects, sound effects

The rhythm of utterance-delivering was found to be reflected reflected in the division of the utterance‟s translation among the individual subtitles in case that the rhythm of delivering the utterance was extremely slow. The individual parts of the utterance did not explicitly announce that it is to be finished within the following subtitles. In other words, this solution did not employ any special punctuation that would emphasize the continuation. However, the unfinished nature of the first two subtitles is implicitly expressed by not using any final punctuation (the end of the utterance is then explicitly announced through the use of full stop in the third subtitle). Moreover, this type of solution accurately followed the dynamism of source text, and thus it conserved the effect of the slow uttering

61 in the target text by using solution reflecting the utterance‟s nature by similar means as the source text. Another translation solution used in the case of slow rhythm in utterance-delivering was reflecting the slow tempo by including triple dot.

In case that the rhythm of delivering the separate units of the utterance was not fluent (i.e. included silent pauses), the rhythm of utterance-parts‟ delivering was marked by triple dots in case that the disrupted rhythm of utterance-delivering was a source of humorous effect (supported through including canned laugh into the source text), and in case that the utterance was too long to employ the strategy used in the first example. The research revealed one isolated case in which the pause was included emphasized via hyphen O(1/5.) .

To sum up the section on the rhythm of utterance delivering and silent pauses, there were two regularities in translational behaviour found. First, this was segmentation of the utterances‟ translation, and spreading the translation among individual subtitles. Second, it was the use of triple dots interconnecting the respective parts of the utterances, or expressing the change in the rhythm. Both of these translation solutions were found within all the translations examined for the purposes of the present thesis. However, the triple-dots strategy was found

(considerably) more frequently.

Suggestive pauses in speech, as well as voiced pauses, are both productive on the creation of meaning, and therefore they tend to be reflected in the text of subtitles. The instances of suggestive pauses were found within all the

62 researched material (which follows the fact that suggestive hints are very typical of

Britcom). The examples below include subtitles translating utterances that are left semantically open. Nevertheless, the meaning they express is easily derivable form the context. The pauses suggest that there is more meaning than in the utterances themselves. It is possible to draw a general conclusion about the translation solutions for the translation of suggestive pauses. All the investigated material included triple dot suggesting that there is more of meaning behind the words that were actually uttered on the scene. Even though the present chapter describes encoding the acoustic nonverbal phenomena, it must be admitted here, that the suggestive pause is often accompanied by gestures (which is to be discussed further within the chapter dedicated to the translation of information included in visual nonverbal channel of AV text).

The last type of pauses that is to be discussed under this chapter is voiced pause. This type of pause, basically, does not carry much meaning. It is used as a bridge between utterances or its respective parts, or they can precede an utterance. They are used as floor-holding devices, means through which the speaker gains time for thinking about what to say next etc. The effect of voiced pause was found to be attained through repetition of the initial letter on the utterance and through using triple dots in between those two. Another solution found in the researched material (employed more often than the preceding solution) was a graphemic explicitation by using phonetic transliteration of the

63 target language - a graphemic representation of voiced pauses. The last solution found in the material introduced the silent pause by means of triple dots.

When drawing a conclusion about the inclusion of voiced pauses into the text of subtitles, it is possible to make two general statements. In case that they were translated and included into the subtitles‟ text, they, first, tend to be transliterated and included into the subtitles‟ text. Second, they were announced via triple dots, relying upon audience‟s ability to derive the type of pause from the original soundtrack (i.e. the target text did not explicitly introduced that the pause present in the source text was a voiced pause).

When discussing the different types of pauses, notably pauses on the individual-words-level, it is necessary to mention one more phenomenon that resembles of a pause but it also represents a sort of overlap. Nevertheless it is neither a pause, nor an overlap. The phenomenon in question is also very typical of speech. It appears when a speaker gets confused of excited about something, and he starts to utter disrupted utterances. Gabbling/stammering was found in the investigated material several times. As it usually includes repetition and pauses

(which were both mostly found to be announced via triple dots), it was, again found hidden in triple dots. The utterance was included without emphasis on the disrupted rhythm, and it translated the propositional content. The gabbling is audible, so the meaning it the target text was enhanced by using triple dots at the very end of the utterance‟s translation.

Stress was found to be encoded into the text of subtitles by using capital letters for the stressed unit. However, in most of the cases (which were considerably numerous), the utterances including stressed words etc. tend to be included into the subtitles‟ text by using exclamation marks. Even though the translated utterances were not exclamations or interjections, and they did not include any changes in terms of loudness, stressing the respective word in the source language in fact defined the content of the utterance to function like exclamation or interjection. The exclamation mark is hence meaning-productive in the same way as the means used in the source text – as stress. Furthermore, the stress was also found to be included into the final punctuation through the combination of quotation mark and exclamation mark. As the stress is very often productive on the creation of meaning, it is not surprising that the investigated material tend to incorporate it into the subtitles many times. As already pointed out above, this mostly happened by means of final punctuation, notably by means of exclamation marks.

Loudness was emphasised through employing capital letters in the text of subtitles in one isolated case. However, there was quite a uniform strategy identified across all teams‟ translations. The utterances that involved increased loudness with exclamation or interjectional sense tend to be marked through exclamation marks. Nevertheless, not all the instances of increased loudness included in the source text were accordingly included into the target text. Where it was necessary to emphasize the emotional colouring of an utterance (urgency,

65 annoyance etc.), the exclamation mark was used. On the bases of interviews with

Jana Vyjídáčková, it turned out that presence of too many exclamation marks is not desirable as the audience mostly records the increased loudness without any explicit announcement in the text of subtitles and it would have become confusing if all such utterances were ended by exclamation mark. Moreover, as already outlined above, the exclamation marks are frequently used as a meaning-creating device (stress) which could also lead to the confusion of target-text readers.

Tone and intonation (i.e. voice quality) were also often found to be reflected in the typographical properties of the text of subtitles as, again, they are both productive in the creation of meaning which can be attained through employing punctuation (in the target text). As in the case of stress and loudness, the translation strategy, used to transfer distinctive and meaningful changes of tone and intonation, consisted in the use of exclamation marks as well as in the combination of exclamation and quotation mark. This strategy has been identified in all of the researched Britcoms. It was possible to find manifold examples of strategy using exclamation marks as a means of emphasis on distinctive voice quality (in terms of its tone and intonation). Another translation solution identified in the research was to include the abovementioned combination of quotation and exclamation mark.

English regional accents were found to be left untranslated, meanwhile the accents of non-native speakers of English were found to be transcribed, and/or combined with Czech. In all these cases, the foreign accent brought in a humorous

66 effect which was preserved in the target text (also as it concerns the form in which this effect was delivered).

The changes in pronunciation of different types were found to be included into the text of subtitles in case that they took part in the creation of humorous effect. They were found within all the investigated Britcoms. Apart from the quantitative changes in pronunciation on phonemic level (that is to be discussed in the following paragraph), and foreign English accents (discussed in the preceding paragraph; qualitative change on phonemic level), there were also qualitative change on phonemic level that were regularly included into the text of the examined subtitles

All the investigated Britcoms included several examples of changes on phonemic/graphemic level distinctiveness that has been reflected in the subtitles‟ text. The translation strategy for the translation of prolonged vowels included in the source-text utterances comprised the multiplication of long vowels in the respective words (i.e. the vowels in target text were prolonged within the same words as in English). This, again, emphasizes a high degree of interconnectedness between the source and target text dynamism.

Vocal effects such as laugh were sometimes found in the text of subtitles.

Nevertheless, their inclusion into the text of subtitles was rather exceptional. In the cases in which they were included into the subtitles‟ text, they were mostly a part of an utterance and they carried meaning within this utterance. There cannot be

67 any further generalizations made as far as it concerns the inclusion of vocal effects into the text of subtitles as the examples are just very few.

Accordingly, sound effects added to ST in post-editing process were found to be reflected in a subtitle‟s text in one isolated case. Moreover, as far as it concerns the punctuation used to reflect the sound effect, using asterisks to emphasize the sound effect was the only example of such a punctuation-type found within the researched material. It is however necessary to admit that beeping out a swearing was used only once, in this particular case.

Sometimes, speakers do not finish their utterances because the uttering is interrupted by another message communicated via other AV channels.

Interruptions (extralinguistic causes of pauses) are included into the text of subtitles through triple dots suggesting that there was actually more to be said in the utterance than it actually was (so as the audience is aware of the fact that the character was supposed to continue, and, accordingly, so as the audience was provided with finely-interconnected information in the target text). The interrupted utterance may remain unfinished (such as an overlapped utterance may remain unfinished). Interruptions were translated if they were a source of humour (in other words in case that they took part in the creation of meaning).

6.1.3 Visual nonverbal channel

The investigated material included manifold manifestations of unfinished utterances finishing their messages’ transfers through the visual

68 nonverbal channel of AV text (which can be further accompanied by the information included in the acoustic nonverbal channel). As it was mentioned in the chapter dedicated to the influence of acoustic nonverbal channel, there were manifold manifestations of using triple dot after utterances finished through visual nonverbal information (especially gestures, facial expressions, and physical actions that took place on the screen). Again, triple dot announce to the target-text readers that there is something more that follows but that is not going to be included into the text of subtitles. Therefore the audience can shift its attention back to the audiovisual material which then finishes the meaning of the respective utterance. The translation solutions identified in all team‟s solutions; using triple dot has proven as a common translation strategy across the examined material.

6.1.4 Visual verbal channel (inserts, intertitles, end credits,

displays)

The investigated material was availing of the visual verbal channel for two reasons.

First, it was employed in order to set up the context of the plot, temporal or spatial providing the audience with framing information about the spatial and temporal settings of a scene. Second, it was found to be carrying a unique message within the given scene. The visual verbal information was included both within open subtitles or intertitles, as well as within scene properties (i.e. displays). Moreover, as the Britcoms include a number of episodes, it is common, that the name of the

69 episode is presented onscreen. What is more, the individual episodes also include the name of the respective show.

In general, the visual verbal information may be translated or not, while the decisions about what information to translate or not remains in competence of dramaturgist (still, the translator himself is free to come up with his/her own suggestions towards the translation of visual verbal phenomena he finds necessary to be included into the text of subtitles). If such information is translated, and in case that the position of target text subtitles clashes with the onscreen position of the visual verbal information, there were two strategies found (as far as it concerns the position of subtitles on the screen and degree of loyalty towards source text): the position of subtitles was either changed so as they left the visual verbal information accessible to the target text reader, or the position of subtitles remained unchanged making the information included in source text hardly accessible (or inaccessible) in the target text.

Underlining the distinctiveness of verbal information (which is otherwise of acoustic verbal origin) can (under special conditions) play a fundamental role in subtitling. There were several strategies for such a differentiation found. First, the inserts were found to be included in capital letters only (with or without the final punctuation), second, they were included in capital letters as well as in lowercase letters (with no final punctuation), third they were announced by quotation marks while beginning in capital letter, and leaving the sentence open – without any final punctuation, and fourth, they took the shape of a sentence (with a capital letter at

70 the beginning, and punctuation at the end). It is necessary to state here, that the individual translations employed rather inconsistent strategies as far as it concerns the typographical means of emphasis on the distinctiveness of visual verbal phenomena, and their relationship with the type of message they covered (i.e. spatial, temporal, message), together with the typographical properties of inserts, and the type of inserts (e.g. open subtitles, scene properties etc.). However, there is a regularity that has been manifested several times: The subtitles translating visual verbal information tend to diversify the subtitles‟ text in terms of its typography, so at it is immediately apparent to the reader that such subtitles do not include anything that has been uttered on the scene. This is true even in the cases in which the translation employs quotation marks (which could be argued to be easily confused with a quote), as in such cases the sentence remains framed by them leaving the sentence typographically unfinished.

Despite of what has just been pointed out above, there were certain regularities found within the individual team‟s translations. ITCZ tend to include all the inserts in capitals disregarding the type of the message they got across, typographical properties of the translated inserts, and the type of inserts.

BB included three types of translation solutions (capital letters, a combination of capital and lowercase letters, and sentence-organized text). It was the only Britcom that included text in both capital letters and lowercase letters within one subtitle. The solutions of BB translation team did not mostly follow the typography used in the source text.

ITCK included only few inserts. They all involve the strategy of an open sentence within quotation marks, which follows the typographical properties of the source-text.

Unlike in the other Britcoms, there were just two instances of the inclusion of visual verbal phenomena in the subtitles of O. As already pointed out in the subchapter on Britcoms, its plot mostly relies on the content of dialogues. In other words it does not include much visual verbal information that is to be translated, as well as that it usually does not permit to include such an information into the text of subtitles (in case that there is some information like that) as the dialogues are too dense and fast. The priority is then given to the subtitling of utterances, not to the translation of visual verbal phenomena.

BB does not translate the show name but it includes the names of the episodes which are displayed in the bottom part of the screen and therefore clash with the position of subtitles. They are usually superimposed by the subtitle. O includes the name of the show in capital letters but it does not include any episode names so there is nothing to comment on in connection with their translation.

ITCK and ITCZ both translate the show name in capital letters in synchrony with the dynamism of source text. ITCZ includes the episode name before it appears on the screen and it changes the position of subtitles that cover the utterances clashing with the onscreen presence of the individual episodes‟ names. ITCK translates the episode names in synchrony with the target text.

To conclude this chapter, it is necessary to repeat that the individual team‟s translations usually did not employ a consistent strategy towards the translation of visual verbal phenomena (of a certain type, with certain typographical qualities, covering a certain type of message). Nevertheless, it must be pointed out again that most of the translations announced the presence of inserts by using typographical means different from those that were used for the translation of acoustic verbal phenomena. However, it is also true, that some of the subtitles translating inserts were not differentiated from the text of subtitles translating utterances at all. It seems that in some cases, the differentiation was not considered essential for the identification of the distinctive nature of visual verbal phenomena. This could be applied mostly to the cases in which there was no other verbal information than visual verbal included in the respective part of the AV material. On the other hand, even in such cases, some of the translations applied inconsistent approach (except the above-mentioned regularities found within ITCZ team‟s translation). It is thus impossible to draw any universal conclusions about the translational strategies at this point. Anyway, it is possible to pinpoint the most frequent typographical means of visual-verbal-information message translation which are capital letters.

To conclude the sub-chapter on the professional norms in subtitling, there were several regularities in translational behaviour found within and across the individual team‟s translations. These were identified in connection with the particular problems that arise in Britcom subtitling. Those regularities are

73 considered to be the manifestations of professional norms. In order to identify the individual translation norms in Britcom subtitling, it is now necessary to examine the second constituent of those norms. These are expectancy norms that are to be discussed within the following chapter.

6.2 Expectancy norms investigation results

The general questionnaire (See Attachment 1) was filled-in by 66 respondents.

Most of the respondents were between 20 and 33 years old. The majority of respondents had classified their English-language skills as intermediate; approximately three fifths of the respondents evaluated their skills as upper- intermediate, and the rest of the respondents‟ level of English can be classified as elementary. 32 of the respondents answered that they rely on the text of subtitles for more than 80%, 10 respondents answered that they rely on the text of subtitles for less than 10%, 10 respondents rely on subtitles from 40 to 60%, and

9 respondents rely on subtitles from 70 to 75%. Most of the participants in this research hence tend to rely on the content of subtitles to a great degree. 41 of the respondents watch subtitled programmes in English in the Czech Television. They watch mostly films (approximately 60%), but also serials (approximately 30%), and documentaries (approximately 10%). 27 of the respondents answered negatively to this question.

The comments towards the quality of subtitles in CT mostly included a discontent with the translation on acoustic verbal level (notably censorship,

74 inaccurate interlingual translation, and grammatical incorrectness), colour and size of subtitle‟s font, and short display time. In one case, the respondent mentioned also turn-taking indication. 82% of the respondents were familiar with the Britcoms investigated in the present thesis. Most of them (51%) have used the internet

(and a computer)as the medium for its screening . Nevertheless, 48% of the respondents have actually seen the Britcoms on TV. The quality of translation has been evaluated as good. The respondents expect that the subtitled programmes will provide them better access to the original atmosphere and content of the programmes than dubbed programmes, and that such programmes are an opportunity to increase language skills. The respondents also mentioned several times that subtitling is cheaper than dubbing.

6.2.1 Accountability and Communication

What is distinguished (and described) as subtitling constraints, in fact, represents the content of communication norms. As already pointed out, communication norms are one of the subtypes of process norms. They represent solutions to problems arising from the nature of subtitling (as supersemiotic translation), and they are supposed to reflect the expectancies about the product of translation (subtitles). Apart from what is covered by Grice‟s maxims (of Quality,

Quantity, Manner, and Relevance), translation must take into account the dynamic nature of source text, and, what is more, it has to take into account the individual aspects of cognitive processing of target text. They are acknowledged both by

75 expectancy and practice. They belong among strong norms as they represent conditions essential to a successful communication.

The present paragraph will introduce the expectancies that determine the solutions on the level of communication norms in terms of the onscreen position of subtitles, their size, extent, colour, display time, and spotting.

The investigated material has proven a homogenous strategy on the level of communication and accountability; the subtitles were thus found (mostly) following the dynamism of the source text clearly, in a segmental way (in other words they were found to be highly structural) as far as it concerns the relationship between verbal-information-delivery and the visual, as well as the verbal, channel. They also provided the reader with a sufficient amount of time necessary for cognitive processing of the subtitle‟s text. The present chapter is to describe the problems arising when the AV text starts to communicate an important portion of its meaning through other semiotic channels than the acoustic verbal one (in a way that is unexpected by the audience – Britcoms include a number of such phenomena), and/or in an extreme pace (i.e. slowly, or fast, unimportant which semiotic channel this could apply to).

According to the questionnaire results, the subtitles are expected to appear in the lower central part of the screen so as they do not hinder to read the source text, and because this position enables the viewers to process the text of subtitles and not to lose the contact with the visual content of the AV material. The size of subtitles‟ font is expected to be big enough so as the subtitles are technically

76 readable, but not too big so as they did not hinder from reading the source text.

Most of the respondents expect that the subtitles will have two lines in maximum so as the text they include could be read within the limited time span and so as they do not interfere with the visual content of the AV text. Nevertheless, some of the respondents expect the subtitles to have three lines in maximum (14 answers).the subtitles are expected be white or yellow. Those two colours of font are expected to provide the highest contrast so as the readers can easily see then and read them. The display time of a subtitle is expected to be long enough to enable the subtitle‟s text processing and it is expected to appear on the screen synchronously with the acoustic channels. In case that the subtitle includes bigger amount of text, it is possible to hang it for a bit longer so as the readers have the time to process its text. On the other hand, the audience otherwise expects the spotting/cueing to be accurately interconnected with the onscreen utterances.

Inaccurate spotting is not desirable; the audience expects to be provided with a subtitle when the speaker starts to utter.

When addressing the quality of subtitles in a very general way, the grammatical incorrectness of target text, and the inaccuracy on the level of interlingual shift were labeled as the most irritating flaws in subtitles (grammar was mentioned 17 times, and the interlingual shift 22 times). Other irritating elements that occur in subtitles were identified as short display time (9 answers), inaccurate spotting (8 answers), and the size and colour of the font. The subtitles would be totally incomprehensible to the respondents in case that they involved inaccurate spotting

77 which would have not followed the source-text dynamism (9 answers), if they had a colour that would have merged with the background (8 answers), if were in a language or scripture they do not know (6 answers), if they used wrong encryption of Czech diacritics or too complicated type of font (6+2 answers), if they involved wrong translation of lexical level (6 answers), if they included incorrect grammar

(5 answers), if they had too short display time (5 answers), if the font was too small to be readable (4 answers), if the turn-taking in dialogues was not announced accurately (2 answers), and in they did not use punctuation at all (2 answers). To sum up the questionnaire outcomes presented in this paragraph, it is obvious that the most irritating aspects in subtitling are grammatical incorrectness and wrong translation solutions on the lexical level. On the other hand, and what is more relevant, the respondent have also mentioned inaccurate spotting and short display time several times. Moreover, the essential conditions that must be met in subtitling (so as the communication does not fail) were, accordingly, identified as the continuous and synchronous nature of the subtitle‟s text with display time that would be long enough so as the subtitles were readable, together with the type, size and especially colour of font that would not hinder the technical readability of the subtitle‟s text. Those conditions cover the principles to which the communication norms must conform to. Furthermore, there were considerably numerous answers about the use of a language or scripture the respondents do not understand would render the subtitles incomprehensible. This could be interpreted as one of the imperatives of accountability norms.

6.2.2 Relation norms

6.2.2.1 Acoustic verbal channel

The influence of acoustic verbal channel on the turn-taking announcing was examined through modified subtitles screened together with the respective audiovisual excerpt attached on DVD2 (BB2). They were modified so as each subtitle included just one utterance. The dialogue exchange within which they occur is rather dense but not excessively fast. The number of subtitles was increased; nevertheless, as the dialogue flows in a normal pace, they were all remained technically readable. The response to such a change was then twofold.

Four out of the six research participants ticked the “contestable” box. They were able to grasp the information; nevertheless, within the discussion that followed, they explained that the subtitles were quite numerous and that they were changing quite quickly. Not that quickly so they did not have the time to read them, but as they changed pretty often, their attention was drawn more to the subtitles‟ text than to the onscreen action. They all accordingly stated that they did not mind it that much in this case, as there was not much happening on the screen

(the scene did not include any cuts or camera movement). However, they could imagine that, in case in which there was more information conveyed through the visual nonverbal channel, this could annoy them in case that they were not able to watch the onscreen action.

Hence it is possible to conclude here, that on the level of relation norms, it is desirable to group up the shorter utterances, and not to include them into separate subtitles as this could distract the attention of audience. The audience would devote excessive effort to subtitles-reading, if the subtitles were excessively, and unnecessarily numerous. All the expectations (in terms of the division of the text among subtitles, and the translation solution adopted in turn-taking announcing) were met in the case of the original subtitles (i.e. the solution was marked as “suitable” without any exception).

As it was already pointed out, there were certain irregularities found in some of the translations. The four following excerpts covered the irregularities in turn-taking announcing found within the ITCK team‟s translations. The hyphen used at the beginning of each line has been removed (see DVD2, ITCK 8). The research participants were first screened the original subtitles. Two of the respondents ticked the “suitable box”; four of them ticked the “contestable box”.

The modified subtitles were then suitable for all the participants. The following discussion then showed that one of the participants did not mention any difference between the two versions of the same excerpt, and that the second one does not consider the presence of the hyphen at the beginning of the subtitle to be incorrect. The rest of the participants stated that the hyphen was confusing as the subtitle includes only one speaker‟s utterance. However, they also admitted, that the presence of the hyphen is just a minor flaw which seems more like an isolated instance that escaped the translator‟s attention (the audience was unfortunately

80 disclosed that the translation with the flaws is the original translation). The truth remains, that this type of translation solution was find quite often in the ITCK team‟s translation. It is impossible to draw any general conclusion about such a translation strategy.

The first of the following two excerpts was deprived of the hyphens at the beginning of the first three lines (DVD2, ITCK9). The second one of them has been removed the hyphens in both of the lines (DVD2, ITCK 1). In both cases, all the participants marked the translation as “contestable”. It is difficult to tell if the preceding examples and the preceding discussion influenced the evaluation of these two translation solutions. Nevertheless, all the participants have raised approximately the same objections as in the preceding case. Nevertheless, in this case, they were not given the information about the original excerpt, and they were more critical in their evaluations (especially with the first of the two examples). None of the participants expected to find such (even though minor) flaws in a material broadcasted within the Czech Television. To comment on the irregularities found within ITCK team‟s translations on the level of relation norms, it is possible to set forth here, that in case that the translator wants to employ the turn-taking announcement strategy, the respective subtitle should then include at least two speakers‟ utterances. As banal as this conclusion may seem, it remains true that this simple norm was found to be breached several times in the ITCK team‟s translations.

The next set of subtitles was used to investigate the expectations about the translation of overlaps The modified subtitles (DVD2, O1) excluded the triple dots in the overlapped utterances. The triple dots were either replaced by full stops or they were not replaced by any punctuation and the sentences were left open. Five of the research participants found such translation solutions “contestable”, one of them found them “unsuitable”. The sharpest reactions were expressed towards the first subtitle and the last two ones. They left the sentences open, with no final punctuation which if, of course, grammatically incorrect. Moreover, it was argued that the speaker‟s line in the second line of the subtitle started with lowercase letter with no indication that it does not have any beginning. As the dialogue includes staccato exchanges, the respondents also expressed their dislikes about the fact that (with the modified translation), they spent too much time thinking about the juxtaposition of unfinished sentence and second speaker‟s line beginning in lowercase letters that they sometimes did not managed to finish reading the whole subtitle. The original translation was marked as “suitable” in all six answer sheets. The following discussion then revealed, that the message transfer was not completely disrupted, and that the participants were able to identify the gist of it.

On the other hand, they all accordingly stated that the modified subtitles were harder to read (as well as harder to understand) than the original ones.

The conclusion on the level of relation norms hence could be drawn as follows:

As the target-text readers expect to be provided with grammatically correct sentences in the text of subtitles, in case that the translated utterance does not

82 have a complete structure, it is necessary to announce that, so as the target-text readers are well-aware of the fact that the respective utterance in the source language did not follow the linguistic norms (i.e. that it did not follow what is covered by the content of Gricean CPs).

6.2.2.2 Acoustic nonverbal channel

The following section of the present chapter is dedicated to the outcomes of the research in expectancy norms concerning the translation of the features characteristic of unprepared spoken face-to-face interaction, and the features of visual nonverbal channel. Namely, the phenomena examined within this section are rhythm, pauses (silent, suggestive, voiced), stammering (i.e. false starts), stress, loudness, intonation and tone, qualitative and quantitative changes in pronunciation, and interruptions.

The rhythm has been tested through the modified subtitles and the respective excerpts that are, again, attached on DVD2 (ITCZ3). It is a modified subtitle that originally consists of three separate subtitles including nine letters and three words. The speaker utters these three words including pauses. Hence it was decided to include the translation of the whole utterance into one subtitle. The quality assessment of the modified subtitle was 100% “contestable”. The objections were raised against the long display time. The audience on one hand expects the display time to be as long as possible; however, in this case, it was described as unnaturally long for such a brief verbal content. The subtitle‟s onscreen presence was described mostly as annoying. The respondents expected 83 more dynamism to be included in the subtitles. The flat and static nature of the subtitle did not meet their expectations about the synchrony between the source text and the target text. On the other hand, the original translation solution distributing the individual words into three separate subtitles was accepted without any objections.

On the level of relation norms, this means that not every short utterance should be translated by one single subtitle. In case that the source-text dynamism is rather slow, it is desirable to follow such dynamism and to cover the whole time of uttering with information that is not static. In other words it is desirable to deliver the information in a way that resembles the way in which the source text delivers it. If the rhythm is then slow such as in the case of this excerpt, the translation solution should slow down the tempo of information delivering so as the information gets to the target audience in the portions in which it is delivered to the source text audience.

The next excerpt tested the expectations about the translation of silent pauses (DVD2, ITCZ6). The original subtitles include ten sets of triple dots emphasizing the pauses in between the individual words (reflecting the dynamism of the source text). The subtitles were modified in the following way: all the triple dots were removed and replaced by hyphens. The purpose of such a change was to evaluate the second (exceptional) type of solution for translation of silent pauses on the level of the rhythm of utterance delivering. All the participants marked both sets of subtitles as suitable. The following discussion revealed that

84 the explicitly marked pauses can take form of both hyphen and triple dot. One of the participants mentioned, that triple dot seems to be overused and that the modified translation solution was clearer to him at the first glance. Nevertheless, all the participants agreed that the original soundtrack provides sufficient information about what is happening, and that if there was no explicitation of the silent pauses, they would be able to derive the information from the source text anyway. Anyway, three of the participants would mark such a solution as

“contestable”, because (in case that there was no explicitation of silent pauses) they would be probably surprised and distracted from reading the subtitles if they were reading a declarative sentence in the subtitle but the source text soundtrack delivered the information in chunks.

Another excerpt was modified in order to remove the announcement of a suggestive pause (DVD2,BB6). this was simply made by removing the triple dots set and replacing it by a full stop. The respondents were first screened the original material. The reactions towards the original version were positive. Four respondents marked the modified version as “unsuitable” arguing that the sense of the sentence was completely changed in comparison to the original version. Two of the respondents marked their evaluation of the modified translation by

“contestable” objecting towards the shift in the sense of the sentence.

Nevertheless, they were both able to derive the source-text meaning through the acoustic verbal channel of the source text. It has therefore shown, that the suggestive pause carries a portion of meaning which, if untranslated, changes the

85 message of the verbal information. On the level of relation norms, such changes are expected to be identified and included into the text of subtitles in order to preserve the meaning that was intended to be conveyed by the source text.

In the case of voiced pause, the respondents do not expect those to be translated. The presence of the voiced pause in the original version of the modified subtitle was considered to be redundant and disturbing by three of the respondents. The other three did not raise any objections against the original translation but in the course of the discussion, two of them admitted, that the solution excluding the voiced pause enabled them to shift the attention toward the onscreen action.

The translation of voiced pauses should be therefore rather not included into the target text as the audience does not expect it to be included into the subtitle‟s text. The solution of the original translation draws too much attention to meaningless information that is easily derivable from the source text.

Stress was examined through a subtitle in which the capital letters that emphasized the word “kdo” were removed and replaced by lowercase letters, leaving the first letter capital as it stands at the beginning of the sentence (DVD2,

ITCZ5). Moreover, the final punctuation (combination of exclamation and question mark) was also changed as it was found several times to be included in this way into the translations of utterances that involved stressed words. The evaluations of both versions of this subtitle were all labeled as “suitable”. However, the discussion showed that the modification slightly changed the meaning. Five of the

86 respondents found the modified version to be stressing the content of the whole sentence, meanwhile the original version of the subtitle was thought to be stressing only the particular word.

It is therefore necessary for the translators to consider carefully the meaning of a sentence which includes stressed units. The audience expects to be provided with accurate information about what is important, and stressing the whole sentence instead of one of its parts only can lead to a shift in meaning.

The intonation and tone involved in the utterance encoded into the subtitle of the next excerpt (DVD2, ITCZ2) was easily derivable from the source text. What is more, it was also easily identifiable for all of the participants who evaluated the original translation as “suitable”. The audience did not agree with the second solution they were offered. The modified version was evaluated as

“contestable in five of the respondents‟ answer sheets. The main reason for that was the change in meaning. Meanwhile the utterance is clearly an interjection, uttered with a mocking tone and melody notoriously known to all research participants, the modified subtitle included a declarative sentence without any additional meaning. The readers uniformly declared that they expect such sentences to reflect the meaning contained in the source-text utterances so that they do not have to dedicate an excessive effort to understanding the propositional content of such subtitles.

To reiterate, on the level of relation norms, it is necessary to focus on the meaning of the translated utterances. If the meaning of an utterance is to be

87 changed using the simplest solution that is available, it happens by means of punctuation which does not take up much space, and which enables to encode several meanings while saving a great portion of audience cognitive-processing efforts. The fact is that the audience deciphers the meaning primarily unconsciously and the smaller the unit changing the meaning is, the better it is for an instant and prompt, and, what is more, for effortless understanding. Moreover, exclamation marks and their multiple use or combination with question marks are a type of punctuation that is productive one the emotional colouring in written texts. Therefore this type of punctuation is also suitable for the translation of emotionally coloured verbal information.

The expectations about the inclusion of qualitatively distinctive properties of the acoustic nonverbal channel were tested on subtitles that included transliteration of French accent (DVD2, ITCZ7). It was necessary to modify the very text of the subtitles on graphemic level (qualitative change) As the French accent is a source of humour. Hence the transliteration was removed and the text of subtitles screened to the research participants was replaced by text that followed the standards of Czech orthography. All the other properties of the original subtitles were preserved (i.e. the division of text among the subtitles, turn- taking announcements, and punctuation). The text was absolutely comprehensible, without grammatical errors, the subtitles were displayed with appropriate display time and accurate spotting. Despite all those qualities of the modified text, all the participants, who were first screened the original version of the subtitles, evaluated

88 the modified subtitles as absolutely “unsuitable”. The discussion the revealed, that even though the lexical meaning of the information was included in the subtitles‟ text, the more important meaning was lost. The modified subtitles did not reflect the humorous effect of the original subtitles. And even though the research participants were well-capable to derive the French accent from the original soundtrack, they all unanimously stated that they expect the text of subtitles to reflect those qualities.

On the level of relation norms, this means that in case that a different pronunciation feature takes an important part in the creation of the meaning (in the case of Britcoms this is usually humour), it is crucial to reflect such a meaningful change in the text of subtitles.

Meanwhile the preceding excerpt dealt with the translation of a distinctive pronunciation on qualitative level, the following two examples both dealt with a distinctive phonetic quality on the quantitative level (DVD2, ITCK4, and ITCZ10).

Such distinctiveness was also identified as meaningful by the research participants.

They were offered a modified version that did not include multiplied long vowels or exclamation marks. Five participants marked the modified sample as “contestable” in their answer sheets, one of the then marked the modified excerpt as

“unsuitable”. The modified text of the subtitle ITCK4 was then described as deprived of all emotional properties included in the original, and the modified text of the subtitle ITCZ10 was argued to lose the reflection of the humorous situation that was happening on the screen. In both cases the respondents answered that

89 they expect such properties to appear in the text of subtitles as those basically create meaning for them. The modified excerpts were considered to lack the necessary quality brought in by changes on pronunciations‟ quantitative level. On the other hand, the respondents‟ reactions towards the original translation were not thoroughly positive. There were objections raised against the solution that included four or even six long vowels. The respondents considered the solution beyond the necessary needs of prospective readers of such text. They argued that even one long vowel included into the text would suffice. Nevertheless, they accordingly agreed, that the translation solution in the original material does not permit any misinterpretations, and, moreover, it smoothly follows the source text dynamism.

On the level of relation norms, it is hence possible to set forth here that including transliterated phonemic changes on quantitative level is desirable in case that the situation enables it (i.e. there is enough space and time to include such a solution). In case that the situation is unfavourable and it is necessary to give priority to the translation of acoustic verbal information, it is rather confusing to include phonemic transliteration that would be applied to one letter only.

Moreover, in case of consonants, such a solution would not be even possible. If this situation arises, the omission of such information is preferred to its explicitation.

The last phenomena included into the research are interruptions. As it was already pointed out, the extralinguistic causes of pauses often bring in the

90 humorous effect. Moreover, as it has been pointed out before as well, the physical actions carried out on the screen by the actors does not have to necessarily include spoken words to convey humour. Interruptions an their numerous occurrence in Britcoms underlines the importance of the combination of verbal and nonverbal message that together participate on the creation of one meaning which, in the case of Britcoms, is very often identified as a source of humour. The examined excerpt (DVD2, ITCK11) was deprived of two sets of triple dots. Those were interconnecting the respective parts of the two subtitles.

Other punctuation and text properties, as well as the properties of spotting and timing remained unchanged. The respondent‟s reactions toward this modification were “contestable” in three cases, and “suitable” in another three cases. Those who picked up the “contestable” option reasoned their choice by unfinished nature of the first subtitle‟s second line and longer pause before the sentence‟s completion.

When deciding about whether to encode an interruption or not, the translator should bear in mind that if the interruption, that is to be finished after some time, should be reflected in the subtitle‟s text by means of triple dot. The translation solution can also employ suitable distribution of text among subtitles, nevertheless, it is not desirable to leave the audience waiting and wondering whether the respective utterance is to be finished or not. As stated before, this would shift the attention of the prospective readers towards the subtitles text

(which would hinder in reading the source text).

6.2.2.3 Visual nonverbal channel

In order to investigate the influence of visual nonverbal channel on the announcement of turn-taking, the modified subtitles were again distributed among separate subtitles (DVD2, O2).The utterances in this excerpt occur within a scene with lively camera movement and several cuts, and two of the four speakers are absent from the screen when they utter (i.e. speaker that is not physically present on the screen while uttering). As the text contained in the subtitles is not long, the display time of the individual (modified) subtitles was, again, sufficiently long. The researched audience, this time, marked the subtitles as “contestable”, as well as

“unsuitable”. The participants who ticked the “contestable” box explained that this choice was motivated by the fact that they were not able to identify the speaker of the first utterance. The second choice was then explained by a fatal confusion about what was happening on the screen. All participants who marked the

“unsuitable” option fully (or predominantly) rely on the text of subtitles as their level of English is mostly only basic.

The next set of subtitles was screened in the same form in which they have been broadcasted (DVD2, ITCK5). They also include an utterance of an absent speaker. The participants were asked to comment on the quality of these subtitles. They involve an isolated translation solution found within the researched material (they use capital letters). All the participants were satisfied with this solution. Some of the respondents further included comments mentioning that the absent speaker‟s utterance is preceded by a dialogue, and that this solution made

92 it crystal clear that the subtitle appearing on the screen was not a part of that dialogue. The research results indicate that in cases in which the speakers are not on the screen when they utter and they do not appear on the screen shortly before or after the utterance, such information should be made obvious to the target text readers.

On the level of relation norms, this comprises announcement in turn-taking or the use of a distinctive typography. Accordingly, this was also mentioned in the course of the research by the research participants themselves (within the discussions held in order to explain the individual participant‟s choices).

6.2.2.4 Visual verbal channel

The following section of the present chapter will introduce the respondents‟ reactions towards translation solutions in the translation of visual verbal phenomena. Due to the diversity of translation solutions identified within and across the individual team‟s translations, the research into expectancy norms about the translation of visual verbal phenomena included only the original subtitles. The respondents were asked to discuss the suitability of the chosen solutions and to evaluate it on the abovementioned scale in their answer sheets.

The respondents were asked to comment on the change of subtitles’ position that is employed throughout the ITCZ team‟s translation at the beginning of four investigated episodes (the excerpt is attached on DVD2, ITCZ4) first. All the respondents marked the translation solution as “suitable”. Some of the respondents highlighted that they see such a translation solution for the very first 93 time. They describe it as extraordinary and a little bit confusing at the beginning.

However, all the respondents accordingly liked the idea of high-fidelity of the target text. Especially the linguistically less-equipped (in terms of their English language skills) respondents were welcoming such a solution. There cannot be any general conclusion towards this strategy as it has proven inherent to one team‟s translations only. Nevertheless, it can be useful to pinpoint the target-text readers‟ interest in improving their language skill through customized approach to visual verbal phenomena the onscreen position of which clashes with the onscreen position of subtitles. It is true that in all other cases in which the onscreen presence of visual verbal phenomena clashes with the onscreen position of subtitles, the subtitles remain in their usual position.

Further examples of visual verbal information (attached on DVD2: ITCZ10, and ITCK10) included three different strategies identified within the research material. Subtitles appear on the screen together with the particular source-text displays. All the displays and their respective subtitles involve the same typographical mean. All the excerpts were evaluated as “suitable”, without any further comments toward the quality of their translation. The nature of those displays is pretty much straightforward. They include a written text displayed on a black background. The situation does not permit any misinterpretations.

In another set of examples (DVD2, ITCZ9, ITCK3, and ITCK6), all the shots, within which the visual verbal information appears on the screen, do not include any other verbal information. All the subtitles were marked as “suitable”. The last

94 subtitle (ITCK6) was evaluated as “contestable” in one case. The comment towards its quality included the fact that it takes the form of a regular sentence which was considered to be possibly confusing in case that the presence of such information was not that obvious as in this case (the only thing that is in the shot of this excerpt is the door). The only subtitle that reflected the typographical qualities of the subtitled text was the subtitle ITCK3. In the other cases, the typography (in terms of capital/lowercase letters and punctuation) differs from those used in the text of subtitles. However, there were no comments towards these qualities of the two texts that appeared onscreen together.

In the discussion about the inclusion of visual verbal phenomena into the text of subtitles, two things were agreed upon: the distinctive nature of such information should be highlighted in case that such information appears within a context that may cause that the reader misinterprets the content of the subtitle as something uttered on the scene. Second, it is not important how this is done as far as it is obvious. Nevertheless, all of the respondents agreed that the most distinctive way is the use of capital letters. Two of the respondents mentioned, that they prefer translations that employ capital letters only so as they do not have to think about the nature of information included in the text of subtitles.

The conclusion on the level of relation norms is derivable from the content of the last lines of this paragraph. In case that the visual verbal information is to be translated, it is preferable to include the information clearly detached from the

95 acoustic verbal information. The best and commonly agreed way how to do that is to include the text of visual verbal information in capital letters.

7 Conclusion

The theoretical part of the present thesis introduced the concept of norms and emphasized the importance of the presence of norms in subtitling. It also presented a comprehensible taxonomy of translation norms and explained the need for descriptive study of translation norms.

By defining the audiovisual text in semiotic terms, it was possible to address the problems that can arise in subtitling, and to address the decent phenomena that, despite their redundancy, occur in subtitles in considerable numbers. Those phenomena are liable to intersemiotic shift (i.e. shift from audiovisual to written code). They were identified either as anchoring information that must be included into subtitles in order to achieve a successful communication, or as supplementary information that does not cause a complete fail of communication but considerably increases the professionality of the translation product.

The professional norms of subtitling were investigated descriptively by observing the regularities in translation solutions within and across the investigated material. The genre of the material was suitable for the research dedicated to defining and describing the possible way to encode nonverbal phenomena into subtitles as it was produced in highly professional environment that reflected high- quality standards of translation. Those standards are set by law as well as they are defined by the expectations of the audience (i.e. they are defined intersubjectively).

According to the hypothesis, the presence of such phenomena increases the quality of translation. The research of translation norms prove that including the nonverbal phenomena, first, contributes to the overall understanding of the target text, second, contributes to the interconnectedness of the semiotic channels of target text, and last but not least, contributes to the quality of translation product.

In other words, the nonverbal information encoded in subtitles help the reader to identify the individual segments of audiovisual message which enhances smooth cognitive processing of such a text and thus also increase the quality of such a translation.

Translation process in CT (restricted and covered by the content of relation norms that ensure establishing appropriate relation between source text and target text) at all of its stages complies with the content of accountability norms, and, what is more, it also complies with communication norms in order to achieve product conforming the expectancies of target audience.

The observation of the nonverbal-meaning-productive elements of written text prove that the punctuation, changes in orthography and typography, as well as the changes in the layout of subtitles can serve purposefully in subtitling. Even though the research identified some irregularities, the examined material included mostly homogenous translation solutions on the level of accountability, communication, and relation norms. The research of expectancy norms prove that those translation solutions help to create meaning without taking up the limited

98 space, and without dedicating much cognitive processing effort to subtitles‟ deciphering where it should rather be dedicated to reading the source text. The uses of meaning-productive punctuation, as well as the distribution of text in subtitle and among them, help the audience to pay attention to what is important, and it also helps the audience to connect the meaning communicated by four channels of audiovisual text with the meaning included in subtitles.

The observation of professional norms enabled to define the situations that, if mishandled in translation, can lead to more or less severe decrease in the quality of translation (in terms of presence or absence of nonverbal information in subtitles). The evidence of the impact of nonverbal information on the quality of subtitles will hopefully point out the importance of treating subtitling not only in terms of linguistic shift but also the importance of subtitling in terms of intersemiotic shift. This can be an important notice for the prospective subtitlers, as well as for the professional subtitlers who attempt to achieve highly professional results of their work.

8 Bibliography

Primary Sources

Dylan Moran, Graham Linehan; Subtitles: Tomáš Pechoušek, Dramaturgist: Jan V.

Kratochvíl, Aleš Ulm, Producer: Martin Kopřiva, Centrum zábavné tvorby:

Black Books Episodes: 1/5., 1/6., 2/3.; Česká televize 2006

Greg Daniels; Subtitles: Alţběta Šáchová, Dramaturgist: Jarmila Hampacherová,

Marcela Wimmerová, Michael Málek, Producer: Miloš Kostner: Kancl.

Episodes: 1/1., 1/2., 1/3. Česká televize 2007

Graham Linehan, Ash Attala; Subtitles: Jan Ţídek, Dramaturgist: Petr Šaroch, Jana

Vyjídáčková, Alena Poledňáková, Producer: Miloš Kostner, Vladimír

Tišnovský: Ajťáci. Episodes: 4/3., 4/5., 4/6. Česká televize 2011

Graham Linehan, Ash Attala; Subtitles: Radim Kratochvíl, Damaturgist: Jan V.

Kratochvíl: Ajťáci. Episodes: 1/4., 2/3., 2/4. Česká televize 2008

Secondary sources

Christina Schäffner: Translation and Norms. Multilingual Matters 1999

Andrew Chesterman: Memes of Translation (The Spread of Ideas in Translation

Theory). Benjamins Translation Library: 1997

Jorge Díaz Cintas, Aline Remael: Audiovisual Translation: Subtitling. St. Jerome

Publishing Ltd.: 2007

Fotios Karamitroglou: Towards a methodology for the investigation of norms in

audiovisual translation (online resource)

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Jorge Díaz Cintas and Gunilla Aderman: Audiovisual translation: Language Transfer

on Screen. Palgrave Macmillan, February 2009

Gideon Toury: The Nature and Role of Norms in Translation (CHAPTER 2).

http://www.tau.ac.il/~toury/works/GT-Role-Norms.htm

Gideon Toury: A Handful of Pragraphs on „translation‟ and „Norms‟.

http://www.tau.ac.il/~toury/works/GT-Handful_Norms.htm

Theo Hermans: Translation in Systems:Descriptive and System-Oriented

Approaches Explained. St. Jerome Publishing: 1999

Henrik Gottlieb: Multidimensional Translation: Semantics turned Semiotics

http://www.euroconferences.info/proceedings/2005_Proceedings/2005_Gott

lieb_Henrik.pdf

Česká televize: Principles of public service provision in the area of television

broadcasting. http://www.ceskatelevize.cz/english/ct-code/

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9 Abstract

The main objective of the thesis was to describe translation solutions that enable to encode the nonverbal information of audiovisual text into subtitles, and to define the particular professional norms regulating the use of nonverbal-meaning- productive punctuation, as well as the norms for the use of nonverbal-meaning- productive changes in orthography and typography.

The thesis first introduced the theoretical background of audiovisual translation studies, and the theoretical concept of norms theory. The investigation of professional norms was carried out on British situation comedies from the production of Czech television (The IT Crowd, Black Books, The Office) translated by four different professional subtitling teams.

The practical research encompassed the observation of translation solutions using the above-mentioned means for encoding nonverbal message, as well as a twofold investigation of the expectations of the target text readership. The expectations were defined on the bases of a general-questionnaire output, and on the bases of discussion over (and screening of) contradictory translation solutions presented to a group of volunteers. The research revealed that it is necessary to conform to the accountability and communication norms in order to avoid communication failure, and it also revealed that the conformity to the relation norms for the translation of nonverbal phenomena can increase the quality of the target text. The latter corresponds with the aim of the thesis.

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10 Anotace

Hlavním cílem této diplomové práce bylo popsat, jakým způsobem je moţné do textu titulků zakódovat neverbální informace obsaţené v audiovizuálním textu a definovat příslušné profesní normy, které upravují pouţívání interpunkce podílející se na vytváření významu a definovat normy pro změny typografické a pravopisné, které se rovněţ podílí na vytváření neverbálního významu.

Diplomová práce nejprve teoreticky popisuje problematiku audiovizuálního překladu a koncept teorie norem. Zkoumání profesních norem bylo provedeno na

Britských situačních komediích vyrobených a přeloţených čtyřmi profesionálními týmy v České televizi (The IT Crowd, Black Books, The Office).

Praktická část výzkumu byla provedena sledováním pouţívání výše zmíněných prostředků. Dále byl proveden výzkum norem diváckých očekávání, a to dvojím způsobem. Očekávání byla zkoumána na základě vyhodnocení výsledků obecného dotazníku a na základě diskuze a promítání protichůdných řešení téţe situace.

Tento výzkum byl proveden za účasti skupiny dobrovolníků. Výzkum odhalil nezbytnost dodrţování odpovědnostních a komunikačních norem, jejichţ porušení vede k selhání komunikace. Dále výzkum ukázal, ţe dodrţováním vztahových norem překladu neverbálních jevů je moţné zvýšit kvalitu cílového textu, coţ koresponduje s účelem této diplomové práce.

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11 Appendix

Appendix I

General questionnaire statistics

Statistiky k vyplněným formulářům

Otázka 1) Váš věk: Odpověď

Počet % Odpověď 3 4.55% 1 1.52% 20 4 6.06% 22 1 1.52% 23 4 6.06% 24 8 12.12% 25 12 18.18% 26 9 13.64% 27 7 10.61% 28 3 4.55% 29 1 1.52% 30 2 3.03% 31 2 3.03% 32 3 4.55% 33 1 1.52% 35 1 1.52% 36 1 1.52% 37

104

Statistiky k vyplněným formulářům

1 1.52% 53 1 1.52% 55 1 1.52% 57

Otázka 2) Jaká je vaše úroveň znalostí anglického jazyka? Odpověď

Počet % Odpověď 3 4.55% 1 1.52% 2 1 1.52% 3 1 1.52% A1 2 3.03% advanced 1 1.52% B1 3 4.55% B2 2 3.03% C1 1 1.52% C2

1 1.52% CPE 3 4.55% dobrá 2 3.03% domluvím se 1 1.52% doufam, ze advanced 1 1.52% intermediate 1 1.52% jak to mám vědět? 1 1.52% komunikační 1 1.52% Komunikativní 1 1.52% komunikativní úroveň 1 1.52% minimální

105

Statistiky k vyplněným formulářům

6 9.09% mírně pokročilá 1 1.52% mírně pokročilý 1 1.52% mizerná 1 1.52% nic moc 1 1.52% pasiv 1 1.52% plynně 2 3.03% pokročilá 2 3.03% pokročilý 2 3.03% průměrná 1 1.52% slabá 1 1.52% stredni 1 1.52% středně pokročilí 5 7.58% střední 1 1.52% upper intermediate Upper-intermediate, tzn. obstojně rozumím 1 1.52% bez titulků 1 1.52% velmi dobra 1 1.52% velmi slabá, intuitivní 3 4.55% výborná 1 1.52% vysoce nízká 4 6.06% základní 1 1.52% ţádná

3) Na kolik procent se spoléháte na titulky (pokud je Otázka původní znění anglické) ? Odpověď

Počet % Odpověď

106

Statistiky k vyplněným formulářům

4 5.97% 1 1.49% 0% 2 2.99% 10% 1 1.49% 100 % 1 1.49% 100%, pokud vazne nic nerozumim 1 1.49% 12,345% :D 1 1.49% 15 1 1.49% 20% 1 1.49% 40% 1 1.49% 45 1 1.49% 49,73% 1 1.49% 5 1 1.49% 50 1 1.49% 50 na 50 - čtu i poslouchám 1 1.49% 50:50 4 5.97% 60 2 2.99% 70 1 1.49% 70 % 3 4.48% 70% 2 2.99% 75% 6 8.96% 80 4 5.97% 80% 1 1.49% 85 2 2.99% 90 4 5.97% 90%

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Statistiky k vyplněným formulářům

1 1.49% 93% 1 1.49% 95 1 1.49% 95 % 1 1.49% 95% 1 1.49% 98,5 1 1.49% 99 1 1.49% cca na 75% 1 1.49% já na sto - neumím anglicky Kdyţ sleduji titulky, tak se s překladem 1 1.49% shodují velmi málo. 3 4.48% na 100% 1 1.49% na 20% 1 1.49% na 70% 1 1.49% na 99 % 1 1.49% nespolehám protoţe je nesleduji 1 1.49% ok 1 1.49% téměř zcela 1 1.49% to záleţí - víceméně rozumím

4) Je něco, co vám u titulkovaných programů v televizi Otázka vadí? Specificky v České televizi Odpověď

Počet % Odpověď 8 12.12%

1 1.52% ne 1 1.52% ------

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Statistiky k vyplněným formulářům

1 1.52% ano, je jich vysíláno málo 1 1.52% asi ne 1 1.52% barevnost, někdy zanikají Bohuţel v České televizi titulkované 1 1.52% programy nesleduji. 1 1.52% cenzura, nepřesné výrazy 1 1.52% čas vysílání - obvykle velmi pozdě večer 1 1.52% dlouhé věty rychle zmizí 1 1.52% chyby, a jsou malé Jednotlivá, špatně přeloţená slova, měnící 1 1.52% význam vět. 1 1.52% moc malé písmenka titulek moc se hlídají ve vulgárních výrazech, pak 1 1.52% to nemá ten efekt 17 25.76% ne 1 1.52% ne není 1 1.52% ne nevadí protoţe na ně nekoukám 1 1.52% nedají se vypnout 1 1.52% nejsem si vědoma někdy rychlost - nelze přečíst a zářoveň 1 1.52% sledovat děj někdy se mi zdá, ţe se mluví více neţ je přeloţeno, někdy se ztratím v tom čí hlas je překládán, hlavně při dialozích, někdy je 1 1.52% titulek velmi krátkou dobu na obrazovce a potom se nic neděle, někdy je to nepřehledné někdy zvolení barvy vzhledem k pozadí, 1 1.52% kvalitě filmu

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Statistiky k vyplněným formulářům

1 1.52% není 1 1.52% nesleduji 1 1.52% nesleduji, nemůţu hodnotit 1 1.52% netuším 1 1.52% nevím 2 3.03% nevim, nesleduji 2 3.03% nic mě nenapadá 1 1.52% obcas nesedi 1 1.52% občasná nepřesnost 1 1.52% překlady nadávek 1 1.52% přesně si neumím představit rád bych měl moţnost vidět titulky i v 1 1.52% anglickém jazyce u filmů v původním znění spise mi vadi, ze poradu nebo filmu v 1 1.52% originale neni vic spíš ne, občas rychlost přecházení titulků, 1 1.52% nestíhám číst (načasování) špatně přeloţená ustálená slovní spojení, 1 1.52% vtipy, ... 1 1.52% Titulky mají ţlutou barvu, preferuji bílou 1 1.52% velikost

1 1.52% ţádný titulkovaný pořad si nevybavuji

1 1.52% ţlutá barva

5) Kde na obrazovce by měly titulky být správně umístěny Otázka (a proč)? Odpověď

Počet % Odpověď

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Statistiky k vyplněným formulářům

3 4.41% asi tam kde jsou, tzn. dole. myslím, ţe je 1 1.47% docela dobře vidím i vhledem k obrazu pořadu/filmu 5 7.35% dole dole (je to úzus + přirozeně se díváme spíše 1 1.47% doprostřed či výše) 1 1.47% dole (tak jak jsou), lépe se čtou 1 1.47% dole jak je zvykem dole na středu (jsou umístěny částečně v 1 1.47% "centru dění" obrazu) 1 1.47% dole na středu (nezasahují do obrazu) 1 1.47% dole uprostred Dole uprostred v cernem pasu. Jdou lehce 1 1.47% sledovat perifernim videnim a nerusi obraz. dole uprostred, je to pro oko nejprirozenejsi 1 1.47% misto, kde nezaclani Dole uprostřed, aby příliš nezasahovali do 1 1.47% hlavního zorného pole a divák mohl zároveň koutkem oka sledovat dění na obrazovce. dole uprostřed, černá písmo by mělo být umístěno na bélé pozadí (či naopak), aby se zamizelo nečitelnosti textu (pokud originální 1 1.47% pozadí je bílé a písmo téţ, pak je text nečitelný, analogicky je to v případě černého písma na černéím pozadí) 1 1.47% dole uprostřed, je to zvyk 1 1.47% dole uprostřed, protoţe tak neruší promítání 1 1.47% dole uprostřed, ze zvyku 1 1.47% dole z důvodu dobré sledovanosti obrazu

111

Statistiky k vyplněným formulářům

1 1.47% dole, aby co nejmin rusily obraz 1 1.47% dole, aby nepřekáţely obrazu 1 1.47% dole, aby nerušily dole, centrovány. jsme na to takhle zvyklý ... 1 1.47% jiný důvod mě nenapadá. 1 1.47% dole, idealní pro zorné pole 1 1.47% Dole, jak to je. dole, nejlepe pod filmem, někdy mě dost 1 1.47% štve, kdyţ jsou do půlky obrazovky a nebo kdyţ překrývajý obraz filmu 1 1.47% dole, neprekazi, lepe se ctou 1 1.47% dole, páč jsem na to zvyklej. dole, tak jak je obvyklé, nejlépe se zároveň 1 1.47% čtou titulky a zároveň sleduje pořad 1 1.47% dole, zorné pole zasahuje i na děj 1 1.47% dole, zvyk 1 1.47% dole,lépe se to čte 1 1.47% dole? ze zvyku tam divák stejně kouká Dole. Obvykle se to nejdůleţitější děje někde 1 1.47% kolem středu. 1 1.47% dolní část - aby nerušili sledování děje 1 1.47% horní nebo dolní okraj pro lepší přehled jsem zvykla dole uprostred. Jinde s nimi 1 1.47% nemam zkusenosti. 1 1.47% jsou na správném místě Kde by měly být umístěny nevím, mám je 1 1.47% dole (protoţe se to lépe čte?) 1 1.47% na černé liště, čitelné

112

Statistiky k vyplněným formulářům

Na dolní část obrazovky je většina lidí zvyklá. Kdyţ je barva titulků vţdy čitelná, nemám s 1 1.47% tím problém. Myslím, ţe umístění nahoře by odvádělo od sledování děje. Spíš je to ale opravdu otázka zvyku. 1 1.47% nevim 1 1.47% nevím, vyhovují mi dole 1 1.47% Nezáleţí 1 1.47% neznám správné normy, takţe nevím 1 1.47% při dolním kraji oprazovky 1 1.47% spodni stred obrazovky - jednoduche cteni standardně uprostřed a dole. Za ta léta jsem 1 1.47% si zvykl, v kinech je to běţné 1 1.47% tak jak jsou 1 1.47% tak jak jsou (dole) to je v pořádku tam , kde jsou dnes. Nedovedu si představit 3 4.41% jiné místo tam co jsou. dole uprostřed. aby byl film 1 1.47% vidět a byl v mém zorném poli, kdyţ čtu titulky, nebo ne? 1 1.47% uprostřed v dolním okraji 1 1.47% určitě ne uprostřed obrazu v části, kde jsou nejlépe vidět. Nejlepe v 1 1.47% dolní části obrazovky. 1 1.47% ve spodní části - nejméně rušivé 1 1.47% ve spodní části obrazovky ve spodní části obrazovky, aby se nerušil 1 1.47% obraz 1 ve spodní části obrazovky, nevím proč, asi je 1.47% to tak nejlepší kvůli čtení a zároveň sledování

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Statistiky k vyplněným formulářům

děje

1 1.47% vespodu Vyhovuje mi poloha v dolní části obrazovky, 1 1.47% kde jsou obvykle vţdy dole, tak jak většinou bývají, ... lidé na 1 1.47% jsou jiţ zvyklíí a je to přehledné, většinou akorát v černém pruhu u širokouhlých filmů

Otázka 6) Jakou by titulky měly mít velikost (a proč)? Odpověď

Počet % Odpověď 5 7.58% 12 Arial, jednoduche radkovani :) bane, nemely by zakryt polovinu obrazu, vyhovuji 1 1.52% mi mensi, protoze pak jsem nucena i vic poslouchat film 16 (aby se daly přečíst z doporučené 1 1.52% vzdálenosti od přístroje) 1 1.52% 8-10% z velikosti výšky obrazu aby byly dobře vidět, někdy spíš záleţí na 1 1.52% kontrastu neţ na velikost aby se dali dobře a rychle přečíst. důleţitý je 1 1.52% i font. 1 1.52% aby se daly precist 1 1.52% akorát - aby byly vidět a moc nerušily obraz ani velkou (ruší vizuální vjem), ani malou 1 1.52% (nejdou z větší dálky přečíst) asi tak velké, jako je třeba skóre u 1 1.52% sportovního přenosu - aby bylo čitelné, větší ne, aby na obrazovce příliš nerušilo... 1 1.52% bylo by dobré, kdyby se mohla dát nastavit,

114

Statistiky k vyplněným formulářům

ale mě vyhovuje ta, co je cca 1/15 vysky filmu, tak aby zabrany 1 1.52% prostor a citelnost byly v rovnovaze. 1 1.52% čitelnou čitelnou :) - ne, váţně, většinou je to ok, asi uţ vědí co je vyhovující, rozhodně by to mělo 1 1.52% jít přečíst, ale nemělo by to být tak velké, aby to rušilo, zakrývalo velkou část obrazu, atd. dle velikosti obrazovky - měly by zabírat cca 1 1.52% 1/8 obrazovky - aby byly čitelné, ale příliš nezasahovaly dost velkou na to, aby se daly pohodlně 1 1.52% přečíst.. 1 1.52% dostačující pro všechny Dostatečně velkou k přečtení na pár metrů, 1 1.52% dost malou na to, aby z videa nezbyly jen titulky (překrývání obrazu titulky) dostatečnou na přečtení - proč? Asi abych si 1 1.52% to přečetl, ţe.. dostatečnou na to aby se daly pohodlně 1 1.52% přečíst ze standartní vzdálenosti(2-5m) Ideálně tak malou aby nerušily ve sledování 1 1.52% filmu, ale aby se daly pohodlně přečíst 1 1.52% malou 1 1.52% mě vyhovuje tak 1/16-1/20 výšky obrazu měly by zaujímat max 20% z plochy 1 1.52% obrazovky 1 1.52% na ralku je hur videt, takze primerenou neměly bo zasahovat do středu obrazovky, 1 1.52% ale měly by být dostatečně velké

115

Statistiky k vyplněným formulářům

nerozumím otázce (velikost písma? poměr k 1 1.52% obrazovce?...) 2 3.03% nevim 1 1.52% nevim, aby se to dalo i zdalky precist 1 1.52% nevím, hlavně aby byly čitelné 1 1.52% Nezáleţí tak jak bývají mi přijdou přiměřené no větší neţ obvykle, protoţe to z postele 1 1.52% nemůţu přečíst optimální pro zrak jednotlivce,tak akorát aby 1 1.52% příliš nezasahovaly do obrazu Písmo by mělo být čitelné, ne příliš malé (aby se daly číst bez lupy) , ale ani velká písmena (aby nezakrývaly příliš velkou část 1 1.52% obrazovky). Dále by řádky měly být určitě menší neţ je šířka obrazovky, pravděpodobně poloviční. 1 1.52% podivně poloţená otázka Podle cílové skupiny, tak aby alespoň 80 procent potencionálních diváků stíhalo číst. 1 1.52% Důvodem je pravidlo 80:20 a o pak to, ţe kdyby to nikdo nepřečtl ... podle potřeb diváka - měl by si ji moc zvětšit 1 1.52% podle potřeby na vlastní tv 1 1.52% primerenou - aby byly k precteni a nerusily 1 1.52% přiměřeně velké, aby byly dobře čitelné střední - moc malé jdou špatně přečíst, velké 1 1.52% naopak ruší 1 1.52% ta co je pouţívaná na čt2 je ok 1 1.52% tak aby na ně kaţdý viděl tak aby to šlo dobře přečíst, ale ne příliš 1 1.52% velké, aby nezasahovaly do obrazu

116

Statistiky k vyplněným formulářům

tak abychom je přečetli, pokud jsou na to 1 1.52% nějaké předpisy, neznám je tak akorat:-) - aby byly dobre videt a 1 1.52% zaroven nerusily moc obraz Tak akorát. Aby byly vidět a zároveň příliš 1 1.52% nezasahovaly do obrazu. 1 1.52% tak jak mají teď tak jak vypadají jsou v pohodě, nevím jak bych velikost jinak pospal. délka věty (počet 1 1.52% slov) musí být úměrná k tomu, kdy se věta změní za další... abych to stihl přečíst 1 1.52% takovou aby se dali přečíst Takovou, aby bylo dobře vidět i z větší 1 1.52% vzdálenosti neţ 2 m. Např. z 5 metrů. takovou, aby je člověk dobře viděl a zároveň, 1 1.52% aby nezasahovaly do děje filmu :-) 1 1.52% takovou, aby se daly bez problémů přečíst takovou, aby šly lehce přečíst, ale zároveň 1 1.52% nezabíraly příliš mnoho místa z obrazu Titulky by hlavně měly být čitelné. U televize je často problém, ţe titulky jsou malé a pořady v původním znění pak ztrácejí diváky, 1 1.52% kteří na titulky jednoduše nevidí. Čím větší titulky, tím větší místo zaberou na obrazovce a ruší od děje. Nebo by se na o tři řádky na zhruba čtvrtinu výšky obrazu / to 1 1.52% je moje "nastavení" ale jinak je to asi diskutabilní .) uf, nevím velikost písma, ale aby se vešli tak 1 1.52% max. na dva řádky 1 1.52% určitě čitelnou 1 1.52% v televizi i v kině mi svojí velikostí vyhovují

117

Statistiky k vyplněným formulářům

velikost by měla vycházet z nějakých průměrných hodnot , jako jsou : schopnost oka rozlišit na obrazovce písmena..., prům. 1 1.52% kvalita obrazu, barva titulků a pozadí, prům. rychlost čtení, typ písma (font) ... moţná jiné, nenapadá mně 1 1.52% vetší,aby se dobře četly 1 1.52% zalezi, z jake vzdalenosti koukame

Otázka 7) Kolik řádků by měl titulkem maximálně mít (a proč)? Odpověď

Počet % Odpověď 3 4.41% 7 10.29% 2 1 1.47% 2 - aby se dal sledovat obraz 1 1.47% 2 - jinak uz by dost narusoval obraz 1 1.47% 2 - víc by zahlcovalo obraz 1 1.47% 2 (jinak zasahuje do obrazu) 2 (úzus + do jednoho řádku je to často 1 1.47% těţko vměstnatelné a dlouhé řádky se hůře čtou, to platí pro čtení obecně) 1 1.47% 2 aby nerusily obraz 1 1.47% 2 az 3, vic se obvykle neda stihnout precist 2 aţ 3. Aby se neustále neměnily a zároveň 1 1.47% nezasahovaly do děje. 1 1.47% 2 kvůli místu 2 řádky, pokud je hodně textu, toleruji i 1 1.4% dočasné umístění v horní části obrazovky 1 1.47% 2-3 (jinak zabere moc obrazu)

118

Statistiky k vyplněným formulářům

1 1.47% 2-3 pro dobrou čitelnost 1 1.47% 2-3 řádky aby se to dalo přečíst 1 1.47% 2-3, aby nezasahoval do obrazu 2, 3. radek uz zasahuje prilis do stredu 1 1.47% filmu 2, aby sr to stihalo precist a zaroven to 1 1.47% nerusilo sledovani deje. 2, ať se raději rychle střídají, více řádků 1 1.47% zabírá moc místa na obrazovce 1 1.47% 2, jinak uţ překáţí 1 1.47% 2, lépe se v tom orientuje 2, maximálně 3 (protoţe jinak by zabíraly 1 1.47% moc plochy z filmu/pořadu, a také se mnohem hůř čtou) 1 1.47% 2, nečitelnost 2, víc by uţ příliš zasahovalo do hlavního 1 1.47% zorného pole, kde se odehrává děj. 2, víc lidé mají problém stihnout přečíst a 1 1.47% zabírá to hodně místa 2, z důvodu přehlednosti a sledování 1 1.47% obrazu pod titulky 2 2.94% 3 3 aby člověk stihnul i zaznamenat obraz, ne 1 1.47% jen text 1 1.47% 3 pri vetsim poctu nevnimam obraz 3, aby clovek stihl titulky precist a aby 1 1.47% nezabiraly hodne mista na obrazovce 1 1.47% 3, pak uţ ruší 1 1.47% 3, poté uţ zasahuje do projekce

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Statistiky k vyplněným formulářům

3, pro lepší čtení a zároveň nezabírají tolik 1 1.47% prostoru z obrazovky ( ale záleţí na velikosti titulků samozřejmě) 3 4.41% dva Dva = očekávám to, jsem na to naučený. 1 1.47% Moţná i tři ?? při více hlasech ?? dva je to zvyk a proč nevím protoţe se o 1 1.47% tuto problematiku nezajímám - nejsem odborník 1 1.47% dva kvůli tomu aby se dali stihnout přečíst 1 1.47% dva řádky, u tří je rychlé čtení stíţeno 1 1.47% dva, abychom je stihli přečíst:-) 1 1.47% dva, pak je nepřehledný ideálně dva aby text byl déle na obrazovce 1 1.47% ale nepřekrýval moc velký kus obrazu jak uţ jsem řekl v předešlé otázce: any se 1 1.47% to stihlo přečíst.. myslím ţe max dva řádky 1 1.47% jeden aţ dva, delší text asi nemá smysl 1 1.47% max 2 1 1.47% max. 3 - při více zasahují do obrazu max. 3, aby to člověk stihnul přečíst a 1 1.47% nezasahovalo to do obrazu. 1 1.47% maximálně 1 řádek. maximálně dva, aby se stihl v rámci 1 1.47% běţícího děje přečíst 1 1.47% maximálně jeden myslím ţe 2, více uţ by bylo za prvé na 1 1.47% dlouhé čtení a za druhé zásah do obrazu nejlépe max 2. seřazeny tak, aby se dali 1 1.47% přečíst najednou a nejezdit očima zleva

120

Statistiky k vyplněným formulářům

doprava

1 1.47% stačí dva, pro přehlednost 1 1.47% tak dva, aby to bylo přehledné 1 1.47% tolik, aby se do nej vesel cely preklad 1 1.47% tři - poté uţ text moc zasahuje do obrazu záleţí asi na době zobrazení, ale maximálně 1 1.47% tři řádky, více uţ moc zasahuje do obrazu Záleţí na velikosti písma a na poměrné zábrání místa na obrazovce. Já vidím 1 1.47% dobře, takţe mi 3-4 řádkové (ale malé) titulky v zásadě nevadí :).

Otázka 8) Jakou barvu by měly titulky mít (a proč)? Odpověď

Počet % Odpověď 3 4.55% asi bílou - jde dobře přečíst a vyniká na 1 1.52% všech barvách asi ţluté (jsou nejlépe kontrastní na různém 1 1.52% pozadí) Barvu, která bude vidět vţdy při změně 1 1.52% pozadí.

1 1.52% bílá nebo ţlutá bílá při nejhorším ţlutá (lepší čtení na 1 1.52% většině barevných podkladů) bílá/černá-podle pozadí, aby byly dobře 1 1.52% vidět 1 1.52% bílé bílé (či největlejší odstín šedé) na černém 1 1.52% pozadí (resp. na nejtmavějším odstínu

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Statistiky k vyplněným formulářům

šedé) 3 4.55% Bilou 1 1.52% bilou - klasika 1 1.52% bílou - kontrastní bílou (barevné snímky), nebo ţlutou ( 1 1.52% černobílé snímky) Bílou (moţná i ţlutou). Prostě světlou, aby 1 1.52% byly dobře vidět. 1 1.52% bílou (nejlepší kontrast) bílou (popř. ţlutou např. u černobylých 1 1.52% filmů), kvůli kontrastu bilou kvuli prirozenosti pro oci s cernym 1 1.52% obrysem pro lepsi citelnost na svetlych pozadich bílou s černým obrysem, tak jsou dobře 1 1.52% čitelné bilou, je dobre videt na popredi obrazu. 1 1.52% pokud to neni sníh bílou, je to nejkontrastnější a lehce se to 1 1.52% čte 1 1.52% bílou, nebo černou 1 1.52% bílou, neutrální 1 1.52% bílou? - odlišení od obrazu 1 1.52% černou 1 1.52% černou,aby byli vidět 1 1.52% dostatečně kontrastní, tedy bílou, ţlutou kontrasní pro lepší čtení asi - nejsem odborník proto se na takové otázky většinou 1 1.52% dává seznam moţností a ne otevřená odpověď

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Statistiky k vyplněným formulářům

1 1.52% kontrastní k filmu - čitelnost 1 1.52% kontrastni kbarve filmu, cernou nebo bilou 1 1.52% kontrastní proti podkladu 1 1.52% kontrastni s barvou filmu. Treba zlute kontrastní s pozadfím, pro dobrou viditelnost 1 1.52% a čitelnost 1 1.52% kontrastní s pozadím, kvůli čitelnosti kontrastní vůči pozadí, aby byly dobře 1 1.52% čitelné, úzus je bílá, ţlutá, apod. nějákou světlou, třeba modrou, aby to bylo 1 1.52% k přečtení kdyţ je tam tmavé pozadí nejlépe asi bílou, neruší a většinou nesplývá 1 1.52% s pozadím Nemusí být sjednocená, je dobře aby byla kontrastní k pozadí a písmena byla třeba 1 1.52% orámována. Vyhovovalo mi, kdyţ byly titulky ţluté. Bílá je někdy moc agresivní. nevíííím, podle podkladu, takţe ţlutou 1 1.52% nejspíš, ta je výrazná podle filmu a barev v něm, taky kvůli 1 1.52% poloze. 1 1.52% podle podkladu, ţlutá bílá černá přizpůsobenou pozadí (na tmavém světlé, 1 1.52% na světlém tmavé) 1 1.52% tak aby byly dostatečně kontrastní Takovou, aby dobře kontrastovaly s 1 1.52% obrazem, barva se proto můţe měnit v závislosti na pozadí. 1 1.52% určitě ne průhledné 1 1.52% většinou bílou ale se stínem v podkladu

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Statistiky k vyplněným formulářům

(výrazným - ţlutým/červeným), aby to nesplývalo s obrazem většinou bílou, aby byly kontrastní. Ţluté 1 1.52% ohraničení mi nepřijde dobré výraznou ţlutou , nebo oraNţovou. Myslím si 1 1.52% , ţe mají nejvyšší rozlišitelnost na světlých a bílých pozadích zalezi na snimku - ale syte bila bude asi 1 1.52% nejviditelnejsi u vetsiny filmu? 1 1.52% zaleţi na barve pozadi záleţí na barvě pozadí (obrazu), podle toho 1 1.52% titulky buď černé, bílé nebo ţluté 1 1.52% záleţí na podkladu záleţí na podlkadu, pokud je podklad černý, 1 1.52% tak asi nejlépe bílé písmo 1 1.52% ze zkušenosti ţlutou, je výraznější 1 1.52% Zlute ci bile, aby se dobre cetly. zvykl jsem si na ţlutou s černým okrajem / 1 1.52% podle ČT .) (ţluté je relativně málo, okraj zaručí kontrast) 1 1.52% ţlutá (větší kontrast na černé neţ bílá) 1 1.52% ţlutá či bílá 1 1.52% ţlutá,bílá podle mě ideální barva 1 1.52% ţlutou, bílou (sem na to zvykla) 1 1.52% ţlutou, černou - podle pozadí ţlutou, jsou nejlépe čitelné, neztrácí se v 1 1.52% pozadí ( problémy u bílé barvy často) ţlutou, ne řvavou, ale ţlutou, je nejlépe 1 1.52% vidět

Otázka 9) Jak dlouho by měl být titulek zobrazen?

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Statistiky k vyplněným formulářům

Odpověď

Počet % Odpověď 3 4.55% 1 1.52% 2-3 vteřiny? 7 vterin, nebo jak dlouho nedojde ke zmene 1 1.52% obrazu 1 1.52% 98 vteřin 1 1.52% Aby ho clovek sithl v pohode precist.. 1 1.52% aby ho divak stihl precist, aby měl člověk dostatečnou dobu jak na 1 1.52% přečtení, tak i na sledování děje filmu 1 1.52% Aby se dal pohodlně přečíst. 1 1.52% aby to dávalo smysl adekvátně scéně a dostatečně dlouho na 1 1.52% přečtení 1 1.52% cca po stejnou dobu dialogu 1 1.52% Co nejdéle to je moţné. 1 1.52% dle délky vět 1 1.52% dle počtu slov, aby se daly přečíst 1 1.52% do konce scény 1 1.52% do přečtení 1 1.52% dokud je řeč o tom, co stojí v titulku dokud osoby hovoří-nebo aby se to dalo 1 1.52% stihnout přečíst. 1 1.52% dokud se otevírá pusa ne? dostatečnš dlouho pro přečtení v závislosti 1 1.52% na jeho délce

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Statistiky k vyplněným formulářům

1 1.52% chvíli 1 1.52% jeden řádek cca 4 vteřiny 1 1.52% jeden řádek tři sekundy nejlépe po stejnou dobu, jakou člověk ve filmu hovoří. Pokud je text delší, tak ho zde 1 1.52% ponechat takovou chvíli, aby člověk byl schopen jej přečíst. 1 1.52% několik sekund 1 1.52% Nevim nevím zase si myslím, ţe pokud vytvářím 1 1.52% dotazník, tak si musím přečist nějaké infromace k jeho sestavování 1 1.52% neţ je nutné zobrazit další, max. tak 5 sec. neţ začne další scéna kde je potřeba mít 1 1.52% jiný titulek 1 1.52% pár sekund 1 1.52% pár sekund cca 5 1 1.52% po dobu dokud dana osoba hovori. 1 1.52% po dobu fáze záběru -čeho se týká po dobu kdy se mluví, musí sedět s 1 1.52% mluveným výstupem herce/herečky 1 1.52% po dobu mluveneho slova po dobu mluveného slova, popřípadě o 4s 1 1.52% déle v případě dlouhé odmlky 1 1.52% po dobu mluvení Po dobu po kterou je aktuální, kdy někdo něco říká, nebo dokud není třeba vyměnit 1 1.52% za nový (např. kdyţ začne mluvit někdo jiný) 1 1.52% po dobu trvani mluvene vety

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Statistiky k vyplněným formulářům

1 1.52% po dobu trvání věty v originálním znění 1 1.52% po dobu, co herec hovoří 1 1.52% podle delky obsahu 1 1.52% podle délky textu Podle délky, cca 150ms na slovo, jinak 1 1.52% minimálně tak dlouho, jak titulkovaná osoba hovoří pokud to dovolí spád děje , tak takovou, jak je schopen rychle číst průměrný občan ČR. 1 1.52% Neměl by být pro rychločtenáře , ani pro propadlíky. přiměřenou k moţnosti průměrného člověka 1 1.52% titulek přečíst 1 1.52% synchronizovaně s mluveným slovem tak aby přesně navazoval na děj (čím déle 1 1.52% tím lépe ale ne moc aby to nebylo matoucí) 1 1.52% tak aby se stihl přečíst 1 1.52% tak akorat tak akorat, coz casove nedokazu vycistlit. Hlavne aby to stale odpovidalo originalu. 1 1.52% Nemam rada predchazejici nebo naopak zpomalene titulky 1 1.52% tak dlouho aby se stihl přečíst Tak dlouho, aby byl stále aktuální a zároveň 1 1.52% aby ho diváci mohli přečíst. Tak dlouho, jak herci přeříkávají konkrétní 1 1.52% větu tak dlouhou, aby průměrný člověk vše stihl 1 1.52% přečíst tak dlouhou, aby se dal bez problémů 1 1.52% přečíst

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Statistiky k vyplněným formulářům

tak to je individuální, dle délky textu, 1 1.52% rychlosti mluvy, ale tak třeba kolem 2 nebo 2,5 vteřin tak to si netroufám odhadnout, podle délky 1 1.52% asi 1 1.52% tak, aby se stihly ty dva řádky přečíst To opět záleţí na mnoha faktorech, rychlost konverzace. Ideálně dost dlouho, aby byl 1 1.52% čas ho přečíst a zároveň, aby nevisel zbytečně dlouho poté, co uţ konverzace skončila :) v podstatě podle rychlosti dialogu, nelze 1 1.52% jednoznačně určit, protoţe záleţí i na zdatnostech diváka/čtenáře 1 1.52% záleţí na obsahu, 2-5 vteřin 1 1.52% záleţí na střihu kamery 1 1.52% zhruba 3 s?

10) Jak by měly titulky plynout vzhledem k tomu co se děje Otázka na obrazovce? (obraz, zvuk) Odpověď

Počet % Odpověď 4 5.97% 1 1.49% ? 1 1.49% 1:1 1 1.49% aby bylo jasné co se v danné scéně dějě At se obraz klidne meni, ale titulek at 1 1.49% zustane dost dlouho na pohodovy precteni. 1 1.49% herec zacne mluvit, zacnou titulky Ideálně simultánně.. ale to asi není moţné. 1 1.49% Opoţděné titulky mě trošku rozčilují, ale to je

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Statistiky k vyplněným formulářům

proto, ţe kdyţ pořad sleduji v původním znění, titulky podvědomě také vnímám a posun mě rozčiluje. Ale asi je lepší mírné zpoţdění neţ, kdyby prosvištěly simultánn kdyţ začne herec mluvit, měl by se ihned 1 1.49% zobrazit titulek a vydrţet, neţ přestane mluvit měl by navazovat na zvukovou stopu 1 1.49% mluvícího měli by plynou vzájemně se zvukem i s 1 1.49% obrazem. 1 1.49% Meli by sedet na mluveny projev (zvuk) měly by plynout plynule! :-), pokud to jde, 1 1.49% pak překlad by měl mít cca 1 sekundové zpoţdění měly by být identické se zvukem ne delší či 1 1.49% kratší 1 1.49% měly by být shodné s mluveným slovem 1 1.49% mely by plynout spolecne s obrazem měly by plynout tak, jak dotyčná osoba/y 1 1.49% hovoří ... měly by zmizet se skončením jednotlivého 1 1.49% obrazu načasování by mělo být přesné se začátkem vět. Maximální délka zobrazení by měla být 1 1.49% asi 5 vteřin po uplynutí mluveného textuo být 1 1.49% nejlepe sladeno nejlépe souběţně s tím, co herci opravdu 1 1.49% říkají 1 1.49% nejlépe synchronně 1 1.49% není vhodné předbíhat obraz a zvuk, jinak

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Statistiky k vyplněným formulářům

člověk ví to "překvapení" na konci věty... 1 1.49% nevim 1 1.49% obraz 1 1.49% plyně navazovat na zvuk 2 2.99% Plynule po vyřčení věty ještě okamţik zůstat, zmizet 1 1.49% během chvil, kdy se nic neříká pokud moţno aby to co člověk říká bylo v 1 1.49% daný moment v titulcích, pokud to tedy umoţní aby to lidé stihli přečíst průběţně, v souladu s obrazem i zvukem, co 2 2.99% nejblíţ mluvenému slovu 1 1.49% přirozeně, v závislosti na konverzaci rytmicky (i kvůli snadnosti čtení), pokud to jde sladit s obrazem či zvukem, tak by to 1 1.49% bylo fajn, ale ne vţdy to jde (např. rychle se střídající záběry v některých dokumentech) 1 1.49% sladěno 1 1.49% soubezne s originalem 2 2.99% souběţně 1 1.49% souběţně se zvukem 2 2.99% současně 1 1.49% současně s hlasy herců 2 2.99% současně s obrazem a zvukem 1 1.49% současně se zvukem 1 1.49% spolu s obrazem 1 1.49% stejně stejně jako řeč, pokud je to ale moţné 1 1.49% stihnout přečíst... pokud by byl zvuk

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Statistiky k vyplněným formulářům

rychlejší, tak titulky musí tzůstat déle, aspoň ty 4 vteřiny/řádek synchroně se zvukem = naskočí se začátkem věty / ani dopředu, ani dozadu .) nevadí mi, kdyţ je v jednom titulku řeč dvou lidí (dialog, 1 1.49% otázka-odpověď) pokud jsou věty vizuelně odděleny (pomlčkou), dnes se to ale asi uţ moc nepouţívá .) 1 1.49% synchronizovaně 1 1.49% synchronizovaně s mluveným slovem 1 1.49% synchronizovaně se zvukem 1 1.49% synchronně Synchronně s mluvou herců. Neměly by zůstávat na obrazovce, pokud uţ nikdo 1 1.49% nemluví. Překlady míst, co je kde napsáno a je to vidět na obrazovce, pokud je to relevantní v rámci děje. 1 1.49% tak na ráz titulek je od toho, aby mi připblíţil co osoba (osoby ) na obrazovce pronášejí. Kdyţ pronášejí , tak chci vědět co... tzn. přijde 1 1.49% titulek. Kdyţ mlčí a já mám přečteno, tak ať tam není nic. Moţná u vypjatých scén (mnoho hlasů najednou) bych si dokázal před titulky by mely souhlasit s dialogy a 1 1.49% nezustavat tam dele. 1 1.49% to co se děje, tak se i čte V kaţdém případě by měli být aktuální a korespondovat s tím co se na obrazovce 1 1.49% děje. Např. někdy v BBC zprávách jsou titulky velmi zpomalené a není to ono. 1 1.49% v synchronu

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Statistiky k vyplněným formulářům

1 1.49% volně dle děje 1 1.49% vţdy v souladu s mluvou 1 1.49% zároveň s mluvčím 1 1.49% zároven se zvukem 1 1.49% zvuk

Otázka 11) Co vás v titulcích nejvíce irituje? Odpověď

Počet % Odpověď 4 5.97% 1 1.49% blbý překlad 1 1.49% gramaticke hrubky 1 1.49% gramatické chyby (ne překladové) gramatické chyby, nepřesné překlady frází ( 1 1.49% překladatel si často neuvědomí kontext textu a dělá chyby) gramatické chyby, špatný (ne nepřesný, ale 1 1.49% vyloţeně chybný) překlad

1 1.49% hrubky 2 2.99% chyby 2 2.99% chyby, moc velká rychlost 1 1.49% jazykolamy jejich nepřesnost, občas "zabíjí" celý význam 1 1.49% (ztratí se vtipnost, určitý podtón), někdy doslovný překlad kdyz jsou moc velke, zpomalene, spatne 1 1.49% prelozene (CT si na to dava snad pozor) 1 1.49% Kdyz jsou v obraze a necitelnost

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Statistiky k vyplněným formulářům

1 1.49% kdyz nesedi kdyz rychle mizi nebo nejsou dobre k 1 1.49% precteni Kdyţ jsou moc opoţděné, kdyţ obsahují špatný překlad, kdyţ jsou natolik zkratkovité 1 1.49% či zobecňující, ţe zkreslují obsah původního znění.. 1 1.49% kdyţ jsou rychlé kdyţ jsou špatně vidět (barva), nebo je mizerná "potrhaná" kvalita, nebo kdyţ zmizí, 1 1.49% nestačím je přečíst a přitom (intuitivně) cítím, ţe tam byl prostor nechat je tam déle Kdyţ neodpovídají tomu, co zrovna říkají, 1 1.49% kdyţ jsou v nich spellingové chyby a kdyţ si myslím, ţe to mohlo být přeloţeno lépe. 1 1.49% kdyţ se předbíhají nebo jsou zpomalené kdyţ se rychle střídají, a jsou dlouhé, pak to 1 1.49% nestačím přečíst 1 1.49% kdyţ se zobrazují dříve neţ herci mluví 1 1.49% kdyţ si je nestíhám přečíst 1 1.49% nejspíš nic 1 1.49% někdy nesmyslný překlad nepřesné překlady, pravopisné chyby (ne na 1 1.49% ČT, v amaterských titulcích) 1 1.49% Nepřesnost překladu. Nesedící časování, ţe se zasměju dřív neţ ti 1 1.49% co tomu rozumí v AJ a titulky nečtou - někdy je vhodné část titulků zobrazit později. nesmyslné nebo nelogické překlady jednotlivých slov (jeden za všechny: pathetic 1 1.49% - překládáno jako "patetický", ve smyslu věty "ubohý")

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Statistiky k vyplněným formulářům

1 1.49% nesmyslné překlady 1 1.49% nespravny preklad napr. slangovych slov 1 1.49% nesprávný překlad 1 1.49% nesrozumitelnost 6 8.96% nic nic, někdy mi nesedí překlad s tím co slyším, 1 1.49% ale neumím tak dobře, abych si myslela, ţe umím překldat líp neţ lidi co píší titulky 1 1.49% občas nepravidelnost - míjí se s obrazem občas tak rychle mizí, ţe to ani nestíhám 1 1.49% číst. také menší písmo Opomijeni dulezitych souvislosti, obcas 1 1.49% ztrata smyslu vuci originalu (v cj vtip nedava smysl ale ani neni vysvtelen ten v AJ). Pokud mi zmizí a já ho nestačila přečíst, překlad je velmi krkolomný na čtení nebo má 1 1.49% překlad hodně chyb, které mohu sama identifikovat. pokud něco, většinou je to problém s funkční větnou perspektivou, popř. 1 1.49% ignorování mnoţného čísla středního rodu (záměna s ţenským rodem) 1 1.49% pokud nejsou správně načasované 1 1.49% pravopisné chyby - hrubky pravopisné chyby (spíše případ stahovaných titulků a ten většinou někdo časem 1 1.49% doopraví) + neznalost reálií a slangu (je to omluvitelné, ale člověk by neměl překládat, čemu nerozumí .) 1 1.49% pravopisné chyby, špatná diakritika pravopisné chyby, zkreslený překlad, 1 1.49% většinou okrájené na základní info

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Statistiky k vyplněným formulářům

Pravopisné chyby. Nepřesný překlad 1 1.49% (nezohlednění slangu, citového zabarvení atd.) 1 1.49% preklepy, nevnimani kontextu 1 1.49% překlepy, chybná písmena 1 1.49% překlepy, špatný překlad 1 1.49% samotné titulky spatne preklady, preklady neprelozitelnych 1 1.49% veci (napr. slovnich hricek) a hlavne gramaticke chyby 1 1.49% špatně zvolená bílá barva 1 1.49% titulky me neserou 1 1.49% ţe je musim číst 1 1.49% ţe je nestíhám číst 1 1.49% ţe je nestihnu dočíst a domýšlím si 1 1.49% ţe jsou moc dlouhé

12) Co by pro vás titulky učinilo naprosto Otázka nesrozumitelnými? Odpověď

Počet % Odpověď 7 10.61% 1 1.52% asi špatná interpunkce ve větách .) 1 1.52% azbuka

2 3.03% cizí slova 1 1.52% doslovny prepis, vic mne nenapada Doslovný překlad bez vysvětlení (v 1 1.52% závorce)

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Statistiky k vyplněným formulářům

epatná barva písma, krátký čas zobrazení, 1 1.52% nenavazování na hlas a obraz gramatické chyby a špatný přepis českých 1 1.52% znaků 1 1.52% chybné zobrazování českých znaků 1 1.52% chyby, moc velká rychlost 1 1.52% jazyk který neznám 1 1.52% jazyk, kterému nerozumím 1 1.52% jiný font písma 1 1.52% kdyby byli jinde neţ dole 2 3.03% kdyby byly v činštině 1 1.52% kdyby byly v japonstine kdyby chyběli háčky, čárky, nečitelný font, 1 1.52% nečeská stavba věty kdyby nebyla oddělena slova, kdyby nebyla 1 1.52% dostatečně kontrastní barva písma 1 1.52% kdyby nebyly v anglictine kdyby nekopírovaly děj a originál v daném 1 1.52% sledu 1 1.52% kdyby se totálně lišily od záznamu kdyby se vyrazne zkratil preklad oproti 1 1.52% originalu kdybych byla slepá nebo byly v jazyce 1 1.52% kterému nerozumím ,-) kdyţ by neseděly s mluveným proslovem, 1 1.52% případně by mizely příliš rychle, objevovalo by se mnoho gramatických chyb apod. kdyţ sdi nejsem jist, ke kterému hlasu 1 1.52% titulek patří a nečitelnost (špatná čitelnost)

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Statistiky k vyplněným formulářům

malé písmo či barva, která se kryje s 1 1.52% pozadím filmu nekompletní překlady, či špatné zobrazení 1 1.52% diakritiky (klikiháky) Nerozumím moc otázce. Určitě jakékoli technické komplikace jako je nečitelnost písma, malá velikost písma. Jinak obecně 1 1.52% by byly nesrozumitelné vţdy, kdyţ by nekorespondovaly s tím, co se děje na obrazovce. 1 1.52% Nerozumím otázce :-( 7 10.61% nevím 1 1.52% nevím, neumím si představit 1 1.52% nevim:) 1 1.52% nic 1 1.52% nic mě nenapadá 1 1.52% ozdobný fond pokud by nedoslo k odliseni mezi ruznymi 1 1.52% mluvcimi pokud jsou čitelné, pak jsou srozumitelné, 1 1.52% jestliţe textu nerozumím, tak jsem blbý... :-) a s tím autoři titulků nic nenadělají! Pouţití písma, které se na obrazovce změní 1 1.52% v nesrozumitelné znaky. 1 1.52% překlad do maďarštiny 1 1.52% překlad z google translator:) Půjde takovou otázku vůbec nějak 1 1.52% vyhodnotit? V kontextu předchozích, bych řekl rychlé zobrazení. 1 1.52% Spatna citelnost a spatne nacasovani

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Statistiky k vyplněným formulářům

splývání s obrazem, rychlost přechodu 1 1.52% titulku 1 1.52% špatná barva a přílišná velikost 1 1.52% špatná barva, špatný font 1 1.52% Špatná barva. špatná diakritika (popř. ještě spojená se 1 1.52% špatnou FSP nebo s delším textem) 1 1.52% špatné časování 1 1.52% špatné načasování špatný překlad nebo špatná gramatika 1 1.52% nebo slovosled 1 1.52% špatný slovosled 1 1.52% typ pisma

Otázka 13) Jak by podle vás měly vypadat dobré titulky? Odpověď

Počet % Odpověď 9 13.64% 1 1.52% ??? jako v ČT aby odpovídali tomu co postava v pořadu 1 1.52% říká, ale zároveň aby se zachoval např.vtip atd..

aby věrně kopírovaly mluvené slovo, měli 1 1.52% správnou barvu a velikost bez gramatických chyb v jedné řeči a s 1 1.52% kompletním překladem bílé se stínem. cca 2 řádky na 8 vteřin, 1 1.52% čitelná velikost 1 1.52% bílé, správný překlad, be gramatických

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Statistiky k vyplněným formulářům

chyb, správná velikost, správně "načasované" bílé, tak akorát veliké (v dřívejší otázce 1 1.52% popsáno), trvající tak akorát na přečtení průměrným človlěkem Co nejpřesnější předklad, správné 1 1.52% načasování 2 3.03% čitelně čitelné, dostatečně veliké, jednoduše 1 1.52% uspořádané čitelné, nejlíp arial bílé (ţluté) s černým 1 1.52% okrajem a usazeny v prostoru pod obrazem filmu 1 1.52% čitelné, přesně přeloţené a načasované diskutabilní - ale lze hodnotit asi překlad 1 1.52% (pravopis + čtivost) a načasování divák by je měl vnímat jako něco 1 1.52% přirozeného, neobtěţujícího dobre citelne, odpovidajici casove 1 1.52% dialogum/monologum, nezkracene a hlavne spravne prelozene dobré umístění, barva, členění, rychlost, 1 1.52% počet řádku, zesynchronovanost 3 4.55% dobře Dobře kontrastní, dobře čitelné, bez chyb gramatických i věcných, dobře načasované 1 1.52% a přiřazené scénám. Dobře odlišitelné v případě více hovořících postav ve scéně. dokonale vystihující obsah výroků postav .... tzn není důleţitý chirurgicky přesný 1 1.52% překlad věty, ale její obsah, tzn. Nejsem schopen jako neznalec jazyka ocenit dokonalost překladu , ale vypovídací

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Statistiky k vyplněným formulářům

schopnost titulku, který mně má hladce provést dějem, aby 1 1.52% dole, bílé, sladěné podle zvuku Dostatečně velké a barevně dobře 1 1.52% viditelné. dostatečně velké, co nesplynou s pozadím 1 1.52% filmu. samozřejmě dobře přeloţené! 1 1.52% hlavně výstiţné kontrastní barva, velikost tak k přečtení, ne 1 1.52% mnoho řádků, ne moc rychle, bez chyb kontrastní proti podkladu, zobrazující se v 1 1.52% adekvátní velikosti po dostatečně dlouhou dobu kvalitni preklad, spravne nacasovani, 1 1.52% bezchybne podani. kvalitní překlad, přiměřená rychlost, 1 1.52% přiměřená velikost a barevnost m Maximum dva řádky, kontrastní barva k 1 1.52% obrazu, dostatečná velikost, synchronizace se zvukem měli by být dobře viditelné, správně 1 1.52% přeloţené a aby byl čas to přečíst 1 1.52% měli by co nejvíc odpovídat měly by splňovat všechna doporučená pravidla, měly by být stručné, výstiţné, 1 1.52% srozumitelné, viditelné, čitelné, zobrazené po přirozeně dlouhou dobu, gramaticky správné, prostě vše, co uţ bylo zmíněno :) 1 1.52% mluvené né moc dlouhé, správně načasované, dobře 1 1.52% čitelná velikost 1 1.52% nerusici ale prehledne

140

Statistiky k vyplněným formulářům

1 1.52% plynulé s dějem 1 1.52% presny preklad, vcas, velkym pismem přesný překlad - zohledněn obsah textu, 1 1.52% mělo by to ladit s kontextem, adekvátní rychlost titulků, zároveň i velikost a barva přesný překlad, pravopis, diakritika, 1 1.52% správný font a barva textu příjemný formát i velikost, srozumitelné k 1 1.52% ději spravna barva, velikost, dobre casovani a 1 1.52% co nejpresnejsi preklad. u frazi neparafrazovat správná čeština, ne nutně spisovná, ale to 1 1.52% záleţí zase na typu pořadu Správná velikost, barva, dobře plynoucí, 1 1.52% ţádné chyby. Spravne nacasovane, zadne preklepy, na 1 1.52% spravnem miste správný překlad (nikoliv vţdy doslovný) a 1 1.52% tak záleţí na fontu (já preferuji century ghotic) 1 1.52% střední písmo, bílé synchronizované se zvukem, odpovídající 1 1.52% smyslu věty (ne doslovný překlad) 1 1.52% tak jak vypadají 1 1.52% Tak jako na CT To je hodně obecný dotaz. Dobrý překlad, 1 1.52% dobrá čitelnost, dobrá časová synchronizace s děním na obrazovce. 1 1.52% Uţ jsem psal v předchozích odpovědích 1 1.52% velke akorat, nepohyblive dobre viditelne

141

Statistiky k vyplněným formulářům

na pozadi 1 1.52% viditelny, dlouho Ţe se člověk pobaví u seriálu, filmu s 1 1.52% titulky, zachytí veškerý děj a v podstatě si ani nevšimne, ţe musel číst titulky. 1 1.52% Ţlutý, tučný, stručný, jasný.

Celkem odpovědělo 66 respondentů

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