kalbų studijos / studies about languages no. 32 / 2018 21
Applying Multimodal SAL 32/2018 Applying Transcription to Persian Subtitling Multimodal Transcription to Daugiamodalinio transkribavimo Persian Subtitling taikymas subtitruojant persų kalba Received 10/2017 Accepted 05/2018
TRANSLATION / VERTIMAS
Zahra Abdi MA, Ferdowsi University of Mashhad, Iran.
Masood Khoshsaligheh Ph.D., Associate Professor, Ferdowsi University of Mashhad, Iran.
http://dx.doi.org/10.5755/j01.sal.0.32.19212
Subtitling reduction is a way of tackling subtitling constraints that can facilitate the watching experience of the viewers. Recently, multimodal transcription has been employed by Taylor (2003, 2013) to investigate the audiovisual requirements of films as well as to investigate the possibility of editing and shortening the subtitles based on the nonverbally informed content. Since this approach has rarely been empirically examined, the current study attempted to investigate the possibility of reducing the subtitles of the French language film Amelie (Jeunet, 2001), and the impact of so doing on the comprehension achievement and the reception of the Iranian viewers. To this aim, in an experiment, the full Persian subtitles of the film were reduced based on the said framework. Then, the comprehension achievement of the control group who watched the full subtitles was compared with that of the experimental group who were shown the reducedsubtitles. Moreover, the reception of the reduced subtitles was qualitatively investigated using retrospective interviews with selected participants of the treatment group. The results of the experiment revealed no significant difference between the comprehension achievements of the two groups, indicating the adequacy of the reduced version of the subtitles. The interviews revealed mixed results, indicating that the reduced subtitles were well-received by some for their brevity, but they were also criticized by some others for their fairly negative interference with the watching flow.
KEYWORDS: audiovisual translation, multimodal transcription, subtitling, subtitling reduction, Persian language.
In today’s world, there is a huge demand for multimodal products like feature films and television series. One of the most cost-effective modalities (Deckert, 2013, p.57) for tailoring Introduction these products for international audiences is subtitling. Although subtitling is an addition to the original material and does not take over or ruin an existing component, to serve its purpose, this form of audiovisual translation ought to be in the most succinct form (Gottlieb,
1994; Kruger, 2012; Di Giovanni, 2016). Nevertheless, considering that the intended meaning Research Journal Studies about Languages in multimodal programs emerges from an interactive cooperation of the verbal, auditory No. 32/2018 and visual channels (Mayoral et al., 1988; Baldry, 2000, 2004; Zabalbeascoa, 2008), subtitling ISSN 1648-2824 (print) ISSN 2029-7203 (online) reduction is certainly a challenge. pp. 21-38 DOI 10.5755/j01.sal.32.0.19212 One of the newly recommended tools for investigating the said cooperation of verbal and © Kaunas University of Technology 22 kalbų studijos / studies about languages no. 32 / 2018
nonverbal contents of the films is multimodal transcription that was employed by Taylor (2003, 2013) to reduce the subtitles by ignoring the nonverbally transferred information. Multimodal transcription was first used by linguists in the 20th century (Boas, 1911, as cited in Duranti, 2007) and is now widely used in various fields of humanities and socio-behavioral sciences (Duranti, 2007, p.301). According to Wildfeuer (2015), its use in multimodal analysis was started in 2000 by Baldry (cf. O’Halloran, 2002) and developed significantly within the past two decades by outstanding works of Kress and van Leeuwen (e.g. 1996, 2002).
Subtitling is, according to Díaz-Cintas and Remael (2014, pp.8–9), translating audiovisual content Subtitling of multimodal materials into textual frames that are placed on the lower part of the screen and Reduction is constrained due to the synchrony requirements of subtitles with image, speech and sound. Mayoral et al. (1988, p.359) mention four types of synchrony for audiovisual translations as 1) temporal-spatial synchrony; 2) content synchrony; 3) phonetic synchrony, and 4) character synchrony that according to de Linde (1995, p.13), Díaz-Cintas and Remael (2014, p.9) and Matamala et al. (2017, p.425) make full rendering of the verbal tracks away from possible. Guardini (1998, p.97) mentions three justifications for subtitling reduction such as: 1) coexistence of different communication modes within multimodal materials; 2) requirements of temporal-spatial synchrony; and 3) the linguistic differences between subtitles and the original language which are identified by Georgakopouloue (2009, pp.21–23) as: 1) Textual constraints; 2) Technical constraints; and 3) Linguistic constraints of subtitling, respectively. One aspect of subtitling textual constraints is that, according to Mayoral et al. (1988, p.359), from the relation of the information that is at any time transferred by verbal, visual and auditory modes of communication in multimodal materials, various degrees of redundancy occur. d’Ydewalle et al. (1991, p.651) mention two types of redundancy as: 1) redundancy of image to speech; and 2) redundancy of subtitles to both image and speech. This feature makes it possible to reduce subtitles by ignoring the information that is transferred nonverbally as Taylor (2013, p.102) believes that it is sometimes possible, in subtitling, to ignore the verbal content that is transferred by nonverbal elements such as action and setting. It is also mentioned by Deckert (2013, p.59) that visual content can be helpful in reducing the cognitive burden of subtitles. Stöckl (2004, p.17) and Díaz-Cintas (2008, p.3) indicate that image and nonverbal content of multimodal texts are more absorbing than the content transferred by other modes of communication. Another aspect of the textual constraints is that each mode has its own cognitive load. The differences in the cognitive loads of various modes include: 1) slower analysis of text than image (Delabastita, 1989; Nornes, 1999; Deckert, 2013); 2) slower analysis of text than speech (Perego, 2003; Díaz-Cintas and Remael, 2014); and 3) slower speed of reading than talking and the difficulty of analyzing long subtitles (Gottlieb, 2005, p.19). These differences, again, suggest the necessity of reducing subtitles in order to reduce the cognitive burden of watching subtitled movies and prevent the over-occupation of viewers with subtitles. Regarding technical constraints of time and space, Gielen (1988, as cited in d’Ydewalle & Gielen, 1992, p.420) indicates that while watching, eyes are more directed to the lower part of the screen close to where the subtitles are. Therefore, as mentioned by Georgakopouloue (2009, p.21) and Gottlieb (1994, p.101), they must be economized to let the eyes enjoy the visual. These statements suggest that subtitles must be as much succinct as the temporal-spatial requirements of the screen allow. This restriction according to Nedergaard-Larsen (1993, p.214) can cause a feedback effect in that loss of meaning at one time can be compensated through the nonverbal content at another time. Temporal-spatial requirements, however, are not the kalbų studijos / studies about languages no. 32 / 2018 23
same for all distributors. Gambier and Suomela-Salmi (1994) look at the difference between technical and financial aspects of cinema and television in terms of their audience, screen size, visual flow, and linguistic requirements. Also, Gottlieb (1994, pp.115–116) mentions that cinema, unlike television, puts aesthetic aspects of synchrony before perception. Díaz-Cintas and Remael (2014, pp.23–24) indicate that cinema, since it has more selected viewers than television, consider faster reading standards and faster flow of subtitles. Reduction in audiovisual translation is, according to Delabastita (1990), sometimes more important than syntax or style. It is, according to Nedergaard-Larsen (1993, p.219), a solution to culture-bound problems that is, according to Díaz-Cintas and Remael (2014, p.146) and de Linde (1995, p.13), applied in two ways: 1) by removing the content that does not make a significant contribution to comprehension; and 2) by rewriting full subtitles into shorter ones.
Multimodal transcription is a film analytic tool that is used to investigate the inclusion and exclusion of modes other than speech within the meaning-making structure of multimodal Multimodal materials that is done in three phases as framing, selecting and highlighting (Bezemer and Transcription Mavers, 2011, p.191). It has been applied for 1) recognizing verbal-nonverbal relations in frames of optimal lengths (Baldry and Taylor, 2002; Baldry and Thibault, 2006); or 2) for identifying the meaning-making potentials of the constituent modes of multimodal texts by transcribing them in terms of speech, image, text and kinetics (Baldry, 2004). TaylorMultimodal (2003) transcriptionemploys multimodal is a film transcription analytic tool in that terms is used of 1) to time; investigate 2) visual the frame; inclusion 3) andvisual image;exclusion 4) kinetic of modes action; other 5) soundtrack; than speech and within 6) subtitle the meaning-making (See Figure 1) to structure investigate of multimodalthe meaning- materials that is done in three phases as framing, selecting and highlighting (Bezemer and making contribution of visual image, kinetic action and soundtrack to the intended message of Mavers, 2011, p.191). It has been applied for 1) recognizing verbal-nonverbal relations in speechframes in of the optimal feature lengths filmLa (BaldryVita e Bella and [‘life Taylor, is beautiful’ 2002; Baldry] (1997), and the Thibault, soap opera 2006); Un Posto or 2) al for Sole (1996),identifying and the the cartoon meaning-making series The potentialsFlintstones of (1960) the constituent and, therefore, modes reduce of multimodal the subtitles. texts by Remaeltranscribing (2004), them after in termsa careful of speech,study of image, the role text of andnarration kinetics in the(Baldry, semiotic 2004). structure of multimodal materials,Taylor (2003) concludes employs that multimodal sometimes transcription the intentions in terms of dialoguesof 1) time; can2) visual be transferred frame; 3) visualthrough nonverbalimage; 4) content kinetic including action; 5)speech soundtrack; tone. Ortega and 6) (2011), subtitle by (Seebenefitting Figure from 1) to the investigate study of theTaylor (2003),meaning-making investigates contribution the contribution of visual of nonverbal image, kinetic language action in Spanglish and soundtrack (2004) to to the interpersonal intended message of speech in the feature film ‘La Vita e Bella’[‘life is beautiful’] (1997), the soap opera interactions and indicates that the density of the nonverbal content can be a determining ‘Un Posto al Sole’ (1996), and the cartoon series ‘The Flintstones’ (1960) and, therefore, measurereduce the of subtitles.subtitling length. Vignozzi (2016) investigates, through transcription, how the idioms are visualized and verbalized in animated movies so that both children and parents enjoy them.
Table 1. MultimodalT Visual Transcription Frame of ‘La VisualVita e ImageBella’ (adaptedKinetic from Action Taylor, 2003,Soundtrack p.196) Subtitle Table 1 T Visual Frame Visual Image Kinetic Action Soundtrack Subtitle Multimodal Transcription 31 CP static Guido turns turns {Guido}{Guido} TheThe first first one of La Vita e Bella HP frontalfrontal towardstowards officer, SiSi vince vince a a mille mille to one get to 1,000 get (adapted from Taylor, D medium officer, begins punti . . points D medium begins to punti .... 1,000 points 2003, p.196) VF Guido>officer to speak . VSVF Guido>officerGuido v soldiers speak Il Ilprimo primo Le prenier ContrastedVS Guido vclothes soldiers quiLe prenier obtient CRContrasted blue/ grey/ clothes brown 1,000qui pointsobtient COCR blue/natural grey/ brown 1,000 points CO natural Remael (2004), after a careful study of the role of narration in the semiotic structure of multimodal materials, concludes that sometimes the intentions of dialogues can be transferred Accordingthrough nonverbal to Dwyer content (2017, includingp.27), the speechpolemics tone. of Ortega foreignization/ (2011), by domestication, benefitting from faithful/ the study free andof Taylorequivalence/ (2003), functioninvestigates in movies the contribution are discussed of nonverbal by literary language versus in dialogue‘Spanglish’ orientation (2004) to of Subtitling theinterpersonal movies and interactions are narrowed and down indicates by notions that the such density as ofenjoyment the nonverbal of watching, content canfilmic be aes a - Reception theticsdetermining and the measure multimodal of subtitling structure length. of the Vignozzi movies. (2016) He regards inves tigates,audience through and reception transcription, as the majorhow theconcerns idioms of are the visualized movies that and verbalizedare challenged in animated by subtitling movies since so that it ruins both childrenthe visual and and parents enjoy them. Subtitling Reception
According to Dwyer (2017, p.27), the polemics of foreignization/ domestication, faithful/ free and equivalence/ function in movies are discussed by literary versus dialogue orientation of the movies and are narrowed down by notions such as enjoyment of watching, filmic aesthetics and the multimodal structure of the movies. He regards audience and reception as the major concerns of the movies that are challenged by subtitling since it ruins the visual and the aural subtleties and requires the audience to adjust their reading and normal watching performances (p.28). The importance of evaluating viewers’ reception can be inferred from Ascheid (1983, cited in Downey, 2008, p.30) that the product of subtitling is a double text compared to the single original text, therefore it misleads the audience and takes away a large share of the enjoyment of watching. According to Díaz-Cintas (2001, p.200), as the subtitle language coexists with the original language, subtitling mistakes can rarely get away unnoticed. He mentions three major problems that can be found with subtitles as asynchrony, excessive reduction and insufficient reading time. Downey (2008, p.30) regards asynchrony between subtitles and oral tracks as a disturbing subtitling error. Inferred from these three statements, it seems that asynchrony is the most severe deficit of subtitling. 24 kalbų studijos / studies about languages no. 32 / 2018
the aural subtleties and requires the audience to adjust their reading and normal watching performances (p.28). The importance of evaluating viewers’ reception can be inferred from Ascheid (1983, cited in Downey, 2008, p.30) that the product of subtitling is a double text com- pared to the single original text, therefore it misleads the audience and takes away a large share of the enjoyment of watching. According to Díaz-Cintas (2001, p.200), as the subtitle language coexists with the original language, subtitling mistakes can rarely get away unnoticed. He mentions three major prob- lems that can be found with subtitles as asynchrony, excessive reduction and insufficient reading time. Downey (2008, p.30) regards asynchrony between subtitles and oral tracks as a disturbing subtitling error. Inferred from these three statements, it seems that asynchrony is the most severe deficit of subtitling. Evaluating subtitles, however, according to Gottlieb (1994), does not have a straightforward procedure since it requires the comparison of a three-channel original with a four-channel target text. Zoe de Linde and Kay (2014, p.35) consider three analytic approaches to subtitling reception as 1) asking viewers about their habits of watching subtitles; 2) surveying viewers’ opinions about predefined subtitles; and 3) eliciting controlled viewers’ responses to con- trolled mediums of subtitling. Orrego-Carmona (2016, pp.172–173) considers type of clips and reading difficulty, though not familiarity with subtitles, as determiners of subtitling enjoyment. He also finds a significant effect of type of subtitling on fixations on the image and gaze switches between subtitles and the visual. He indicates that there are interpersonal differences for the length factors of sub- titling. He indicates that measures of subtitling length differ for each viewer. Orrego-Carmona (2015, p.231) mention, based on the results of an eye-tracking study, that longer time spans between the subtitles provides smoother reading and easier alternation between subtitles, while shorter spans cause more fixations on the subtitles. Faster subtitles, according to de Linde and Kay (2014, p.76), require faster reading speed and may disappoint the audience while slower subtitles may induce re-reading and confusion. Di Giovanni (2016, pp.72–73) mentions, as a result of a survey, that subtitles, very long or very short, reduce movie com- prehension but the former is more interfering; nonetheless every individual has their own evaluative measures. According to Orrego-Carmona (2015), since subtitlers and viewers hold different evaluative measures for subtitling, studying subtitling reception might sound chal- lenging though helpful in acquiring new subtitling strategies.
The main purpose of the current study is to investigate the possibility of reducing Persian Purpose of subtitles drawing on the nonverbally transferred content of the films by benefitting from the the Study multimodal transcription models applied by Taylor (2003, 2013). In line with this aim, the current study attempted to answer the following questions: 1) Is it possible to reduce the length of the subtitles by relying on the content which is pre- sented through the nonverbal channels? 2) Is there a significant difference between the achieved comprehensions through the origi- nal subtitles versus that of the reduced version? 3) How do the Iranian audiences receive the reduced subtitled?
To address the first question of the study, based on the multimodal transcription model Methods proposed by Taylor (2003, 2013) concerning visual frame, visual image, kinetic action, and soundtrack. the Persian subtitled French language movie Amelie (Jeunet, 2001) was tran- kalbų studijos / studies about languages no. 32 / 2018 25 scribed and investigated for the adequacy of the meaning-making potentials of the visual elements, their contribution to the meaning conveyed by verbal content, and the possibility of using them to reduce subtitles. In response to the second question concerning the difference between the comprehension achievements of the reduced subtitles versus that of the full, subtitles, an experiment was managed. To this aim, 38 students of English Translation at Ferdowsi University of Mashhad, Iran, were selected based on two criteria as: 1) being a native speaker of Persian language; and 2) not having a working knowledge of French or Italian languages. Initially, using a multiple-choice comprehension pretest based on the Italian language movie Life is beautiful (Benigni, 1997), the participants were grouped and then randomly assigned to two comparable groups to comprise a control group and an experimental group. Then using a multiple-choice posttest on selected scenes of the movie Amelie (Jeunet, 2001) with the full subtitles and the reduced subtitles, the comprehension of, respectively, the control group and the experimental group was evaluated and compared using an independent samples t-test on IBM SPSS 19.0. Finally, to address the third question concerning the reception of the reduced subtitles by the related audience as the third study question, selected members of the experimental group (n= 5) with the highest scores on the posttest were qualitatively interviewed for the quality of the reduced subtitles in terms of length and duration, and the interference with the enjoyment of watching. Also they were asked if they felt any loss of information and if they would recommend watching reduced subtitles.
Due to the length limits of an article, a selection of four segments out of the 49 reduced sub- titling segments is presented in this paper. Results of To understand the transcription tables that are presented in this chapter, the used abbrevi- the Subtitling ations in the Column Visual Image are, according to Baldry and Thibault (2006, pp.191–202), Reduction explained below: a) Camera Position (CP): it shows if the long shot, long shot, very long shot on camera is static or moving and if moving the horizontal line, and three different how the movement is. scales as close, median and far on the b) Horizontal Perspective (HP): it presents vertical line. one of the two stances of the charac- f) Visually Salient item (VS): it refers to ters or the selected objects towards the the most prominent object of the visual camera on the horizontal line as direct frame that carries the most significant or oblique. load of information. c) Vertical Perspective (VP): it presents one g) Visual Collocation (VC): it refers to the of the three stances of the characters or secondary items in the visual frame such the selected objects on the vertical line as clothes which transfer some informa- as low, median and high. tion about the status and the activity of d) Visual Focus (VF): it refers to the object the selected objects. that gets prominence in the eyes of the h) Color (CR): it refers to any color used in main participant in the scene. the visual frame that has a significant e) Distance (D): it shows the distance of the contribution to its intention. selected object from the camera. It has i) Coding Orientation (CO): it refers to one six different scales as very close shot, of the three ways reality is depicted in the close shot, medium close shot, medium scene as naturalistic, sensual or hyper real. 26 kalbų studijos / studies about languages no. 32 / 2018
The scene transcribed in Table 2 is part of a longer scene that begins with the coincidence of Ame- lie’s planning to go to the train station with that of another man that is not going to be identified but by his lower body that is presented by white pants and red trainers, and also by his blue car when he gets to the train station. Earlier in the movie, in the end of a long sequence, a man in red trainers ﻫﻤﺰﻣﺎﻥ ﻣﺮﺩی ﻭﺍﺭﺩ ﺍﻳﺴﺘﮕﺎﻩ ﺷﺪ :Reduced subtitle ﻫﻤﺰﻣﺎﻥ ﻣﺮﺩی ﻭﺍﺭﺩ ﺍﻳﺴﺘﮕﺎﻩ ﺷﺪ :Reduced subtitle ﻫﻤﺰﻣﺎﻥ [station ﻣﺮﺩیthe ﻭﺍﺭﺩ entered ﺍﻳﺴﺘﮕﺎﻩ manﺷﺪ Simultaneously,Reduced subtitle: a] ﻫﻤﺰﻣﺎﻥ [station ﻣﺮﺩیthe ﻭﺍﺭﺩ entered ﺍﻳﺴﺘﮕﺎﻩ ﺷﺪSimultaneously,Reduced subtitle: a man] [Simultaneously, T a man entered the station] ﻫﻤﺰﻣﺎﻥ [station ﻣﺮﺩیthe ﻭﺍﺭﺩ entered ﺍﻳﺴﺘﮕﺎﻩ manﺷﺪ Table 2 Reduced [Simultaneously, subtitle: a Visual Visual Image Kinetic Action Soundtrack Subtitle The scene where the Table[Simultaneously, 2. a man entered the station] mystery man arrives at TableFrame 2. at the Station ﻫﻤﺰﻣﺎﻥ Arrives ﻣﺮﺩی Man ﻭﺍﺭﺩ ﺍﻳﺴﺘﮕﺎﻩ Mystery ﺷﺪ The Reduced Scene subtitle: Where the the station TableThe85:47 Scene 2. Where the MysteryCP: dollying Man ArrivesA man at isthe StationHigh-pitched Table[Simultaneously, T 2. Visual Frame a man entered Visual the Image station] Kinetic Action Soundtrack Subtitle The T Scene Visual Where Frame the MysteryHP: oblique Visual Man ImageArriveswalking. at the Kinetic Station Actionsound. Soundtrack Subtitle The85:47 Scene Where the MysteryCP: dollying Man Arrives at theA Stationman is High-pitched 85:47T Visual Frame HP:CP:D: close dollyingoblique Visual Image walking.A Kinetic man is Action sound.High-pitched Soundtrack Subtitle .walking. sound ﻫﻤﺰﻣﺎﻥ ﻣﺮﺩی ﻭﺍﺭﺩ HP: obliqueﺍﻳﺴﺘﮕﺎﻩ ﺷﺪ :Reduced subtitle 85:47 T Visual Frame D:CP:HP:VS: close dollyingobliquelegs Visual Image KineticAwalking. man is Action High-pitchedsound. Soundtrack Subtitle ﻫﻤﺰﻣﺎﻥ ﻣﺮﺩی ﻭﺍﺭﺩ D: closeﺍﻳﺴﺘﮕﺎﻩ ﺷﺪ :ReducedTable 2. subtitle [Simultaneously,85:47 a man CP:VS:HP: D:VF:entered close dollyingobliquelegsshoes the station] Awalking. man is High-pitchedsound. The Scene Where the MysteryVS: legs Man Arrives at the Station [Simultaneously, a man HP:D:VS:enteredCR: close obliquelegsred, white the station] walking. sound. VF: shoes T Visual Frame D:VS:VF:CO: close legsshoesnatural Visual Image Kinetic Action Soundtrack Subtitle CR: red, white Table85:47 2. VS:VF:CP: legsdollyingshoes A man is High-pitched CO:CR: naturalred, white Table85:48 2. VF:CR:HP: shoesobliquered, white walking. sound. : ﺍﺻﻞ:ﺍﺻﻞ: ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ The85:48 Scene Where the Mystery CO: natural Man Arrives at the Station CR:CO:D: close red,natural white ﻣﺮﺩیﻣﺮﺩی ﺍﺻﻞ:ﺍﺯﺍﺯ ﺩﺭ Subtitle ﺧﻴﺎﺑﺎﻥﺧﻴﺎﺑﺎﻥ ﻫﻤﺎﻥ ﺯﻣﺎﻥﻟﮑﻮﺭﺑﻪﻟﮑﻮﺭﺑﻪ The85:48T Scene Visual Where Frame the Mystery Visual Man ImageArrives at the Kinetic Station Action Soundtrack ﻣﺮﺩی ﺍﺻﻞ:ﺍﺯ ﺩﺭ Subtitle ﺧﻴﺎﺑﺎﻥ ﻫﻤﺎﻥ ﻟﮑﻮﺭﺑﻪﺯﻣﺎﻥ 85:4885:47T Visual Frame CO: CP:VS: dollyinglegsnatural Visual Image KineticA man is Action High-pitched Soundtrack ﺧﻮﻧﻪﺧﻮﻧﻪ ﺍﺵﺍﺵ ﺭﻭﺭﻭ ﺗﺮکﺗﺮک ﮐﺮﺩ.ﮐﺮﺩ. ﻣﺮﺩی ﺍﺯﺍﺻﻞ: ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﻫﻤﺎﻥ ﻟﮑﻮﺭﺑﻪ ﺯﻣﺎﻥ . CP:HP:VF: dollyingobliqueshoes Awalking. man is High-pitchedsound 85:4885:47 ﺧﻮﻧﻪ ﺍﺵ .ﺭﻭ ﺗﺮک ﮐﺮﺩ. ﺧﻮﻧﻪ ﻣﺮﺩی ﺍﺯﺍﺵ ﺭﻭ ﺧﻴﺎﺑﺎﻥ ﺗﺮک ﮐﺮﺩ. ﻟﮑﻮﺭﺑﻪ . HP:D:CR: close obliquered, white walking. sound 85:49 : : ﺧﻮﻧﻪ ﺍﺵ ﺭﻭ ﺗﺮک ﮐﺮﺩ.D:VS:CO: close legsnatural 85:49 ﺍﺻﻞ: ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ 85:4985:48 VS: VF: legsshoes : ﻣﺮﺩی ﺍﺯ ﺧﻴﺎﺑﺎﻥ ﻟﮑﻮﺭﺑﻪ VF:CR: shoesred, white 85:49 ﺧﻮﻧﻪ ﺍﺵ ﺭﻭ .ﺗﺮک ﮐﺮﺩ. CR:CO: red,natural white 85:50 . ﺍﺻﻞ: ﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ 85:48 CO: natural 85:50 ﻣﺮﺩی ﺍﺯﺍﺻﻞ: ﺩﺭ .ﺧﻴﺎﺑﺎﻥ ﻫﻤﺎﻥ ﻟﮑﻮﺭﺑﻪ ﺯﻣﺎﻥ 85:5085:4885:49 85:50 ﺧﻮﻧﻪ ﻣﺮﺩی ﺍﺯﺍﺵ ﺭﻭ ﺧﻴﺎﺑﺎﻥ ﺗﺮک ﮐﺮﺩ.ﻟﮑﻮﺭﺑﻪ ﺧﻮﻧﻪ ﺍﺵ ﺭﻭ ﺗﺮک ﮐﺮﺩ. 85:51 85:51 85:4985:51 85:4985:5185:50 85:51 85:51 ﺍﺻﻞ: ﺍﺻﻞ: ﻫﻤﺰﻣﺎﻥ ﻫﻤﺰﻣﺎﻥ ﻣﺮﺩی ﻣﺮﺩی ﺑﺎﺑﺎ CP: static A car [quiet 85:50 85:51 Shots 85:52 to 86:02 is intentionally left blank . : ﮐﻔﺶ ﮐﻔﺶ ﺍﺻﻞ: ﻫﺎی ﻫﺎی ﻫﻤﺰﻣﺎﻥ ﻗﺮﻣﺰ ﻗﺮﻣﺰ ﻣﺮﺩی ﺑﻴﺮﻭﻥ ﺑﻴﺮﻭﻥ ﺑﺎﺍﺯ ﺍﺯ HP: CP: obliquestaticShots 85:52 to 86:02 is intentionallyapproaches. A car left blank.screeching [quiet 85:50 ﮐﻔﺶ ﺍﺻﻞ: ﻫﺎی ﻫﻤﺰﻣﺎﻥ ﻗﺮﻣﺰ ﺍﻳﺴﺘﮕﺎﻩ ﭘﺎﺭک ﻣﺮﺩیﺑﻴﺮﻭﻥ ﺍﺯﺑﺎﮐﺮﺩ D:CP:HP: long staticobliqueShots 85:52 to 86:02 is intentionallyAapproaches. car left blank.of[quietscreeching the tires] ﮐﻔﺶ ﺍﺻﻞ: ﻫﺎی ﻫﻤﺰﻣﺎﻥ ﻗﺮﻣﺰ ﻣﺮﺩیﺑﻴﺮﻭﻥ ﺍﺯﺑﺎ CP:HP: staticobliqueShots 85:52 to 86:0286:02 is is intentionally Aintentionallyapproaches. carleft left blank.blank.[quietscreeching 86:02 ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﺍﻳﺴﺘﮕﺎﻩ ﻫﻤﺰﻣﺎﻥﻫﻤﺰﻣﺎﻥ ﭘﺎﺭک ﮐﺮﺩﻣﺮﺩیﻣﺮﺩی [VS:D: long entrance of the tires ﮐﻔﺶ ﻫﺎی ﺍﻳﺴﺘﮕﺎﻩﻗﺮﻣﺰ ﭘﺎﺭک ﺑﻴﺮﻭﻥ ﮐﺮﺩﺍﺯ [86:02 HP:D: long obliqueShots 85:52 to 86:02 is intentionallyapproaches. left blank.screechingof the tires 85:51 ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﻭﺍﺭﺩ ﻫﻤﺰﻣﺎﻥ ﺍﻳﺴﺘﮕﺎﻩ ﻣﺮﺩیﺷﺪ VF:VS:CP: entrancestatic A car [quiet screeching 86:02 : ﺍﻳﺴﺘﮕﺎﻩ ﭘﺎﺭک ﮐﺮﺩ D:VS: long entrance of the tires] Shots 85:52 to 86:02 is intentionally left blank. ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﻭﺍﺭﺩ ﻫﻤﺰﻣﺎﻥ ﺍﻳﺴﺘﮕﺎﻩ ﺷﺪﻣﺮﺩی CO:VF: entrancenatural 85:51 86:02 CO:HP: naturalobliqueShots 85:52 toapproaches. 86:02 is intentionallyof the left tires] blank. : ﮐﻮﺗﺎﻩﺍﺻﻞ: ﺷﺪﻩ: :ﻫﻤﺰﻣﺎﻥ ﻭﺍﺭﺩ ﻫﻤﺰﻣﺎﻥ ﻣﺮﺩی ﺍﻳﺴﺘﮕﺎﻩ ﺑﺎﺷﺪﻣﺮﺩی VS:VF:CO:CP: entrancestaticnatural A car [quiet CP:D: long static The car stops. ﮐﻔﺶ ﻫﺎی ﻭﺍﺭﺩﻗﺮﻣﺰ ﺑﻴﺮﻭﻥ ﺍﻳﺴﺘﮕﺎﻩ ﺍﺯﺷﺪ VF:CO:HP: entranceobliquenaturalShots 85:52 to 86:02 is intentionallyapproaches. left blank.screeching HP:CP: obliquestaticShots 85:52 to 86:02 is intentionallyThe car stops. left blank . : ﺍﻳﺴﺘﮕﺎﻩ ﭘﺎﺭک ﮐﺮﺩ [86:03 CO:CP:D:VS: long staticnaturalentrance The car stops. of the tires 86:02 D:HP: close oblique ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﻫﻤﺰﻣﺎﻥ ﻣﺮﺩیCP:HP:VS:VF: staticobliqueentrance The car stops. 86:03–
ﻫﻤﺰﻣﺎﻥ ﻣﺮﺩی ﺑﺎ CP: static A car [quiet ﺍﺻﻞ: VS:D: close car 86:03 – ﻭﺍﺭﺩ ﺍﻳﺴﺘﮕﺎﻩ ﺷﺪ HP:VF:CO: obliqueentrancenatural 86:05 ﮐﻔﺶ ﺍﺻﻞ: ﻫﺎی :ﻫﻤﺰﻣﺎﻥ ﻗﺮﻣﺰ ﺑﻴﺮﻭﻥﻣﺮﺩی ﺍﺯﺑﺎ CP:VF:D:VS:HP: close staticcarobliqueShots 85:52 to 86:02 is Aintentionallyapproaches. car left blank.[quietscreeching 86:03–86:05 VF: car : ﮐﻔﺶ ﻫﺎی ﻗﺮﻣﺰ ﺑﻴﺮﻭﻥ ﺍﺯ D:HP:VS:CO: close obliquecarShotsnatural 85:52 to 86:02 is intentionallyapproaches. left blank.screeching ﺍﻳﺴﺘﮕﺎﻩ ﭘﺎﺭک ﮐﺮﺩ [–86:05 CO:VF:D: long carnatural of the tires 86:02 VS:VF:CP: carstatic The car stops. ﮐﻮﺗﺎﻩ ﺯﻣﺎﻥ ﺯﻣﺎﻥ ﺷﺪﻩ: ﺩﻗﻴﻖ ﺩﻗﻴﻖ :ﺍﻳﺴﺘﮕﺎﻩ ﻫﻤﺰﻣﺎﻥ 11:40 ﭘﺎﺭک ﻣﺮﺩیﮐﺮﺩﺩﻗﻴﻘﻪCP:D:CO:VS: long staticentrancenatural It is 11:40. [strike]of the tires] 86:05 86:02 VF:HP: caroblique CO: natural ﮐﻮﺗﺎﻩ ﺯﻣﺎﻥ ﺷﺪﻩ: ﺩﻗﻴﻖ ﻭﺍﺭﺩ ﻫﻤﺰﻣﺎﻥ 11:40 ﺍﻳﺴﺘﮕﺎﻩ ﺷﺪﺩﻗﻴﻘﻪﻣﺮﺩی [VP:VS:CP:VF: medianentrancestatic It is 11:40. [strike 86:03 CO:D: close natural CP: static The car stops. ﺯﻣﺎﻥ ﺩﻗﻴﻖ ﻭﺍﺭﺩ 11:40 ﺍﻳﺴﺘﮕﺎﻩ ﺩﻗﻴﻘﻪﺷﺪ [D:VF:CP:VP:CO: very staticentrancemediannatural close It is 11:40. [strike –
ﺯﻣﺎﻥ ﺩﻗﻴﻖ 11:4011:40 ﺩﻗﻴﻘﻪ86:06 CP:CO:VP:VS:HP: static mediancarnaturaloblique It is 11:40. [strike] D:CP: very static close The car stops. VS: clock 86:0686:05 VS: clock VP:D:VF: very mediancar close 86:03– VF:CP:VS:HP:D: close staticclockoblique The car stops. 86:0686:03 CO: natural D:VS: very clock close 86:05 HP:VF:D:VS: close obliqueclockcar 86:0686:03 CO: natural – VS: clock ﺯﻣﺎﻥ ﺩﻗﻴﻖ 11:40 ﺩﻗﻴﻘﻪ [D:VF:CO:VS:CP:VF: close staticclockcarnatural It is 11:40. [strike –86:05 VF:CO:VP: clockmediannatural VS:VF:CO: carnatural 11:40 86:05 CO:D: very natural close 11:40 The 86:06 scene that is transcribedVF:CO: carnatural in Table 3 presents an apparently unattendedunattended gardengarden ofof daffodilsdaffodils The scene that is transcribed CO:VS:CP: clocknaturalstatic in Table 3It presentsis 11:40. an apparently[strike] unattended garden of daffodils ﺯﻣﺎﻥ differentﺩﻗﻴﻖ 11:40 11:40 ﺩﻗﻴﻘﻪwhere Amelie’s childhood CP: static friend, the teddy-bear,It is 11:40. is resting. [strike]The garden witnesses The scene that is transcribed VF: clock in Table 3 presents an apparently unattended garden of daffodils ﺯﻣﺎﻥ different ﺩﻗﻴﻖ witnesses 11:40 ﺩﻗﻴﻘﻪ where Amelie’s childhoodCP:VP:VP: static median friend, the teddy-bear,It is 11:40. is resting. [strike] The garden weathersThe scene that that signify is transcribed theCO: pass natural inof Tablelife. The 3 presentsmorose imagean apparently of Ame lieunattended at the beginning garden ofof thedaffodils scene whereweathers Amelie’s that signify childhood theVP:D:D: pass veryvery median friend, of closeclose life. the The teddy-bear, morose image is resting. of Ame Thliee at garden the beginning witnesses of the different scene combinedwhere86:06 Amelie’s with the childhood unattended friend, garden the and teddy-bear, its occupant is resting.and also Ththee pass garden of the witnesses seasons differentthat end weathers that signify the D:VS:VS: pass very clock ofclose life. The morose image of Amelie at the beginning of the scene withcombined86:06 a new with spring the withunattended shiny chrgardenysanthemums and its occupant suggest and the also happy-e the passnding of ofthe the seasons boring that life end of withweathers a new that spring signify with the VS: VF:VF: shinypass clock ofchr life.ysanthemums The morose suggest image ofthe Ame happy-elie atnding the beginning of the boring of the life scene of combinedThe scene withthat theis transcribed unattended in garden Table and3 presents its occupant an apparently and also tunattendedhe pass of thegarden seasons of daffodils that end Amelie,combinedwith a new the with springonly the child unattendedwith whereVF:CO: CO:shiny clocknatural agardenchr bird ysanthemums comes and its in occupant to suggest get some and the twigsalso happy-e t heto passbuildnding of a ofthenest the seasons and boring flies that lifeaway end of withwhere a new Amelie’s spring childhood with shiny friend, chrysanthemums the teddy-bear, suggest is resting. the happy-e The gardennding of witnesses the boring different life of likewith Amelie, aa messengernew the springonly child thatwith isCO:where shiny coming natural achr bird ysanthemums to comes say that in itto suggest isget the some timethe twigs happy-e to s tartto buildnding a new a of nest life. the and Basedboring flies onlife away theof Amelie,weathers the that only signify child the where pass ofa birdlife. comesThe morose in to getimage some of Ametwigs lie to at build the beginning a nest and of flies the sceneaway meaning-makingAmelie, like a messenger the only of child that the iswheresaid coming visual a bird to actions, comes say that saliencein itto isget the andsome time colloca twigs to tions s tartto build aof newthis a nest scene, life. and Based therefore, flies on away the it likeThecombined scene a messenger withthat isthe transcribed that unattended is coming in garden Table to say and3 presents thatits occupant it is an the apparently and time also to stunattendedhetart pass a new of the garden life. seasons Based of daffodils that on end the seemslikeThemeaning-making scene a that messenger thatrephrasing is oftranscribed that the the is said comingoriginal visualin Table to subtitlesactions, say 3 presents that salienceinto it isreduced an the andapparently time collocasubti totles stionsunattendedtart as aoffollows new this garden life.scene, does Based notoftherefore, daffodils damage on the it meaning-makingwithwhere a Amelie’snew spring childhoodof with the saidshiny friend,visual chrysanthemums actions, the teddy-bear, salience suggest isand resting. thecolloca happy-e Thtionse gardennding of this of witnessesscene, the boring therefore, different life ofit themeaning-makingwhereseems intended that Amelie’s rephrasing message childhoodof the althoughthe said original friend,visual the subtitlesactions, the reduced teddy-bear, salience into subtitles reduced isand soundresting. colloca subti more tles Thtionse as idiomatic garden offollows this witnessesscene, thandoes thetherefore,not different originaldamage it seemsweathersAmelie, that the that rephrasing only signify child the thewhere pass original ofa birdlife. subtitles comesThe morose ininto to reducedgetimage some of subti Ametwigstleslie to atas build thefollows beginning a nest does and ofnot flies the damage sceneaway ones.seemsweathersthe intended that that rephrasing messagesignify the the although pass original of life. the subtitles reducedThe morose into subtitles reducedimage sound of subti Ame moretleslie atas idiomatic thefollows beginning does than ofnot the the damage original scene thecombinedlike intended a messenger with message the thatunattended although is coming garden the to reduced say and thatits occupantsubtitles it is the soundand time also to more t shetart passidiomatic a new of the life. thanseasons Based the that original on end the thecombinedones. intended with message the unattended although garden the reduced and its occupant subtitles soundand also more the passidiomatic of the thanseasons the that original end Originalones.withmeaning-making a new subtitle: spring of with the saidshiny visual chrysanthemums actions, salience suggest and thecolloca happy-etionsnding of this of scene, the boring therefore, life ofit ones.with a new spring with shiny chrysanthemums suggest the happy-ending of the boring life of seemsAmelie,Original that the subtitle: rephrasing only child thewhere original a bird subtitles comes ininto to reducedget some subti twigstles to as build follows a nest does and not flies damage away Amelie,Original the subtitle: only child where a bird comes in to get some twigs to build a nest and flies away Originalthelike intended a messenger subtitle: message that although is coming the to reduced say that subtitles it is the sound time to more start idiomatic a new life. than Based the original on the like a messenger that is coming to say that it is the time to start a new life. Based on the ones.meaning-making of the said visual actions, salience and collocations of this scene, therefore, it meaning-makingseems that rephrasing of the the said original visual subtitlesactions, salienceinto reduced and colloca subtitlestions as offollows this scene, does therefore,not damage it seemstheOriginal intended that subtitle: rephrasing message the although original the subtitles reduced into subtitles reduced sound subti moretles as idiomatic follows does than not the damage original theones. intended message although the reduced subtitles sound more idiomatic than the original ones. Original subtitle: Original subtitle: kalbų studijos / studies about languages no. 32 / 2018 27
got into a blue car that seems to be the same car that is presented in the current scene. According to the original great emphasis on the image that includes the pants, the trainers and the blue car, the author decided to remove those pieces of information that duplicate the said emphasis as follows. Original subtitle: [Simultaneously, a man in red shoes parked outside the station] Reduced subtitle: [Simultaneously, a man entered the station] The scene that is transcribed in Table 3 presents an apparently unattended garden of daffodils where Amelie’s childhood friend, the teddy-bear, is resting. The garden witnesses different weathers that signify the pass of life. The morose image of Amelie at the beginning of the scene combined with the unattended garden and its occupant and also the pass of the seasons that end with a new spring with shiny chrysanthemums suggest the happy-ending of the boring life of Amelie, the only child where a bird comes in to get some twigs to build a nest and flies away like a messenger that is coming to say that it is the time to start a new life. Based on the meaning- making of the said visual actions, salience and collocations of this scene, therefore, it seems that rephrasing the original subtitles into reduced subtitles as follows does not damage the intended message although the reduced subtitles sound more / idiomatic than the/ original ones. Original subtitle: ﺭﻭﺯﻫﺎ، ﻣﺎﻫﻬﺎ ﻭ ﺳﺎﻟﻬﺎ ﻣﻴﮕﺬﺭﻧﺪ //ﺩﺭ ﭼﻨﻴﻦ ﺩﻧﻴﺎی ﻣﺮﺩﻩ/ ﺍی / ﺍﻣﻠﯽ ﺗﺮﺟﻴﺢ ﻣﻴﺪﻫﺪ ﺩﺭ ﺭﺅﻳﺎ ﺯﻧﺪﮔﯽ ﮐﻨﺪ ﺗﺎ ﺭﻭﺯی ﮐﻪ ﺑﺘﻮﺍﻧﺪ ﺧﺎﻧﻪ ﺭﺍ ﺗﺮک ﮐﻨﺪ old ﺭﻭﺯﻫﺎ، she’s ﻣﺎﻫﻬﺎ ﻭ until ﺳﺎﻟﻬﺎ to dreamﻣﻴﮕﺬﺭﻧﺪ / ﺩﺭ prefers ﭼﻨﻴﻦ ﺩﻧﻴﺎی Amelie ﻣﺮﺩﻩﺍی //world ﺍﻣﻠﯽ a dead ﺗﺮﺟﻴﺢ such ﻣﻴﺪﻫﺪ In ﺩﺭ /by ﺭﺅﻳﺎ pass ﺯﻧﺪﮔﯽ yearsﮐﻨﺪ ﺗﺎ and ﺭﻭﺯی ﮐﻪ months ﺑﺘﻮﺍﻧﺪ ﺧﺎﻧﻪ, [Days ﺭﻭﺯﻫﺎ،she’s ﻣﺎﻫﻬﺎuntil ﻭ ﺳﺎﻟﻬﺎ to dream ﻣﻴﮕﺬﺭﻧﺪ / ﺩﺭprefers ﭼﻨﻴﻦ Amelie ﺩﻧﻴﺎی ﻣﺮﺩﻩ/worldﺍی / deadﺍﻣﻠﯽ a ﺗﺮﺟﻴﺢ In such ﻣﻴﺪﻫﺪ /byﺩﺭ ﺭﺅﻳﺎ pass ﺯﻧﺪﮔﯽ years ﮐﻨﺪ ﺗﺎand ﺭﻭﺯی ﮐﻪmonths ﺑﺘﻮﺍﻧﺪ ,Days]ﺧﺎﻧﻪ [to leave [Father’s] houseﺭﺍ ﺗﺮک ﮐﻨﺪ enough [Days,old enough months to and leave years [Father’s] pass by/ house] In such a dead world/ Amelie prefers to dream until she’s old [Days, months and years pass by/ In such a dead world/ Amelie prefers to dream until she’s old enough to leave [Father’s] house] ﺭﻭﺯﻫﺎ ﻣﻴﮕﺬﺭﻧﺪ / ﻭ ﺍﻣﻠﯽ ﭘﺸﺖ ﭘﻨﺠﺮﻩ ﻣﻨﺘﻈﺮ ﺧﺒﺮی ﺍﺳﺖ ﺗﺎ ﺧﺎﻧﻪ [houseﺭﺍ ﺗﺮک ﮐﻨﺪ [ ReducedenoughReduced to subtitle: leave subtitle: [Father’s / [Days go by/ And Amelie is anticipating a message to leave [Father’s] house] ﺭﻭﺯﻫﺎ [house ﻣﻴﮕﺬﺭﻧﺪ / ﻭ [Father’s] ﺍﻣﻠﯽ leave ﭘﺸﺖ to ﭘﻨﺠﺮﻩ ﻣﻨﺘﻈﺮ a message ﺧﺒﺮی ﺍﺳﺖ ﺗﺎ anticipatingﺧﺎﻧﻪ isﺭﺍ ﺗﺮک Amelieﮐﻨﺪ Reduced [Days go subtitle: by/ And / ﺭﻭﺯﻫﺎ ﻣﻴﮕﺬﺭﻧﺪ / ﻭ ﺍﻣﻠﯽ ﭘﺸﺖ ﭘﻨﺠﺮﻩ ﻣﻨﺘﻈﺮ ﺧﺒﺮی ﺍﺳﺖ ﺗﺎ ﺧﺎﻧﻪ ﺭﺍ ﺗﺮک ﮐﻨﺪ : Reduced subtitle Table[Days 3.go by/ And Amelie is anticipating a message to leave [Father’s] house] The Scene Where the Child Amelie Is Anticipating News Table 3 TableT 3. Visual Frame Visual Image Kinetic Action Soundtrack Subtitle TableT 3. Visual Frame Visual Image Kinetic Action Soundtrack Subtitle The scene where The Scene Where the ChildCP: Amelie tilting Is AnticipatingAmelie News is looking [a motor The Scene Where the ChildCP: Amelietilting Is AnticipatingAmelie News is [a motor the child Amelie is T Visual Frame HP:HP: frontal Visualfrontal Image outlooking Kineticthe window. outAction the cyclecycle Soundtrack Subtitle T Visual Frame Visual Image Kinetic Action Soundtrack Subtitle anticipating news 09:09D:D: close/ close/ Shewindow. looks passes]+[sadpasses]+[sad 09:09– CP: tilting Amelie is [a motor – VS:CP:VS: tiltingAmelie Amelie depressed.SheAmelie looks is soundtrack soundtrack[a motor 09:11 HP: frontal looking out the cycle 09:11 VF:HP:VF: Amelie/frontal Amelie/ window window depressed.looking out the continuescontinuescycle 09:09 D: close/ window. passes]+[sad 09:09 D: close/ window. passes]+[sad – CR:VS: Amelieorange She looks loudly]soundtrack – VS:CR: Amelie orange She looks loudly]soundtrack 09:11 CO:VF: Amelie/natural window depressed. continues 09:11 VF:CO: Amelie/ natural window depressed. continues CP:CR: tiltingorange [camera is loudly] CR:CP: orange tilting [camera is loudly] HP:CO: frontalnatural heading down] CO: natural HP: frontal heading down] D:CP: close/ tilting [camera is 09:12 CP: tilting [camera is VS:HP:D: close/window/frontal wall/ heading down] HP: frontal heading down] 09:12 VF:D:VS: close/ teddy window/ wall/ 09:12 D: close/ 09:12 CR:VS:VF: window/orang/ teddy CO: wall/ natural VS: window/ wall/ CP:CR: tilting orang/ CO: VF: teddy VF: teddy HP:CR: frontalorang/ CO: natural natural CR: orang/ CO: natural D:CP: close tilting CP:CP: tilting tilting VS:HP: gardenfrontal 09:13 HP:HP: frontal frontal VF:D: close teddy/ daffodils VC:D:D: close closepan VS: garden 09:13 VS:VS: garden garden 09:13 CR:VF: teddy/orange daffodils VF: teddy/ daffodils CO:VC:VF: naturalpanteddy/ daffodils VC: pan ﺍﺻﻞ: ﺭﻭﺯﻫﺎ، ﻣﺎﻫﻬﺎ ﻭ CP:CR:VC: static/orange pan There is a CR: orange ﺳﺎﻟﻬﺎ ﻣﯽ ﮔﺬﺭﻧﺪ HP:CO:CR: frontal/natural orange garden where CO: natural ﺍﺻﻞ:ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ:ﺭﻭﺯﻫﺎ، ﺭﻭﺯﻫﺎ ﻣﺎﻫﻬﺎ ﻭﻣﯽ D:CP:CO: close/ static/ natural whiteThere daffodils is a ﺍﺻﻞ: ﺭﻭﺯﻫﺎ، ﻣﺎﻫﻬﺎ ﻭ CP: static/ There is a ﺳﺎﻟﻬﺎ ﻣﯽ ﮔﺬﺭﻧﺪ VS:HP: garden/frontal/ aregarden trodden where and 09:14 ﺳﺎﻟﻬﺎ ﻣﯽ ﮔﺬﺭﻧﺪ HP: frontal/ garden where ﮐﺎﻫﺶ :: ﻳﺎﻓﺘﻪ: ﺭﻭﺯﻫﺎ ﻣﯽ VF:D: close/ teddy/ trodden awhite teddy daffodils bear is – ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﺭﻭﺯﻫﺎ ﻣﯽ D: close/ white daffodils ﮔﺬﺭﻧﺪ daffodils/VS: garden/ resting.are trodden and 09:1609:14 ﮔﺬﺭﻧﺪ VC:VS: garden/pan, pail are trodden and 09:14 – VF: teddy/ trodden a teddy bear is – CR:VF: orange/ teddy/ trodden a teddy bear is 09:16 daffodils/ resting. 09:16 CO:daffodils/ natural resting. : :
VC: pan, pail VC: pan, pail
CP:CR: static/orange/ Shower washes [raining][mu CR: orange/ HP:CO: frontal/natural the flowers sic gets a D:CO: close/ natural away. happy 09:17 CP: static/ Shower washes [raining][mu VS:CP: static/garden/ Shower washes rhythm[raining][mu and – HP: frontal/ the flowers sic gets a VF:HP: teddy/frontal/ dry flowers/ the flowers continuessic gets a 09:19 D: close/ away. happy 09:17 VC:D: close/ pail/ away. loudly]happy 09:17 VS: garden/ rhythm and – VS: garden/ rhythm and – CR:VF: teddy/green dry flowers/ continues 09:19 VF: teddy/ dry flowers/ continues 09:19 CO:VC: surrealpail/ loudly] VC: pail/ loudly]
ﺍﺻﻞ: ﺩﺭ ﭼﻨﻴﻦ ﺩﻧﻴﺎی ﻣﺮﺩﻩ CP:CR: static/green The garden is [wind CR: green ﺍی [HP:CO: frontal/surreal covered up in blowing D:CO: close/ surreal snow. [soundtrack ﺍﺻﻞ: ﺩﺭ ﭼﻨﻴﻦ ﺩﻧﻴﺎی ﻣﺮﺩﻩ CP: static/ The garden is [wind 09:20 ﺍﺻﻞ: ﺩﺭ ﭼﻨﻴﻦ ﺩﻧﻴﺎی ﻣﺮﺩﻩ VS:CP: static/garden The garden is continues[wind ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﻭ ﺍﻣﻠﯽ ﺍیﭘﺸﺖ [HP: frontal/ covered up in blowing – ﺍی VF:HP: teddy/frontal/ flowers covered up in louderblowing] and ﭘﻨﺠﺮﻩ D: close/ snow. [soundtrack 09:22 09:20 VC:D: close/ snow pail snow. faster][soundtrack
09:20 VS: garden continues ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﻭ ﺍﻣﻠﯽ ﭘﺸﺖ VS: garden continues – ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﻭ ﺍﻣﻠﯽ ﭘﺸﺖ CR:VF: teddy/white/ flowers louder and – ﭘﻨﺠﺮﻩ VF: teddy/ flowers louder and 09:22 ﭘﻨﺠﺮﻩ [CO:VC: surrealsnow pail faster 09:22 VC: snow pail faster] ﺍﺻﻞ: ﺍﻣﻠﯽ ﺗﺮﺟﻴﺢ ﻣﻴﺪﻫﺪ CP:CR: static/white/ Red CR: white/ ﺩﺭ ﺭﻭﻳﺎ ﺯﻧﺪﮔﯽ ﮐﻨﺪ ﺗﺎ HP:CO: frontal/surreal chrysanthemums CO: surreal ﺍﺻﻞ:ﺭﻭﺯی ﮐﻪ ﺍﻣﻠﯽ ﺑﺘﻮﺍﻧﺪ ﺗﺮﺟﻴﺢ ﺧﺎﻧﻪ ﻣﻴﺪﻫﺪﺭﺍ D:CP: close/ static/ replaceRed the 09:23 ﺍﺻﻞ: ﺍﻣﻠﯽ ﺗﺮﺟﻴﺢ ﻣﻴﺪﻫﺪ CP: static/ Red ﺩﺭ ﺭﻭﻳﺎ ﺯﻧﺪﮔﯽ ﮐﻨﺪ ﺗﺮک ﺗﺎﮐﻨﺪ .VS:HP: gardenfrontal/ whitechrysanthemums daffodils – ﺩﺭ ﺭﻭﻳﺎ ﺯﻧﺪﮔﯽ ﮐﻨﺪ ﺗﺎ HP: frontal/ chrysanthemums ﮐﺎﻫﺶﺭﻭﺯی ﮐﻪ ﻳﺎﻓﺘﻪ: ﺑﺘﻮﺍﻧﺪ ﻣﻨﺘﻈﺮ ﺧﺎﻧﻪ ﺭﺍﺧﺒﺮی VF:D: close/ chrysanthemum/ Areplace magpie flies the 09:3109:23
ﺭﻭﺯی ﮐﻪ ﺑﺘﻮﺍﻧﺪ ﺧﺎﻧﻪ ﺭﺍ D: close/ replace the 09:23 ﺍﺳﺖ ﺗﺎ ﺧﺎﻧﻪ ﺭﺍ ﺗﺮک ﮐﻨﺪ teddy/VS: garden in,white gets daffodils. some – ﺗﺮک ﮐﻨﺪ .VS: garden white daffodils – 09:31 VC:VF: twigs, chrysanthemum/ teddy, pail, twigsA magpie and flies ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﻣﻨﺘﻈﺮ ﺧﺒﺮی VF: chrysanthemum/ A magpie flies 09:31 ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﻣﻨﺘﻈﺮ ﺧﺒﺮی teddy/ in, gets some ﺍﺳﺖ ﺗﺎ ﺧﺎﻧﻪ ﺭﺍ ﺗﺮک ﮐﻨﺪ teddy/ in, gets some ﺍﺳﺖ ﺗﺎ ﺧﺎﻧﻪ ﺭﺍ ﺗﺮک ﮐﻨﺪ VC: twigs, teddy, pail, twigs and flies VC: twigs, teddy, pail, twigs and flies / / / / ﺭﻭﺯﻫﺎ، ﻣﺎﻫﻬﺎ ﻭ ﺳﺎﻟﻬﺎ ﻣﻴﮕﺬﺭﻧﺪ / ﺩﺭ ﭼﻨﻴﻦ ﺩﻧﻴﺎی ﻣﺮﺩﻩﺍی / ﺍﻣﻠﯽ ﺗﺮﺟﻴﺢ ﻣﻴﺪﻫﺪ ﺩﺭ ﺭﺅﻳﺎ ﺯﻧﺪﮔﯽ ﮐﻨﺪ ﺗﺎ ﺭﻭﺯی ﮐﻪ ﺑﺘﻮﺍﻧﺪ ﺧﺎﻧﻪ ﺭﻭﺯﻫﺎ، ﻣﺎﻫﻬﺎ ﻭ ﺳﺎﻟﻬﺎ ﻣﻴﮕﺬﺭﻧﺪ / ﺩﺭ ﭼﻨﻴﻦ ﺩﻧﻴﺎی ﻣﺮﺩﻩﺍی / ﺍﻣﻠﯽ ﺗﺮﺟﻴﺢ ﻣﻴﺪﻫﺪ ﺩﺭ ﺭﺅﻳﺎ ﺯﻧﺪﮔﯽ ﮐﻨﺪ ﺗﺎ ﺭﻭﺯی ﮐﻪ ﺭﺍ ﺑﺘﻮﺍﻧﺪ ﺗﺮک ﮐﻨﺪﺧﺎﻧﻪ [Days, months and years pass by/ In such a dead world/ Amelie prefers to dream until she’s old ﺭﻭﺯﻫﺎ، ﻣﺎﻫﻬﺎ ﻭ ﺳﺎﻟﻬﺎ ﻣﻴﮕﺬﺭﻧﺪ / ﺩﺭ ﭼﻨﻴﻦ ﺩﻧﻴﺎی ﻣﺮﺩﻩﺍی / ﺍﻣﻠﯽ ﺗﺮﺟﻴﺢ ﻣﻴﺪﻫﺪ ﺩﺭ ﺭﺅﻳﺎ ﺯﻧﺪﮔﯽ ﮐﻨﺪ ﺗﺎ ﺭﻭﺯی ﮐﻪ ﺭﺍ ﺑﺘﻮﺍﻧﺪ ﺗﺮک ﺧﺎﻧﻪﮐﻨﺪ enough to leave [Father’s] house] and years pass by/ In such a dead world/ Amelie prefers to dream until she’s old ﺭﺍ monthsﺗﺮک ﮐﻨﺪ,Days]
enough[Days, monthsto leave and [Father’s] years pass house] by/ In such a dead world/ Amelie prefers to dream until / she’s old ﺭﻭﺯﻫﺎ، ﻣﺎﻫﻬﺎ ﻭ ﺳﺎﻟﻬﺎ ﺭﻭﺯﻫﺎ ﻣﻴﮕﺬﺭﻧﺪ / ﺩﺭ ﻣﻴﮕﺬﺭﻧﺪ / ﻭ ﭼﻨﻴﻦ ﺍﻣﻠﯽ ﺩﻧﻴﺎی ﭘﺸﺖ ﻣﺮﺩﻩﺍی ﭘﻨﺠﺮﻩ/ ﺍﻣﻠﯽ ﻣﻨﺘﻈﺮ ﺗﺮﺟﻴﺢ ﺧﺒﺮی ﻣﻴﺪﻫﺪﺍﺳﺖ ﺗﺎ ﺩﺭ ﺧﺎﻧﻪ ﺭﺅﻳﺎ [houseﺭﺍ ﺯﻧﺪﮔﯽﺗﺮک ﮐﻨﺪﮐﻨﺪ ﺗﺎ [Father’s] ﺭﻭﺯی subtitle: leave ﮐﻪ to ﺑﺘﻮﺍﻧﺪ ﺧﺎﻧﻪenoughReduced / ﺭﻭﺯﻫﺎ [house ﻣﻴﮕﺬﺭﻧﺪ / [her’sﻭ Fat] ﺍﻣﻠﯽ ﭘﺸﺖto leave ﭘﻨﺠﺮﻩ ﻣﻨﺘﻈﺮ a message ﺧﺒﺮی ﺍﺳﺖ ﺗﺎ ﺧﺎﻧﻪanticipating ﺭﺍis ﺗﺮک ﮐﻨﺪsubtitle:by/ And Amelie ﺭﺍ goﺗﺮک ﮐﻨﺪReduced [Days dream until she’s oldﺭﻭﺯﻫ ﺎ house] to ﻣﻴﮕﺬﺭﻧﺪ her’s]p /refers ﻭ Fat]ﺍﻣﻠﯽ Amelie ﭘﺸﺖ to leave ﭘﻨﺠﺮﻩ /world ﻣﻨﺘﻈﺮa amessage dead ﺧﺒﺮی such ﺍﺳﺖ In ﺗﺎ /by ﺧﺎﻧﻪ anticipating ﺭﺍ passis ﺗﺮک yearsﮐﻨﺪ DaysReduced [Days, go months by/subtitle: And and Amelie] [DaysTableenough 3.go to by/ leave And [Father’s] Amelie ishouse] anticipating a message to leave [Father’s] house] Table The Scene 3. Where the Child Amelie Is Anticipating News Subtitle ﺭﻭﺯﻫ ﺎ ﻣﻴﮕﺬﺭﻧﺪ /Soundtrack ﻭ ﺍﻣﻠﯽ ﭘﺸﺖ News ActionﭘﻨﺠﺮﻩKinetic ﻣﻨﺘﻈﺮ ﺧﺒﺮی Anticipating ﺍﺳﺖIsImage ﺗﺎ ﺧﺎﻧﻪAmelie Visualﺭﺍ ﺗﺮک Child ﮐﻨﺪ TheTableReduced TScene 3. Visualsubtitle:Where Frame the The[DaysT Scene go Visualby/ Where And Frame the Amelie ChildCP: is Amelie tilting Visualanticipating Image Is Anticipating a messageAmelie Kinetic News to Actionleave is [Fat Soundtrack[aher’s] motor house] Subtitle HP: frontal looking out the cycle T Visual Frame CP: tilting Visual Image Amelie Kinetic Action is [a Soundtrack motor Subtitle 09:09 D: close/ window. passes]+[sad HP: frontal looking out the cycle Table 3. CP: tilting Amelie is [a motor 09:09– D:VS: close/ Amelie window.She looks passes]+[sadsoundtrack The Scene Where the ChildHP: Ameliefrontal Is Anticipatinglooking News out the cycle –09:11 VS:VF: AmelieAmelie/ window Shedepressed. looks soundtrackcontinues 09:09 Visual Frame D: close/ Visual Image window. Kinetic Action passes]+[sad Soundtrack Subtitle 09:11T VF:CR: Amelie/orange window depressed. continuesloudly] – VS:CO: Amelienatural She looks soundtrack CP: tilting Amelie is [a motor 09:11 CR:VF: orangeAmelie/ window depressed. loudly]continues CP:HP: tiltingfrontal [cameralooking out the is cycle CO:CR: naturalorange loudly] 09:09 HP:D: close/ frontal headingwindow. down] passes]+[sad CP:CO: tilting natural [camera is – D:VS: close/ Amelie She looks soundtrack 09:12 HP:CP: frontaltilting heading[camera down] is 09:11 VS:VF: window/Amelie/ windowwall/ depressed. continues D:HP: close/ frontal heading down] 09:12 VF:CR: teddyorange loudly] VS:D: close/ window/ wall/ 09:12 CR:CO: orang/natural CO: natural VF:VS: teddywindow/ wall/ CP: tilting [camera is CR:VF: orang/teddy CO: natural kalbų studijosHP: frontal / studies aboutheading languages down] no. 32 / 2018 28 CP:CR: tilting orang/ CO: natural HP:D: closeclose/ frontal 09:12 CP: tilting VS: gardenwindow/ wall/ 09:13 D:HP: close frontal VF: teddy/teddy daffodils VS: garden 09:13 D:VC: close pan CR: orang/ CO: natural VF:VS: teddy/garden daffodils 09:13T Visual Frame CR: orangeVisual Image Kinetic Action Soundtrack Subtitle VC:CP: pantilting VF: teddy/ daffodils CO:HP: frontalnatural CR:VC:CP: orangepan static/ There is a garden ﺍﺻﻞ: :ﺭﻭﺯﻫﺎ، ﻣﺎﻫﻬﺎ ﻭ CP:D: close static/ There is a CO:CR:HP: naturalorange frontal/ where white ﺳﺎﻟﻬﺎ ﻣﯽ ﮔﺬﺭﻧﺪ HP:VS: frontal/garden garden where ﺍﺻﻞ: :ﺭﻭﺯﻫﺎ، ﻣﺎﻫﻬﺎ ﻭ CP:CO:D: static/close/ natural daffodilsThere are is a 09:13 ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﺭﻭﺯﻫﺎ ﻣﯽ D:VF: close/ teddy/ daffodils white daffodils ﺍﺻﻞ: ﺭﻭﺯﻫﺎ، ﺳﺎﻟﻬﺎ ﻣﯽ ﻣﺎﻫﻬﺎ ﻭﮔﺬﺭﻧﺪ HP:CP:VS: frontal/static/ garden/ gardenThere is where a ﮔﺬﺭﻧﺪ VS:VC: garden/pan troddenare trodden and a and 09:14 09:14– : ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﺳﺎﻟﻬﺎ ﺭﻭﺯﻣﯽ ﻫﺎ ﮔﺬﺭﻧﺪﻣﯽ D:HP:VF: close/ frontal/ teddy/ trodden teddywhitegarden bear daffodils is where – VF:CR: orange teddy/ trodden a teddy bear is 09:1409:16 VS: garden/ are trodden and ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﺭﻭﺯﻫﺎ ﻣﯽﮔﺬﺭﻧﺪ D:daffodils/ close/ resting.white daffodils –09:16 VF:daffodils/CO: natural teddy/ trodden aresting. teddy bear is : ﮔﺬﺭﻧﺪ VS:VC:VC: garden/ pan,pan, pail pail are trodden and 09:14
ﺍﺻﻞ: ﺭﻭﺯﻫﺎ، ﻣﺎﻫﻬﺎ ﻭ CP: static/ There is a 09:16– daffodils/VF: teddy/ trodden resting.a teddy bear is CR: orange/ ﺳﺎﻟﻬﺎ ﻣﯽ ﮔﺬﺭﻧﺪ VC:CR:HP: pan,orange/frontal/ pail garden where 09:16 daffodils/CO:CO: natural natural resting. D: close/ white daffodils ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﺭﻭﺯﻫﺎ ﻣﯽ CR:VC: orange/pan, pail 09:14 CP:VS: static/garden/ Showerare trodden washes and [raining][mu ﮔﺬﺭﻧﺪ CO:CR: naturalorange/ – HP:VF:CP: frontal/ static/ teddy/ troddenShower thea teddy washes flowersbear is [raining]sic gets a CP:CO: static/ natural Shower washes [raining][mu D:HP: close/ frontal/ theaway. flowers away. [musichappy gets a 09:1709:16 HP:daffodils/ frontal/ theresting. flowers sic gets a CP: static/ Shower washes [raining][mu VS:VC:D: close/ garden/pan, pail happyrhythm rhythm and D: close/ away. happy 09:17– HP:VS: frontal/ garden/ the flowers sic gets a 09:17– VS:VF:CR: garden/teddy/orange/ dry flowers/ andrhythmcontinues continues and –09:19 D:VF: close/ teddy/ dry away. happy : VC:CO: pail/natural loudly]loudly] 09:17 VF: teddy/ dry flowers/ continues 09:1909:19 VS: garden/ rhythm and – VC:CR:CP:flowers/ pail/static/green Shower washes loudly][raining][mu VF: teddy/ dry flowers/ continues 09:19 CO:HP:VC: frontal/ surrealpail/ the flowers sic gets a CR:VC: greenpail/ loudly] ﺍﺻﻞ: ﺩﺭ : ﭼﻨﻴﻦ ﺩﻧﻴﺎی ﻣﺮﺩﻩ CP:D:CR: close/ static/ green Theaway. garden is [windhappy 09:17 CO:CR: surrealgreen ﺍی HP:VS:CO: frontal/garden/ surreal covered up in blowing]rhythm and ﺍﺻﻞ: ﺩﺭ ﭼﻨﻴﻦ ﺩﻧﻴﺎی ﻣﺮﺩﻩ CP:CO: static/ surreal The garden is [wind – : D:VF: close/ teddy/ dry flowers/ snow. [soundtrackcontinues : ﺍﺻﻞ: ﺩﺭ ﭼﻨﻴﻦ ﺩﻧﻴﺎی ﻣﺮﺩﻩﺍی 09:2009:19 HP:CP:CP: frontal/static/ static/ ThecoveredThe garden garden is up in is [windblowing][wind ﮐﺎﻫﺶ : ﻳﺎﻓﺘﻪ: ﻭ ﺍﻣﻠﯽ ﭘﺸﺖ VS:VC: gardenpail/ continuesloudly] : : ﺍی – D:HP:HP: close/ frontal/ frontal/ coveredsnow.covered up in up in blowing][soundtrackblowing] ﭘﻨﺠﺮﻩ 09:20 VF:CR: teddy/green flowers louder and ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﻭ ﺍﻣﻠﯽ ﭘﺸﺖ VS:D:D: close/ gardenclose/ snow.snow. [soundtrackcontinues[soundtrack 09:22 –09:20 VC:CO: snowsurreal pail faster] : ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﻭ ﺍﻣﻠﯽ ﭘﺸﺖﭘﻨﺠﺮﻩ VF:VS:VS: teddy/garden garden flowers loudercontinues and–09:20 ﺍﺻﻞ: ﺩﺭ : ﭼﻨﻴﻦ ﺩﻧﻴﺎی ﻣﺮﺩﻩ CR:CP: static/white/ The garden is continues[wind –09:22 VC: snow pail faster] : ﭘﻨﺠﺮﻩ VF: teddy/ flowers louder and ﺍی 09:22 CO:HP:VF: frontal/ surrealteddy/ flowers covered up in louderblowing] and CR:VC: white/snow pail faster] : VC: snow pail ﺍﺻﻞ: ﺍﻣﻠﯽ : ﺗﺮﺟﻴﺢ ﻣﻴﺪﻫﺪ CP:D: close/ static/ Redsnow. faster] [soundtrack 09:20 CO:CR: surrealwhite/ : ﺩﺭ ﺭﻭﻳﺎ : ﺯﻧﺪﮔﯽ ﮐﻨﺪ ﺗﺎ HP:VS:CR: frontal/garden white/ chrysanthemums continues ﮐﺎﻫﺶ ﺍﺻﻞ: ﺍﻣﻠﯽ ﻳﺎﻓﺘﻪ: ﻭ ﺗﺮﺟﻴﺢ ﺍﻣﻠﯽ ﭘﺸﺖﻣﻴﺪﻫﺪ CP:CO: static/ surreal Red – ﺭﻭﺯی : ﮐﻪ ﺑﺘﻮﺍﻧﺪ ﺧﺎﻧﻪ ﭘﻨﺠﺮﻩﺭﺍ D:VF:CO: close/ teddy/ surreal flowers replace the louder and 09:23 ﺩﺭ ﺍﺻﻞ: ﺭﻭﻳﺎ ﺍﻣﻠﯽ ﺯﻧﺪﮔﯽ ﺗﺮﺟﻴﺢ ﮐﻨﺪ ﻣﻴﺪﻫﺪﺗﺎ HP:CP: frontal/static/ chrysanthemumsRed 09:22 : ﺗﺮک ﮐﻨﺪ VS:VC:CP: garden snowstatic/ pail Redwhite daffodils. faster] – ﺭﻭﺯی ﮐﻪ ﺑﺘﻮﺍﻧﺪ ﺧﺎﻧﻪ ﺭﺍ 09:23 D: close/ replace the ﺩﺭ : : ﺭﻭﻳﺎ ﺯﻧﺪﮔﯽ ﮐﻨﺪ ﺗﺎ HP: frontal/ chrysanthemums ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﻣﻨﺘﻈﺮ ﺗﺮک ﺧﺒﺮیﮐﻨﺪ –09:31 VS:VF:CR: HP: gardenwhite/ frontal/ chrysanthemum/ chrysanthemums whiteA magpie daffodils. flies ﺭﻭﺯی ﮐﻪ ﺑﺘﻮﺍﻧﺪ ﺧﺎﻧﻪ ﺭﺍ D:teddy/ close/ replacein, gets some the 09:23 ﮐﺎﻫﺶﺍﺳﺖ ﺗﺎ ﻳﺎﻓﺘﻪ: ﺧﺎﻧﻪ ﺭﺍ ﻣﻨﺘﻈﺮ ﺗﺮک ﮐﻨﺪﺧﺒﺮی VF:CO:D: close/ surreal chrysanthemum/ replaceA magpie the white flies 09:31 ﺗﺮک ﮐﻨﺪ VS: garden white daffodils. – ﺍﺻﻞ: ﺍﻣﻠﯽ ﺗﺮﺟﻴﺢ ﻣﻴﺪﻫﺪ VC:CP: static/ twigs, teddy, pail, twigsRed and flies ﺍﺳﺖ ﺗﺎ ﺧﺎﻧﻪ ﺭﺍ ﻣﻨﺘﻈﺮ ﺗﺮک ﺧﺒﺮیﮐﻨﺪ 09:31 teddy/VF:VS: garden chrysanthemum/ daffodils.in,A magpie gets some flies ﺩﺭ ﮐﺎﻫﺶ ﺭﻭﻳﺎ ﻳﺎﻓﺘﻪ: ﺯﻧﺪﮔﯽ : ﮐﻨﺪ ﺗﺎ HP: frontal/ chrysanthemums ﺍﺳﺖ ﺗﺎ ﺧﺎﻧﻪ ﺭﺍ ﺗﺮک ﮐﻨﺪ VC:teddy/VF: chrysanthemum/ twigs, teddy, pail, A magpietwigsin, gets and flies some flies in, ﺭﻭﺯی ﮐﻪ ﺑﺘﻮﺍﻧﺪ ﺧﺎﻧﻪ ﺭﺍ 09:23 D: close/ replace the teddy/ 09:23– VC: twigs, teddy, pail, getstwigs some and twigs flies ﺗﺮک ﮐﻨﺪ . VS: garden white daffodils – 09:31 VC: twigs, teddy, and flies off. ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: : ﻣﻨﺘﻈﺮ : ﺧﺒﺮی VF: chrysanthemum/ A magpie flies 09:31
pail, pan ﺍﺳﺖ ﺗﺎ ﺧﺎﻧﻪ : ﺭﺍ ﺗﺮک ﮐﻨﺪ teddy/ in, gets some VC:CR: green/ twigs, teddy, pail, twigs and flies : : CO: natural In the scene transcribed in Table 4, the red color of Amelie’s dining table that can signify love and desire comes into contrast with the corn yellow color of the curtains that can signify irritation and hatred. Yet, the main theme of the original subtitle is a contrast between loneliness, signified by the oneness of the items on the twin dining table as the visual salience, and association. Therefore, reducing the original subtitles into shorter subtitles, on the basis of the contrasts made by the visual salience and the colors of the scene, as in the following seem to better communicate the main message of the visual without damaging the intended message. / Original subtitle: / / / / / [She can’t relate to other people/ she was lonely as a child and she’ll be lonely forever] Reduced subtitle: / / [She hates communicating/ she is used to her loneliness] / // /
pan off. CR:pan green/ off. panCO:CR: green/natural off. panCR:CO: green/natural off. CR:CO: green/natural CO: natural In the scene transcribed panin Table 4, the red coloroff. of Amelie’s dining table that can signify love andIn the desire scene comes transcribed into contrastCR:in Table green/ with4, the the red corncolor yellow of Amelie’s color dining of the table curtains that thatcan signify can signify love In the scene transcribed inCO: Table natural 4, the red color of Amelie’s dining table that can signify love Inirritationand the desire scene and comestranscribed hatred. into Yet, in contrast Table the mainwith4, the the themered corncolor of yellow of the Amelie’s original color dining of subt theitle table curtains is that a contrast thatcan signify can between signify love and desire comes into contrast with the corn yellow color of the curtains that can signify andloneliness,irritation desire and signified comes hatred. into by Yet,the contrast oneness the with main of thethe theme cornitems of yellowon the the original twin color d ining of subt th eitletable curtains is as a the contrast that visual can salience, between signify irritationloneliness, and signified hatred. by Yet, the oneness the main of the theme items of on the the original twin dining subt itletable is as a the contrast visual salience, between irritationloneliness,Inand the association. scene and signified transcribed hatred. Therefore, by Yet, theinpan Table oneness reducing the main4, theof the the themered original items color ofoff. on ofsubtitles the theAmelie’s original twin int do iningdining shorter subt itletable table subtitles, is as that a the contrast can visualon signifythe salience, betweenbasis love of and association. Therefore,CR: reducinggreen/ the original subtitles into shorter subtitles, on the basis of loneliness,andthe contrastsassociation. desire signified comes made Therefore, intoby by the the contrast visual onenessreducing withsalience of the the original anditems corn the yellowon subtitles colors the twin colorof int the do ining of shorterscene, th etable curtainsassubtitles, asin the that visualfollowingon the can salience, basis signify seem of andirritationtothe better contrastsassociation. communicate and made hatred. Therefore, by the Yet,CO: mainvisual reducing natural the message mainsalience the theme originalof and the the ofvisual subtitles thecolors without original of int theo da shorter subtscene,magingitle assubtitles, is thein a theintended contrast followingon the message. betweenbasis seem of theto better contrasts communicate made by thethe visualmain message salience of and the the visual colors without of the da scene,maging as thein theintended following message. seem thetoloneliness,Original better contrasts communicate subtitle: signified made by by the the mainvisual oneness message salience of the of and items the the visual on colors the without twin of the d daining scene,maging table as the inas theintendedthe followingvisual message. salience, seem can on signifythe message. basis love of ﺍﻭﻥ that intended ﺩﺧﺘﺮtable subtitles, the ﻧﻤﯽﺗﻮﻧﻪ o dadining shortermagingﺩﻳﮕﺮﺍﻥ int ﺭﻭ ﺗﻮ subtitlesof Amelie’s without ﺯﻧﺪﮔﯽ visual ﺍﺵ thecolor ﺟﺎ oforiginalﺑﺪﻩ the / redﺍﺯ message 4, the ﮐﻮﺩﮐﯽ reducingﺍﺵin main Tableﺗﻨﻬﺎ the ﺑﻮﺩﻩ ﻭ ,Therefore ﻫﻤﻴﺸﻪtranscribed ﺗﻨﻬﺎ:association. scene communicate subtitleﺧﻮﺍﻫﺪ OriginalIn bettertheﻣﻮﻧﺪtoand theOriginal contrasts subtitle: made by the visual salience and the colors of the scene, as in the following seem forever] that can signify ﺍﻭﻥ ﺩﺧﺘﺮ e be curtains lonelyﻧﻤﯽﺗﻮﻧﻪd she’ll of thﺩﻳﮕﺮﺍﻥ an ﺭﻭcolor ﺗﻮ a child ﺯﻧﺪﮔﯽas yellow ﺍﺵ ﺟﺎlonely corn ﺑﺪﻩ /was theﺍﺯ she with ﮐﻮﺩﮐﯽ ﺍﺵ /contrast people ﺗﻨﻬﺎ ﺑﻮﺩﻩ intoother ﻭ to ﻫﻤﻴﺸﻪ relate comes ﺗﻨﻬﺎ:desirecan’t subtitle ﺧﻮﺍﻫﺪ ﻣﻮﻧﺪOriginal[Sheand contrastforever] message. between ﺍﻭﻥ aintended ﺩﺧﺘﺮitle be lonely the isﻧﻤﯽﺗﻮﻧﻪ d da she’ll subtmagingﺩﻳﮕﺮﺍﻥ an ﺭﻭ original ﺗﻮthea child without ﺯﻧﺪﮔﯽofvisual as ﺍﺵ the ﺟﺎ oflonely ﺑﺪﻩwas / themeﺍﺯ message she main ﮐﻮﺩﮐﯽ the ﺍﺵ people/ main ﺗﻨﻬﺎ,the Yet ﺑﻮﺩﻩ other ﻭ hatred. to ﻫﻤﻴﺸﻪ andrelate ﺗﻨﻬﺎ can’t communicate ﺧﻮﺍﻫﺪ Sheirritation better]ﻣﻮﻧﺪto [forever ﺍﻭﻥ ﺩﺧﺘﺮ be lonely ﻧﻤﯽﺗﻮﻧﻪ d she’llﺩﻳﮕﺮﺍﻥ an ﺭﻭ ﺗﻮ a child ﺯﻧﺪﮔﯽas ﺍﺵ ﺟﺎ lonely ﺑﺪﻩ / wasﺍﺯ she ﮐﻮﺩﮐﯽ ﺍﺵ /people ﺗﻨﻬﺎ ﺑﻮﺩﻩ other ﻭ to ﻫﻤﻴﺸﻪ relate ﺗﻨﻬﺎ can’t ﺧﻮﺍﻫﺪ She]ﻣﻮﻧﺪ [SheOriginalReducedloneliness, can’t subtitle:subtitle: relate signified to other by the people/ oneness she ofwas the lonely items as on a thechild twin an dd iningshe’ll tablebe lonely as the forever] visual salience, andReduced association. subtitle: Therefore, reducing the original subtitles into shorter subtitles, on the basis of ﺍﻭﻥ2018 / ﺩﺧﺘﺮ no. 32ﻧﻤﯽﺗﻮﻧﻪ ﺩﻳﮕﺮﺍﻥ ﺭﻭ ﺗﻮ languages ﺯﻧﺪﮔﯽ ﺍﺵ aboutﺟﺎ ﺍﻭﻥ ﺑﺪﻩ / ﺩﺧﺘﺮ ﺍﺯ ﺍﺯ studies /ﺟﻤﻊ ﮐﻮﺩﮐﯽ ﺍﺵ ﺑﻴﺰﺍﺭﻩ /ﺗﻨﻬﺎ ﺍﻭﻥstudijos ﺑﻮﺩﻩ ﺑﻪﻭ kalbųﺗﻨﻬﺎﻳﯽﻫﻤﻴﺸﻪ ﺍﺵ ﺗﻨﻬﺎ ﻋﺎﺩﺕ ﺧﻮﺍﻫﺪ ﮐﺮﺩﻩ ﻣﻮﻧﺪ the colors of the scene, as in the following seem 29 ﺍﻭﻥand ﺩﺧﺘﺮ ﺍﺯ salience ﺟﻤﻊ visual ﺑﻴﺰﺍﺭﻩ / the ﺍﻭﻥ by ﺑﻪ madeﺗﻨﻬﺎﻳﯽ ﺍﺵ:subtitle ﻋﺎﺩﺕ contrasts ﮐﺮﺩﻩ Reducedthe [loneliness] as a child and she’ll be lonely forever ﺍﻭﻥto lonely her ﺩﺧﺘﺮwas ﺍﺯ is she usedﺟﻤﻊ she ﺑﻴﺰﺍﺭﻩ/people / ﺍﻭﻥ other ﺑﻪ to ﺗﻨﻬﺎﻳﯽ /relatecommunicating ﺍﺵ:can’thates subtitleﻋﺎﺩﺕ ﮐﺮﺩﻩReduced[She [She .the loneliness] visual without damaging the intended message ﺍﻭﻥto of her ﺩﺧﺘﺮ ﺍﺯ ismessage used ﺟﻤﻊ main she ﺑﻴﺰﺍﺭﻩ / the ﺍﻭﻥ ﺑﻪ ﺗﻨﻬﺎﻳﯽ /communicating ﺍﺵ hates communicateﻋﺎﺩﺕ better ﮐﺮﺩﻩSheto] [She hates communicating/ she is used to her loneliness] [SheReducedTableOriginal hates 4. subtitle: communicating/ she is used to her loneliness] Table 4. Table 4 ﺍﻭﻥ ﺩﺧﺘﺮ ﻧﻤﯽﺗﻮﻧﻪ ﺩﻳﮕﺮﺍﻥ ﺭﻭ ﺗﻮ ﺯﻧﺪﮔﯽ ﺍﺵ ﺟﺎ ﺍﻭﻥ ﺑﺪﻩ / ﺩﺧﺘﺮ ﺍﺯ ﺍﺯ Defayel ﺟﻤﻊﮐﻮﺩﮐﯽ ﺍﺵ ﺑﻴﺰﺍﺭﻩMocks /ﺗﻨﻬﺎ ﺍﻭﻥﺑﻮﺩﻩ ﻭﺑﻪ Amelie ﺗﻨﻬﺎﻳﯽﻫﻤﻴﺸﻪ Where ﺍﺵﺗﻨﻬﺎ ﻋﺎﺩﺕScene ﺧﻮﺍﻫﺪ ﮐﺮﺩﻩﻣﻮﻧﺪThe TableThe TScene 4. VisualWhere Frame Amelie MocksVisual Defayel Image Kinetic Action Soundtrack Subtitle Table[She[SheT hatescan’t 4. Visualcommunicating/relate Frame to other Visualpeople/ she Image is sheused was to herlonely loneliness]Kinetic as a child Action an d she’ll Soundtrack be lonely Subtitle forever] The scene where TheT Scene VisualWhere Frame Amelie VisualCP:Mocks dollying Image Defayel SheKinetic is looking Action at [none] Soundtrack Subtitle The Scene Where Amelie CP:Mocks dollying Defayel She is looking at [none] Amelie mocks Defayel T Visual Frame VisualCP:HP: dollying oblique/ Image herKineticShe dining is lookingActiontable. at Soundtrack[none] Subtitle TableT 4. Visual Frame VisualHP: oblique/ Image Kineticher dining Action table. Soundtrack Subtitle Reduced36:43–36:43– subtitle: CP:D:HP:D: longlong dollyingoblique/ Sheher dining is looking table. at [none] CP: dollying She is looking at [none] .her dining table ﺍﻭﻥ ﺩﺧﺘﺮ ﺍﺯ Amelie AmelieDefayelﺟﻤﻊ :long oblique/VF ﺑﻴﺰﺍﺭﻩHP:VS,D: VS,Mocks/ ﺍﻭﻥ ﺑﻪ Amelie ﺗﻨﻬﺎﻳﯽ Whereﺍﺵ ﻋﺎﺩﺕ Scene –36:4536:4536:43ﮐﺮﺩﻩ The T36:43–36:45 Visual Frame HP:D: VisualVS, long oblique/VF: Image Amelie herKinetic dining Action table. Soundtrack Subtitle [She hates communicating/ VC:VC: she kitchen/ is used to her loneliness] 36:43–36:45 D:VS, long VF: Amelie CP:CR:VC:CR: dollyingredkitchen/ CO:CO: natural She is looking at [none] 36:45 VS, VF: Amelie VC: kitchen/ HP:CP:CR: oblique/static/red CO: natural herShe dining has the table. same
Table 4. VC: kitchen/ 36:43– D:CR:CP:CP: long static/redstatic/ CO: natural SheShe has has the the same CR:VP: redmedian CO: natural things on her The36:45 Scene Where AmelieVS,CP:D:VP: VP:Mocks medium static/VF:median Amelie Defayel sameShetablethings things has as the on dufayel same her 36:46– CP:VP:D: mediumstatic/median onShe thingsher hastable the on as same her T Visual Frame VC:D: Visual medium kitchen/ Image tableKinetic as Action dufayel Soundtrack Subtitle 36:46–36:46– VS, VF: table/ does. 36:47 VP:D:VS,VS, medium medianVF: table/table/ dufayelthingstabledoes. does. as on dufayel her 36:46–36:47 CR:VC:CP: dollyingredfood CO: natural She is looking at [none] 36:47 D:VS, medium VF: table/ tabledoes. as dufayel 36:46–36:47 CP:CR:HP:VC:VC: static/oblique/red/food Sheher dining has the table. same VS, VF: table/ does. 36:4736:43– VP:VC:CO:D:CR:CR: long medianfoodred/natural things on her
36:45 VC:CR:VS,CO: red/foodVF:natural Amelie D:CP:CO: medium static/natural tableShe gets as dufayel upset 36:46– CR:CO: red/natural VS,VC:CP: VF:static/kitchen/ table/ does.She gets upset 36:47 CO:HP:CP: naturalobliquestatic/ Sheand gets upset looks at VC:CP:D:CR:HP: close/ static/obliquefoodred CO: natural SheDufayel’sand gets looks again upset at 36:48– CP:CR:HP:CP:D:HP: close/ static/obliquestatic/red/ oblique andSheandSheDufayel’s looks has gets looks at the again upset same at 36:48– VS: Amelie 36:50 HP:CO:D:VP:VS:D: close/close/ obliqueAmeliemediannatural Dufayel’sandDufayel’sthings looksagain onagain her at 36:48–36:48–36:50 VF: Amelie/ D:VS:VS: close/ AmelieAmelie Dufayel’s again 36:48–36:50 CP:CR:D:VF: medium static/Amelie/red Shetable gets as dufayel upset 36:5036:46– VS: Amelie 36:50 HP:VF:CO:VS,CR:VF: obliqueAmelie/VF:Amelie/rednatural table/ anddoes. looks at 36:47 VF:CR:CO:CR: Amelie/ rednaturalred D:CP:VC: close/ static/food Dufayel’sShe looks again at 36:48– CR: red CO: natural CR:CP:CO: static/red/natural She looks at VS: Amelie 36:50 HP: oblique Dufayel’s. CO:CP:CO:HP: static/ naturalobliquenatural SheDufayel’s. looks at VF:D: close/ Amelie/ 36:49– CP:CP: static/ static/ SheShe looks looks at at CR:HP:VS:CP:D: close/ obliquestatic/redAmelie Dufayel’s.She gets upset 36:5036:49– HP:HP: oblique oblique Dufayel’s.Dufayel’s. CO:D:VF:HP:VS: close/ obliqueAmelie/Amelienatural and looks at 36:49–36:50 D:D: close/ close/ VS:VF: AmelieAmelie/ 36:49–36:49–36:50 CP:CR:D: close/ static/red SheDufayel’s looks again at 36:48– VS:VS: AmelieAmelie 36:50 HP:VF:CO:VS:CR: obliqueAmelie/Amelierednatural Dufayel’s. 36:5036:50 VF: Amelie/ D:CR:VF:CO:VF: close/ redAmelie/natural ﺍﺻﻞ: ﺍﻭﻥ ﺩﺧﺘﺮ ﻧﻤﯽ ﺗﻮﻧﻪ She looks back at
36:49– CR:CO: rednatural CR: red ﺍﺻﻞ: ﺍﻭﻥ ﺩﺧﺘﺮ ﻧﻤﯽ ﺗﻮﻧﻪ VS:CR: Ameliered She looks back at ﺩﻳﮕﺮﺍﻥ ﺭﻭ ﺗﻮ ﺯﻧﺪﮔﯽ ﺍﺵ CO: natural her table and 36:50 ﺍﺻﻞ: ﺩﻳﮕﺮﺍﻥ ﺍﻭﻥﺭﻭ ﺗﻮ ﺩﺧﺘﺮ ﻧﻤﯽﺯﻧﺪﮔﯽ ﺍﺵﺗﻮﻧﻪ VF: CO:CO: Amelie/natural Sheher looks table back and at –36:51 ﺟﺎ ﺑﺪﻩ mocks Dufayel’s –36:51 ﺍﺻﻞ: ﺩﻳﮕﺮﺍﻥ ﺍﻭﻥ ﺭﻭ ﺗﻮ ﺩﺧﺘﺮ ﻧﻤﯽﺯﻧﺪﮔﯽ ﺟﺎ ﺑﺪﻩﺍﺵﺗﻮﻧﻪ CR: red Shehermocks looks table Dufayel’s back and at 36:54 ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﺍﻭﻥ ﺩﺧﺘﺮ CP: static/ Shewords.She looks looksback at 36:54–36:51 : : :ﺩﻳﮕﺮﺍﻥ ﺭﻭ ﺗﻮ ﺯﻧﺪﮔﯽﺟﺎ ﺑﺪﻩﺍﺵ hermocks table Dufayel’s and ﮐﺎﻫﺶ : ﺍﺯﻳﺎﻓﺘﻪ: ﺟﻤﻊﺍﻭﻥ ﺑﻴﺰﺍﺭﻩﺩﺧﺘﺮ CO:HP: obliquenatural Dufayel’s.words. 36:54–36:51 ﺟﺎ ﺑﺪﻩ at mocksher table Dufayel’s and ﺍﺻﻞ:ﮐﺎﻫﺶ ﺍﻭﻥ ﺍﺯﻳﺎﻓﺘﻪ: ﺩﺧﺘﺮ ﺟﻤﻊﺍﻭﻥ ﻧﻤﯽ ﺑﻴﺰﺍﺭﻩﺗﻮﻧﻪﺩﺧﺘﺮ D: close/ Shewords. looks back at 36:54 ﺍﺻﻞ: ﺍﺯ ﻭﻗﺘﯽ ﺑﭽﻪ ﺑﻮﺩﻩ mockswords. Dufayel’s –36:49 ﮐﺎﻫﺶ ﺩﻳﮕﺮﺍﻥ ﺭﻭ ﺍﺯﻳﺎﻓﺘﻪ:ﺗﻮ ﺟﻤﻊﺍﻭﻥ ﺯﻧﺪﮔﯽ ﺍﺵﺑﻴﺰﺍﺭﻩﺩﺧﺘﺮ VS: Amelie her table and ﺍﺯ ﻭﻗﺘﯽ ﺑﭽﻪ ﺑﻮﺩﻩ ﺗﻨﻬﺎ ﺍﺻﻞ:ﺑﻮﺩﻩ ﻭ ﻫﻤﻴﺸﻪ ﺗﻨﻬﺎ 36:50–36:51 ﺍﺻﻞ: ﺍﺯ ﺍﺯ ﻭﻗﺘﯽ ﺟﻤﻊ ﺑﭽﻪ ﺑﻮﺩﻩﺑﻴﺰﺍﺭﻩ .VF: Amelie/ words –36:55–36:51 ﺗﻨﻬﺎ ﺑﻮﺩﻩ ﻭ ﻫﻤﻴﺸﻪ ﺧﻮﺍﻫﺪ ﺟﺎﻣ ﺎﻧﺪﺗﻨﻬﺎﺑﺪﻩ mocks Dufayel’s ﺗﻨﻬﺎ ﺍﺻﻞ: ﺍﺯﺑﻮﺩﻩ ﻭ ﻭﻗﺘﯽ ﺑﭽﻪﻫﻤﻴﺸﻪ ﺗﻨﻬﺎﺑﻮﺩﻩ CR: red –36:5436:5436:5736:55 ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ . words ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﺍﻭﻥ ﺩﺧﺘﺮ ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﺍﻭﻥ ﺑﻪ –36:55 36:57 : ﺗﻨﻬﺎ ﺑﻮﺩﻩ ﻭ : : ﻫﻤﻴﺸﻪ ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪﺗﻨﻬﺎ CO: natural ﮐﺎﻫﺶ ﺗﻨﻬﺎﻳﯽ ﺍﺵ ﺍﺯ ﻳﺎﻓﺘﻪ: ﺟﻤﻊﻋﺎﺩﺕ ﺍﻭﻥ ﮐﺮﺩﻩ ﺑﻪﺑﻴﺰﺍﺭﻩ 36:57–36:55 ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ ﺍﺻﻞ:ﺍﺻﻞ:ﮐﺎﻫﺶ ﺗﻨﻬﺎﻳﯽ ﺍﺯ ﺍﻭﻥ ﺍﺵ ﻳﺎﻓﺘﻪ:ﻭﻗﺘﯽ ﺩﺧﺘﺮ ﻋﺎﺩﺕ ﺑﭽﻪ ﻧﻤﯽﺍﻭﻥ ﮐﺮﺩﻩﺗﻮﻧﻪ ﺑﻮﺩﻩﺑﻪ She looks back at 36:57 ﺗﻨﻬﺎ ﮐﺎﻫﺶ ﺩﻳﮕﺮﺍﻥ ﺗﻨﻬﺎﻳﯽ ﺑﻮﺩﻩ ﺭﻭ ﻭ ﺍﺵ ﺗﻮ ﻳﺎﻓﺘﻪ: ﻋﺎﺩﺕ ﻫﻤﻴﺸﻪ ﺍﻭﻥ ﺯﻧﺪﮔﯽ ﮐﺮﺩﻩﺍﺵ ﺗﻨﻬﺎﺑﻪ her table and 36:55–36:51– : : ﺗﻨﻬﺎﻳﯽ ﺍﺵ ﻋﺎﺩﺕ ﺧﻮﺍﻫﺪ ﺟﺎ ﻣﺎﮐﺮﺩﻩﺑﺪﻩﻧﺪ mocks Dufayel’s 36:5736:54 : : ﮐﺎﻫﺶ ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ:ﻳﺎﻓﺘﻪ: ﺍﻭﻥ ﺍﻭﻥ ﺩﺧﺘﺮﺑﻪ .words
ﺗﻨﻬﺎﻳﯽ ﺍﺵﺍﺯ ﺟﻤﻊ ﻋﺎﺩﺕ ﮐﺮﺩﻩﺑﻴﺰﺍﺭﻩ ﺍﺻﻞ: ﺍﺯ ﻭﻗﺘﯽ ﺑﭽﻪ ﺑﻮﺩﻩ ﺗﻨﻬﺎ ﺑﻮﺩﻩ ﻭ ﻫﻤﻴﺸﻪ ﺗﻨﻬﺎ 36:55–36:55– ﺧﻮﺍﻫﺪ ﻣﺎﻧﺪ 36:5736:57
ﮐﺎﻫﺶ ﻳﺎﻓﺘﻪ: ﺍﻭﻥ ﺑﻪ
ﺗﻨﻬﺎﻳﯽ ﺍﺵ : : : ﻋﺎﺩﺕ ﮐﺮﺩﻩ The scene transcribed in Table 4 presents a man who is reciting a report on behalf of Amelie. The black and white background, the man’s serious and tough gesture and his tone of speech in different positions seem to be better communicated by shorter lines than those of the subtitles. At a time, the said man stands high and stares away as though he is assessing the probable circumstances that are ahead of Amelie that do not seem to be reflected in the related subtitles. Therefore, based on visual focus, kinetic action and tone of speech, the original subtitle can be rephrased into a shorter subtitle as follows to convey the feel of the scene.
/ // / // // / // / // / // /
: : :
: : : : : The scene transcribed in Table 4 presents a man who is reciting a report on behalf of Amelie. The black and white background, the man’s serious and tough ges ture and his tone of speech in different positions seem to be better communicated by shorter lines than those of the subtitles. 30 The scene transcribedkalbų studijos in Table / 4studies presents abouta man wholanguages is reciting no.a report 32 /on 2018 behalf of Amelie. At a time, the said man stands high and stares away as though he is assessing the probable The black and white background, the man’s serious and tough gesture and his tone of speech in circumstancesThe scene transcribed that are inahead Table of 4Amelie presents that a doman not who seem is recitingto be reflected a report in on the behalf related of subtitles. Amelie. different positions seem to be better communicated by shorter lines than those of the subtitles. Therefore,The black andbased white on visualbackground, focus, thekinetic man’s action serious and andtone tough of sp geseech,ture the and original his tone subtitle of speech can bein At a time, the said man stands high and stares away as though he is assessing the probable rephraseddifferentOriginal positions intosubtitle: a sho seem rter subtitle to be better as follows communicated to convey bythe shorter feel of ltheines scene. than those of the subtitles. circumstancesAt a time, the that said are man ahead stands of Amelie high and that stares do not away seem as to though be reflected he is assessingin the related the subtitles. probable The scene/ transcribed in Table 4 presents a man / who is reciting a report on behalf of Amelie. Therefore,circumstances / based that on are visual ahead focus, of Amelie kinetic that action do not and/ seem tone toof besp eech, reflected the originalin the related subtitle subtitles. can be OriginalThe black subtitle: and white background, the man’s serious and tough ges /ture and his tone of speech in rephrasedTherefore, into based a sho onrter visual subtitle focus, as kineticfollows action to convey and tone the feel of spofeech, the / scene. the original subtitle can be different positions seem to be better communicated by shorter lines than those of the subtitles. ﺗﻼﺵ .Amelie ﺩﻭﻓﺎﺋﻞof ﺑﺮﺍی on behalfﻓﻀﻮﻟﯽ ﮐﺮﺩﻥa scene. report ﻏﻴﺮof theﻗﺎﺑﻞ ﺗﺤfeelreciting ﻤﻞthe is ﺍﺳﺖmanconvey / whoﺍﻣﻠﯽ toa ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩas4 presentsfollows ﺗﻤﺎﻡ Table ﻋﻤﺮﺵin subtitle ﺩﺭ rterﺭﻭﻳﺎtranscribed a shoﺯﻧﺪﮔﯽinto ﮐﻨﺪ / sceneﻭ Theﺗﻤﺎﻡ rephrased OriginalAt[Dufayel’s a time, subtitle: theattempts said man to meddle stands highare intolerable/ and stares away If Amélie as though chooses he isto assessinglive in a thedream probable and ture and his tone of speech inﺍﺣﺴﺎﺳﺎﺗﺶ ﺭﺍges ﺑﺮﺍی tough ﺧﻮﺩﺵ andﻧﮕﻪ ﺩﺍﺭﺩ serious/ ﺍﺻﻼ man’s ﺣﻖ the ﺩﺍﺭﺩ ﻫﺮ ﻁﻮﺭ ﺷﺪﻩ,background ﺯﻧﺪﮔﯽwhite ﺍﺵ and ﺭﺍ ﺑﻪ ﻫﻢThe blackﺑﺮﻳﺰﺩ Originalcircumstancesremain ansubtitle: introverted that are ahead young of woman/ Amelie hethat has do an not absolute seem to right be reflected to mess in up the her related life]. subtitles. ﺗﻼﺵ subtitles. remain ﺩﻭﻓﺎﺋﻞ the and ﺑﺮﺍیthose a dream ofﻓﻀﻮﻟﯽ than inﮐﺮﺩﻥto live ﻏﻴﺮlsines ﻗﺎﺑﻞ ﺗﺤshorter chooseﻤﻞ by ﺍﺳﺖ /If Amélie ﺍﻣﻠﯽ ﺍﺧﺘﻴﺎﺭ communicated ﺩﺍﺭﺩ/betterare intolerableﺗﻤﺎﻡ to beﻋﻤﺮﺵ meddle ﺩﺭ seem to ﺭﻭﻳﺎ attemptsﺯﻧﺪﮔﯽ positions ﮐﻨﺪ / ﻭ Dufayel'sdifferent]ﺗﻤﺎﻡ Therefore,Reduced subtitle:based on visual focus, kinetic action and tone of speech, the original subtitle can be ﺗﻼﺵ probable ﺩﻭﻓﺎﺋﻞ the ﺑﺮﺍی ﻓﻀﻮﻟﯽ life]. is assessing ﮐﺮﺩﻥ h scene. e ﺍﺣﺴﺎﺳﺎﺗﺶher ﻏﻴﺮthe ﺭﺍ of up ﻗﺎﺑﻞ though ﺑﺮﺍی ﺗﺤas messfeel ﻤﻞ the toﺧﻮﺩﺵ ﺍﺳﺖ away ﻧﮕﻪ/convey rightﺩﺍﺭﺩﺍﻣﻠﯽ / absolute to staresﺍﺻﻼ ﺍﺧﺘﻴﺎﺭ an and ﺣﻖ ﺩﺍﺭﺩas has high followsﺩﺍﺭﺩ ﺗﻤﺎﻡhe ﻫﺮ stands ﻁﻮﺭﻋﻤﺮﺵsubtitle ﺩﺭ/womanﺷﺪﻩ rter man ﺭﻭﻳﺎsaid sho ﺯﻧﺪﮔﯽyoung a ﺍﺵthe ﺯﻧﺪﮔﯽ into ﺭﺍ ﺑﻪﮐﻨﺪ /,time ﻫﻢ ﻭanAtrephrased introverted aﺗﻤﺎﻡﺑﺮﻳﺰﺩ circumstances that are /ahead of Amelie that / do not seem to be reflected / in the related subtitles. to live/ in a dream and remainﺍﺣﺴﺎﺳﺎﺗﺶ s ﺭﺍ ﺑﺮﺍی choose ﺧﻮﺩﺵ ﻧﮕﻪIf Amélie ﺩﺍﺭﺩ / / ﺍﺻﻼ ﺣﻖ / intolerable ﺩﺍﺭﺩ areﻫﺮ ﻁﻮﺭ/ meddleﺷﺪﻩ to ﺯﻧﺪﮔﯽ ﺍﺵ attempts ﺭﺍ ﺑﻪ ﻫﻢ ﺑﺮﻳﺰﺩDufayel's] ReducedTherefore,Original subtitle: based on visual focus, kinetic action and tone of speech, the original subtitle can be an[Dufayel’s introverted meddling young woman/is condemned/ he has an say absolute that Amelie right tois amess dreamer/ up her saylife]. that she wants to live remain ﮐﻨﺠﮑﺎﻭیand ﺍﻳﻦ ﻣﺮﺩ in a dream ﻣﺤﮑﻮﻡ liveﺍﺳﺖ .thes to / scene ﻓﺮﺿﺎof ﮐﻪ feelchooseﺍﻣﻠﯽ theﺧ ﻴﺎﻝ If Amélie ﭘﺮﺩﺍﺯto convey ﺑﺎﺷﺪ / ﺍﺻﻼ are as intolerable/follows ﺑﺨﻮﺍﻫﺪ ﺗﻨﻬﺎ meddle subtitle ﺑﻤﺎﻧﺪ /rterto ﺍﻳﻦ a sho ﻣﺮﺩ intoattemptsﺣﻖ ﺩﺧﺎﻟﺖ Dufayel'srephrased]ﻧﺪﺍﺭﺩ alone/ this man has no right to interfere] ﺗﻼﺵ ﺩﻭﻓﺎﺋﻞ ﺑﺮﺍی ﻓﻀﻮﻟﯽ .[lifeﮐﺮﺩﻥ her ﻏﻴﺮ up ﻗﺎﺑﻞ ﺗﺤmess ﻤﻞ to ﺍﺳﺖ /right ﺍﻣﻠﯽ absolute ﺍﺧﺘﻴﺎﺭ an ﺩﺍﺭﺩ has ﺗﻤﺎﻡ he ﻋﻤﺮﺵ ﺩﺭ/woman ﺭﻭﻳﺎ young ﺯﻧﺪﮔﯽ :subtitle ﮐﻨﺪ / ﻭ introvertedﺗﻤﺎﻡReducedan Reduced[Dufayel’s subtitle: meddling is condemned/ say that Amelie is a dreamer/ say that she wants to live ﺍﺣﺴﺎﺳﺎﺗﺶ ﺭﺍ ﺑﺮﺍی ﺧﻮﺩﺵ ﻧﮕﻪ ﺩﺍﺭﺩ / ﺍﺻﻼ ﺣﻖ ﺩﺍﺭﺩ ﻫﺮ ﻁﻮﺭ ﺷﺪﻩ ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ:subtitle ﺑﻪ ﻫﻢ ﺑﺮﻳﺰﺩOriginal ﮐﻨﺠﮑﺎﻭی ﺍﻳﻦ ﻣﺮﺩ ﻣﺤﮑﻮﻡ ﺍﺳﺖ / ﻓﺮﺿﺎ ﮐﻪ ﺍﻣﻠﯽ ﺧﻴﺎﻝ ﭘﺮﺩﺍﺯ ﺑﺎﺷﺪ / ﺍﺻﻼ [interfere ﺑﺨﻮﺍﻫﺪ to ﺗﻨﻬﺎ right ﺑﻤﺎﻧﺪ /no ﺍﻳﻦ has ﻣﺮﺩ man ﺣﻖ:this subtitle ﺩﺧﺎﻟﺖ Reducedalone/ﻧﺪﺍﺭﺩ ﺗﻼﺵ remain ﺩﻭﻓﺎﺋﻞ and ﺑﺮﺍی a dream ﻓﻀﻮﻟﯽ in ﮐﺮﺩﻥto live ﻏﻴﺮs ﻗﺎﺑﻞ ﺗﺤchoose ﻤﻞ ﺍﺳﺖ /If Amélie ﺍﻣﻠﯽ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩ/are intolerableﺗﻤﺎﻡ ﻋﻤﺮﺵ meddle ﺩﺭ to ﺭﻭﻳﺎ attemptsﺯﻧﺪﮔﯽ ﮐﻨﺪ / ﻭ Dufayel's]ﺗﻤﺎﻡ Table 5 to live ﮐﻨﺠﮑﺎﻭی wantsﺍﻳﻦ Subtitle ﻣﺮﺩthat she ﻣﺤﮑﻮﻡ say ﺍﺳﺖ / ﻓﺮﺿﺎdreamer/ Soundtrackﮐﻪ a ﺍﻣﻠﯽis ﺧAction ﻴﺎﻝ KineticAmelie ﭘﺮﺩﺍﺯ thatﺑﺎﺷﺪ / say /ﺍﺻﻼ Image ﺑﺨﻮﺍﻫﺪ Visualﺗﻨﻬﺎ is condemnedﺑﻤﺎﻧﺪ / ﺍﻳﻦ Frame ﻣﺮﺩ meddling ﺣﻖ5. Visual ﺩﺧﺎﻟﺖ TableTﻧﺪﺍﺭﺩDufayel’s] .[life ﺍﺣﺴﺎﺳﺎﺗﺶher ﺭﺍ up ﺑﺮﺍی to mess ﺧﻮﺩﺵ ﻧﮕﻪ right ﺩﺍﺭﺩ / absoluteﺍﺻﻼ an ﺣﻖ has ﺩﺍﺭﺩ he ﻫﺮ ﻁﻮﺭ /womanﺷﺪﻩ ﺯﻧﺪﮔﯽ young ﺍﺵ ﺭﺍ ﺑﻪ ﻫﻢ an introvertedﺑﺮﻳﺰﺩ The scene where a alone/The Scene this Whereman has a noMan right CP:Is Condemning static/to interfere] HP: oblique Dufayel A man Meddling is in[typewriter Amelie’s Life man is condemning [Dufayel’s meddling is condemned / say that Amelie is a dreamer/ say that she wants :to: live Reduced subtitle: D: medium/ VS: man/ walking slowly keys Dufayel meddling alone/[Dufayel'sT this Visual manattempts hasFrame noto rightmeddle to Visual interfere]are Imageintolerable/ If Kinetic Amélie Action choose Soundtracks to live in a dream Subtitle and remain : Table 5. typewriter/ VF: man/ while talking. clanking] : ﺍﺻﻞ: : ﺗﻼﺵ ﺩﻭﻓﺎﺋﻞ ﺑﺮﺍی .[an introverted young woman/CP: static/ he has HP: anoblique absolute A man right is towalking mess up[typewriter her life ﮐﻨﺠﮑﺎﻭی ﺍﻳﻦ ﻣﺮﺩ ﻣﺤﮑﻮﻡ Life ﺍﺳﺖ / Amelie’sﻓﺮﺿﺎ in ﮐﻪ ﺍﻣﻠﯽ ﺧﻴﺎﻝ Meddlingﭘﺮﺩﺍﺯ ﺑﺎﺷﺪ / Dufayel ﺍﺻﻼ ﺑﺨﻮﺍﻫﺪ Condemning ﺗﻨﻬﺎ Is ﺑﻤﺎﻧﺪ / a Manﺍﻳﻦ ﻣﺮﺩ Whereﺣﻖ ﺩﺧﺎﻟﺖScene ﻧﺪﺍﺭﺩin Amelie’s life The ﻓﻀﻮﻟﯽ ﮐﺮﺩﻥ ﻏﻴﺮ ﻗﺎﺑﻞ TheTable99:23 Scene 5. Where a Man D:VC:Is Condemning medium/TV/ CO: natural VS: man/ Dufayel Aslowly typewriter Meddling is while in +[shutter Amelie’skeys Life 99:23–T Visual Frame Visual Image Kinetic Action Soundtrack Subtitle Subtitlewants to live ﺗﺤﻤﻞ she ﺍﺳﺖTheReduced[Dufayel’s– T Scene Visualsubtitle: Wheremeddling Frame a Man is condemnedtypewriter/Is Condemning Visual Image VF:/ say man/ Dufayel that typing. talking.Amelie Kinetic Meddling Actionis a indreamer/ A rolling] Amelie’sclanking]+[s Soundtrack say Life that ﺍﺻﻞ: ﺗﻼﺵ ﺩﻭﻓﺎﺋﻞ ﺑﺮﺍی 09:24 CP: static/ HP: oblique A man is walking [typewriter ﮐﻮﺗﺎﻩ ﺍﺻﻞ: ﺷﺪﻩ:ﺗﻼﺵ Subtitle : : ﺩﻭﻓﺎﺋﻞ ﮐﻨﺠﮑﺎﻭی ﺍﻳﻦﺑﺮﺍی 09:24T Visual Frame CP:VC: static/ VisualTV/ CO: HP: Image natural oblique Atypewriter Kinetic man is Actionwalking is [typewriterhutter Soundtrack alone/ this man has no right to interfere] ﻓﻀﻮﻟﯽ ﮐﻨﺠﮑﺎﻭیﮐﺮﺩﻥ ﺍﻳﻦ ﻏﻴﺮ ﻣﺮﺩ ﻗﺎﺑﻞ ﻣﺤﮑﻮﻡ ﺍﺳﺖ / [keysrollingﻓﺮﺿﺎ ﮐﻪ while ﺍﻣﻠﯽ ﺧ ﻴﺎﻝ .slowlytypingﭘﺮﺩﺍﺯ ﺑﺎﺷﺪ //man ﺍﺻﻼ:VS ﺑﺨﻮﺍﻫﺪ /medium ﺗﻨﻬﺎ :Dﺑﻤﺎﻧﺪ / ﺍﻳﻦ ﻣﺮﺩ ﺣﻖ ﺩﺧﺎﻟﺖ 99:23ﻧﺪﺍﺭﺩ ﺍﺻﻞ: ﺗﻼﺵ ﻣﺮﺩ : ﺩﻭﻓﺎﺋﻞ ﻣﺤﮑﻮﻡ ﺍﺳﺖﺑﺮﺍی 99:23 CP: static/ HP: oblique A man is walking [typewriter : ﺗﺤﻤﻞ ﺍﺳﺖ typewriter/ VF: man/ talking. A clanking]+[s : ﺗﺤﻤﻞ ﺍﺳﺖ typewriter/ VF: man/ talking.The man brings A clanking]+[s –
live ﻓﻀﻮﻟﯽ to ﮐﺮﺩﻥ wants ﻏﻴﺮ she ﻗﺎﺑﻞ Dufayel’sTable99:2399:25 5. meddling is condemnedD: medium/ VS:/ say man/ that slowlyAmelie is whilea dreamer/ keys say that] ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﮐﻨﺠﮑﺎﻭی ﺍﻳﻦ VC: TV/ CO: natural typewriterher arm down is hutter 09:24 ﺗﺤﻤﻞ ﺍﺳﺖ typewriter/ VF: man/ talking. A clanking]+[s – The Scene Where a Man Is Condemning Dufayel Meddling in Amelie’s Life ﻣﺮﺩ ﻣﺤﮑﻮﻡ ﺍﺳﺖ [alone/– this man has no right to interfere] typing. rolling ﻣﺮﺩ ﻣﺤﮑﻮﻡ ﺍﺳﺖ VC: TV/ CO: natural typewriterforcefully. is hutter 09:24 ﮐﻮﺗﺎﻩ ﺷﺪﻩ: Subtitle ﮐﻨﺠﮑﺎﻭی ﺍﻳﻦ 99:28T Visual Frame Visual Image TheThe Kinetic man man brings Action brings Soundtrack The man brings
ﺍﺻﻞ: ﺗﻼﺵ ﻣﺮﺩ ﺩﻭﻓﺎﺋﻞ ﻣﺤﮑﻮﻡ ﺑﺮﺍیﺍﺳﺖ Table99:25 5. CP: static/ HP: oblique typing.A man is walking rolling] [typewriter 99:25– herher arm arm down down – CP: panning/ HP: TheAmelie man agrees. brings ﻓﻀﻮﻟﯽ ﮐﺮﺩﻥ ﻏﻴﺮ ﻗﺎﺑﻞ The99:28–99:2999:23 Scene Where a Man D:Is Condemning medium/ VS: man/ Dufayel forcefully.forcefully.slowly Meddling while in Amelie’skeys Life 99:2899:25 frontal/ D: close/ VS: forcefully. her arm down Subtitle ﺗﺤﻤﻞ ﺍﺳﺖ T Visual Frame typewriter/ Visual Image VF: man/ talking. Kinetic Action A clanking]+[s Soundtrack –99:28
– Amelie/ VF: Amelie/ VC: TV/ CO: natural forcefully.typewriter is hutter ﮐﻨﺠﮑﺎﻭی ﺍﻳﻦ 09:24 ﮐﻮﺗﺎﻩ ﺷﺪﻩ: 99:31 ﺍﺻﻞ: ﺗﻼﺵ ﺩﻭﻓﺎﺋﻞ ﺑﺮﺍی CP: static/ HP: oblique A man is walking [typewriter 99:28 CP: panning/ HP: Amelie agrees.
CP:CO: panning/ natural panning/ HP: HP: AmelieAmelie agrees. agrees. 99:29 typing. rolling] ﻓﻀﻮﻟﯽ ﻣﺮﺩﮐﺮﺩﻥ ﻏﻴﺮ ﻣﺤﮑﻮﻡ ﺍﺳﺖﻗﺎﺑﻞD: medium/ VS: man/ slowly while keys 99:2999:23 ﺍﺻﻞ: ﺍﻣﻠﯽ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩfrontal/CP:frontal/ dollying/ D: D: close/ close/ VS: VS:HP: The man stops –99:29 ﺗﺤﻤﻞ ﺍﺳﺖ CP:typewriter/ panning/ VF: man/ HP: Amelietalking.The man agrees. brings A clanking]+[s – ﺗﻤﺎﻡ ﻋﻤﺮﺵ ﺩﺭ ﺭﻭﻳﺎ Amelie/oblique/ D: VF: close/ Amelie/ VS: and looks at a 99:2999:25 99:3199:31 Amelie/ VF: Amelie/ ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﮐﻨﺠﮑﺎﻭی ﺍﻳﻦ 99:3109:24 frontal/VC: TV/ D: CO: close/ natural VS: typewriterher arm down is hutter – CO: natural ﺯﻧﺪﮔﯽ ﮐﻨﺪ CO:man/ natural typewriter/ VF: distance as if he –99:32 Amelie/CO: natural VF: Amelie/ forcefully. ﺍﺻﻞ: : : ﺍﻣﻠﯽ ﻣﺮﺩ ﺍﺧﺘﻴﺎﺭ ﻣﺤﮑﻮﻡ ﺍﺳﺖﺩﺍﺭﺩ [CP: dollying/ HP: Thetyping. man stops rolling 99:31 ﮐﻮﺗﺎﻩﺍﺻﻞ: ﺷﺪﻩ:ﺍﻣﻠﯽ ﻓﺮﺿﺎ ﺍﺧﺘﻴﺎﺭ ﮐﻪ ﺍﻣﻠﯽﺩﺍﺭﺩ CP:man/ dollying/ VC: type HP: Theis man considering stops 99:28– CO:CP: dollying/ natural HP: The man stops
ﺗﻤﺎﻡ : ﻋﻤﺮﺵ ﺩﺭ ﺭﻭﻳﺎ oblique/machine/ D: CO: close/ natural VS: andprobabilities.The looksman brings at His a 99:37 ﺍﺻﻞ: : ﺍﻣﻠﯽ ﺧﻴﺎﻝ ﺍﺧﺘﻴﺎﺭ ﭘﺮﺩﺍﺯ ﺑﺎﺷﺪﺩﺍﺭﺩ CP: dollying/ HP: The man stops 99:25 : ﺯﻧﺪﮔﯽ ﮐﻨﺪ man/CP:oblique/ typewriter/ panning/ D: close/ VF:HP: anddistanceherAmelie looks arm agrees. at as a downif he 99:32 ﺯﻧﺪﮔﯽ ﮐﻨﺪ man/ typewriter/ VF: distancearms as waving if he 99:29–99:32 ﺗﻤﺎﻡ ﻋﻤﺮﺵ ﺩﺭ ﺭﻭﻳﺎ oblique/frontal/VS: man/ D:D: typewriter/ close/ VS: distanceandforcefully. looks as if he at a ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﻓﺮﺿﺎ ﮐﻪ ﺍﻣﻠﯽ man/ VC: type isforcefully. considering – ﺯﻧﺪﮔﯽ ﮐﻨﺪ 99:3299:28 man/Amelie/ typewriter/ VF: Amelie/ VF: isdistance considering as if he 99:37 machine/VF: man/ CO:VC: type natural probabilities. His ﺍﺻﻞ: ﻭ ﺗﻤﺎﻡ ﺧﻴﺎﻝ ﭘﺮﺩﺍﺯ ﺍﺣﺴﺎﺳﺎﺗﺶ ﺭﺍﺑﺎﺷﺪ machine/ CO: natural probabilities. His 99:3799:31–99:32 – man/ VC: type is considering ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﻓﺮﺿﺎ ﮐﻪ ﺍﻣﻠﯽ probabilities. His 99:38 CP:CO:machine/ natural panning/ CO: natural HP: armsAmelie agrees. waving : : ﺑﺮﺍی ﺧﻮﺩﺵ ﻧﮕﻪ ﺩﺍﺭﺩ 99:3799:3799:29 machine/ CO: natural armsprobabilities. waving His ﺍﻣﻠﯽ ﺧﻴﺎﻝ ﺍﺧﺘﻴﺎﺭ ﭘﺮﺩﺍﺯ ﺩﺍﺭﺩﺑﺎﺷﺪ CP: dollying/ HP: armsThe waving man stops – ﺍﺻﻞ: frontal/ D: close/ VS: forcefully. ﮐﻮﺗﺎﻩ ﺷﺪﻩ: : ﺍﺻﻼ ﺑﺨﻮﺍﻫﺪ forcefully. 99:40– forcefully.arms waving : ﺗﻤﺎﻡ ﺍﺻﻞ: ﻭ ﺗﻤﺎﻡ ﻋﻤﺮﺵ : ﺩﺭ ﺍﺣﺴﺎﺳﺎﺗﺶ ﺭﻭﻳﺎﺭﺍ Amelie/oblique/ D: VF: close/ Amelie/ VS: and looks at a ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ ﺧﺮﺍﺏ ﮐﻨﺪ 99:3899:31 ﺑﺮﺍی ﺧﻮﺩﺵ ﻧﮕﻪ ﺯﻧﺪﮔﯽ ﮐﻨﺪﺩﺍﺭﺩman/ typewriter/ VF: forcefully.distance as if he 99:3899:32 CO: natural : : ﺑﺮﺍی ﺧﻮﺩﺵ ﻧﮕﻪ ﺩﺍﺭﺩCP: dollying/ HP: [clanking – ﮐﻮﺗﺎﻩ ﺍﺻﻞ: ﻭ ﺷﺪﻩ:ﺷﺪﻩ: ﺗﻤﺎﻡ ﻓﺮﺿﺎﺍﺻﻼ ﮐﻪ ﺍﺣﺴﺎﺳﺎﺗﺶ ﺍﻣﻠﯽﺭﺍﺑﺨﻮﺍﻫﺪman/ VC: type is considering – ﮐﻮﺗﺎﻩ ﺍﺻﻞ: ﺷﺪﻩ:ﺍﻣﻠﯽ ﺍﺻﻼ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩﺑﺨﻮﺍﻫﺪ obliqueCP: dollying/ HP: The man stops and 99:4099:38 : ﺑﺮﺍی ﺧﻴﺎﻝ ﺧﻮﺩﺵ ﭘﺮﺩﺍﺯﻧﮕﻪ ﺑﺎﺷﺪﺩﺍﺭﺩ machine/ CO: natural probabilities. His 99:4099:37 ﺗﻤﺎﻡ ﺯﻧﺪﮔﯽ ﺍﺵﻋﻤﺮﺵ ﺭﺍ ﺩﺭ ﺧﺮﺍﺏ ﺭﻭﻳﺎﮐﻨﺪ oblique/ D: close/ VS: and looks at a – ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ ﺧﺮﺍﺏ ﮐﻨﺪ 99:41 D: close/ VS: man/ shuttering ﮐﻮﺗﺎﻩ : ﺷﺪﻩ: ﺍﺻﻼ ﺑﺨﻮﺍﻫﺪ arms waving ﺯﻧﺪﮔﯽ ﮐﻨﺪ ]+[CP:typewriterman/ typewriter/dollying/ HP:VF: distance as if he [clankingcontinues 99:32–99:40 ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ ﺧﺮﺍﺏ ﮐﻨﺪ .forcefully ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﻓﺮﺿﺎ ﮐﻪ ﺍﻣﻠﯽ VF:obliqueman/ man/ VC: VC: type is considering consistentand –99:42 obliqueCP: dollying/ HP: and[clanking ﺍﺻﻞ: ﻭ ﺗﻤﺎﻡ ﺍﺣﺴﺎﺳﺎﺗﺶ ﺭﺍ ﺧﻴﺎﻝ ﭘﺮﺩﺍﺯ ﺑﺎﺷﺪ 99:4199:3799:38 D:machinemachine/ close/ CO: VS: natural man/ probabilities. His shutteringdramatic ﺑﺮﺍی : : ﺧﻮﺩﺵ ﻧﮕﻪ ﺩﺍﺭﺩ oblique and 99:38– – typewriterCO: natural arms waving continues]+[music] ﮐﻮﺗﺎﻩ ﺷﺪﻩ: : ﺍﺻﻼ ﺑﺨﻮﺍﻫﺪ 99:41 D: close/ VS: man/ shuttering 99:4099:42 VF: man/ VC: type forcefully. consistent ﺍﺻﻞ: ﺍﺻﻼ :ﺣﻖ ﺩﺍﺭﺩ ﻫﺮ VF: man/ VC: type He raises his consistent 99:4299:40
– typewriter continues]+[
ﺍﺻﻞ: ﻭ ﺯﻧﺪﮔﯽ ﺗﻤﺎﻡﺍﺵ ﺭﺍ ﺧﺮﺍﺏﺍﺣﺴﺎﺳﺎﺗﺶ ﮐﻨﺪﺭﺍ machine dramatic ﻁﻮﺭ ﺷﺪﻩ ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ ﺑﻪ machine hand and hits the dramatic 99:4399:38 ﺑﺮﺍی ﺧﻮﺩﺵ ﻧﮕﻪ ﺩﺍﺭﺩ CO:VF:CP: natural man/ dollying/ VC: type HP: music]consistent[clanking 99:42 ﻫﻢ ﺑﺮﻳﺰﺩ CO:machine natural table. music]dramatic – ﮐﻮﺗﺎﻩ ﺍﺻﻞ: ﺷﺪﻩ:ﺍﺻﻼ ﺣﻖ ﺍﺻﻼ ﺩﺍﺭﺩ ﺑﺨﻮﺍﻫﺪﻫﺮoblique He raises his and ﮐﻮﺗﺎﻩ ﺍﺻﻞ: ﺷﺪﻩ:ﺍﺻﻼ ﺍﻳﻦ ﺣﻖ ﻣﺮﺩ ﺩﺍﺭﺩ ﺣﻖﻫﺮ [CO: natural He raises his music 99:4699:40 ﻁﻮﺭ ﺷﺪﻩ ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ ﺑﻪ D: close/ VS: man/ hand and hits the shuttering 99:41 ﻁﻮﺭ ﺯﻧﺪﮔﯽﺷﺪﻩ ﺍﺵ ﺭﺍﺯﻧﺪﮔﯽ ﺍﺵﺩﺧﺎﻟﺖ ﺧﺮﺍﺏ ﺭﺍ ﮐﻨﺪﻧﺪﺍﺭﺩﺑﻪ hand and hits the 99:43 ﺍﺻﻞ: ﺍﺻﻼ ﺣﻖ ﺩﺍﺭﺩ ﻫﺮtypewriter He raises his continues]+[ – ﻫﻢ ﺑﺮﻳﺰﺩ CP: dollying/ dollying/ HP: HP: table. [clanking[clanking and – ﻁﻮﺭ ﺷﺪﻩ ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ ﺑﻪ VF: man/ VC: type hand and hits the consistent 99:4399:42 ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﺍﻳﻦ ﻣﺮﺩ ﺣﻖ 99:46 oblique shutteringand ﻫﻢ ﺑﺮﻳﺰﺩ machine table. dramatic – ﺩﺧﺎﻟﺖ ﻧﺪﺍﺭﺩ 99:41 D: close/ close/ VS: VS: man/ man/ shuttering ﺩﺧﺎﻟﺖ ﻧﺪﺍﺭﺩ 99:46 continues]–99:41 ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﺍﻳﻦ ﻣﺮﺩ ﺣﻖ typewriterCO: natural continues]+[music] –
+[consistent
ﺍﺻﻞ: ﺍﺻﻼ ﺣﻖ ﺩﺧﺎﻟﺖ ﺩﺍﺭﺩ ﻫﺮﻧﺪﺍﺭﺩ He raises his 99:42 99:42 VF: man/ VC: type consistent VF: man/ VC: type dramatic ﻁﻮﺭ ﺷﺪﻩ ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ ﺑﻪ machine hand and hits the dramatic 99:43 machine music] : : ﻫﻢ ﺑﺮﻳﺰﺩ CO: natural table. music] – CO: natural : ﮐﻮﺗﺎﻩ : ﺷﺪﻩ: ﺍﻳﻦ ﻣﺮﺩ ﺣﻖ 99:46 ﺍﺻﻞ: : ﺍﺻﻼ ﺣﻖ ﺩﺍﺭﺩ ﻫﺮ He raises his ﺩﺧﺎﻟﺖ ﻧﺪﺍﺭﺩ ﻁﻮﺭ ﺷﺪﻩ ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ ﺑﻪ hand and hits the 99:43 ﻫﻢ ﺑﺮﻳﺰﺩ . table – ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﺍﻳﻦ ﻣﺮﺩ ﺣﻖ 99:46 : : ﺩﺧﺎﻟﺖ ﻧﺪﺍﺭﺩ :
: :
The scene transcribed in Table 4 presents a man who is reciting a report on behalf of Amelie. The black and white background, the man’s serious and tough gesture and his tone of speech in different positions seem to be better communicated by shorter lines than those of the subtitles. At a time, the said man stands high and stares away as though he is assessing the probable circumstances that are ahead of Amelie that do not seem to be reflected in the related subtitles. Therefore, based on visual focus, kinetic action and tone of speech, the original subtitle can be rephrased into a shorter subtitle as follows to convey the feel of the scene. :: Original subtitle: ﺗﻼﺵ ﺩﻭﻓﺎﺋﻞ ﺑﺮﺍی ﻓﻀﻮﻟﯽ ﮐﺮﺩﻥ ﻏﻴﺮ ﻗﺎﺑﻞ ﺗﺤﻤﻞ ﺍﺳﺖ / ﺍﻣﻠﯽ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩ ﺗﻤﺎﻡ ﻋﻤﺮﺵ ﺩﺭ ﺭﻭﻳﺎ ﺯﻧﺪﮔﯽ ﮐﻨﺪ / ﻭ ﺗﻤﺎﻡ ﺍﺣﺴﺎﺳﺎﺗﺶ ﺭﺍ ﺑﺮﺍی ﺧﻮﺩﺵ ﻧﮕﻪ ﺩﺍﺭﺩ / ﺍﺻﻼ ﺣﻖ ﺩﺍﺭﺩ ﻫﺮ ﻁﻮﺭ ﺷﺪﻩ ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ ﺑﻪ ﻫﻢ ﺑﺮﻳﺰﺩ : : : [Dufayel's attempts to meddle are intolerable/ If Amélie chooses to live in a dream and remain an introverted young woman/ he has an absolute right to mess up her life].
Reduced subtitle: ﮐﻨﺠﮑﺎﻭی ﺍﻳﻦ ﻣﺮﺩ ﻣﺤﮑﻮﻡ ﺍﺳﺖ / ﻓﺮﺿﺎ ﮐﻪ ﺍﻣﻠﯽ ﺧ ﻴﺎﻝ ﭘﺮﺩﺍﺯ ﺑﺎﺷﺪ / ﺍﺻﻼ ﺑﺨﻮﺍﻫﺪ ﺗﻨﻬﺎ ﺑﻤﺎﻧﺪ / ﺍﻳﻦ ﻣﺮﺩ ﺣﻖ ﺩﺧﺎﻟﺖ ﻧﺪﺍﺭﺩ
[Dufayel’s meddling is condemned/ say that Amelie is a dreamer/ say that she wants to live alone/ this man has no right to interfere] Table 5.
The Scene Where a Man Is Condemning Dufayel Meddling in Amelie’s Life T Visual Frame Visual Image Kinetic Action Soundtrack Subtitle : : ﺍﺻﻞ: ﺗﻼﺵ ﺩﻭﻓﺎﺋﻞ ﺑﺮﺍی CP: static/ HP: oblique A man is walking [typewriter ﻓﻀﻮﻟﯽ ﮐﺮﺩﻥ ﻏﻴﺮ ﻗﺎﺑﻞ D: medium/ VS: man/ slowly while keys 99:23 ﺗﺤﻤﻞ ﺍﺳﺖ typewriter/ VF: man/ talking. A clanking]+[s – ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﮐﻨﺠﮑﺎﻭی ﺍﻳﻦ VC: TV/ CO: natural typewriter is hutter 09:24
ﻣﺮﺩ : : ﻣﺤﮑﻮﻡ ﺍﺳﺖ typing. rolling] The man brings 99:25 her arm down – forcefully. 99:28 : :
CP: panning/ HP: Amelie agrees. 99:29 frontal/ D: close/ VS: – Amelie/ VF: Amelie/ 99:31 CO: natural : : ﺍﺻﻞ: ﺍﻣﻠﯽ ﺍﺧﺘﻴﺎﺭ ﺩﺍﺭﺩ CP: dollying/ HP: The man stops ﺗﻤﺎﻡ ﻋﻤﺮﺵ ﺩﺭ ﺭﻭﻳﺎ oblique/ D: close/ VS: and looks at a ﺯﻧﺪﮔﯽ ﮐﻨﺪ man/ typewriter/ VF: distance as if he 99:32 ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﻓﺮﺿﺎ ﮐﻪ ﺍﻣﻠﯽ man/ VC: type is considering – 31 ﺧﻴﺎﻝ ﭘﺮﺩﺍﺯ ﺑﺎﺷﺪkalbų studijosmachine/ / CO:studies natural aboutprobabilities. languages His no. 32 / 2018 99:37 arms waving forcefully. ﺍﺻﻞ: ﻭ ﺗﻤﺎﻡ ﺍﺣﺴﺎﺳﺎﺗﺶ ﺭﺍ 99:38
ﺑﺮﺍی ﺧﻮﺩﺵ ﻧﮕﻪ ﺩﺍﺭﺩ – ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﺍﺻﻼ Subtitleﺑﺨﻮﺍﻫﺪ T Visual Frame Visual Image Kinetic Action Soundtrack 99:40
ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ ﺧﺮﺍﺏ ﮐﻨﺪ He raises his : CP: dollying/ HP: hand and hits [clanking : oblique the table. and 99:41 D: close/ VS: man/ shuttering 99:43– – typewriter continues]+[ 99:4699:42 VF: man/ VC: type consistent
machine dramatic : : CO: natural music] ﺍﺻﻞ: ﺍﺻﻼ ﺣﻖ ﺩﺍﺭﺩ ﻫﺮ He raises his ﻁﻮﺭ ﺷﺪﻩ ﺯﻧﺪﮔﯽ ﺍﺵ ﺭﺍ ﺑﻪ CP: panning/panning/ AmeliehandAmelie andseems hits seems the 99:43 ﻫﻢ ﺑﺮﻳﺰﺩ HP: frontal/frontal/ D:D: close close distressed.table.distressed. – ﮐﻮﺗﺎﻩ ﺷﺪﻩ: ﺍﻳﻦ ﻣﺮﺩ ﺣﻖ :99:4799:4699:47 VS: Amelie/ Amelie/ VF: VF
ﺩﺧﺎﻟﺖ ﻧﺪﺍﺭﺩ Amelie
CO: natural natural In the experimental stage the difference between the comprehension achievements of the Resultscontrol and of thethe experimental Experiment groups which respectively watched the full and the reduced Results of the Inversions the experimental of the subtitles stage were the difinvestigated.ference between The sample the comprehens of the participantsion achievements in the viewing of the Experiment controlsession and included the experimental 38 Iranian adults groups (Men= which 9, Women= respectively 29) within watched the theage fullrange and of 20–50 the reduced (M= versions28.95, SD of= 7.64) the subtitlesfrom three were educational investigated. levels The (BA= sample 6, MA= of 26, the PhD= participants 6). in the viewing sessionThe results included of the38 Iranianpretest, adults a multiple-choice (Men= 9, Women= comprehension 29) within test the onage arange selected of 20–50 Persian (M = 28.95,subtitled SD =scene 7.64) (15 from minutes) three e ofducational the Italian levels movie (BA= Life 6,Is BeautifulMA= 26, (Benigni,PhD= 6). 1997), that was run to assign the participants to two comparable groups as a control group and an experimental The results of the pretest, a multiple-choice comprehension test on a selected Persian subtitled scenegroup, (15 are minutes) presented of inthe Table Italian 6. Overall, movie Lifethe resultsIs Beautiful (M= 17.94, (Benigni, SD= 1.251997),) indicate that was an runacceptable to assign thecomprehension participants to achievement. two comparable groups as a control group and an experimental group, are presented in Table 6. Overall, the results (M= 17.94, SD= 1.25) indicate an acceptable comprehension achievement. N Min Max M SD Table 6 Descriptive information Pretest 38 15.00 20.00 17.947 1.250 of the pretest on film Table 6. Life Is Beautiful Descriptive information of the Pretest on Film ‘Life Is Beautiful’ The mean score of the controlN group onMin the full subtitleMax ( M= 15.47, SD=M 1.57) and theSD mean Pretestscore of the experimental 38group on the15.00 reduced subtitle20.00 of Amelie (M=17.947 14.84, SD= 0.831.250) are presented in Table 7. As can be seen, the performance of the control group is slightly better Thethan mean the performance score of the ofcontrol the experimental group on the group. full subtitle (M= 15.47, SD= 1.57) and the mean score of the experimental group on the reduced subtitle of ‘Amelie’ (M= 14.84, SD= 0.83) are presented inPairs Table 7. As can beN seen, the performanceMin ofMax the control groupM is slightlySD better Table 7 than the performance of the experimental group. Descriptive statistics Posttest (full Subtitle) 19 12.00 18.00 15.4737 1.57651 of the results of the Table 7. posttest on film Amélie DPosttestescriptive (Reduced Statistics Subtitle) of the Results19 of the Posttest13.00 on Film16.00 ‘Amélie’ 14.8421 .83421 Pairs N Min Max M SD PosttestAs, later (full in Subtitle) the experiment, 19 the difference12.00 between18.00 the comprehension15.4737 achievement1.57651 of Posttestthe full (Reduced subtitles Subtitle) and that of 19the reduced13.00 subtitles was16.00 calculated 14.8421 as non-significant, .83421 it was interesting to calculate the difference between the comprehension achievement of the (full) subtitles of the pretest material and the overall achievements of the posttest subtitles. The As, later in the experiment, the difference between the comprehension achievement of the full subtitlesresult of and this that comparison of the reduced (M= 15.157; subtitles SD= was 1.28 calculated) is presented as non-significant, in Table 8. it was interesting to calculate the difference between the comprehension achievement of the (full) subtitles of the pretest material and the overallN achievementsMin of the Max posttest subtitles.M The resultSD of this Table 8 comparison (M= 15.157; SD= 1.28) is presented in Table 8. Descriptive information Posttest 38 12.00 18.00 15.1579 1.28455 of the posttest results Table 8. Descriptive Information of the Posttest Results N Min Max M SD Posttest 38 12.00 18.00 15.1579 1.28455
Results of the Comparison
The significance of the difference between the comprehension achievement of the full subtitles and that of the reduced subtitles, as measured by a paired samples t-test, is presented in Table 9 (t (19)= 1.93, p= .069). 32 kalbų studijos / studies about languages no. 32 / 2018
The significance of the difference between the comprehension achievement of the full subtitles Results of the and that of the reduced subtitles, as measured by a paired samples t-test, is presented in Comparison Table 9 (t (19)= 1.93, p= .069). Table 9 Pair M SD T df Sig. (2-tailed) The results of t-test between the comprehension Extended Ver.–Reduced Ver. .63158 1.42246 1.935 18 .069 achievements through full subtitles vs. reduced subtitles The significance of the difference between the comprehension achievement of the pretest subtitles and the overall achievements of the posttest subtitles, as calculated using a t-test is presented in Table 10 (t (38)= -8.83; p<.05).
Table 10 Pair M SD T df Sig. (2-tailed) The Results of t-test between the Posttest Pretest–Posttest -2.78947 1.94739 -8.830 37 .000 vs. Pretest
The interview questions regarding the quality of the reduced subtitles and the responses of Results of the selected members of the experimental group are presented in the following. Retrospective Q1: What are your opinions about the length of the subtitles you watched? Interview In response to this question, some mentioned that subtitles sometimes seemed to contain less than the dialogues but it was not an issue for them since, as they reported, they were related to the visual that did not seem to imply anything more or because French words are generally larger than equivalent Persian words (n= 2). On the contrary, some found the length of subtitles, compared to the length of the dialogues, so short that they could not switch properly between the subtitles and the visual (n= 3). Q2: Did you feel any loss of information during watching? In response to this question, some respondents mentioned that sometimes the subtitles seemed to contain less details than the dialogues but it did not cause loss of information since they were relevant and communicative (n= 2). Some others just mentioned that they did not feel loss of information and they did not feel any discrepancy between the details of the subtitles and the dialogues while watching (n= 3). Q3: What are your opinions about the duration of the subtitles you received? In response to this question, some individuals mentioned that equal duration of the short subtitles with lengthy dialogues, made them switch more often than usual to the subtitle area with expectation of a subtitle change that was vain (n= 1). Some others, however, mentioned that the subtitles had proper durations (n= 4). Q4: How did the subtitles affect your enjoyment of watching? The individuals who found the subtitles too short compared to the dialogues reported that the subtitles confused them between the subtitles and the visual (n= 3). The others, however, did not mention any influence of the subtitles on their enjoyment of watching (n= 2). Q5: Would you recommend watching programs with reduced subtitles? In response to this question, some individuals mentioned that the reduced subtitles were distracting, hence, they cannot be recommended as desirable subtitles (n= 3). Some others, however, stated that the reduced subtitles as long as they are relevant and they transfer the main message are desirable and they would recommend it to those who use subtitles for getting the main message rather than the details (n= 2). kalbų studijos / studies about languages no. 32 / 2018 33
Transcription of the people-oriented film Amelie (Jeunet, 2001) in terms of time, visual frame, visual image, kinetic action, and soundtrack revealed that nonverbal content, including Discussion camera perspective and position, visual salience and focus, colors, body language, tone of speech and music, acts in close cooperation with the verbal content to communicate the intended messages. In the said film, nonverbal content has a huge role in communicating emotions such as terror, guilt, regret, sympathy, yearning and relief that is believed by the author to make a considerable share of the general intended message. According to such and similar meaning-making role of the nonverbal content, the subtitling segments that were redundant to the visual were identified and reduced through rephrasing or deletion, with an attempt to avoid loss of meaning. Deletion was used in cases that a word or a phrase was redundant to the visual and rephrasing was applied in cases where, as believed by the author, verbal and visual were semi-relevant to each other or when shorter subtitles could transfer the feel of the scenes more effectively than could the full subtitles as is presented in Tables 3, Table 4 and Table 5. Similar finding has been mentioned by Díaz- Cintas and Remael (2014) and de Linde (1995). The reduction procedure that was managed in the current study, so, resulted in reduced subtitles for 49 scenes mostly on the basis of the meaning-making capacities of the setting, including the objects in the scenes and the lighting, camera perspectives, colors, body language and speech tones. However, it is noteworthy that Amelie (Jeunet, 2001), that is categorized as a fantasy comedy, may not have the regular amount of verbal content that is expected from a comedy film. Rather, it is an image-oriented movie that is trying to communicate a great deal of the message through silent scenes and scores. Therefore, the amount of reductions may seem low compared to the length of the movie (2h 9m). The term reduced, however, when employed for an entity, brings notions such as loss of information, or denial of information and censorship to the mind. Besides, it cannot be expected that all individuals have same shares of understanding the message of images and nonverbal contents. Therefore, the difference between the comprehension achievements of the reduced subtitles and the comprehension achievements of the full subtitle was measured through a comprehension test from a control group (n= 19) on the full and a comparable experimental group (n= 19) on the reduced subtitles. This comparison is, as stated by Orrego-Carmona (2015), essential in that not everyone has same perspectives on the nature of subtitling, hence, such comparisons help better identification of working strategies of subtitling. The results of the comparison, as evaluated on IBM SPSS, showed that the performance of the control group who were on the full subtitle (M= 15.47) was slightly higher than the performance of the experimental group on the reduced subtitle (M= 14.84). However, the difference between the mean scores, as measured by paired samples t-test, was not significant (p= .069). This is a confirming result since the reduced subtitles if their comprehension is comparable to the comprehension of full subtitles, as is in this study, can be recommended to those types of viewers who do not like to spend their time on the lower part of the screen reading long subtitles, rather they prefer to enjoy the best of the scene and the characters and, hence, to receive short subtitles that are communicating the gist of the message of the scenes. However, comprehension is not the only concern of films, rather aesthetics and enjoyment of watching are, as mentioned by (Dwyer, 2017), two other factors that are concerned by any multimodal material. Therefore, it is essential to survey the viewers about the quality and applicability of the reduced subtitles. To this aim in the current study, selected members of the experimental group (n= 5) with the 34 kalbų studijos / studies about languages no. 32 / 2018
highest scores on the comprehension test were interviewed about their impression of and the quality of the reduced subtitles including its probable interferences with flow or enjoyment of watching. The findings of this survey are noteworthy in that viewers as the final consumers of films must be regarded as authorized to think critically of what is provided to them and their opinions must be benefitted in tailoring the strategies employed to produce quality materials. Orrego-Carmona (2015) identifies viewers as authorized critics of subtitles who according to Luque (2003) define translation method. Some of the interviewed participants mentioned that sometimes the reduced subtitles appeared to contain less than the dialogues but that was not a big problem for them since they could get enough information from them and the visual did not seem to imply more than the visuals (n= 2). The others, however, rated against the reduced subtitles by mentioning that reduced subtitles were so short compared to the perceived length of the dialogues that they could not divide their attention proportionally between the subtitles and the visual (n= 3), hence they lost their interest in watching. This contrast is interesting since the selected viewers were all regular consumers of subtitles and it is in line with the statement of Orrego-Carmona (2016) that there is no relation between viewers’ familiarity with subtitles and their rating of the subtitles in the other words reception of a particular quality cannot be predicted by the viewers’ familiarity with or frequency of watching the subtitles. Nevertheless, the respondents had shared opinions regarding the relevance of the subtitles and the visual. They all reported that the subtitles, although they were shorter than the dialogues, were successful in conveying the necessary information to comprehend the scenes; in the other words they did not report any loss of information or being cheated out of information as a probable consequence of placing short dialogues under long dialogues that is mentioned by Díaz-Cintas and Remael (2014). Another finding, yet not directly related to the questions of the study, was that the performance of the research sample on the pretest was significantly higher than the performance of the control and the experimental group together. The idea of this comparison came up as the difference between the comprehension achievement of the control group and that of the experimental group was not significant, hence, it did not seem irrational to consider the posttest groups as one group and compare their achievement of the posttest with their achievements of the pretest. The result was interesting due to the fact that the subtitles used for the pretest were full fast subtitles that, according to Di Giovanni (2016) and de Linde and Kay (2014), seemed to be more distracting and disturbing than the subtitles of the posttest even in their full version. Finally, it is noteworthy that the findings of the current study cannot be expected to be conclusive since every phase of the study was faced with certain limitations. The first phase, subtitling reduction, was limited to the fact that different films have different levels of dependency on the verbal and nonverbal content and cannot be expected to have equal capacities of subtitling reduction. The second phase, the experiment, was limited to the size and demographic characteristics of the sample in that it is only a very small proportion of the real life audience of subtitled materials that only consists a very small group of academic audiences and it apparently cannot represent all the interpersonal differences in comprehension mechanisms of the concurrent visual and verbal data. And the third phase of the study was limited to the fact that interviews are not capable of yielding definite results about the frequency of switches between the subtitles and the visual, the rate of attention allocation to either of the said channels, or the enjoyment of watching. kalbų studijos / studies about languages no. 32 / 2018 35
It was shown by the first phase of this study that the subtitles can be reduced drawing on the information that is conveyed through the nonverbal content of the scenes such as distance Discussion or position of the camera on the vertical or horizontal lines, visual focus, salience and collocation, color, feel and kinetics of the scenes. Multimodal transcription, the framework that was used to manage this phase, is actually employed in film studies for identifying modes of communication other than speech that are contained in the meaning-making structure of multimodal materials; however, this study similar to the studies of Taylor (2003, 2013) showed that it can also be employed to investigate the meaning-making share of various modes involved in subtitled materials and decide on the possibilities of benefitting from the redundancies or irrelevances of modes to or with each other in order to reduce the subtitled content. By the second phase of the study, it was found that there might be differences between the comprehension achievements of reduced subtitles and the comprehension achievements of full subtitles; however, the difference might not be always significant. Therefore, reduced subtitles can be helpful for those who prefer concise subtitles over exact subtitles so that they can enjoy best of the visual. And, by the third phase, it was found, drawing on the interviewees’ responses, that reduced subtitles may cause rereading and decreased enjoyment of watching. Yet, drawing again on the interviewees’ responses, they can also be in service of the audience who seek relevance rather than exactness in subtitles. The third phase of the study also highlights the importance of tailoring subtitling qualities based on particular viewers’ preferences. Yet, more subtitled materials, larger samples, different test structures and different research methods are required to be investigated or employed to gain full understanding of subtitling reduction mechanisms, cognitive performance of the audience while watching movies with different subtitles of different qualities and also the usefulness of different subtitling strategies.
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Zahra Abdi, Masood Khoshsaligheh. Daugiamodalinio transkribavimo taikymas subtitruojant Santrauka persų kalba Norint pagerinti subtitruotų kino filmų žiūrėjimo patirtį, mažinamas subtitrų skaičius. C. J. Taylor'as (2003, 2013) pasitelkė daugiamodalinį transkribavimą tirdamas audiovizuali- nius filmų reikalavimus ir galimybę redaguoti ir sutrumpinti subtitrus pagal informaciją, kuri gaunama iš nežodinio turinio. Kadangi šis metodas empiriškai mažai analizuotas, šiame ty- rime buvo nagrinėjama galimybė sutrumpinti prancūzų režisieriaus Jeano-Pierre'o Jeunet'o 2001 m. filmo „Amelija iš Monmartro“ subtitrus ir tokio sprendimo įtaka iraniečių žiūrovų filmo suvokimui ir priėmimui. Šiuo tikslu, naudojant minėtą metodą, buvo sutrumpinti fil- mo subtitrai persų kalba. Tada kontrolinės grupės, žiūrėjusios filmą su pilnais subtitrais, fil- mo suvokimas buvo palygintas su eksperimentinės grupės, kuriai buvo rodomi sutrumpinti subtitrai, suvokimu. Be to, pasitelkus retrospektyvius pokalbius su pasirinktais dalyviais iš eksperimentinės grupės, buvo kokybiškai tiriama, kaip jie priėmė sutrumpintus subtitrus. Bandymo rezultatai atskleidė, kad abejų grupių filmo suvokimas mažai skiriasi. Tai rodo, jog sutrumpinti subtitrai yra pakankami. Pokalbiai atskleidė įvairius rezultatus: dalis eksperi- mentinės grupės žiūrovų sutrumpintus subtitrus įvertino gerai būtent dėl jų trumpumo, bet kitiems žmonėms jie trikdė sklandų filmo žiūrėjimą.
About the Abdi Zahra Masood Khoshsaligheh Authors MA, Ferdowsi University of Mashhad, Iran. (corresponding author), Ph.D., Associate Professor and Department Head, Ferdowsi University of Academic interests Mashhad, Iran. audiovisual translation, foreign language teaching. Academic interests Address audiovisual translation, translator education. Department of English Language and Literature, Ferdowsi University of Mashhad, Mashhad, Iran. Address Department of English Language and Literature, E-mail: Ferdowsi University of Mashhad, Mashhad, Iran. [email protected] E-mail: [email protected]