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A coalition of entertainment companies is seeking to have Australian telcos block their customers from accessing a number of sites that offer downloads of subtitles that can be used in conjunction with illicitly streamed or downloaded movies and TV shows. The companies' application for a site-blocking injunction. In addition to a range of sites that allegedly offer pirate downloads or streaming or link to other sites that offer those services, the companies want to block a number of services that enable users to “download files containing subtitles for cinematograph films”.
It is the first time a site-blocking application has relied on the infringement of literary copyright. “People unknown have recorded from the motion pictures then translated the words into different languages and then those websites make available files that contain the subtitles in those languages,” counsel for the applicants this morning told a Federal Court case management hearing.
Users are able to download those files then “combine them with the visual aspect of the film,” allowing, the court heard, for The Smurfs to be watched with Japanese subtitles, for example. “You better make sure your evidence in relation to that is particularly thorough,” Justice Nicholas said. “There’s some creep here occurring – I don’t say that critically. but it’s a new angle so I’ll need to look at that closely.” At the request of the judge, the applicants said they would make a computer and Internet connection available so Justice Nicholas or his associate could view the sites. It has frequently been a very quick process to establish a “primary purpose” with previous sites that were the subject of web-blocking injunctions – “I’m not sure that’s the case here,” Nicholas said.
The action is not only the largest single application for a site block injunction in terms of number of sites targeted, but it also has the largest group of applicants and targets the subscribers of more Internet service providers than previous applications. Read more The application is led by Village Roadshow Films is supported by studios Disney, Twentieth Century Fox, Paramount Pictures, Columbia Pictures, Universal, Warner Bros, Hong Kong entertainment company Television Broadcasts Limited (TVB) and subsidiary TVBO Production Limited, and Australian entertainment distributor Madman Entertainment Pty Limited. For the first time Vodafone is listed as a respondent, alongside Australia’s big four ISPs: Telstra, Optus, Vocus and TPG. The application also lists the telcos’ subsidiaries, such as iiNet, Internet and Dodo. Read more In August 2017, the court ordered a group of ISPs to block access to 58 sites and 200 related domains.
In April 2018, Roadshow was successful with an injunction seeking to block a. In June 2018, a Foxtel site-blocking application for injunction was granted, leading to being blocked by ISPs. A site-blocking application brought by TVB is currently being considered by the court. That application targets services used by the Android-based the A1, BlueTV, EVPAD, FunTV, MoonBox, Unblock, and hTVS set-top boxes. There is some uncertainty around the of some material used in the company’s application.
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Countries which produce their own dubbings, but often use dubbed versions from another country whose language is sufficiently similar so that the local audience understands it easily (French and Dutch for, for, and for.) Subtitles are derived from either a transcript or of the dialog or commentary in films, television programs, video games, and the like, usually displayed at the bottom of the screen, but can also be at the top of the screen if there is already text at the bottom of the screen. They can either be a form of written of a dialog in a foreign language, or a written rendering of the dialog in the same language, with or without added information to help viewers who are or to follow the dialog, or people who cannot understand the spoken dialogue or who have accent recognition problems. The encoded method can either be pre-rendered with the video or separate as either a graphic or text to be rendered and overlaid by the receiver. The separate subtitles are used for, and television / (DVB) subtitling or captioning, which are hidden unless requested by the viewer from a menu or remote controller key or by selecting the relevant page or service (e.g., p. 888 or CC1), always carry additional sound representations for deaf and hard of hearing viewers. Teletext subtitle language follows the original audio, except in multi-lingual countries where the broadcaster may provide subtitles in additional languages on other teletext pages.
EIA-608 captions are similar, except that North American Spanish stations may provide captioning in Spanish on CC3. DVD and Blu-ray only differ in using encoded graphics instead of text, as well as some HD DVB broadcasts. Sometimes, mainly at, subtitles may be shown on a separate display below the screen, thus saving the film-maker from creating a subtitled copy for perhaps just one showing. Television subtitling for the deaf and hard of hearing is also referred to as in some countries.
More exceptional uses also include operas, such as Verdi's Aida, where sung lyrics in Italian are subtitled in English or in another local language outside the stage area on luminous screens for the audience to follow the storyline, or on a screen attached to the back of the chairs in front of the audience. The word subtitle is the prefix sub- ('below') followed by title.
In some cases, such as live, the dialog is displayed above the stage in what are referred to as ( sur- meaning 'above'). Contents.
Creation, delivery and display of subtitles Today, professional subtitlers usually work with specialized computer software and hardware where the video is digitally stored on a hard disk, making each individual frame instantly accessible. Besides creating the subtitles, the subtitler usually also tells the computer software the exact positions where each subtitle should appear and disappear. For cinema film, this task is traditionally done by separate technicians. The end result is a subtitle file containing the actual subtitles as well as position markers indicating where each subtitle should appear and disappear. These markers are usually based on if it is a work for electronic media (e.g., TV, video, DVD), or on film length (measured in feet and frames) if the subtitles are to be used for traditional cinema film. The finished subtitle file is used to add the subtitles to the picture, either:. directly into the picture (open subtitles);.
embedded in the and later superimposed on the picture by the end user with the help of an external decoder or a decoder built into the TV (closed subtitles on TV or video);. or converted (rendered) to or graphics that are later superimposed on the picture by the end user's equipment (closed subtitles on DVD or as part of a DVB broadcast). Subtitles can also be created by individuals using freely available subtitle-creation software like for Windows, for Mac/Windows, and for Linux, and then hardcode them onto a video file with programs such as in combination with which could also be used to show subtitles as softsubs in many.
For multimedia-style, check:. SMIL;.
Same-language captions Same-language captions, i.e., without translation, were primarily intended as an aid for people who are deaf or hard of hearing. Internationally, there are several major studies which demonstrate that same-language captioning can have a major impact on literacy and reading growth across a broad range of reading abilities. This method of subtitling is used by national television broadcasters in and in such as. This idea was struck upon by, who believed that SLS makes reading practice an incidental, automatic, and subconscious part of popular TV entertainment, at a low per-person cost to shore up.
Same-language subtitling (SLS) is the use of synchronized captioning of musical lyrics (or any text with an audio/video source) as a repeated reading activity. The basic reading activity involves students viewing a short subtitled presentation projected onscreen, while completing a response worksheet. To be really effective, the subtitling should have high quality synchronization of audio and text, and better yet, subtitling should change color in syllabic synchronization to audio model, and the text should be at a level to challenge students' language abilities. Closed captions. The 'CC in a TV' symbol created, while senior graphic designer at that invented captioning for television, is so that anyone who captions TV programs can use it. Closed captioning is the American term for closed subtitles specifically intended for people who are deaf or hard of hearing. These are a transcription rather than a translation, and usually contain descriptions of important non-dialog audio as well such as '(sighs)', '(wind blowing)', '('SONG TITLE' playing)', '(kisses)' or '(door creaks)' and lyrics.
From the expression 'closed captions' the word 'caption' has in recent years come to mean a subtitle intended for the deaf or hard of hearing, be it 'open' or 'closed'. In British English 'subtitles' usually refers to subtitles for the deaf or hard of hearing (SDH); however, the term 'SDH' is sometimes used when there is a need to make a distinction between the two. Real time Programs such as news bulletins, current affairs programs, sport, some talk shows and political and special events utilize real time or online captioning.
Live captioning is increasingly common, especially in the and the, as a result of regulations that stipulate that virtually all TV eventually must be accessible for people who are deaf and hard–of–hearing. In practice, however, these 'real time' subtitles will typically lag the audio by several seconds due to the inherent delay in transcribing, encoding, and transmitting the subtitles. Real time subtitles are also challenged by typographic errors or mis-hearing of the spoken words, with no time available to correct before transmission. Pre-prepared Some programs may be prepared in their entirety several hours before broadcast, but with insufficient time to prepare a timecoded caption file for automatic play-out.
Pre-prepared captions look similar to offline captions, although the accuracy of cueing may be compromised slightly as the captions are not locked to program timecode. Newsroom captioning involves the automatic transfer of text from the newsroom computer system to a device which outputs it as captions.
It does work, but its suitability as an exclusive system would only apply to programs which had been scripted in their entirety on the newsroom computer system, such as short interstitial updates. In the United States and Canada, some broadcasters have used it exclusively and simply left uncaptioned sections of the bulletin for which a script was unavailable. Newsroom captioning limits captions to pre-scripted materials and, therefore, does not cover 100% of the news, weather and sports segments of a typical local news broadcast which are typically not pre-scripted, last-second breaking news or changes to the scripts, ad lib conversations of the broadcasters, emergency or other live remote broadcasts by reporters in-the-field. By failing to cover items such as these, newsroom style captioning (or use of the for captioning) typically results in coverage of less than 30% of a local news broadcast. Live Communication Access Real-Time Translation (CART), who use a computer with using either or keyboards to transcribe stenographic input for presentation as captions within 2–3 seconds of the representing audio, must caption anything which is purely live and unscripted ; however, the most recent developments include operators using software and revoicing the dialog. Speech recognition technology has advanced so quickly in the United States that about 50% of all live captioning is through speech recognition as of 2005. Real-time captions look different from offline captions, as they are presented as a continuous flow of text as people speak.
Real-time stenographers are the most highly skilled in their profession. Stenography is a system of rendering words phonetically, and English, with its multitude of homophones (e.g., there, their, they’re), is particularly unsuited to easy transcriptions. Stenographers working in courts and inquiries usually have 24 hours in which to deliver their transcripts. Consequently, they may enter the same phonetic stenographic codes for a variety of homophones, and fix up the spelling later. Real-time stenographers must deliver their transcriptions accurately and immediately. They must therefore develop techniques for keying homophones differently, and be unswayed by the pressures of delivering accurate product on immediate demand. Submissions to recent captioning-related inquiries have revealed concerns from broadcasters about captioning sports.
Captioning sports may also affect many different people because of the weather outside of it. In much sport captioning's absence, the Australian Caption Centre submitted to the National Working Party on Captioning (NWPC), in November 1998, three examples of sport captioning, each performed on tennis, rugby league and swimming programs:. Heavily reduced: Captioners ignore commentary and provide only scores and essential information such as “try” or “out”. Significantly reduced: Captioners use input to type summary captions yielding the essence of what the commentators are saying, delayed due to the limitations of QWERTY input.
Comprehensive realtime: Captioners use stenography to caption the commentary in its entirety. The NWPC concluded that the standard they accept is the comprehensive real-time method, which gives them access to the commentary in its entirety.
Also, not all sports are live. Many events are pre-recorded hours before they are broadcast, allowing a captioner to caption them using offline methods. Hybrid Because different programs are produced under different conditions, a case-by-case basis must consequently determine captioning methodology. Some bulletins may have a high incidence of truly live material, or insufficient access to video feeds and scripts may be provided to the captioning facility, making stenography unavoidable. Other bulletins may be pre-recorded just before going to air, making pre-prepared text preferable.
In Australia and the United Kingdom, hybrid methodologies have proven to be the best way to provide comprehensive, accurate and cost-effective captions on news and current affairs programs. News captioning applications currently available are designed to accept text from a variety of inputs: stenography, Velotype, import, and the newsroom computer. This allows one facility to handle a variety of online captioning requirements and to ensure that captioners properly caption all programs. Current affairs programs usually require stenographic assistance. Even though the segments which comprise a current affairs program may be produced in advance, they are usually done so just before on-air time and their duration makes QWERTY input of text unfeasible. News bulletins, on the other hand, can often be captioned without stenographic input (unless there are live crosses or ad-libbing by the presenters). This is because:.
Most items are scripted on the newsroom computer system and this text can be electronically imported into the captioning system. Individual news stories are of short duration, so even if they are made available only just prior to broadcast, there is still time to QWERTY in text. Offline For non-live, or pre-recorded programs, television program providers can choose offline captioning. Captioners gear offline captioning toward the high-end television industry, providing highly customized captioning features, such as pop-on style captions, specialized screen placement, speaker identifications, italics, special characters, and sound effects. Offline captioning involves a five-step design and editing process, and does much more than simply display the text of a program.
Offline captioning helps the viewer follow a story line, become aware of mood and feeling, and allows them to fully enjoy the entire viewing experience. Offline captioning is the preferred presentation style for entertainment-type programming. Subtitles for the deaf or hard-of-hearing (SDH) Subtitles for the deaf or hard-of-hearing (SDH) is an American term introduced by the DVD industry. It refers to regular subtitles in the original language where important non-dialog information has been added, as well as speaker identification, which may be useful when the viewer cannot otherwise visually tell who is saying what. The only significant difference for the user between SDH subtitles and closed captions is their appearance: SDH subtitles usually are displayed with the same proportional font used for the translation subtitles on the DVD; however, closed captions are displayed as white text on a black band, which blocks a large portion of the view. Closed captioning is falling out of favor as many users have no difficulty reading SDH subtitles, which are text with contrast outline.
In addition, DVD subtitles can specify many colors, on the same character: primary, outline, shadow, and background. This allows subtitlers to display subtitles on a usually translucent band for easier reading; however, this is rare, since most subtitles use an outline and shadow instead, in order to block a smaller portion of the picture. Closed captions may still supersede DVD subtitles, since many SDH subtitles present all of the text centered, while closed captions usually specify position on the screen: centered, left align, right align, top, etc.
This is helpful for speaker identification and overlapping conversation. Some SDH subtitles (such as the subtitles of newer DVDs/Blu-ray Discs) do have positioning, but it is not as common. DVDs for the U.S. Market now sometimes have three forms of English subtitles: SDH subtitles; English subtitles, helpful for viewers who may not be hearing impaired but whose first language may not be English (although they are usually an exact transcript and not simplified); and closed caption data that is decoded by the end-user's closed caption decoder. Most anime releases in the U.S. Only include as subtitles translations of the original material; therefore, SDH subtitles of English dubs ('dubtitles') are uncommon. High-definition disc media (, ) uses SDH subtitles as the sole method because technical specifications do not require HD to support line 21 closed captions.
Some Blu-ray Discs, however, are said to carry a closed caption stream that only displays through standard-definition connections. Many allow the end–user to customize the captions, including the ability to remove the black band. Example of lyrics transcription in SDH Use by those not deaf or hard of hearing Although same-language subtitles and captions are produced primarily with the deaf and hard of hearing in mind, many hearing film and television viewers choose to use them. This is often done because the presence of closed captioning and subtitles ensures that not one word of dialogue will be missed. Bars and other noisy public places, where film dialogue would otherwise be drowned out, often make closed captions visible for patrons.
Viewers may also find thick regional accents from other same-language countries hard to understand without subtitles. Films and television shows often have subtitles displayed in the same language if the speaker has a speech impairment. In addition, captions may reveal information that would otherwise be difficult to obtain from hearing. Some examples would be song lyrics, dialog spoken quietly or by those with accents unfamiliar to the intended audience, or supportive, minor dialog from background characters. It is argued that such additional information and detail enhances the overall experience and allows the viewer a better grasp of the material. Furthermore, people learning a foreign language may sometimes use same-language subtitles to better understand the dialog without having to resort to a translation.
Asia In some Asian television programming, captioning is considered a part of the genre, and has evolved beyond simply capturing what is being said. The captions are used artistically; it is common to see the words appear one by one as they are spoken, in a multitude of fonts, colors, and sizes that capture the spirit of what is being said.
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Languages like Japanese also have a rich vocabulary of which is used in captioning. East Asia In some East Asian countries, especially Chinese-speaking ones, subtitling is common in all taped television programs. In these countries, written text remains mostly uniform while regional dialects in the spoken form can be mutually unintelligible. Therefore, subtitling offers a distinct advantage to aid comprehension.
With subtitles, programs in, the standard Mandarin, or any dialect can be understood by viewers unfamiliar with it. On-screen subtitles as seen in Japanese variety television shows are more for decorative purpose, something that is not seen in television in Europe and the Americas. Some shows even place over those subtitles. This practice of subtitling has been spread to neighbouring countries including South Korea and Taiwan. In Hong Kong once practiced this style of decorative subtitles on its variety shows when it was owned by Holdings in Taiwan (which also owns and ).
South Asia In, (SLS) are common for films and music videos. SLS refers to the idea of subtitling in the same language as the audio. SLS is highlighted style, that is, to speech. The idea of SLS was initiated to shore up literacy rates as SLS makes reading practice an incidental, automatic, and subconscious part of popular TV entertainment.
This idea was well received by the which now uses SLS on several national channels, including. Translation. This section does not any.
Unsourced material may be challenged. (November 2016) Translation basically means conversion of one language into another language in wrtten or spoken form. The process of translation requires a translator e.g. Google Translate, Microsoft Translator.
Subtitles can be used to translate dialog from a foreign language into the native language of the audience. It is not only the quickest and cheapest method of translating content, but is also usually preferred as it is possible for the audience to hear the original dialog and voices of the actors. Subtitle translation can be different from the of written text.
Usually, during the process of creating subtitles for a film or television program, the picture and each sentence of the audio are analyzed by the subtitle translator; also, the subtitle translator may or may not have access to a written transcript of the dialog. Especially in the field of commercial subtitles, the subtitle translator often interprets what is meant, rather than translating the manner in which the dialog is stated; that is, the meaning is more important than the form—the audience does not always appreciate this, as it can be frustrating for people who are familiar with some of the spoken language; spoken language may contain verbal padding or culturally implied meanings that cannot be conveyed in the written subtitles.
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Also, the subtitle translator may also condense the dialog to achieve an acceptable reading speed, whereby purpose is more important than form. Especially in, the subtitle translator may translate both form and meaning.
The subtitle translator may also choose to display a note in the subtitles, usually in (“” and “”), or as a separate block of on-screen text—this allows the subtitle translator to preserve form and achieve an acceptable reading speed; that is, the subtitle translator may leave a note on the screen, even after the character has finished speaking, to both preserve form and facilitate understanding. For example, the Japanese language has multiple first-person pronouns (see ) and each pronoun is associated with a different degree of politeness. In order to compensate during the English translation process, the subtitle translator may reformulate the sentence, add appropriate words and/or use notes. Subtitling Real-time Real-time translation subtitling usually involves an interpreter and a stenographer working concurrently, whereby the former quickly translates to the dialog while the latter types; this form of subtitling is rare. The unavoidable delay, typing errors, lack of editing, and high cost mean that real-time translation subtitling is in low demand. Allowing the interpreter to directly speak to the viewers is usually both cheaper and quicker; however, the translation is not accessible to people who are deaf and hard-of-hearing.
Offline Some subtitlers purposely provide edited subtitles or captions to match the needs of their audience, for learners of the spoken dialog as a second or foreign language, visual learners, beginning readers who are deaf or hard of hearing and for people with learning and/or mental disabilities. For example, for many of its films and television programs, displays standard captions representing speech the program audio, word-for-word, if the viewer selects 'CC1' by using the television remote control or on-screen menu; however, they also provide edited captions to present simplified sentences at a slower rate, if the viewer selects 'CC2'. Programs with a diverse audience also often have captions in another language. This is common with popular Latin American in Spanish. Since CC1 and CC2 share, the (FCC) recommends translation subtitles be placed in CC3. CC4, which shares bandwidth with CC3, is also available, but programs seldom use it. Subtitles vs.
Dubbing and lectoring The two alternative methods of 'translating' films in a foreign language are, in which other actors record over the voices of the original actors in a different language, and, a form of for fictional material where a narrator tells the audience what the actors are saying while their voices can be heard in the background. Lectoring is common for television in Russia, Poland, and a few other East European countries, while cinemas in these countries commonly show films dubbed or subtitled. The preference for dubbing or subtitling in various countries is largely based on decisions taken in the late 1920s and early 1930s. With the arrival of sound film, the film importers in, and decided to dub the foreign voices, while the rest of Europe elected to display the dialog as translated subtitles. The choice was largely due to financial reasons (subtitling is more economical and quicker than dubbing), but during the 1930s it also became a political preference in Germany, Italy and Spain; an expedient form of that ensured that foreign views and ideas could be stopped from reaching the local audience, as dubbing makes it possible to create a dialogue which is totally different from the original. In larger German cities a few 'special cinemas' use subtitling instead of dubbing. Dubbing is still the norm and favored form in these four countries, but the proportion of subtitling is slowly growing, mainly to save cost and turnaround-time, but also due to a growing acceptance among younger generations, who are better readers and increasingly have a basic knowledge of English (the dominant language in film and TV) and thus prefer to hear the original dialogue.
Nevertheless, in Spain, for example, only public TV channels show subtitled foreign films, usually at late night. It is extremely rare that any Spanish TV channel shows subtitled versions of TV programs, series or documentaries. With the advent of digital land broadcast TV, it has become common practice in Spain to provide optional audio and subtitle streams that allow watching dubbed programmes with the original audio and subtitles. In addition, only a small proportion of cinemas show subtitled films. Films with dialogue in Galician, Catalan or Basque are always dubbed, not subtitled, when they are shown in the rest of the country. Some non-Spanish-speaking TV stations subtitle interviews in Spanish; others do not. In many countries, local network television will show dubbed versions of English-language programs and movies, while cable stations (often international) more commonly broadcast subtitled material.
Preference for subtitles or dubbing varies according to individual taste and reading ability, and theaters may order two prints of the most popular films, allowing moviegoers to choose between dubbing or subtitles. Animation and children's programming, however, is nearly universally dubbed, as in other regions. Since the introduction of the DVD and, later, the Blu-ray Disc, some high budget films include the simultaneous option of both subtitles and/or dubbing. Often in such cases, the translations are made separately, rather than the subtitles being a verbatim transcript of the dubbed scenes of the film. While this allows for the smoothest possible flow of the subtitles, it can be frustrating for someone attempting to learn a foreign language.
In the traditional subtitling countries, dubbing is generally regarded as something strange and unnatural and is only used for animated films and TV programs intended for pre-school children. As animated films are 'dubbed' even in their original language and ambient noise and effects are usually recorded on a separate sound track, dubbing a low quality production into a second language produces little or no noticeable effect on the viewing experience. In dubbed live-action television or film, however, viewers are often distracted by the fact that the audio does not match the actors' lip movements. Furthermore, the dubbed voices may seem detached, inappropriate for the character, or overly expressive, and some ambient sounds may not be transferred to the dubbed track, creating a less enjoyable viewing experience. Subtitling as a practice In several countries or regions nearly all foreign language TV programs are subtitled, instead of dubbed, notably in:. (most all foreign-language shows are subtitled in, children's movies and TV shows are dubbed, mostly animated).
(cable/satellite TV and cinemas). (Subtitles in, children's shows principally are dubbed). -language subtitling, used for foreign programming/cinema and often used when Arabic dialects are the primary medium of a film/TV program. Countries such as Lebanon, Algeria, and Morocco also often include French subtitling simultaneously.
(especially by ). (Subtitles in in, dubbed into in, bilingual Dutch-French subtitles in Flemish and Brussels movie theaters, dubbed versions in Wallonia. This section gives without describing their significance in the context of the article. Please help by that describe the examples' significance, and by removing less pertinent examples. Or poorly sourced material may be challenged or removed. This section needs additional citations for.
Unsourced material may be challenged and removed. (June 2011) Occasionally, movies will use subtitles as a source of humor, parody and satire. In, the characters of and are having a conversation; their real thoughts are shown in subtitles.
In, dialog is subtitled using white type that blends in with white objects in the background. An example is when white binders turn the subtitle 'I have a huge rodent problem' into 'I have a huge rod.' After many cases of this, Mr. Roboto says 'Why don't I just speak English?' , in English. In the same film, Austin and Nigel Powers directly speak in to make the content of their conversation unintelligible; subtitles appear for the first part of the conversation, but then cease and are replaced with a series of question marks. In, the Beatles use the subtitles of ' to defeat a giant glove.
In, one character speaks in a foreign language, while another character hides under the bed. Although the hidden character cannot understand what is being spoken, he can read the subtitles. Since the subtitles are overlaid on the film, they appear to be reversed from his point of view. His attempt to puzzle out these subtitles enhances the humor of the scene. The movie and its sequel feature two inner-city speaking in heavily accented slang, which another character refers to as if it were a foreign language: '.
Subtitles translate their speech, which is full of colorful expressions and mild profanity, into bland, but the typical viewer can understand enough of what they are saying to recognize the incongruity. In, Susie Chef and Mater speak Chinese with English subtitles and Luigi, Mama Lopolino and Uncle Topolino speak Italian with English subtitles. In parodies of the German film, incorrect subtitles are deliberately used, often with offensive and humorous results. In the comedy, after stopping Dr. Michael Hfuhruhurr for speeding, a German police officer realizes that Hfuhruhurr can speak English. He asks his colleague in their squad car to turn off the subtitles, and indicates toward the bottom of the screen, commenting that 'This is better — we have more room down there now'.
In the opening credits of, the Swedish subtitler switches to English and promotes his country, until the introduction is cut off and the subtitler 'sacked'. In the DVD version of the same film, the viewer could choose, instead of hearing aid and local languages, lines from 's that vaguely resemble the lines that are actually being spoken in film, if they are ' people who hate the film'. In, there is a scene where the actors speak in faux (nonsensical words which mostly consist of Japanese company names), but the content of the subtitles is the 'real' conversation. In, the nude character Areola speaks lightly accented English, but her dialog is subtitled anyway. Also, the text is spaced in such a way that a view of her bare breasts is unhindered.
In, the leading characters have a conversation in a crowded club. To understand what is being said, the entire dialog is subtitled.
' 2000 short film Telling Lies juxtaposes a soundtrack of a man telling lies on the telephone against subtitles which expose the truth. commonly use subtitles to present the comical (English words that sound close to what is actually being sung in the song in the non-English language). These fake lyrics are a major staple of the Animutation genre.
contains a scene spoken entirely in that is subtitled in standard English. In an episode of, at one point Norbert begins to speak with such a heavy European accent that his words are subtitled on the bottom of the screen. Daggett actually touches the subtitles, shoving them out of the way.
In the American theatrical versions of and, Russian dialogues are translated by subtitles which are designed accordingly to the depicted events. For instance, subtitles dissolve in water like blood, tremble along with a shaking floor or get cut by sword. The film contains a scene where 's character understands an Asian character's line of dialogue from reading the on-screen subtitle.
The subtitle is even in reverse when his character reads the line. Later, an exclamation made by another Asian character is subtitled, but both the spoken words and the subtitles are in Chinese. In, also directed by, one scene involving two characters talking about their murder plan in Yiddish to prevent anyone from knowing about it, only to be foiled by a man on the bench reading the on-screen subtitles. released the film into American theatres with subtitles not only so people could understand the thick Scottish accents, but also to make fun of what he believes to be many Americans' need for them (mentioned in the theatrical trailer).
Many of Loach's films contain traditional dialect, with some (e.g. ) requiring subtitles even when shown on television in England. In 's 'Tae Do,' a of Korean dramas in a episode, the subtitles make more sense of the story than the Korean language being spoken. The subtitles are made to appear as though written by someone with a poor understanding of grammar and are often intentionally made longer than what they actually say in the drama. For example, an actor says 'Sarang' ('I love you'), but the subtitle is so long that it covers the whole screen. In television series, a journalist interviews a group of Afghan terrorists in English, but one of them gets subtitled and sees it.
He gets mad because he takes as an insult that he is the only one to get subtitled. In film, the thoughts of Broomhilde's (Megan Cavanaugh) horse are shown as subtitles when Broomhilde attempts to jump on saddle off balcony.
As Farfelkugel shudders, the showtitles show 'She must be kidding!' . In the television series, the character Ling-Ling can only be understood through English subtitles, as his dialogue is delivered in a nonexistent language referred to as 'Japorean' by, the voice actress for the character. In the television series episode “Lisa's Mudder Comes for a Visit” (season 5 episode 1), Lisa and her mother converse in Hungarian, with English Subtitles. First, Lisa looks down and corrects the subtitles, “No no no, I said you hadn't changed a bit! We have a lot of trouble here with subtitles.”, and they change.
Mother's Japanese chauffeur asks “I begga pardon – I bringa bags inna house?” that elicits a gong sound and Japanese subtitles. This is followed by Mother’s great Dane barking with the subtitles “I've seen better doghouses than this” with Lisa responding “We're not interested in what the dog says”, and the subtitles disappear. Later, the subtitles ask farmhand Eb if they will be needing any more subtitles for the episode.
In the UK television series, in episode 6 of Series 13, they purposely mistranslate the song sung by, having her supposedly denouncing hatred towards the trio of presenters ('but mainly ') for destroying what is claimed to be her own. In Vance Joy's music video 'Riptide' it shows a woman singing the lyrics to the song. At many points the lyrics which are sung 'I got a lump in my throat cause you're gonna sing the words wrong' are deliberately mis-subtitled as 'I got a lump in my throat cause you gone and sank the worlds wolf'. In 's music video for ', the second verse is subtitled as a way to mock the supposed unintelligibility of the song. One of the lines is 'It's hard to bargle nawdle zouss???'
(with three question marks), which has no meaning, but is explained by the following line, 'With all these marbles in my mouth'. While singing the latter, Yankovic indeed spits out a couple of marbles. One unintentional source of humor in subtitles comes from illegal DVDs produced in non-English-speaking countries (especially China). These DVDs often contain poorly worded subtitle tracks, possibly produced by, with humorous results. One of the better-known examples is a copy of whose opening title was subtitled, 'Star war: The backstroke of the west'. See also.
Notes Many words such as 'Mum/Mom', 'pyjamas/pajamas', and so on, are commonly spelled according to the accent or national origin of the person speaking, rather than the language, country, or market the subtitles were created for. For example, a British film released in the United States might use 'Mum' when a British character is speaking, while using 'Mom' when an American character is speaking. Phone captioning is a free service provided by the US government in which specially trained operators provide transcriptions for hearing-impaired telephone users. References.