Can Integrated Titles Improve The Viewing Experience

Can integrated titles improve the viewing experience  PDF
Author: Wendy Fox
Publisher: Language Science Press
ISBN: 3961100659
Size: 17.14 MB
Format: PDF
Category :
Languages : en
Pages :
View: 6654

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Historically a dubbing country, Germany is not well-known for subtitled productions. But while dubbing is predominant in Germany, more and more German viewers prefer original and subtitled versions of their favourite shows and films. Conventional subtitling, however, can be seen as a strong intrusion into the original image that can not only disrupt but also destroy the director’s intended shot composition and focus points. Long eye movements between focus points and subtitles decrease the viewer’s information intake, and especially German audiences, who are often not used to subtitles, seem to prefer to wait for the next subtitle instead of looking back up again. Furthermore, not only the placement, but also the overall design of conventional subtitles can disturb the image composition – for instance titles with a weak contrast, inappropriate typeface or irritating colour system. So should it not, despite the translation process, be possible to preserve both image and sound as far as possible? Especially given today’s numerous artistic and technical possibilities and the huge amount of work that goes into the visual aspects of a film, taking into account not only special effects, but also typefaces, opening credits and text-image compositions. A further development of existing subtitling guidelines would not only express respect towards the original film version but also the translator’s work. The presented study shows how integrated titles can increase information intake while maintaining the intended image composition and focus points as well as the aesthetics of the shot compositions. During a three-stage experiment, the specifically for this purpose created integrated titles in the documentary “Joining the Dots” by director Pablo Romero-Fresco were analysed with the help of eye movement data from more than 45 participants. Titles were placed based on the gaze behaviour of English native speakers and then rated by German viewers dependant on a German translation. The results show that a reduction of the distance between intended focus points and titles allow the viewers more time to explore the image and connect the titles to the plot. The integrated titles were rated as more aesthetically pleasing and reading durations were shorter than with conventional subtitles. Based on the analysis of graphic design and filmmaking rules as well as conventional subtitling standards, a first workflow and set of placement strategies for integrated titles were created in order to allow a more respectful handling of film material as well as the preservation of the original image composition and typographic film identity.

Can Integrated Titles Improve The Viewing Experience Investigating The Impact Of Subtitling On The Reception And Enjoyment Of Film Using Eye Tracking And Questionnaire Data Investigating The Impact Of Subtitling On The Reception And Enjoyment Of Film Using Eye Tracking And Questionnaire Data

Can Integrated Titles Improve the Viewing Experience  Investigating the Impact of Subtitling on the Reception and Enjoyment of Film Using Eye Tracking and Questionnaire Data  Investigating the Impact of Subtitling on the Reception and Enjoyment of Film Using Eye Tracking and Questionnaire Data PDF
Author: Wendy Fox
Publisher:
ISBN: 9783961100668
Size: 53.24 MB
Format: PDF
Category :
Languages : en
Pages : 246
View: 3410

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Historically a dubbing country, Germany is not well-known for subtitled productions. But while dubbing is predominant in Germany, more and more German viewers prefer original and subtitled versions of their favourite shows and films. Conventional subtitling, however, can be seen as a strong intrusion into the original image that can not only disrupt but also destroy the director's intended shot composition and focus points. Long eye movements between focus points and subtitles decrease the viewer's information intake, and especially German audiences, who are often not used to subtitles, seem to prefer to wait for the next subtitle instead of looking back up again. Furthermore, not only the placement, but also the overall design of conventional subtitles can disturb the image composition - for instance titles with a weak contrast, inappropriate typeface or irritating colour system. So should it not, despite the translation process, be possible to preserve both image and sound as far as possible? Especially given today's numerous artistic and technical possibilities and the huge amount of work that goes into the visual aspects of a film, taking into account not only special effects, but also typefaces, opening credits and text-image compositions. A further development of existing subtitling guidelines would not only express respect towards the original film version but also the translator's work. The presented study shows how integrated titles can increase information intake while maintaining the intended image composition and focus points as well as the aesthetics of the shot compositions. During a three-stage experiment, the specifically for this purpose created integrated titles in the documentary "Joining the Dots" by director Pablo Romero-Fresco were analysed with the help of eye movement data from more than 45 participants. Titles were placed based on the gaze behaviour of English native speakers and then rated by German viewers dependant on a German translati

Can Integrated Titles Improve The Viewing Experience

Can integrated titles improve the viewing experience  PDF
Author: Wendy Fox
Publisher:
ISBN:
Size: 11.19 MB
Format: PDF, Mobi
Category : Philology. Linguistics
Languages : en
Pages :
View: 2225

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Historically a dubbing country, Germany is not well-known for subtitled productions. But while dubbing is predominant in Germany, more and more German viewers prefer original and subtitled versions of their favourite shows and films. Conventional subtitling, however, can be seen as a strong intrusion into the original image that can not only disrupt but also destroy the director's intended shot composition and focus points. Long eye movements between focus points and subtitles decrease the viewer's information intake, and especially German audiences, who are often not used to subtitles, seem to prefer to wait for the next subtitle instead of looking back up again. Furthermore, not only the placement, but also the overall design of conventional subtitles can disturb the image composition - for instance titles with a weak contrast, inappropriate typeface or irritating colour system.So should it not, despite the translation process, be possible to preserve both image and sound as far as possible? Especially given today's numerous artistic and technical possibilities and the huge amount of work that goes into the visual aspects of a film, taking into account not only special effects, but also typefaces, opening credits and text-image compositions. A further development of existing subtitling guidelines would not only express respect towards the original film version but also the translator's work.

Accessible Filmmaking

Accessible Filmmaking PDF
Author: Pablo Romero-Fresco
Publisher: Routledge
ISBN: 0429620659
Size: 66.20 MB
Format: PDF, ePub
Category : Language Arts & Disciplines
Languages : en
Pages : 266
View: 2519

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Translation, accessibility and the viewing experience of foreign, deaf and blind audiences has long been a neglected area of research within film studies. The same applies to the film industry, where current distribution strategies and exhibition platforms severely underestimate the audience that exists for foreign and accessible cinema. Translated and accessible versions are usually produced with limited time, for little remuneration, and traditionally involving zero contact with the creative team. Against this background, this book presents accessible filmmaking as an alternative approach, integrating translation and accessibility into the filmmaking process through collaboration between translators and filmmakers. The book introduces a wide notion of media accessibility and the concepts of the global version, the dubbing effect and subtitling blindness. It presents scientific evidence showing how translation and accessibility can impact the nature and reception of a film by foreign and sensory-impaired audiences, often changing the film in a way that filmmakers are not always aware of. The book includes clips from the award-winning film Notes on Blindness on the Routledge Translation Studies Portal, testimonies from filmmakers who have adopted this approach, and a presentation of the accessible filmmaking workflow and a new professional figure: the director of accessibility and translation. This is an essential resource for advanced students and scholars working in film, audiovisual translation and media accessibility, as well as for those (accessible) filmmakers who are not only concerned about their original viewers, but also about those of the foreign and accessible versions of their films, who are often left behind.