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Code of Good Subtitling Practice - en

Subtitlers must always work with a copy of the production and a glossary. Translation quality must be high with due consideration of all idiomatic and cultural nuances. The in and out times of subtitles must follow the speech rhythm of the dialogue.

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Elizabeth Sánchez León
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418 views

Code of Good Subtitling Practice - en

Subtitlers must always work with a copy of the production and a glossary. Translation quality must be high with due consideration of all idiomatic and cultural nuances. The in and out times of subtitles must follow the speech rhythm of the dialogue.

Uploaded by

Elizabeth Sánchez León
Copyright
© Attribution Non-Commercial (BY-NC)
Available Formats
Download as PDF, TXT or read online on Scribd
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Code of Good Subtitling Practice

Subtitle spotting and translation:

• Subtitlers must always work with a copy of the production and, if possible, a dialogue list
and glossary of atypical words and special references.

• It is the subtitler's job to spot the production and translate and write the subtitles in the
(foreign) language required.

• Translation quality must be high with due consideration of all idiomatic and cultural
nuances.

• Simple syntactic units should be used.

• When it is necessary to condense dialogue, the text must be coherent.

• Subtitle text must be distributed from line to line and page to page in sense blocks and/or
grammatical units.

• Ideally, each subtitle should be syntactically self-contained.

• The language register must be appropriate and correspond to locution.

• The language should be grammatically correct since subtitles serve as a model for literacy.

• All important written information in the images (signs, notices, etc.) should be translated
and incorporated wherever possible.

• Given the fact that many TV viewers are hearing-impaired, "superfluous" information, such
as names, off-screen interjections, etc., should also be subtitled.

• Songs must be subtitled where relevant.

• Obvious repetition of names and common comprehensible phrases need not


always be subtitled.

• The in and out times of subtitles must follow the speech rhythm of the
dialogue, taking cuts and sound bridges into consideration.

• Language distribution within and over subtitles must consider cuts and sound bridges; the
subtitles must underline surprise or suspense and in no way undermine it.

• The duration of all subtitles within a production must adhere to a regular viewer reading
rhythm.

Copyright© Mary Carroll and Jan Ivarsson

Endorsed by the European Association for Studies in Screen Translation


in Berlin on 17 October 1998
• Spotting must reflect the rhythm of the film.

• No subtitle should appear for less than one second or, with the exception of
songs, stay on the screen for longer than seven seconds.

• A minimum of four frames should be left between subtitles to allow the


viewer´s eye to register the appearance of a new subtitle.

• The number of lines in any subtitle must be limited to two.

• Wherever two lines of unequal length are used, the upper line should
preferably be shorter to keep as much of the image as free as possible and in left-justified
subtitles in order to reduce unnecessary eye movement.

• There must be a close correlation between film dialogue and subtitle content; source
language and target language should be synchronized as far as possible.

• There must be a close correlation between film dialogue and the presence of subtitles.

• Each production should be edited by a reviser/editor.

• The (main) subtitler should be acknowledged at the end of the film or, if the credits are at
the beginning, then close to the credit for the script writer.

• The year of subtitle production and the copyright for the version should be displayed at the
end of the film.

Copyright© Mary Carroll and Jan Ivarsson

Endorsed by the European Association for Studies in Screen Translation


in Berlin on 17 October 1998

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