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In Element 1,

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we have seen
how to subtitle acoustic verbal elements.

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In LO1 of this Element,

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we have seen how to deal with
the visual verbal elements

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of an audiovisual text.

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In this LO,

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we deal with the non-verbal elements
of the speech to subtitle,

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be they acoustic or visual.

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This video lecture is aimed
at letting you know

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how to identify which non-verbal elements
need to be turned into verbal

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for each LTA trained working context.

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First of all,

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I will try
to draw on the lessons learnt in LO1,

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meaning I will briefly recap

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the notions of text, context
and semiotics of the audiovisual text.

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This will allow me to introduce
the question of the communicative impact

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of each of the semiotic elements
composing an audiovisual text

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on the overall communication
of the audiovisual text itself.

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With this in mind,

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I will try
to concentrate on non-verbal elements,

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both acoustic and visual,

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and how to deal with them
in the subtitling process

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in case they play
an important informative role.

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This is the agenda of this presentation.

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As said, in LO1 of this element

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we have seen the features of any text,

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which go beyond what is said.

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For each of the seven characteristics
of a text,

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we have given concrete examples
to be considered

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in real-time intralingual subtitling.

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In particular, we have seen
the notions of cohesion, coherence,

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intentionality,
acceptability, informativity,

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situationality and intertextuality.

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These are rarely considered

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if one thinks of respeaking
as a mere repetition

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of what is said by a speaker.

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Then, we have moved to context.

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Respeakers not only have to focus
on what a speaker says,

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but they also need to understand

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the relationship of what is said
with the context

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if they reall want to provide subtitles

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that mean something
to the target audience.

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Indeed,

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the meaning-making process
of any speech event can only be understood

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in relation with its context.

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Furthermore, we have briefly analysed
the three aspects of any context,

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that is its field, tenor, and mode.

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Concerning the semiotics
of any speech event,

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we have finally seen that it communicates

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through the combination
of many semiotic components.

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Be they TV programs, conferences,

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parliamentary sessions,
meetings or school classes,

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they are all
of either an acoustic or visual nature,

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and they are
either verbal or non-verbal.

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In particular, we have analysed
the different codes characterising

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the four semiotic macrocategories
of a speech.

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Generally speaking, we tend to think

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that the verbal elements are more relevant
than non-verbal elements

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and that acoustic elements
are more relevant than visual elements.

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However, this is not always the case.

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The table in this slide shows
the impact on communication

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of each semiotic element
in the original version of an action movie

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and the corresponding impact

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of the same movie subtitled
for the deaf and the hard of hearing.

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Of course,
a movie is neither a conference speech,

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a parliamentary session, a news item,
a school class nor a work meeting.

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However, this study shows

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that when the subtitler tries to translate
the spoken into written,

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the attention of the audience is hijacked

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by the verbal component of subtitles.

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In particular,

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the acoustic verbal components
and the visual verbal components together

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account for only 30%
in the original version of a movie

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while they account
for more than the double, 65%,

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in the same movie once it is subtitled.

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This happens

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because, a deaf or hard-of-hearing person
can only rely on the visual channel

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to access
the acoustic elements of a speech.

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In this context,

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the live intralingual subtitler turns
almost all the verbal acoustic elements

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into subtitles,

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plus the non-verbal acoustic elements
he or she deems essential

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to the understanding of the Source Text.

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Deciding whether to subtitle
non-verbal acoustic elements or not

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is not always an easy task.

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This normally depends
on how they contribute

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to the understanding of the event,

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or to its unfolding.

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If the respeaker decides to subtitle them,

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a caption describing
the non-verbal acoustic occurrence

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is usually enough.

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However, the subtitler may not have
captions ready at hand.

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In preparation of the event to subtitle,
we suggest

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that the subtitler or the editor drafts
a list of possible captions

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that could be used
while subtitling the event.

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As you can see
from the examples provided in this slide,

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we suggest using expressions
that clearly state

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something that the audience
can immediately understand

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like [voting starts]

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when the bell announcing
the start of the voting sessions rings,

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instead of the ambiguous [bell]
or [bell ringing].

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The same is true for the caption saying
[time for assessment is over]

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to tell a deaf student

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he or she has no more time to dedicate
to writing his or her assessment,

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instead of [stop]

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or [teacher activated alarm clock].

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Also, try to avoid
general captions like [music]

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which means nothing
to the eyes of the reader.

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Being more specific,
like [Intersteno anthem being played],

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is for sure more useful and informative.

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Finally,
try to be as exhaustive as possible

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and use more words
than you may think are enough.

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Instead of [applauses],

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prefer [applauses from Lib Dems]
if you are subtitling a political speech,

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as applauses may generate confusion
and make the reader think

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the whole parliament approves
what is said by the speaker.

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What is important to understand
here is that,

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depending on the setting,
such captions are more or less needed.

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For example,
during conferences their use is limited

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to some recurrent things
like [applauses from audience]

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or [Wim laughs].

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During a meeting,

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the person receiving personalised access
may be more interested knowing

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what happens around them.

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In the news, it is very common to see

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captions translating
non-verbal acoustic events,

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like [explosion],
[ambulance syren], [shots], and similar.

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In the case of non-verbal visual elements,

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the decision of the respeaker
to translate them in the subtitles

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also depends
on the way subtitles appear on screen.

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If they appear as two liners
bottom of the screen showing the speaker,

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the task is easy,

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as the viewer can watch the screen
more or less simultaneously

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and read the subtitles.

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However,

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in a conference you may have the speaker
projecting a presentation on a screen,

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and the subtitles appearing
on another one.

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In this case the viewer’s experience
needs to be facilitated somehow.

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Similarly to what happens
in dealing with visual verbal elements,

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in this case, you may opt
for either a momentary transitional caption

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telling the audience
to watch the other screen

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or you can add some words
verbalising what images mean.

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In the case of a speaker showing a picture
and speaking about the picture,

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you can either use a transitional caption

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like that in the first column
which says [watch slide]

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or you can verbalise
the reference to the picture

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and add something like
«as you can see from the slide»

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to the speaker’s output.

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Similarly, when a speaker shows a chart

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where several lines indicate
how given sectors of a company perform,

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it may be useful to inform the audience
about what happens in the other screen.

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Again, you can either use
a caption saying [watch the red line]

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or add
«the red line indicating a 1% growth»

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to the speaker’s output,

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if he or she does not mention
the piece of data.

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Another example may be
that of a speaker using a map

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to show the position of a city like Milan,
without telling it.

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The respeaker can either make use
of a transitional caption

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saying [watch map]

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or verbalise the event

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by adding «in the north of Italy»
to the speaker’s output.

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A last case of visual non-verbal element
is a new speaker speaking.

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This is very common
when subtitling classes and meetings,

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but also in other contexts
like parliamentary sessions,

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the news, or the Q&A after a conference.

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There are several options
to signal a new speaker.

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One solution is that of using a name tag,

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which is the name of the speaker
followed by a colon or a dash

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or the name of the speaker
into parentheses or brackets.

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If you don’t know the name of the speaker

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you can simply go to a new line
and start the new subtitle with a dash.

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In some cases, especially on TV,

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turns can be signalled
by changing the colour of the text.

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Similarly to what happens

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with the previous cases
of acoustic non-verbal elements

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and visual verbal elements,

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we suggest
you draft a list of these strategies

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before the event so as to be ready
and use them when needed.

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In this video lecture we have summed up

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some of the lessons learnt
in LO1 of Element 2

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and then we have tried to provide

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an overview of the strategies
to be used in different working contexts

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to turn non-verbal elements
into subtitles.

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In particular,
we have recalled the notions of text,

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context
and semiotics of an audiovisual text,

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to then move to the impact
non-verbal elements have in an event

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and how this impact changes
when the same event is subtitled.

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Finally, we have seen
some of the strategies used to verbalise

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both acoustic
and visual non-verbal elements.

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In the homework session, you will be asked
to try and provide solutions

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for each situation
where non-verbal elements are essential

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for the good understanding of a speech.