1 00:00:19,536 --> 00:00:20,536 2 00:00:40,425 --> 00:00:45,936 In Element 1 we have seen how to subtitle acoustic verbal elements. 3 00:00:45,936 --> 00:00:54,978 In LO1 of this Element, we have seen how to deal with the visual verbal elements of an audiovisual text. 4 00:00:54,978 --> 00:01:01,446 In this LO we deal with the non-verbal elements of the speech to subtitle 5 00:01:01,446 --> 00:01:04,218 be they acoustic or visual. 6 00:01:04,218 --> 00:01:09,234 This video lecture is aimed at letting you know how to identify 7 00:01:09,234 --> 00:01:17,814 which non-verbal elements need to be turned into verbal for each LTA trained working context. 8 00:01:17,814 --> 00:01:23,259 First of all, I will try to draw on the lessons learnt in LO1 9 00:01:23,259 --> 00:01:32,037 meaning I will briefly recap the notions of text, context, semiotics of the audiovisual text. 10 00:01:32,037 --> 00:01:37,944 This will allow me to introduce the question of the communicative impact 11 00:01:37,944 --> 00:01:43,818 each of the semiotic elements composing an audiovisual text have 12 00:01:43,818 --> 00:01:48,339 on the overall communication of the audiovisual text. 13 00:01:48,339 --> 00:01:54,048 With this in mind, I will try to concentrate on non-verbal elements 14 00:01:54,048 --> 00:01:56,589 both acoustic and visual 15 00:01:56,589 --> 00:02:04,542 and how to deal with them in the subtitling process in case they play an important informative role. 16 00:02:06,621 --> 00:02:10,185 This is the agenda of this presentation. 17 00:02:12,198 --> 00:02:13,980 Lessons learnt. 18 00:02:14,607 --> 00:02:19,590 In LO1 of this element we have seen the features of any text 19 00:02:19,590 --> 00:02:21,933 which go beyond what is said. 20 00:02:21,933 --> 00:02:25,926 For each of the seven characteristics of a text 21 00:02:25,926 --> 00:02:32,757 we have given concrete examples to be considered in real-time intralingual subtitling. 22 00:02:32,757 --> 00:02:40,809 In particular we have seen the notions of cohesion, coherence, intentionality 23 00:02:40,809 --> 00:02:49,290 acceptability, informativity, situationality and intertextuality. 24 00:02:49,290 --> 00:02:53,778 These are rarely considered if one thinks of velotyping 25 00:02:53,778 --> 00:02:57,639 as a mere repetition of what is said by a speaker. 26 00:02:59,850 --> 00:03:05,724 Then, we have moved to that velotypists not only have to focus on what they type 27 00:03:05,724 --> 00:03:12,093 but they also need to understand the relationship of what is said with the context. 28 00:03:12,093 --> 00:03:16,581 Indeed, the meaning-making process of any speech event 29 00:03:16,581 --> 00:03:20,508 can only be understood in relation with its context. 30 00:03:20,508 --> 00:03:26,250 Furthermore, we have briefly analysed the three aspects of any context 31 00:03:26,250 --> 00:03:31,035 that is its field, tenor, and mode. 32 00:03:33,411 --> 00:03:36,975 Concerning the semiotics of any speech event 33 00:03:36,975 --> 00:03:43,806 we have finally seen that it communicates through the combination of many semiotic components. 34 00:03:43,806 --> 00:03:53,013 Be they TV programs, conferences, parliamentary sessions, meetings or school classes 35 00:03:53,013 --> 00:03:57,699 they are all of either an acoustic or visual nature 36 00:03:57,699 --> 00:04:01,395 and they are either verbal or non-verbal. 37 00:04:01,395 --> 00:04:05,388 In particular we have analysed the different codes 38 00:04:05,388 --> 00:04:11,163 characterising the four semiotic macrocategories of a speech. 39 00:04:13,638 --> 00:04:16,608 The impact of non-verbal elements. 40 00:04:17,681 --> 00:04:21,987 Generally speaking, we tend to think that the verbal elements 41 00:04:21,987 --> 00:04:25,056 are more relevant than non-verbal elements 42 00:04:25,056 --> 00:04:29,412 and acoustic elements are more relevant than visual elements. 43 00:04:29,412 --> 00:04:32,943 However, this is not always the case. 44 00:04:32,943 --> 00:04:37,827 The table in this slide shows the impact on communication 45 00:04:37,827 --> 00:04:43,470 of each semiotic element in the original version of an action movie 46 00:04:43,470 --> 00:04:47,265 and the corresponding impact of the same movie 47 00:04:47,265 --> 00:04:50,499 subtitled for the deaf and the hard of hearing. 48 00:04:50,499 --> 00:04:54,525 Of course, a movie is neither a conference speech 49 00:04:54,525 --> 00:05:00,993 a parliamentary session, a news item, a school class nor a work meeting. 50 00:05:00,993 --> 00:05:04,095 However, this study shows 51 00:05:04,095 --> 00:05:09,045 that when the subtitler tries to translate the spoken into written 52 00:05:09,045 --> 00:05:15,480 the attention of the audience is hijacked by the verbal component of subtitles. 53 00:05:15,480 --> 00:05:22,410 In particular, the acoustic verbal components and the visual verbal components together 54 00:05:22,410 --> 00:05:25,710 account for only 30% in a movie 55 00:05:25,710 --> 00:05:30,726 while they account for more than the double, 65% 56 00:05:30,726 --> 00:05:34,125 in the same movie once it is subtitled. 57 00:05:34,125 --> 00:05:38,382 This happens because, a deaf or hard-of-hearing person 58 00:05:38,382 --> 00:05:44,685 can only rely on the visual channel to access the acoustic elements of a speech. 59 00:05:44,685 --> 00:05:49,041 In this context, the live intralingual subtitler 60 00:05:49,041 --> 00:05:54,156 turns almost all the verbal acoustic elements into subtitles 61 00:05:54,156 --> 00:05:57,159 plus the non-verbal acoustic elements 62 00:05:57,159 --> 00:06:02,703 he or she deems essential to the understanding of the source text. 63 00:06:05,013 --> 00:06:10,194 Deciding whether to subtitle non-verbal acoustic elements or not 64 00:06:10,195 --> 00:06:12,537 is not always an easy task. 65 00:06:12,537 --> 00:06:18,279 This normally depends on how they contribute to the understanding of the event 66 00:06:18,279 --> 00:06:20,358 or to its unfolding. 67 00:06:20,358 --> 00:06:23,955 If the velotypist decides to subtitle them 68 00:06:23,955 --> 00:06:30,126 a caption describing the non-verbal acoustic occurrance is usually enough. 69 00:06:30,126 --> 00:06:34,812 However, the subtitler may not have captions ready at hand. 70 00:06:34,812 --> 00:06:38,376 In preparation of the event to subtitle 71 00:06:38,376 --> 00:06:44,679 we suggest that the subtitler or the editor drafts a list of possible captions 72 00:06:44,679 --> 00:06:48,078 that could be used while subtitling the event. 73 00:06:48,078 --> 00:06:52,269 As you can see from the examples provided in the slide 74 00:06:52,269 --> 00:06:57,021 we suggest using expressions that clearly state something 75 00:06:57,021 --> 00:07:00,387 that the audience can immediately understand 76 00:07:00,387 --> 00:07:07,878 like [voting starts] when the bell announcing the start of the voting sessions rings 77 00:07:07,878 --> 00:07:13,158 instead of the ambiguous [bell] or [bell ringing]. 78 00:07:13,158 --> 00:07:18,933 The same is true for the caption saying [time for assessment is over] 79 00:07:18,933 --> 00:07:22,860 to tell a deaf student he or she has no more time 80 00:07:22,860 --> 00:07:26,094 to dedicate to writing his or her assessment 81 00:07:26,094 --> 00:07:31,803 instead of [stop] or [teacher activated alarm clock]. 82 00:07:31,803 --> 00:07:36,918 Also, try to avoid general captions like [music] 83 00:07:36,918 --> 00:07:40,383 which means nothing to the eyes of the reader. 84 00:07:40,383 --> 00:07:45,201 Being more specific like [Intersteno anthem being played] 85 00:07:45,201 --> 00:07:48,534 is for sure more useful and informative. 86 00:07:48,534 --> 00:07:52,428 Finally, try to be as exhaustive as possible 87 00:07:52,428 --> 00:07:56,256 and use more words that you may think are enough. 88 00:07:56,256 --> 00:08:02,493 Instead of [applauses], prefer [applauses from Lib Dems] 89 00:08:02,493 --> 00:08:05,826 if you are subtitling a political speech 90 00:08:05,826 --> 00:08:09,159 as applauses may generate confusion 91 00:08:09,159 --> 00:08:15,099 and make the reader think the whole parliament approves what is said by the speaker. 92 00:08:15,099 --> 00:08:20,148 What is important to understand here is that, depending on the setting 93 00:08:20,148 --> 00:08:23,085 such captions are more or less needed. 94 00:08:23,085 --> 00:08:29,850 For example, during conferences their use is limited to some recurrent things 95 00:08:29,850 --> 00:08:33,678 like [applauses from audience] or [Wim laughs] 96 00:08:33,678 --> 00:08:38,232 while during a meeting the person receiving personalised access 97 00:08:38,232 --> 00:08:42,753 may be more interested knowing what happens around them. 98 00:08:42,753 --> 00:08:49,782 In the news, it is very common to see captions translating non verbal acoustic events 99 00:08:49,782 --> 00:08:56,382 like [explosion], [ambulance syren], [shots], and similar. 100 00:08:58,098 --> 00:09:01,167 In the case of non-verbal visual elements 101 00:09:01,167 --> 00:09:05,490 the decision of the velotypist to translate them in the subtitles 102 00:09:05,490 --> 00:09:09,945 also depends on the way subtitles appear on screen. 103 00:09:09,970 --> 00:09:14,928 If they appear as two lines bottom of the screen showing the speaker 104 00:09:14,928 --> 00:09:16,611 the task is easy 105 00:09:16,611 --> 00:09:19,911 as the viewer can more or less simultaneously 106 00:09:19,911 --> 00:09:23,013 watch the screen and read the subtitles. 107 00:09:23,013 --> 00:09:29,547 However, in a conference you may have the speaker projecting a presentation on a screen 108 00:09:29,547 --> 00:09:33,276 and the subtitles appearing on another screen. 109 00:09:33,276 --> 00:09:38,886 In this case the viewer’s experience needs to be facilitated somehow. 110 00:09:38,886 --> 00:09:43,869 Similarly to what happens in dealing with visual verbal elements 111 00:09:43,869 --> 00:09:49,611 in this case, you may opt for either a momentary transitional caption 112 00:09:49,611 --> 00:09:52,614 telling the audience to watch the other screen 113 00:09:52,614 --> 00:09:57,168 or you can add some words verbalising what images mean. 114 00:09:57,168 --> 00:10:02,316 In the case of a speaker showing a picture and speaking about the picture 115 00:10:02,316 --> 00:10:05,517 you can either use a transitional caption 116 00:10:05,517 --> 00:10:09,411 like that in the first column which says [watch slide] 117 00:10:09,411 --> 00:10:12,942 or you can verbalise the reference to the picture 118 00:10:12,942 --> 00:10:19,542 and add something like 'as you can see from the slide' to the speaker’s output. 119 00:10:19,542 --> 00:10:25,317 Similarly, when a speaker shows a chart where several lines indicate 120 00:10:25,317 --> 00:10:28,518 how given sectors of a company performp 121 00:10:28,518 --> 00:10:33,930 it may be useful to inform the audience about what happens in the other screen. 122 00:10:33,930 --> 00:10:38,781 Again you can either use a caption saying [watch the red line] 123 00:10:38,781 --> 00:10:45,678 or add 'the red line indicating a 1% growth' to the speaker’s output 124 00:10:45,678 --> 00:10:49,803 if he or she does not mention the piece of data. 125 00:10:49,803 --> 00:10:54,027 Another example may be that of a speaker using a map 126 00:10:54,027 --> 00:10:58,614 to show the position of a city like Milan, without telling it. 127 00:10:58,614 --> 00:11:04,587 The velotypist can either make use of a transitional caption saying [watch map] 128 00:11:04,587 --> 00:11:11,451 or verbalise the event by adding 'in the north of Italy' to the speaker’s output. 129 00:11:11,451 --> 00:11:16,929 A last case of visual non-verbal element is a new speaker speaking. 130 00:11:16,929 --> 00:11:21,912 This is very common when subtitling classes and meetings 131 00:11:21,912 --> 00:11:26,037 but also in other contexts like parliamentary sessions 132 00:11:26,037 --> 00:11:30,360 the news, or the Q&A after a conference. 133 00:11:30,360 --> 00:11:34,320 There are several options to signal a new speaker. 134 00:11:34,320 --> 00:11:38,016 One solution is that of using a name tag 135 00:11:38,016 --> 00:11:42,306 which is the name of the speaker followed by a colon or a dash 136 00:11:42,306 --> 00:11:46,101 or the name into parentheses or brackets. 137 00:11:46,101 --> 00:11:48,873 If you don’t know the name of the speaker 138 00:11:48,873 --> 00:11:53,691 you can simply go to a new line and start the new subtitle with a dash. 139 00:11:53,691 --> 00:11:56,826 In some cases, specially on TV 140 00:11:56,826 --> 00:12:00,885 turns can be signalled by changing the colour of the text. 141 00:12:00,885 --> 00:12:04,746 Similarly to what happens with the previous cases 142 00:12:04,746 --> 00:12:09,531 of acoustic non-verbal elements and visual verbal elements 143 00:12:09,531 --> 00:12:14,778 we suggest you draft a list of these strategies before the event 144 00:12:14,778 --> 00:12:18,606 so as to be ready and use them when needed. 145 00:12:20,355 --> 00:12:22,005 The summary. 146 00:12:23,407 --> 00:12:29,793 In this video lecture we have summed up some of the lessons learnt in LO1 of Element 2 147 00:12:29,793 --> 00:12:33,555 and then tried to provide an overview of the strategies 148 00:12:33,555 --> 00:12:40,122 to be used in different working contexts to turn non-verbal elements into subtitles. 149 00:12:40,122 --> 00:12:44,544 In particular we have recalled the notions of text 150 00:12:44,544 --> 00:12:48,735 context and semiotics of an audiovisual text 151 00:12:48,735 --> 00:12:54,279 to then move to the impact non-verbal elements have in an event 152 00:12:54,279 --> 00:12:58,734 and how this impact changes when the same event is subtitled. 153 00:12:58,734 --> 00:13:02,364 Finally we have seen some of the strategies 154 00:13:02,364 --> 00:13:07,479 used to verbalise both acoustic and visual non-verbal elements. 155 00:13:07,479 --> 00:13:09,294 In the homework session 156 00:13:09,294 --> 00:13:13,584 you will be asked to try and provide solutions for each situation 157 00:13:13,584 --> 00:13:19,854 where non-verbal elements are essential for the good understanding of a speech.