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Pilar Orero Aline Remael Cintas

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1 Yves Gambier - La traduction audiovisuelle un genre en expansion, Meta : Journal des

)Traducteurs, volume 49, numro1, avril 2004, p1. La traduction audiovisuelle (TAV
relve de la traduction des mdias qui inclut aussi les adaptations ou ditions faites pour les
journaux, les magazines, les dpches des agences de presse, etc.

( )Y. Gambier

.1

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) ) :(La traduction des scnarios

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) ( :)Le sous-titrage Interlinguistique

1 Y. Gambier, Opcit. Ibid. P 2-3.

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....

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1Cf. Y. Gambier, De quelques enjeux de la traduction audiovisuelle. In :

http://fr.scribd.com/doc/252863810/Gambier-De-Quelques-Enjeux-de-La-Traduction-
Audiovisuelle#scribd (10/04/2015) 17:30.

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Fantmas de Louis3

1 Cf. Pilar Orero, Le format des sous-titres : les mille et une possibilits, in : Jean-Marc
LAVAUR & Adriana Serban, La traduction audiovisuelle approche interdisciplinaire du
sous-titrage, 1re Ed. De Boeck, Belgique, 2008, P 56.
2 Le Petit Larousse Illustr 2012. France. Imprimerie : Maury (Malesherbes). Dpt lgale :

juin 2011. Dans un film muet, ensemble des textes inscrits sur lcran entre deux
squences (SYN. Craton
3Pilar Orero, Le format des sous-titres : les mille et une possibilits. Op.cit. Ibid P 57.

13


( )Sous-titre 1912

( )lhebdomadaire parisien

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.21921

1926

. Vitaphone

1 Cf. L. Merleau, Les-titres un mal ncessaire, Meta : Journal des Traducteurs, vol 27,
n3, 1983, P 272-273.
2 Cf. L. Merleau. Ibid. Op.cit. P 273.

14


( )Contretypage

()

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1 Cf. Jean-Franois Cornu Pratique du sous-titrage en France, in : La traduction

audiovisuelle Approche interdisciplinaire du sous-titrage, Jean-Marc LAVAUR & Adriana
SERBAN, Ibid. Op.cit. p10
2 Cf. Jean-Franois Cornu, Pratique su sous-titrage en France des annes 1930 nos jours,

in : Jean-Marc LAVAUR & Adriana SERBAN : La traduction audiovisuelle Approche

interdisciplinaire du sous-titrage, 1re Ed, De Boeck, Belgique, 2008, p10.
3 CF, Jean-Franois Cornu, ibid.

15


( .)DVD / CD

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Sous-titrage

Subtitling Larousse " :

".1

1Le petit Larousse 2012. Op.cit. Ibid. Traduction des originales des dialogues dun film
en version originale, qui apparait sur lcran au bas de limage

16


L. Merleau " :

".1

Le vocabulaire du cinma " :

".2

1 L. Merleau, Op.cit. Ibid, P 273. Le mot sous-titrage dsigne dans un film parlant
tranger prsent en version originale, la traduction condense du dialogue projet au
bas des images
2 Le vocabulaire du cinma. Michel Marie. Ed : Armand Colin. 2006. P 113. Le sous-titre

est le texte plac en bas de l'image du film qui traduit les dialogues en langue originale.

17


).(Le Traducteur-Adaptateur

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1 Cf, Jorge Diaz Cints, Pour une classification des sous-titres lpoque du numrique,
in : La traduction audiovisuelle : sous-titrage approche pluridisciplinaire du sous-titrage.
Opcit, Ibid. P26

21


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1Cf.Jorge Diaz Cintas & Aline Remael. Audiovisual Translation: subtitling, Routledge, New
York, 2014. p151-154

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( )Closed captions or subtitles

25


( )Open captions or subtitles

) ) :SRT (SubRip text

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28


ISO 8567:2002(E)1 35

1International Standards ISO 8567:2002(E), Cinmatographie Surface maximale

rserve aux sous-titres, sur les copies d'exploitation de 35 mm et de 16 mm Position
et dimensions, ISO copyright office, Switzerland, 2002, P2.

29


35 ( )

UNE 153010-

.1

.2

1 Cf, Joslia Neves. Le sous-titrage pour sourds et malentendants : la recherch dune

qualit possible. In Jean-Marc LAVAUR & Adriana Serban. La traduction audiovisuelle
approche pluridisciplinaire. Ed De Boeck, Belgique, 2008. P43
2 Cf, Joslia Neves, Ibid. Op.cit. .p49

30


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32
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Pp 113-117

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www.youtube.com www.ted.com

30

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: www.ted.com

( Interactive

)Transcripts :

But there are more bacteria in your body than stars in our

.entire galaxy

60


.)Interactive Subtitles(

: .3

Algeria >-- 00:01:31,000 1

00:01:32,440
Land of conquerors >-- 00:01:32,690 2
00:01:34,200
Country of a million martyr >-- 00:01:34,530 3
00:01:36,210
Bride of north Africa >-- 00:01:37,400 4
00:01:39,460
The largest Arab country >-- 00:01:40,400 5
00:01:42,820
An homogeneous blend of the roots and >-- 00:01:43,940 6
modernity 00:01:47,600
A wedding made of golden strings >-- 00:01:47,600 7
00:01:50,940
And sculptures where an original >-- 00:01:51,120 8
Algerian patrimony lies 00:01:56,610
Songs >-- 00:01:57,250 9
00:01:58,200
Joy >-- 00:01:59,600 10
00:02:00,990
Scent of "Hannaa" fill the air >-- 00:02:04,500 11
00:02:07,570
Coming from a pure Algerian wedding >-- 00:02:07,630 12
00:02:10,780

61

Oh Tlemcen how nice to live in it >-- 00:02:12,290 13
00:02:23,600
The town of sultans, scholars and doves >-- 00:02:24,550 14
00:02:39,850
Where the Quran is >-- 00:02:39,850 15
00:02:47,600
By young people >-- 00:02:47,600 16
00:02:56,600
Who are wise and have sound beliefs >-- 00:02:56,600 17
00:03:04,000
It has been a while since we watched you >-- 00:03:16,200 18
wedding album 00:03:19,500
Do you want to see the wedding >-- 00:03:19,500 19
ceremonies? 00:03:23,660
I was at your age when they asked for my >-- 00:03:23,680 20
hand 00:03:26,520
Just like you now >-- 00:03:27,240 21
00:03:31,640
Here when i was a bride and i was >-- 00:03:31,720 22
wearing the Kaftan 00:03:35,680
-We will have a great wedding >-- 00:03:36,200 23
-I am scared a bit 00:03:40,460
Do not worry darling, do you remember >-- 00:03:40,460 24
your sister's wedding 00:03:45,520
The "Karftan" and "Chedda" are always >-- 00:03:45,520 25
present 00:03:49,740
The Tlemcenian bride wears the most >-- 00:03:49,740 26
beautiful 00:03:55,320
dress to meet the groom's family
Including Tlemcenian textiles >-- 00:03:55,320 27
00:03:58,380
That was made of silver strings and >-- 00:03:58,380 28
garnished with glimmering jewelry 00:04:03,100
Following her mother's instructions >-- 00:04:03,100 29
00:04:06,420

62

Who goes with her in every step towards >-- 00:04:06,420 30
a new life 00:04:11,980

.IV
)1 :Literal Translation

Algeria >-- 00:01:31,000 1

00:01:32,440

Algeria

63

Land of conquerors >-- 00:01:32,690 2
00:01:34,200

" "Of

= Land of

= Conquerors

Country of a million >-- 00:01:34,530 3

martyr 00:01:36,210

Bride of north Africa >-- 00:01:37,400 4

00:01:39,460

The largest Arab >-- 00:01:40,400 5

country 00:01:42,820

64

An homogeneous >-- 00:01:43,940 6
blend of the roots and 00:01:47,600

modernity

Here when i was a >-- 00:03:31,720 22

bride and i was 00:03:35,680

wearing the Kaftan

Do not worry darling, >-- 00:03:40,460 24

do you remember 00:03:45,520
-
your sister's wedding

But the traditional >-- 00:04:22,420 32

marriage in particular 00:04:25,330

To the bride's house to >-- 00:04:48,240 37

meet and see her 00:04:52,160

65


Mascara, the city of the >-- 00:07:27,340 59

Algerian emir 00:07:31,580

Abdelkader

Emblem of the >-- 00:07:31,740 60

Algerian resistance 00:07:34,200

It is situated in north >-- 00:07:34,420 61

west Algeria 00:07:36,700

I prefer the copper one >-- 00:16:10,270 151

00:16:13,480

)2 :Condensation

66


"Msibaat" is made of 7 >-- 00:18:04,820 168

golden bracelets 00:18:07,570

7 .

The bride starts setting >-- 00:13:23,940 122

her needs 00:13:28,310

""

setting preparing .

The brides customs >-- 00:15:09,470 141

are expensive 00:15:15,170

67


" "

Expensive .

Everyone accept the >-- 00:28:37,140 221

invitation joyfully 00:28:40,860

( )

( ) " "

. Joyfully

Songs and joy >-- 00:30:33,170 235

everywhere 00:30:37,390

" "

Everywhere .

68


)3 :Omission

The groom's family >-- 00:22:29,740 193

present traditional 00:22:35,000

local meals

""

Tables .Meals

The groom's female >-- 00:28:04,820 217

relatives present the 00:28:10,760

local popular meals

" "

69

Everyone share the >-- 00:28:37,140 221
invitation joyfully 00:28:40,860

""

.Joyfully

Symbol of purity >-- 00:30:19,920 234

00:30:22,120

" "

Purity .

Riflemen must be in >-- 00:32:36,100 248

the groom's wedding 00:32:41,440

It is a sign of manhood >-- 00:32:41,760 249

00:32:48,700

70


""

71

 :

72


73


74

Code of Good Subtitling Practice
Subtitle Spotting and Translation

1) Subtitlers must always work with a (video, DVD, etc.) copy of the
production and if possible, should have a copy of the dialogue list and a
glossary of unusual words, names and special references.

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

3) Translation quality must be high with due consideration of all idiomatic

and cultural nuances.

4) Straightforward semantic units must be used.

5) Where compression of dialogue is necessary, the results must be

coherent.

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

7) As far as possible, each subtitle should be semantically self-contained.

8) The language register must be appropriate and correspond with the

spoken word.

9) The language should be (grammatically) "correct" since subtitles serve

as a model for literacy.

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

11) Given the fact that many TV viewers are hearing-impaired,

"superfluous" information, such as names, interjections from the off, etc.,
should also be subtitled.

12) Songs must be subtitled where relevant.

13) Obvious repetition of names and common comprehensible phrases need

not always be subtitled.

76
14) The in- and out-times of subtitles must follow the speech rhythm of the
film dialogue, taking cuts and sound bridges into consideration.

15) 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.

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

17) Spotting must reflect the rhythm of the film.

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

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

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

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

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

23) Each production should be edited by a reviser/editor.

24) 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).

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

77
Technical Aspects

1) Subtitles should be highly legible with clear lettering and a font which
is easy to read. The characters should have sharp contours and be stable
on the screen.

2) The position of subtitles should be consistent, e.g.

a) centred for film applications;

b) left-justified or centred for TV and video applications. (With the

globalization of broadcasting, subtitled television and video programmes
are often shown not only on domestic channels. Many broadcasting
stations worldwide still transmit their programmes with a logo in the
lower left-hand corner, which inevitably covers the first couple of
characters of all left-justified subtitles. Furthermore, at video festivals
video productions are usually projected on large screens. It is easier to
read subtitles on large screens if they are centred rather than left-
justified.)

c) two-person dialogue in one subtitle should be left-justified or left-

centred; individual speakers should be indicated by a dash at the
beginning of each line.

3) In video applications, character clarity can be enhanced by a drop

shadow or a semi-transparent or black box behind the subtitles.
4) In laser subtitling, sharp contours and removal of residual emulsion can
be achieved by precise alignment of laser beam focus and accurate
adjustment of power output.
5) In laser subtitling, the base line must be set accurately for the projection
format of the film.
6) The number of characters per line must be compatible with the subtitling
system and visible on any screen.
7) Due to the different viewer reading times and the different length of
lines for TV/video and film subtitles, TV/video subtitles should be
adapted for film application and vice versa.

January 1998.

78
 :

:Subtitle Workshop

79
 :Virtual dub

80
 :Subtitle Edit

81
 :Subrip

82
 :Sub Station Alpha

83
 :Aegisub

84
 :Spot

:Star Transit

85

 :
English Franais
Omission Suppression
Literal Translation Traduction littrale
Audiovisual Traduction
Translation Audiovisuelle
Commentary Le commentaire
Captions Sous-titrage
synchronis
Transcription Transcription
Cueing & spotting Segmentation
Condensation Condensation
Adaption Adaptation
Audiovisual Discours audiovisuel
discourse
Dubbing Doublage
Subtitling Sous-titrage
Interactive subtitles Sous-titrage
interactif
Surtitles Surtitrage
Interlingual subtitling Sous-titrage
interlinguistique
Intralingual subtitling Sous-titrage
intralinguistique
87
Recreational tourism Tourisme de loisirs

E-tourism Tourisme
lectronique
Cultural tourism Tourisme culturel

Religious tourism Tourisme religieux

Industrial tourism Tourisme industriel

Medical tourism Tourisme mdicale

Expressive cinema Cinma expressive

Documentary film Film documentaire

Adaptator-translator Traducteur-
adaptateur
Proofreading & Rvision
editing
Subtitler Sous-titreur
Audio description Audiodescription

88
SCC (Subtitling and Closed
Captioning):
SRT (SubRip text):
SSA (Sub Station Alpha):
89
An extension for subtitling files,
it is mostly used for YouTube
videos and other common
media files. It is always applied
as closed captions or closed
subtitles
An extension for subtitling file
used mostly with online videos.
An extension for subtiling file
used mostly by fansubs
(amateurs of subtitling) which is
applied on anime Korean
movies.


: :

Le Petit Larousse Illustr 2012. France. Imprimerie : Maury

Malesherbes. Dpt lgale : juin 2011.
Le vocabulaire du cinma. Michel Marie. Ed : Armand Colin. 2006.

: :

.
.2007
" : .
.2010 "
: :

International Standards ISO 8567:2002(E), Cinmatographie

Surface maximale rserve aux sous-titres, sur les copies d'exploitation
de 35 mm et de 16 mm Position et dimensions, ISO copyright
office, Switzerland, 2002.
Jean-Franois Cornu, Pratique su sous-titrage en France des
annes 1930 nos jours, in : Jean-Marc LAVAUR & Adriana
SERBAN : La traduction audiovisuelle Approche interdisciplinaire du
sous-titrage, 1re Ed, De Boeck, Belgique, 2008.
Jorge Diaz Cintas & Aline Remael. Audiovisual Translation:
subtitling, Routledge, New York, 2014.
Jorge Diz Cintas New trends in audiovisual translation,
multilingual matters, Great Britain, 2009.
Jorge Diaz Cints, Pour une classification des sous-titres
lpoque du numrique, in : La traduction audiovisuelle : sous-titrage
91
approche pluridisciplinaire du sous-titrage, 1re Ed, De Boeck,
Belgique, 2008.
Joslia Neves. Le sous-titrage pour sourds et malentendants : la
recherch dune qualit possible. In Jean-Marc LAVAUR & Adriana
Serban. La traduction audiovisuelle approche pluridisciplinaire. Ed De
Boeck, Belgique, 2008.
Pilar Orero, Le format des sous-titres : les mille et une
possibilits, in : Jean-Marc LAVAUR & Adriana Serban, La
traduction audiovisuelle approche interdisciplinaire du sous-titrage, 1re
Ed. De Boeck, Belgique, 2008.

: :

.
.2012

: :

L. Merleau, Les-titres un mal ncessaire, Meta : Journal des

Traducteurs, vol 27, n3, 1983.
Yves Gambier - La traduction audiovisuelle un genre en
expansion, Meta : Journal des Traducteurs, volume 49, numro1, avril
2004.

92
 : :

: /
http://doc.aljazeera.net/magazine/2012/12/201212301273895676.html
.19:30 )2015/04/11(
Yves Gambier, De quelques enjeux de la traduction audiovisuelle. In :
http://fr.scribd.com/doc/252863810/Gambier-De-Quelques-Enjeux-de-
La-Traduction-Audiovisuelle#scribd / (10/04/2015) 17:30.
www.erudit.org

: :

93



..............................................................

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(9...................................... :)Linterprtation )

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95
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Subtitle Edit24...............................................16 )

96
) 24................................................ Sub Station Alpha
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24.................................................................. Spot )

25........................................................ Star Transit )

)5 17........... :Les extensions des sous-titres

) )25...................................... :SCC (Subtitling and Closed Captioning
) )26................................................................... :SRT (SubRip text
) )26........................................................... :SSA (Sub Station Alpha

.IV 27............................................. :

.I 34 .................................................. :
)1 35.................................................
)2 36...........................................................
)3 36.............................................
)4 37..........................................................
)5 38...............................................................
)6 38......................................
)7 39.............................

97
 .II 39....................................................... :
)1 41...................................................................
)2 42..................................................................
)3 42....................................................................
)4 42..................................................................
)5 43..........................................................
)6 43......................
.III 44......................................................... :
)1 45................................................................. :
) 45..............................................................
) 45.............................................................
) 46..............................................................
)2 47................................................................. :
) 47.............................................................
) 47..............................................................
) 47.........................................................
) 47.............................................................
) 47...............................................................
) 47...........................................................
) 48..........................................................
.IV 48.................. :
)1 49................................................................ :
)2 49......................................................... :

98
 :

: 52.................................................... :
: 53..................................................... :
: 56..................................................... :
)1 (56.......................................... :)Transcription
)2 (58................................................ :)Segmentation
)361..................................................................... :

: / 63............................................ :

)1 64............................. :Literal Translation

)2 66.......................................... :Condensation
)3 68 ................................................ :Omission

72.............................................................................

76...............................................................................

87...............................................................................

91.......................................................................

95...................................................................

101...........................................................................

99

 :

.
Summary:
This research aimed at revealing the technical procedures of the subtitling
process that belongs to the audiovisual translation field by applying it on the
documentary Algerias weddings. The documentary is about wedding
traditions and customs and it contains a rich cultural and popular heritage, where
we have focused on the role and the contribution of subtitling in tourism
promotion and attractions since today, different screens from different sizes and
forms keep attracting our attention daily. And how can the subtitler contribute in
this process throughout his technical background to ensure a more efficient
subtitling process.
Key words:
Audiovisual Translation (AVT), subtitling, tourism, patrimony, subtitling
soft wares, documentary film, tourism promotion.
Rsum :
Cette tude avait pour but de dvoiler les procdes techniques du
processus de sous-titrage qui relve de la traduction audiovisuelle, en appliquant
le sous-titrage sur le documentaire Les mariages dAlgrie qui contient son
tour un hritage culturel et populaire trs riche. On a bas sur le rle et la
contribution de sous-titrage de la promotion et lattraction touristique, puisque
les crans de toutes formes et tailles nous entourent quotidiennement, et
comment le sous-titreur peut contribuer dans cette opration grce ces
connaissances techniques pour plus defficacit en sous-titrage.
Mots cls :
Traduction Audiovisuelle (TAV), sous-titrage, tourisme, patrimoine, logiciels du
sous-titrage, film documentaire, commentaire, promotion touristique.