List of figures List of tables List of abbreviations Preface Acknowledgements 1 Subtitling for d/Deaf and hard of hearing audiences 1.1 The history of subtitles 1.2 SDH within audiovisual translation (AVT) 1.3 Legislation on accessibility 1.3.1 Television and video-on-demand quotas 1.3.2 SDH at the cinema 1.4 The SDH subtitler 1.4.1 The live subtitler 1.5 Discussion points 2 Who is our audience? 2.1 Models of deafness and disabilities 2.2 A spoken language for d/Deaf and hard of hearing audiences 2.3 Deafness 2.3.1 Causes, types and degrees 2.3.2 Hearing devices 2.3.2.1 Hearing aids 2.3.2.2 Cochlear implantation 2.4 d/Deaf children 2.5 Discussion points 3 Linguistic considerations 3.1 Text editing 3.1.1 What can be omitted 3.1.2 Children’s programmes
3.2 Segmentation and line-breaks 3.3 Non-standard language 3.3.1 Children’s programmes 3.4 Orthotypographical conventions 3.4.1 Upper case 3.4.2 Italics 3.4.3 Single and double quotes 3.4.4 Round brackets 3.4.5 Suspension dots 3.4.6 Dashes and hyphens 3.4.7 Symbols 3.5 Discussion points 4 Technical considerations 4.1 Synchronisation between subtitle and sound/image 4.2 Subtitle presentation rates: Reading speeds 4.3 Minimum gap between subtitles 4.4 Shot changes 4.5 Subtitle layout 4.5.1 Font and size 4.5.2 Number of lines 4.5.3 Line length 4.6 Position of subtitle on screen 4.6.1 The safe area 4.7 Subtitle file formats 4.8 Discussion points 5 Specific requirements 5.1 Speaker identification 5.1.1 Colours 5.1.2 Labels and dashes or hyphens 5.2 Paralinguistic features 5.2.1 Accents and pronunciation 5.2.2 Intonation 5.2.2.1 Emphasis 5.2.2.2 Whispering 5.2.2.3 Lyrics 5.2.2.4 Sarcasm 5.2.2.5 Other voice qualifiers 5.2.3 Vocal non-verbal sounds 5.2.4 Pauses and hesitations
5.3 Music 5.4 Sound effects 5.5 Silence 5.6 Discussion points 6 Captioning theatre and subtitling live events 6.1 Captioning theatre plays 6.1.1 Open captioning in theatres around the world 6.1.2 Closed-captioning solutions in theatres 6.1.3 The role of the theatre captioner 6.2 Captioning puppet theatre 6.2.1 The Puppet Theatre Barge 6.2.2 Puppet shows for younger children 6.2.3 Puppet shows for older children 6.2.4 Puppet shows for adults 6.3 Marketing the captioned performance 6.4 Before the captioned performance 6.5 On the day of the captioned performance 6.6 Audience’s feedback on captioned puppet shows 6.6.1 Audience demographics 6.6.2 Visibility of the caption unit 6.6.3 Did captions improve access to or enjoyment of the play? 6.7 Subtitling live events 6.8 Discussion points Appendix 1 Questionnaire collected after a captioned performance Appendix 2 Summary of feedback from captioned puppet shows Appendix 3 Example of subtitles for clip from School of Rock References Films and other audiovisual material Index