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PROPER USE OF LINGUISTIC ASPECTS IN SUBTITLING MOVIES AND TV SERIES
Otajnova Ug’iljon Habibullo kizi
Student of Abu Rayhon Beruni Urgench State University
Abstract:
Subtitling in movies and TV series is a multifaceted process that demands a
sophisticated application of linguistic principles to ensure seamless communication across
linguistic and cultural boundaries. This article provides an in-depth exploration of how linguistic
aspects—syntax, semantics, pragmatics, and cultural adaptation—are strategically employed in
audiovisual translation (AVT) to produce effective subtitles. Through a detailed qualitative
analysis of subtitling practices in globally distributed English-language media, the study
examines the interplay between linguistic accuracy, technical constraints, and audience reception.
Examples from popular series and films illustrate how these elements enhance comprehension
and engagement. The findings emphasize that high-quality subtitling requires a delicate balance
of fidelity to the source text, readability under time-space limitations, and sensitivity to cultural
nuances, offering valuable insights for AVT professionals and researchers.
Keywords:
Subtitling, audiovisual translation, linguistic aspects, syntax, semantics, pragmatics,
cultural adaptation, readability, cohesion, media accessibility, multilingualism
Introduction.
Subtitling, as a cornerstone of audiovisual translation (AVT), bridges linguistic
divides by converting spoken dialogue into written text, typically in a target language, while
preserving the original soundtrack. Unlike dubbing, which replaces the audio, subtitling operates
within a constrained visual and temporal framework, requiring translators to condense and adapt
language without sacrificing meaning or intent. [1] The linguistic aspects involved—syntax
(sentence structure), semantics (meaning), pragmatics (contextual usage), and cultural
adaptation—are critical to producing subtitles that are both accurate and viewer-friendly. With
the rise of global streaming platforms like Netflix, Disney+, and Amazon Prime, the demand for
high-quality subtitling has surged, making linguistic precision more essential than ever. [2] This
article delves into the proper application of these linguistic elements in subtitling movies and TV
series, analyzing real-world examples to uncover best practices and challenges. By exploring
how subtitlers navigate linguistic complexities under technical limitations, the study contributes
to the evolving discourse on AVT and its role in global media accessibility.
Relevance of Work.
The importance of linguistic aspects in subtitling cannot be overstated in
today’s media landscape, where audiovisual content crosses borders at an unprecedented scale.
Subtitles serve not only hearing audiences seeking foreign-language content but also deaf and
hard-of-hearing viewers, making accessibility a key concern. [3] Inadequate subtitling—marked
by literal translations, cultural insensitivity, or poor readability—can distort narratives, confuse
viewers, and diminish the cultural richness of the original work. As streaming giants invest
heavily in multilingual content (e.g., Netflix’s 190-country reach), the need for linguistically
sound subtitling practices grows, impacting viewer satisfaction and industry standards. This
research is relevant to AVT practitioners, media producers, linguistic scholars, and educators,
offering a framework to refine subtitling techniques and enhance cross-cultural communication
in an increasingly interconnected world.
Purpose.
This article aims to comprehensively investigate the proper use of linguistic aspects in
subtitling movies and TV series, addressing three primary objectives: (1) to identify how syntax,
semantics, pragmatics, and cultural adaptation are applied in practice; (2) to evaluate their
effectiveness in overcoming subtitling’s inherent challenges, such as brevity and screen space;
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and (3) to propose strategies for optimizing subtitle quality. By examining diverse linguistic
phenomena—from sentence simplification to idiomatic translation—the study seeks to illuminate
the intersection of theoretical linguistics and practical AVT, providing actionable insights for
improving translation workflows and viewer experiences.
Materials and Methods of Research.
This study adopts a qualitative methodology, analyzing a
purposive sample of English-language movies and TV series subtitled into Spanish, Arabic,
French, and Chinese. The corpus includes
The Crown
(Netflix, 2016-2023),
Inglourious Basterds
(2009),
Breaking Bad
(2008-2013), and
Squid Game
(2021, subtitled from Korean to English as
a comparative case). These works were chosen for their linguistic complexity, global popularity,
and varied subtitling demands (e.g., multilingualism, slang, cultural specificity). Subtitles were
sourced from official releases on streaming platforms, DVDs, and fan-subtitled versions for
comparison. The analysis framework integrates Gottlieb’s (1992) subtitling strategies (e.g.,
transfer, condensation, omission) and Pedersen’s (2017) FAR model (Functional Equivalence,
Acceptability, Readability), supplemented by linguistic theories of cohesion and pragmatics. [4]
Data collection involved comparing source dialogues with subtitles, coding for linguistic features
(e.g., syntactic reduction, semantic shifts), and reviewing secondary sources from Google
Scholar, including peer-reviewed articles and books on AVT.
Results and Discussion.
Syntax: Balancing Structure and Brevity
Syntax in subtitling must reconcile linguistic correctness with the medium’s strict constraints—
typically 35-40 characters per line and 3-6 seconds of display time.^[1] In
The Crown
, a verbose
English line like “The monarchy must adapt to the changing tides of public opinion” is
condensed in Spanish to “La monarquía debe adaptarse a la opinión pública,” reducing syntactic
complexity while retaining grammatical coherence. Similarly, Arabic subtitles for
Breaking Bad
simplify “You’re gonna pay for this” into "عفدتس نمث اذه" (You will pay for this), aligning with
Arabic’s concise verb-initial structure. However, rigid adherence to source syntax can falter;
literal translations into Chinese often produce awkward phrasing, as character-based limits
(around 12-15 per line) clash with English’s wordier constructions. Effective syntactic adaptation
thus prioritizes natural flow over verbatim fidelity, a strategy Gottlieb (1992) terms
“condensation.”
Semantics: Preserving Meaning Under Pressure
Semantics focuses on meaning preservation, a task complicated by subtitling’s need for brevity.
In
Breaking Bad
, Walter White’s iconic “I am the danger” carries a layered threat, which
Spanish subtitles (“Soy el peligro”) successfully mirror, but French versions (“Je suis le danger”)
occasionally lose intensity due to neutral phrasing. [2] Semantic fidelity often requires creative
solutions—paraphrasing or substitution—as seen in
Squid Game
’s English subtitles, where
Korean slang like “
깐부
” (gganbu, meaning close friend) becomes “old pal,” sacrificing literal
accuracy for emotional equivalence. Díaz-Cintas and Remael (2007) argue that such shifts are
justified when they maintain the narrative’s core intent, though over-simplification risks diluting
subtext, a common critique of rushed commercial subtitles.
Pragmatics: Capturing Context and Intent
Pragmatics governs how context shapes meaning, a critical yet challenging aspect of subtitling.
In
Inglourious Basterds
, Quentin Tarantino’s multilingual script blends English, French, and
German, with characters switching mid-scene. French subtitles use brackets (e.g., “[en anglais]”)
to signal these shifts, preserving pragmatic clarity, while Arabic versions sometimes omit such
cues, assuming viewer inference. [3] Pragmatic nuances like sarcasm or politeness also test
subtitlers; in
The Crown
, Queen Elizabeth’s understated “One hopes” (implying skepticism) is
rendered in Chinese as “
希 望 如 此
” (I hope so), flattening the tone. Research suggests that
explicit markers (e.g., italics for emphasis) or brief glosses can enhance pragmatic accuracy,
though they may clutter the screen if overused.
Cultural Adaptation: Bridging Cultural Gaps
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Cultural references pose unique linguistic hurdles, requiring adaptation to resonate with target
audiences. In
Breaking Bad
, the American idiom “breaking bad” (going rogue) lacks a direct
Spanish equivalent; subtitles opt for “volverse malo” (turning bad), a functional yet less vivid
choice. [4] Conversely,
The Crown
’s “tea and sympathy” becomes “café y consuelo” in Spanish,
adapting the beverage to a culturally familiar alternative while retaining the sentiment.
Pedersen’s (2017) FAR model highlights the trade-off between functional equivalence and
acceptability—omitting untranslatable references (e.g., British parliamentary jargon in Arabic
subtitles) preserves readability but sacrifices depth. Successful cultural adaptation thus demands
a deep understanding of both source and target contexts.
Readability and Cohesion: Enhancing Viewer Experience
Readability ensures subtitles are digestible within fleeting display times, while cohesion links
text across shots for narrative continuity. In
Squid Game
, English subtitles maintain cohesion by
consistently translating “Player 456” as a recurring identifier, avoiding pronoun ambiguity. [5]
Poor segmentation, however, disrupts this; splitting “I didn’t mean to hurt you” across two lines
(“No quise / hacerte daño”) in Spanish breaks syntactic unity, slowing comprehension. Cohesive
devices like conjunctions (“and,” “but”) or ellipsis are often trimmed due to space, yet their
absence can fragment meaning, as seen in some Arabic subtitles for
Inglourious Basterds
. Díaz-
Cintas and Remael (2007) advocate for prioritizing readability through clear font sizes, timing
(minimum 1 second per 12 characters), and logical breaks.
Technical Constraints and Linguistic Trade-offs
Subtitling’s technical limits—screen space, synchronization, and pacing—force linguistic
compromises. Fast-paced dialogue in
Breaking Bad
(e.g., Jesse’s slang-heavy rants) often results
in omissions in Chinese subtitles, where character limits truncate phrases like “Yo, what’s up?”
to “
嘿，怎么了？
” (Hey, what’s wrong?), losing informal flair. [6] Multilingual scenes amplify
this;
Inglourious Basterds
’s rapid language switches overwhelm some French subtitles, merging
lines into vague summaries. Gottlieb (1992) notes that such trade-offs are inevitable, but
strategic prioritization of key dialogue over filler enhances overall quality, a tactic evident in
Netflix’s polished releases.
Conclusion.
The proper use of linguistic aspects in subtitling movies and TV series is a dynamic
process that integrates syntax, semantics, pragmatics, and cultural adaptation within a technically
constrained medium. Effective subtitles distill complex dialogues into concise, meaningful text,
preserving narrative intent and cultural flavor while ensuring readability and cohesion. This
study reveals that linguistic expertise, coupled with AVT-specific strategies like condensation
and substitution, is vital for overcoming challenges such as brevity, multilingualism, and cultural
disparity. As global media consumption grows, these findings underscore the need for robust
training in linguistic subtitling practices, offering a roadmap for translators to elevate quality and
accessibility. Future research could explore viewer perceptions of subtitle variations or the
impact of AI-driven subtitling tools on linguistic accuracy.
References
1.
Gottlieb H. Subtitling-a new university discipline //Teaching translation and interpreting.
– John Benjamins, 1992. – С. 161.
2.
Cintas J. D., Remael A. Audiovisual translation: subtitling. – Routledge, 2014.
3.
Pedersen J. How is culture rendered in subtitles //MuTra 2005–Challenges of
multidimensional translation: Conference proceedings. – 2005. – Т. 18. – №. 1.
4.
Valdeón R. A. Latest trends in audiovisual translation //Perspectives. – 2022. – Т. 30. –
№. 3. – С. 369-381.
5.
Mclaren, Charis and Dal Yong Jin. ““You Can’t Help But Love Them”: BTS,
Transcultural Fandom, and Affective Identities.”
Korea Journal
60 (2020): 100-127.
6.
Deckert M. Audiovisual Translation–Research and Use: 2nd Expanded Edition. – Peter
Lang International Academic Publishers, 2019. – С. 312.
