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標(biāo)題: Titlebook: Audiovisual Translation in a Global Context; Mapping an Ever-chan Rocío Ba?os Pi?ero,Jorge Díaz Cintas Book 2015 The Editor(s) 2015 transla [打印本頁(yè)]

作者: adulation    時(shí)間: 2025-3-21 17:43
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作者: 制造    時(shí)間: 2025-3-21 20:37
Institutional Audiovisual Translation: A (Shop) Window on the Worldhe use, analysis, development and translation of commercial products, namely films, television series, documentaries, video games and, to a lesser extent, advertising and promotional material. Official institutions and non-profit organizations have also realized the need to use multimedia and audiov
作者: EXUDE    時(shí)間: 2025-3-22 01:48

作者: overwrought    時(shí)間: 2025-3-22 08:20

作者: debris    時(shí)間: 2025-3-22 12:30
Cross-fertilization between Reception Studies in Audio Description and Interpreting Quality Assessmeication in an attempt to gain a fuller understanding of the complex nature of audio description (AD). The AD script is a hyposemiotic text that uses the aural medium as the sole vehicle for relaying the input derived from visual stimuli, both iconic and verbal. The nonvocal visual and/or verbal inpu
作者: dragon    時(shí)間: 2025-3-22 13:54
Audio Describing for an Audience with Learning Disabilities in Brazil: A Pilot Study the issue of accessibility. As a relatively new audiovisual mode of translation, AD has been the subject of heated debates both on the relevance of images and how these should be put into words so that the target audience — vision impaired addressees — could make better sense of the original film s
作者: DECRY    時(shí)間: 2025-3-22 19:27

作者: 出汗    時(shí)間: 2025-3-22 22:59
Subtitling in the Era of the Blu-rayn screen spoiling the viewer’s pleasure; a double-edged sword that Marleau (1982: 271) once defined as ‘.’, a necessary evil. Nonetheless, the cinema is an industry and all industries are oriented to consumer satisfaction. It therefore seems logical to expect that someday, someone would find a way o
作者: 不透氣    時(shí)間: 2025-3-23 03:17

作者: Diastole    時(shí)間: 2025-3-23 09:30
Professional Realities of the Subtitling Industry: The Subtitlers’ Perspectivey few works written on the topic. In the case of subtitling, this is mainly because the majority of subtitlers tend to work on a freelance basis. Since contractors work alone, independently and very frequently in isolation, it is difficult for outsiders to gain an understanding of their profession a
作者: 一小塊    時(shí)間: 2025-3-23 12:45

作者: Flavouring    時(shí)間: 2025-3-23 17:52
Signing and Subtitling on Polish Television: A Case of (In)accessibilityrkowska 2010). This is part and parcel of a greater awareness concerning the needs of the deaf and hard-of-hearing at both European and national levels. Indeed, Directive 2007/65/EC of the European Parliament and the Council (Web 1) — an amendment to Council Directive 89/552/EEC on the coordination
作者: 修正案    時(shí)間: 2025-3-23 19:51
Voiceover as Spoken Discourseion (AVT) studies (Franco et al. 2010; Orero 2004; Wo?niak 2008). This academic neglect has recently been diminished by the publication of the first monograph on this AVT modality, with its specific focus on non-fictional programmes (Franco et al. 2010). The post-Soviet voiceover translation of fict
作者: ASSAY    時(shí)間: 2025-3-24 01:42
Dubbing Directors and Dubbing Actors: Co-authors of Translation for Dubbing translation of the scripts submitted to them by translators. In Brazil, translators are also responsible for adapting the dubbing script, leaving the final adjustments to the dubbing director and actors during the recording of the translated dialogue. I, therefore, attended a series of dubbing sess
作者: unstable-angina    時(shí)間: 2025-3-24 04:00

作者: Mediocre    時(shí)間: 2025-3-24 08:35
2947-5740 ome of the most representative areas currently being researched in this field across the globe. The book discusses theoretical issues and provides useful and practical insights into professional practices.978-1-137-55289-1Series ISSN 2947-5740 Series E-ISSN 2947-5759
作者: finite    時(shí)間: 2025-3-24 12:58
https://doi.org/10.1007/978-1-4419-5592-0lts in Europe with problems accessing digital television, as has been highlighted by the DTV4All project (Looms 2009). For this part of the population, subtitles are needed to access the audio content of TV programmes and to ensure the compliance of broadcasters with regulatory standards currently in place worldwide (Romero-Fresco 2011).
作者: 使成核    時(shí)間: 2025-3-24 15:24

作者: AGATE    時(shí)間: 2025-3-24 22:16
Synchronized Subtitles in Live Television Programmeslts in Europe with problems accessing digital television, as has been highlighted by the DTV4All project (Looms 2009). For this part of the population, subtitles are needed to access the audio content of TV programmes and to ensure the compliance of broadcasters with regulatory standards currently in place worldwide (Romero-Fresco 2011).
作者: BYRE    時(shí)間: 2025-3-25 01:14
Analysing Redubs: Motives, Agents and Audience Responsenvestigate the evolution of translational norms and practices in the field of audiovisual translation. According to Nornes (2007: 16), changes in viewers’ habits and cultural expectations require new forms of translation. The retranslations of audiovisual texts are indeed evidence of new forms of audiovisual translation (AVT).
作者: modish    時(shí)間: 2025-3-25 06:08

作者: 確定方向    時(shí)間: 2025-3-25 10:22
Accuracy Rate in Live Subtitling: The NER Models (opinion, comprehension, perception). These issues have all been discussed by Romero-Fresco (2011) with particular reference to the UK market. Yet, what concerns broadcasters, regulators such as Ofcom and subtitling companies is the accuracy of live subtitles and it is this that constitutes the main focus of this chapter.
作者: 戲法    時(shí)間: 2025-3-25 15:43

作者: 易受騙    時(shí)間: 2025-3-25 18:13
Subtitling in the Era of the Blu-rayf making captions more palatable. But how could a succession of words become acceptable, or even desirable? Should subtitles become totally unobtrusive or conversely more aesthetically pleasing and thus more visible? The answer should be left to the discretion of each viewer.
作者: 生存環(huán)境    時(shí)間: 2025-3-25 21:34
Galileo and the Equations of Motionre of the working environment in which subtitlers operate, as well as an overview of the realities defining the interlingual subtitling industry, an online survey was distributed among subtitlers across the world.
作者: medium    時(shí)間: 2025-3-26 01:52

作者: 有偏見(jiàn)    時(shí)間: 2025-3-26 07:11

作者: Extort    時(shí)間: 2025-3-26 10:30
Dubbing Directors and Dubbing Actors: Co-authors of Translation for Dubbing. The sessions involved the dubbing of the US police series . (2003–2010), season 3, episodes 7 and 8, entitled ‘Start Up’ (James Whitmore Jr. 2005) and ‘Honor’ (Paris Barclay 2005), respectively. 30 dubbing actors, a dubbing director and a sound technician were involved in the process.
作者: cajole    時(shí)間: 2025-3-26 16:22

作者: tooth-decay    時(shí)間: 2025-3-26 19:38

作者: 秘傳    時(shí)間: 2025-3-26 21:27
Audiovisual Translation in a Global Context978-1-137-55289-1Series ISSN 2947-5740 Series E-ISSN 2947-5759
作者: nonradioactive    時(shí)間: 2025-3-27 01:45
Book 2015This book offers an up-to-date survey of the present state of affairs in Audiovisual Translation, providing a thought-provoking account of some of the most representative areas currently being researched in this field across the globe. The book discusses theoretical issues and provides useful and practical insights into professional practices.
作者: carotid-bruit    時(shí)間: 2025-3-27 08:58
Palgrave Studies in Translating and Interpretinghttp://image.papertrans.cn/b/image/164991.jpg
作者: Conflagration    時(shí)間: 2025-3-27 11:06
Galileo Galilei’s “Two New Sciences”ranslation (AVT), both as a professional practice and as an academic discipline. A recent report by Ofcom (2014), the independent communications regulator in the UK, revealed that UK adults spend an average of eight hours and 41 minutes using media or communications every day, and that approximately
作者: nurture    時(shí)間: 2025-3-27 14:57
Galileo Galilei’s “Two New Sciences”he use, analysis, development and translation of commercial products, namely films, television series, documentaries, video games and, to a lesser extent, advertising and promotional material. Official institutions and non-profit organizations have also realized the need to use multimedia and audiov
作者: garrulous    時(shí)間: 2025-3-27 20:14
https://doi.org/10.1007/978-1-4419-5592-0l conferences, such as Media for All 3 in 2009 (./all3) and Media for All 4 in 2011 (./humanities/translationgroup/mediaforall4), this shift applies to industry as well as to academia. In the case of live subtitling, and more specifically respeaking, the most common method used to evaluate the quali
作者: 魔鬼在游行    時(shí)間: 2025-3-28 01:02

作者: Visual-Field    時(shí)間: 2025-3-28 05:56

作者: 多嘴    時(shí)間: 2025-3-28 09:02
https://doi.org/10.1007/978-94-009-9017-3 the issue of accessibility. As a relatively new audiovisual mode of translation, AD has been the subject of heated debates both on the relevance of images and how these should be put into words so that the target audience — vision impaired addressees — could make better sense of the original film s
作者: cochlea    時(shí)間: 2025-3-28 13:52

作者: innate    時(shí)間: 2025-3-28 16:54
The Young Galileo and the de Motun screen spoiling the viewer’s pleasure; a double-edged sword that Marleau (1982: 271) once defined as ‘.’, a necessary evil. Nonetheless, the cinema is an industry and all industries are oriented to consumer satisfaction. It therefore seems logical to expect that someday, someone would find a way o
作者: 纖細(xì)    時(shí)間: 2025-3-28 20:48

作者: 炸壞    時(shí)間: 2025-3-28 23:39
Galileo and the Equations of Motiony few works written on the topic. In the case of subtitling, this is mainly because the majority of subtitlers tend to work on a freelance basis. Since contractors work alone, independently and very frequently in isolation, it is difficult for outsiders to gain an understanding of their profession a
作者: Regurgitation    時(shí)間: 2025-3-29 05:13

作者: Gum-Disease    時(shí)間: 2025-3-29 10:07
The Room, the Universe And the Gap,rkowska 2010). This is part and parcel of a greater awareness concerning the needs of the deaf and hard-of-hearing at both European and national levels. Indeed, Directive 2007/65/EC of the European Parliament and the Council (Web 1) — an amendment to Council Directive 89/552/EEC on the coordination
作者: 增減字母法    時(shí)間: 2025-3-29 14:59

作者: 提升    時(shí)間: 2025-3-29 16:01

作者: 帳單    時(shí)間: 2025-3-29 21:28

作者: jettison    時(shí)間: 2025-3-30 01:22
2947-5740 ome of the most representative areas currently being researched in this field across the globe. The book discusses theoretical issues and provides useful and practical insights into professional practices.978-1-137-55289-1Series ISSN 2947-5740 Series E-ISSN 2947-5759
作者: 易彎曲    時(shí)間: 2025-3-30 07:08

作者: 天氣    時(shí)間: 2025-3-30 12:12
Galileo and the Art of Reasoningia communication reveals the potential of the aural dimension, from the characters’ vocal expression of emotion, to soundtrack, ambient sounds and special effects. While it is true that some scholars have highlighted the critical role of the aural medium in audiovisual products and their translation
作者: Amnesty    時(shí)間: 2025-3-30 13:47

作者: 贊成你    時(shí)間: 2025-3-30 17:20

作者: confide    時(shí)間: 2025-3-30 21:35
The Room, the Universe And the Gap,as ‘a(chǎn) list of master (sub)titles with the in and out times already spotted’. These definitions suggest that the technical task known as spotting or time-cueing (i.e. deciding the ‘in’ and ‘out’ times of subtitles, taking into account spatial and temporal constraints) may be conducted by a person oth
作者: Myelin    時(shí)間: 2025-3-31 03:44
The Room, the Universe And the Gap, Polish Council of Ministers accepted the project of amendment to the National Broadcasting Council Act as part of the implementation of the EU Audiovisual Media Services Directive. This event marked the beginning of the provision of accessible services regulated at national level.
作者: incubus    時(shí)間: 2025-3-31 07:12
https://doi.org/10.1007/978-94-017-6203-8volvement. Unfortunately, only a handful of enthusiasts have registered an interest in this type of project to date. In Eastern Europe, despite the growing popularity of AVT studies, ‘little or no research’ is being done into voiceover practices (Grigaravièi?t? and Gottlieb 1999: 45–46).
作者: SPURN    時(shí)間: 2025-3-31 12:12





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