#Working as a subtitler professional

^ a b 'Anthony Paletta, Lost in Translation, Found in Subtitles, New York Times, 3 October 2012'.^ 'Rod Glacial, Profession Sous-Titreur.Archived from the original on 18 April 2020. ^ Evans, Hilary Gjerde, Arild Heijmans, Jeroen Mallon, Bill et al.^ a b c 'Former United Artists Exec Sandy Whitelaw Dies at 84'.Vincent mit l'âne dans un pré (et s'en vint dans l'autre) Mes petites amoureuses (Eustache, 1974).Notable titles subtitled by Whitelaw include: Their subtitles for this film received considerable critical attention. One of the more challenging jobs he took on was the subtitling, with Stephen O'Shea, of Mathieu Kassovitz's 1995 film La Haine. He once called it 'like getting paid to do crosswords'. Whitelaw provided English subtitles for more than 1,000 films over a period of several decades.

He continued to work as a subtitler for four decades. It was the producer Pierre Cottrell who suggested that he subtitle Jean Eustache's film Mes petites amoureuses. Whitelaw began to work as a subtitler in the 1970s in Paris. He acted in a number of films including The American Friend (1977), Broken English (1981) and The Beat That My Heart Skipped (2005). He directed two films: Lifespan (1974), which starred Klaus Kinski, and Vicious Circles (1997), which starred Ben Gazzara. He went on to work for United Artists in a number of capacities, including as head of production for UA Europe.Īt this time he was based in London and worked on films including Bernardo Bertolucci’s Last Tango in Paris (1972), Federico Fellini’s Roma (1972) and Pier Paolo Pasolini’s The Decameron (1971). He also worked for the production company Hecht-Lancaster. Selznick on the 1957 film A Farewell to Arms. Whitelaw's film career began when he worked as an assistant to the producer David O. He represented Britain as a skier in the 1956 Olympics. Based on these responses, we will conclude the article by introducing a new community of subtitlers and practitioners we are launching: SubComm.Whitelaw was born in London and educated in Switzerland, the UK and the United States. There is also some interest in learning about and contributing to research. The responses indicate that many practitioners want to enhance their practical skills by learning about topics such as new technology, and they want to network and improve their working conditions. As a first step, we conducted a survey with subtitlers based in the UK and Ireland to find out what topics practitioners would like to discuss with academics. This article presents a proposal for forming a community of practitioners and academics. Contacts with academia would allow practitioners to learn how research might benefit them and to contribute to future projects. It could also be useful to build closer contacts with researchers who have an interest in subtitling. Therefore, subtitlers could benefit from new ways to work together, share information and advocate for better working conditions. Working as a subtitler can be challenging in many ways: technological developments such as machine translation are changing the work rapidly, working conditions are sometimes demanding, and the work can be lonely because it is often done on a freelance basis.

We end by proposing some concrete next steps for the development of a subtitling community, and the possible role of academics and subtitlers within such an initiative.

In addition, based on the results we highlight a number of areas around which these activities could be centred, including, for example, opportunities for subtitlers to enhance their practical skill set, to improve their career opportunities and the collective standing of the profession, to discuss translation dilemmas and to inform academia.

#Working as a subtitler professional

Respondents indicated an interest in opportunities for professional development, community-building and collaboration. We then present the findings of a scoping questionnaire, in which subtitlers working in the UK and Ireland were surveyed about their interest in collaborating with academics. The article first explores the concept of public translation studies, examining how and why this framework might be useful in AVT. This would involve the formation of a community of academics and subtitlers, creating a space for regular dialogic communication that would be mutually beneficial. We argue that AVT scholars and practitioners would benefit from the implementation of a long-term, reciprocal collaboration. This article proposes the application of public translation studies put forward by Koskinen (2010) to the field of audiovisual translation (AVT). Subtitling, collaboration, public translation studies, survey, working conditions, networking, professional development Abstract