Subtitle InAPPropriate Comedy
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"An Equal Opportunity Offender".In the laugh-out-loud sketch comedy film InAPPropriate Comedy, a computer tablet full of the world's most hilariously offensive apps breaks through the borders of political correctness, stirring up cultural anarchy; with a star-studded cast including Adrien Brody, Rob Schneider, Michelle Rodriguez and Lindsay Lohan, this edgy, no-holds-barred comedy makes sure no taboo is left untouched!
In 2018, Netflix shut down its global Hermes platform, which was launched the previous year with the ambitious aim of not only dealing directly with subtitlers and translators but also training a new generation of them to handle its expanding library.
The situation is somewhat better in Europe, where film subtitling is still seen as an art. In France, local law requires that subtitlers be acknowledged in the credits, and translators often are eligible for residuals as part-creators of a work that travels and generates revenue outside its home language. But the rise of the global streamers has warped the subtitling business there as well.
According to skopos theory, the purpose of translation determines the means of translation. The case analysis method is used to analyze subtitle translation of Hello, Mr. Billionaire in this essay, which aims at summarizing the characteristics of subtitle translation and pointing out its limitations and assisting us in coming up with suggestions for more precise subtitle translation. Hello, Mr. Billionaire, shown in the last year, is one of the most popular Chinese comedies. This paper retrospects the classic comedy and further studies its subtitle translation to better disseminate Chinese culture abroad.
The main function of subtitle translation is to convey the precise message to the audience in an effective way and make them understand and appreciate the film and television limited by time and space. In order to achieve this goal, translators must obey some principles and adopt some techniques and strategies, as well as lay much emphasis on the cultural phenomenon.
Different from novel and poetry translation, which is more static and literary, subtitle translation is more colloquial because they interpret the original dialogues among characters. Therefore it must possess typical features of spoken English without involving obscure expressions or complex sentence patterns.
The language used in subtitle translation must be simple and plain so that ordinary people can understand completely and amuse themselves. Zhang Chunbai encourages translators to try their best to translate the dialogues which can be understood by most of the reviewers no matter the educated or the illiteracy (Zhang, 2003: p. 183) .
Readers of printed literary works may have opportunities to read the works repeatedly. In contrast, dialogues and subtitles will only stay on the screen for a few seconds. Given time for understanding the information is limited, subtitle translation should be with instantaneity and brevity.
Western scholars are the pioneers in studying subtitle translation. In 1960, a paper on subtitle translation, published on Babel title Cinema and et Translation, is considered to be the first paper studying subtitle translation, opening a new field of subtitle translation study.
In 1974, Cay Dollerup, a professor from University of Copenhagen, issued an essay On Subtitles in Television Program (Dollerup, 1974)  , which pointed out not only different kinds of mistakes occurred during the process of translating English TV programs into Danish subtitles, but also the significance of subtitles. The essay really drew public attention to subtitle translation.
In 1976, Istva Fodor, a renowned scholar in the field of western subtitle translation, published Film Dubbing: Phonetic, Semiotic, Esthetic and Psychological Aspects (Fodor, 1976)  , which laid the foundation of western subtitle translation study.
In the following ten years, the study on translation was not so popular. In 1987, an international conference on dubbing and subtitle translation hosted by European Broadcasting Union was held in Stockholm. It was the first open talk about dubbing and subtitling in Europe. This conference encouraged scholars to hold a series of conferences about subtitle translation. After that, numerous publications on film translation came out.
The study on subtitle translation in Europe reached its peak in the early 1990s. For instance, Overcoming Language Barriers in Television: Dubbing and Subtitling for European Audience (Luyken and Thomas, 1991)  came out, in which scholars analyzed different translation forms of television programs and enumerated numerous data. In 1992, Jonas Ivarsson, a Swedish subtitle translator published Subtitling for the Media: A Handbook of an Art (Ivarsson, 1992)  , in which he analyzed subtitle translation from a technical perspective. These books laid a solid foundation for further study on subtitle translation.
Admittedly, western scholars are the leading figures in the field of subtitle translation. At many universities in Europe, there are quite a few majors and courses for studying film and television subtitle translation.
Compared with western countries, the study on film and television translation in China started late and developed slowly. There are few theoretical work systematically discussing subtitle translation at home. Seminars and organizations on subtitle translation are also few in number. We have only a few translators and scholars putting forward several influential theories. Qian Shaochang, Ma Zhengqi are well-known scholars who have made great achievements in the filed of translation practice.
Processor Qian Shaochang is regarded as the pioneer in the fields of domestic film translation. In the paper Audio-visual Translation-an Increasingly Important Field in the Garden of Translation (Qian, 2000)  , he emphasized the significance of film subtitle translation, and delved into the linguistic differences between film and literature works. He also summarized three principles of film subtitle translation that are faithfulness, expressiveness and elegance.
These professors have paved the way for domestic study of subtitle translation and encouraged more researchers to pay attention to this field. However, compared with western countries, our studies in the field of subtitle translation practice and theoretical work still lag far behind. Therefore, more and more scholars and translators should devote themselves to this field and produce more creative and practical research results.
Based on research, it can be concluded that colloquialism, popularity, instantaneity and brevity are the four features of subtitle translation, which should not be ignored. Skopos theory gives a guideline for us to the case study of Hello, Mr. Billionaire through using flexible strategies such as reduction and paraphrase for detailed analysis concerning the film subtitle translation. Culture-loaded words are the most important and difficult part, which almost determines the understandings and attitudes of foreign audiences. What we should focus on is to improve the level of subtitle translation constantly so that it can be more understandable to facilitate overseas promotion of Chinese culture.
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Please note: when you show a movie made in Spanish with English subtitles, strong words in Spanish sometimes get translated as stronger curse words in English. I mention inappropriate/adult content when I am aware of it, but *please* preview and click on the links for more details.
No se aceptan devoluciones (PG-13, 2h, 2min)In this comedy-turns-to-tearjearker baby gets left on the doorstep of a single man, whose life gets turned upside as he takes her in whilepursuing a career as a stuntman. Six years later, the birth mother shows up and wants her daughter back. You might want to skip minutes 3:30-6:10.Themes: Family, heartwarming/wrenching.
Sin Nombre is good, showed it to middle school, its rated R, there is a sexual scene in the beginning so skip that, and there is a lot of swearing, I cover the subtitles, there are stretches where the language is fine. It's definately on the violent side, but again enough stretches of story line to show students.
Wow, Thank you. I am watching LO IMPOSIBLE with my students and it is pretty easy for the students whatch it with the Spanish subtitles because there are not so much deep conversations and most of them ere simple and basic questions and answers imdb.com/title/tt1649419/
Reviewed by: Writing the Comedy Blockbuster: the Inappropriate Goal by Keith Giglio Evan Smith Writing the Comedy Blockbuster: the Inappropriate Goal Keith Giglio . Studio City: Michael Wiese, 2012, 213 pp. One might argue that the last thing the world needs is another book on writing, yet screenwriters keep reading because you never know where that next wisp of insight and inspiration might be found. Writer-producer Keith Giglio has just published a book that makes the effort worthwhile, a guide that offers a fresh approach to writing film comedy, titled Writing the Comedy Blockbuster: The Inappropriate Goal.
The book opens with a foreword meant to encourage and inspire, while also hinting at the tremendous hurdles that all screenwriters face. A hypothetical scenario illustrates how a "high concept/low budget" comedy script might quickly result in a big sale, and a personal anecdote recounts how the author's career was just as quickly threatened when at one point his work was labeled "too soft." The message is clear: in a business where it is incredibly difficult for writers to succeed, "it's less difficult to sell an original comedy" (xviii). Or, Giglio writes, in the playful tone used throughout the book, "Tina Fey kicks Bruce Willis's box office ass" (xix). 781b155fdc