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On a stylistic level, the meaning of a number of subtitles is not immediately clear. For instance, we read, "I'm going to the stationers" when it should be "the stationer's". There is also an erroneous use of apostrophes. This is a convention that was more or less abandoned in the early 1980s and that looks distinctly odd today. Moreover, a number of subtitles open with three dots if the sentence began on the previous subtitle. The three dots after the exclamation point in the above example don't really make any sense.
ENGLISH SUBTITLES MOVIE
When the family talks about going to see the movie Marooned, the film's title is inserted in the middle of the subtitle without quotation marks or italics: It is strange to place such emphasis on a character (barely no one else is visible in the frame at that point) and not let us know what they are singing about. We have a similar feeling later in the movie, during the forest fire scene when a character in the foreground sings a song and we have no idea what it is about. This creates a feeling of frustration for the viewer. And then, all of a sudden, the show is no longer subtitled, even though the family continues to react to the show. However, more concise text could have been used here to make the subtitles easier to read. The subtitles flash by and are impossible to read correctly.
ENGLISH SUBTITLES TV
When the family watches a TV show, the subtitles for the show's very rapid dialogue are in standard font and, all of a sudden, the reading speed is no longer respected. True, it is hard for a non-Spanish speaker to realize that two different languages are being spoken, but it might have been wiser to put the Mixtec translation in italics, if only to make it easier to read. This is not a subtitling convention used anywhere as far as I know and, personally, I find that it makes these subtitles tough to read. The decision to put all subtitles translating Mixtec dialogue between square brackets, apparently at the request of the director, Alfonso CuarĂ³n, is unusual to say the least. Two lines by the same character are unnecessarily grouped together in a single subtitle, despite a long pause between each line, allowing the viewer to read the subtitle up to three times!
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At times, the subtitles move to the right or the left of the frame for no reason. Two lines spoken by two different characters appear as a single subtitle (in dialogue) when there is plenty of time to make two separate subtitles and when the second line is not at all an answer to the first.
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A number of subtitles pass over a shot change without this being necessary, unsettling the viewer. There are countless subtitles that remain on screen way too long. The much-vaunted Netflix "quality control" has clearly not been applied to the subtitles for this movie. On viewing Roma on Netflix, one thing is instantly obvious. My remarks concern solely technical aspects of the subtitles and the stylistic properties of the translation. I should also say that I am unable to judge the quality of the translation from Spanish and Mixtec for Roma. These guidelines closely resemble those used in most other European countries (with a few minor differences) and concern such things as reading speed, respect of shot changes, etc.
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I have always worked according to the guidelines established in France over the years, guidelines tried and tested to give the audience the best possible experience when viewing a subtitled movie. I should begin by pointing out that I have been subtitling French and Italian movies for over thirty years, after post-graduate studies in film translation. I viewed the movie on the platform on the morning of February 18, 2019. Following the numerous remarks of my French colleagues, I decided to take a look at the English subtitles currently available on Netflix. However, despite its critical success, the film has recently come under fire for the poor subtitling of its dialogue in a number of countries. By Ian Burley, chairperson of the ATAA (the Association of French Audio-visual Translators)