... provides a fress and highly welcomed approach to the study of intralingual subtitling. ... for hearing readers, one of the contributions of this book is that it encourages us to seek beyond the walls of our own existence, but for the deaf community in particular; de Linde and Kay's book represents a vital project. (Heidi Heikkinen and Dinda Gorlee, Target)

• Chapter 1: Subtitling and Audio-visual Language Transfer1.1. The context of subtitling 1.2. A typology of audio-visual language transfer 1.3. Analysis of subtitling 1.4. Linguistic background 1.5. The audio-visual dimension 1.5.1. Spatial restrictions 1.5.2. Temporal restrictions 1.5.3. Synchronization 1.6. SummaryChapter 2: Intralingual Subtitling2.1. Introduction 2.2. Importance of subtitling 2.3. Technical description of subtitling 2.3.1. Deaf and hard-of-hearing viewers 2.4. Subtitling for deaf and hard-of-hearing viewers 2.4.1. Representing the phonological component 2.4.1.1. Emphasis and phrasing 2.4.1.2. Tone of voice 2.4.1.3. Accents and foreign languages 2.4.1.4. Humour 2.4.2. Subtitling the non-verbal component 2.4.2.1. Sound effects 2.4.2.2.Music 2.4.3. Subtitling in a dynamic medium 2.4.3.1. Locating and identifying speakers 2.4.3.2. Timing and synchronization 2.4.3.3. Leading and lagging 2.4.3.4. Shot changes 2.4.3.5. The need for research2.5. Proposed research 2.5.1. Analysis of subtitling standards 2.5.2. Transfer of language 2.5.3. Reading characteristics of viewers 2.5.4. Analysis of viewing behaviour 2.6. Summary of objectivesChapter 3: Reading Characteristics of Deaf and Hard-of-hearing Viewers3.1. Introduction 3.2. The concept of inner-speech 3.2.1. Electromyographic recording (EMG) 3.2.2. Concurrent vocalization 3.2.3. Homophonic reading 3.3. Deaf readers 3.4. Recoding strategies among the deaf 3.4.1. Articulatory codes 3.4.2. Dactylic (fingerspelling) 3.4.3. Sign language 3.4.4. No recoding 3.5. The role of recoding in comprehension 3.6. SummaryChapter 4: The Integration of Text and Film4.1. Introduction 4.2. Textual features 4.2.1. Language style 4.2.2. Text cohesion 4.2.3. Referential cohesion 4.2.4. Substitution and Ellipsis 4.2.5. Conjunction 4.2.6. Lexical cohesion 4.2.7. Text cohesion and subtitles 4.3. Film features 4.3.1. Camera manipulation 4.3.2. Editing 4.3.3. Film features and subtitles 4.4. SummaryChapter 5: Studying the Effect of Subtitles5.1. Introduction 5.2. Survey method 5.3. Semi-controlled experiment method 5.4. Controlled experiment method 5.5. SummaryChapter 6: Subtitling for Adults6.1. Introduction 6.2. Subtitle samples 6.3. Selection and analysis procedure 6.4. Results: characteristics of subtitles broadcast for adults 6.4.1. Synchronicity between subtitle and sound 6.4.2. Synchronicity between subtitle and image 6.4.3. Extent of editing 6.5. SummaryChapter 7: Subtitling for Children7.1. Introduction 7.2. Subtitle samples 7.3. Selection and analysis procedure 7.4. Results 7.4.1. Synchronicity between subtitles and sound 7.4.2. Synchronicity between subtitles and image 7.4.3. Extent of editing 7.5. SummaryChapter 8: Analyzing Viewing Behaviour8.1. Introduction 8.1.1. Experimental procedure 8.1.1.1. Participants 8.1.1.2. Materials 8.1.2. Procedure8.2. Results and analysis 8.2.1. Study 1: Subtitle rate 8.2.1.1. Interactive effects of programme & subtitle 8.2.2. Study 2: Onset of speech 8.2.2.1. Main effects of group, programme, and subtitle 8.2.2.2. Interactive effect of programme and subtitle8.2.3. Study 3: Shot changes 8.2.3.1. Main effect of programme 8.2.3.2. Interactive effect of programme and subtitle 8.2.4. Study 4: Extent of editing 8.2.4.1. Interactive effect of group & programme 8.2.4.2. Interactive effect of group & subtitle 8.2.4.3. Interactive effect of programme & subtitle 8.2.5. Study 5: Visibility of speaker 8.2.5.1. Main effect of group 8.2.5.2. Interactive effect of group & programme 8.2.5.3. Interactive effect of programme & subtitle 8.3. SummaryChapter 9: Conclusions

... provides a fress and highly welcomed approach to the study of intralingual subtitling. ... for hearing readers, one of the contributions of this book is that it encourages us to seek beyond the walls of our own existence, but for the deaf community in particular; de Linde and Kay's book represents a vital project. (Heidi Heikkinen and Dinda Gorlee, Target)

• Chapter 1: Subtitling and Audio-visual Language Transfer1.1. The context of subtitling 1.2. A typology of audio-visual language transfer 1.3. Analysis of subtitling 1.4. Linguistic background 1.5. The audio-visual dimension 1.5.1. Spatial restrictions 1.5.2. Temporal restrictions 1.5.3. Synchronization 1.6. SummaryChapter 2: Intralingual Subtitling2.1. Introduction 2.2. Importance of subtitling 2.3. Technical description of subtitling 2.3.1. Deaf and hard-of-hearing viewers 2.4. Subtitling for deaf and hard-of-hearing viewers 2.4.1. Representing the phonological component 2.4.1.1. Emphasis and phrasing 2.4.1.2. Tone of voice 2.4.1.3. Accents and foreign languages 2.4.1.4. Humour 2.4.2. Subtitling the non-verbal component 2.4.2.1. Sound effects 2.4.2.2.Music 2.4.3. Subtitling in a dynamic medium 2.4.3.1. Locating and identifying speakers 2.4.3.2. Timing and synchronization 2.4.3.3. Leading and lagging 2.4.3.4. Shot changes 2.4.3.5. The need for research2.5. Proposed research 2.5.1. Analysis of subtitling standards 2.5.2. Transfer of language 2.5.3. Reading characteristics of viewers 2.5.4. Analysis of viewing behaviour 2.6. Summary of objectivesChapter 3: Reading Characteristics of Deaf and Hard-of-hearing Viewers3.1. Introduction 3.2. The concept of inner-speech 3.2.1. Electromyographic recording (EMG) 3.2.2. Concurrent vocalization 3.2.3. Homophonic reading 3.3. Deaf readers 3.4. Recoding strategies among the deaf 3.4.1. Articulatory codes 3.4.2. Dactylic (fingerspelling) 3.4.3. Sign language 3.4.4. No recoding 3.5. The role of recoding in comprehension 3.6. SummaryChapter 4: The Integration of Text and Film4.1. Introduction 4.2. Textual features 4.2.1. Language style 4.2.2. Text cohesion 4.2.3. Referential cohesion 4.2.4. Substitution and Ellipsis 4.2.5. Conjunction 4.2.6. Lexical cohesion 4.2.7. Text cohesion and subtitles 4.3. Film features 4.3.1. Camera manipulation 4.3.2. Editing 4.3.3. Film features and subtitles 4.4. SummaryChapter 5: Studying the Effect of Subtitles5.1. Introduction 5.2. Survey method 5.3. Semi-controlled experiment method 5.4. Controlled experiment method 5.5. SummaryChapter 6: Subtitling for Adults6.1. Introduction 6.2. Subtitle samples 6.3. Selection and analysis procedure 6.4. Results: characteristics of subtitles broadcast for adults 6.4.1. Synchronicity between subtitle and sound 6.4.2. Synchronicity between subtitle and image 6.4.3. Extent of editing 6.5. SummaryChapter 7: Subtitling for Children7.1. Introduction 7.2. Subtitle samples 7.3. Selection and analysis procedure 7.4. Results 7.4.1. Synchronicity between subtitles and sound 7.4.2. Synchronicity between subtitles and image 7.4.3. Extent of editing 7.5. SummaryChapter 8: Analyzing Viewing Behaviour8.1. Introduction 8.1.1. Experimental procedure 8.1.1.1. Participants 8.1.1.2. Materials 8.1.2. Procedure8.2. Results and analysis 8.2.1. Study 1: Subtitle rate 8.2.1.1. Interactive effects of programme & subtitle 8.2.2. Study 2: Onset of speech 8.2.2.1. Main effects of group, programme, and subtitle 8.2.2.2. Interactive effect of programme and subtitle8.2.3. Study 3: Shot changes 8.2.3.1. Main effect of programme 8.2.3.2. Interactive effect of programme and subtitle 8.2.4. Study 4: Extent of editing 8.2.4.1. Interactive effect of group & programme 8.2.4.2. Interactive effect of group & subtitle 8.2.4.3. Interactive effect of programme & subtitle 8.2.5. Study 5: Visibility of speaker 8.2.5.1. Main effect of group 8.2.5.2. Interactive effect of group & programme 8.2.5.3. Interactive effect of programme & subtitle 8.3. SummaryChapter 9: Conclusions

... provides a fress and highly welcomed approach to the study of intralingual subtitling. ... for hearing readers, one of the contributions of this book is that it encourages us to seek beyond the walls of our own existence, but for the deaf community in particular; de Linde and Kay's book represents a vital project. (Heidi Heikkinen and Dinda Gorlee, Target)

• Chapter 1: Subtitling and Audio-visual Language Transfer1.1. The context of subtitling 1.2. A typology of audio-visual language transfer 1.3. Analysis of subtitling 1.4. Linguistic background 1.5. The audio-visual dimension 1.5.1. Spatial restrictions 1.5.2. Temporal restrictions 1.5.3. Synchronization 1.6. SummaryChapter 2: Intralingual Subtitling2.1. Introduction 2.2. Importance of subtitling 2.3. Technical description of subtitling 2.3.1. Deaf and hard-of-hearing viewers 2.4. Subtitling for deaf and hard-of-hearing viewers 2.4.1. Representing the phonological component 2.4.1.1. Emphasis and phrasing 2.4.1.2. Tone of voice 2.4.1.3. Accents and foreign languages 2.4.1.4. Humour 2.4.2. Subtitling the non-verbal component 2.4.2.1. Sound effects 2.4.2.2.Music 2.4.3. Subtitling in a dynamic medium 2.4.3.1. Locating and identifying speakers 2.4.3.2. Timing and synchronization 2.4.3.3. Leading and lagging 2.4.3.4. Shot changes 2.4.3.5. The need for research2.5. Proposed research 2.5.1. Analysis of subtitling standards 2.5.2. Transfer of language 2.5.3. Reading characteristics of viewers 2.5.4. Analysis of viewing behaviour 2.6. Summary of objectivesChapter 3: Reading Characteristics of Deaf and Hard-of-hearing Viewers3.1. Introduction 3.2. The concept of inner-speech 3.2.1. Electromyographic recording (EMG) 3.2.2. Concurrent vocalization 3.2.3. Homophonic reading 3.3. Deaf readers 3.4. Recoding strategies among the deaf 3.4.1. Articulatory codes 3.4.2. Dactylic (fingerspelling) 3.4.3. Sign language 3.4.4. No recoding 3.5. The role of recoding in comprehension 3.6. SummaryChapter 4: The Integration of Text and Film4.1. Introduction 4.2. Textual features 4.2.1. Language style 4.2.2. Text cohesion 4.2.3. Referential cohesion 4.2.4. Substitution and Ellipsis 4.2.5. Conjunction 4.2.6. Lexical cohesion 4.2.7. Text cohesion and subtitles 4.3. Film features 4.3.1. Camera manipulation 4.3.2. Editing 4.3.3. Film features and subtitles 4.4. SummaryChapter 5: Studying the Effect of Subtitles5.1. Introduction 5.2. Survey method 5.3. Semi-controlled experiment method 5.4. Controlled experiment method 5.5. SummaryChapter 6: Subtitling for Adults6.1. Introduction 6.2. Subtitle samples 6.3. Selection and analysis procedure 6.4. Results: characteristics of subtitles broadcast for adults 6.4.1. Synchronicity between subtitle and sound 6.4.2. Synchronicity between subtitle and image 6.4.3. Extent of editing 6.5. SummaryChapter 7: Subtitling for Children7.1. Introduction 7.2. Subtitle samples 7.3. Selection and analysis procedure 7.4. Results 7.4.1. Synchronicity between subtitles and sound 7.4.2. Synchronicity between subtitles and image 7.4.3. Extent of editing 7.5. SummaryChapter 8: Analyzing Viewing Behaviour8.1. Introduction 8.1.1. Experimental procedure 8.1.1.1. Participants 8.1.1.2. Materials 8.1.2. Procedure8.2. Results and analysis 8.2.1. Study 1: Subtitle rate 8.2.1.1. Interactive effects of programme & subtitle 8.2.2. Study 2: Onset of speech 8.2.2.1. Main effects of group, programme, and subtitle 8.2.2.2. Interactive effect of programme and subtitle8.2.3. Study 3: Shot changes 8.2.3.1. Main effect of programme 8.2.3.2. Interactive effect of programme and subtitle 8.2.4. Study 4: Extent of editing 8.2.4.1. Interactive effect of group & programme 8.2.4.2. Interactive effect of group & subtitle 8.2.4.3. Interactive effect of programme & subtitle 8.2.5. Study 5: Visibility of speaker 8.2.5.1. Main effect of group 8.2.5.2. Interactive effect of group & programme 8.2.5.3. Interactive effect of programme & subtitle 8.3. SummaryChapter 9: Conclusions