![]() ![]() This code line is run once per input line. The appending of template text happens at template parse time, not at execution time.Ĭomment: 0,0:00:00.00,0:00:05.00,Default,0000,0000,0000, code line,fxgroup.funky = line.actor = "funky" Named line template lines append to the template text in the order they appear. The template name must not match any template modifier names.Īnonymous line templates (with no template name given) can not have pre-line template text.Ĭode lines can not be named, they must be anonymous. When used on template lines it takes an optional parameter naming the line template the template line participates in. This class modifier is valid for both code lines and template lines. This example declares a new function that changes the Layer field in the output line. "code once" lines are primarily intended to declare functions for use in templates.Ĭomment: 0,0:00:00.00,0:00:05.00,Default,0000,0000,0000, code once,function setlayer(newlayer) line.layer = newlayer return "" end They are run in the order they are declared. This class modifier is only valid for code lines.Ĭode lines with the once modifier are run exactly once during Karaoke Templater execution, and are always run before any other code lines or templates. Having one is still recommended for clarity, however.Ī template line without a class modifier is implicitly given the syl modifier.Ī code line without a class modifier is implicitly given the once modifier. Class declaring modifiersīoth template lines and code lines can be produced without having a class modifier. There is a special set of modifiers that declare the class of the template line or code line. While modifiers can be combined to some extent, not all are compatible, and not all work on both code lines and for templates. This is a space-separated list of words in the Effect field following the template or code keyword. What can be considered a further contribution of this study is the corpus itself which could be used in future qualitative or quantitative analyses.Template lines and code lines can take a number of modifiers. The findings could be used in applied translation studies not only for the explanation and prediction of the way subtitles are manifested, but also in the training of subtitlers. Besides, the theoretical results could have some bearing on general translation studies. The findings contribute to the advance of AVT studies by foregrounding two national subtitling practices. The consistency of regularities in all ten of them seems to point that norms revealed in this study operate in most movies that have been subtitled in Greece and Spain at the turn of the millennium. This phenomenon is caused by differences both in subtitle distribution and in the use of omissions. Overall, the number of subtitles is recurrently higher in Spanish but this does not necessarily mean that Greek versions translate less. Combining textual (subtitled film analysis) with extratextual (questionnaire results and literature review) sources of norms enables arriving at safer conclusions. This qualitative analysis aims: to exemplify the recoverability hypothesis and how it seems to affect subtitlers’ decisions to use omissions to illustrate how pauses and shot changes may influence the distribution of subtitles and to answer some of the questions raised in the quantitative analysis. ![]() Regularities revealed by quantitative results point to norms whose operation is investigated through sample analysis. The quantitative study analyses differences in subtitle numbers, subtitle distribution and duration, number of characters per subtitle, number of subtitles consisting of full-sentences and temporal relationships between utterances and their respective subtitles. ![]() Methods include the use of a questionnaire directed to subtitlers in both countries and a quantitative analysis of the Greek and Spanish subtitles aligned with the utterances from ten US blockbusters produced from 1993 to 2003. This research is based on three general hypotheses: that the most suitable approach for such a query is a descriptive product-focused methodology based on norm theory that there are regularities in the subtitling practice and that subtitling norms are of a different nature in Spain, a dubbing country, and Greece, a subtitling country. In the attempt to answer them, first a theoretical framework is established and conceptual tools are provided, including the notion of recoverability, categories of temporal relations between subtitles and utterances, as well as subtitle types, most notably the type termed “zero-liner”. Are subtitling practices different in Greece and Spain? And if so, how and why? These are the questions that instigated this study in the first place.
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