Eye-tracking, Subtitling and Accessible Filmmaking

«Film and translation have not always been divorced from one another. They once lived happily together when the translation of intertitles was carried out as part of the post-production process in silent films, and even more happily throughout the 1930s with the so-called multiple-language versions (Vincendeau 1999), when films were made and remade in two or three languages by the same director and sometimes in up to fourteen languages with a different director for each language version. Yet, it was not long until more affordable techniques were found for translation, which resulted in the introduction of dubbing and subtitling as part of the distribution stage from 1940 onwards (Izard 2001). Translation was thus expelled from the filmmaking process and the divorce between film and translation was consummated. As a result, translators are now among the worst paid professionals in the filmmaking industry, despite being indispensable for…»