English Film With Arabic Subtitles

[Jeana Rodia]

Onlythe studio/rights-holder for the film in your country can add subtitles to their films. If the films that you want to buy/rent don't currently have Arabic subtitles in your country's store then you can try requesting that they be added : - but it will require the studio/rights-holder to do it.

i'm using a registered Version of emby app , my movies library contains external srt subtitles all in Arabic language , i have a problem .. during playback the subtitles sometimes appears correct and sometimes not , all i sea is a punch of characters .. this is not the case when playing them on my pc ?

Samy you need first to open the subtitle file in windows or your OS using notepad, if you see arabic letters correctly then just save it as UTF-8 and over-right the old one, ffmpeg do not handle ANSI characters correctly, this was the only solution i could find and its doing the job perfectly.

You Are Welcome Here (#DearbornWelcome) is an award-winning 20-minute film from Colorn Colorado highlighting how the Dearborn, MI public school district is helping its immigrant students succeed. The film features Salina Elementary School and Salina Intermediate School in the South End of Dearborn which serve large populations of families from Yemen.

Nadra Shami currently serves as a Language and Literacy SIOP Trainer in Dearborn, MI. The daughter of immigrants, Nadra grew up in Dearborn and her first job was at the school she attended as a child. In this article written for Colorn Colorado, Nadra explains how Dearborn is supporting its English language learners and immigrant students by developing staff capacity to serve a diverse student population.

Colorn Colorado is a national multimedia project that offers a wealth of bilingual, research-based information, activities, and advice for educators and families of English language learners (ELLs). Colorn Colorado is an educational service of WETA, the flagship public broadcasting station in the nation's capital, and receives major funding from our founding partner, the AFT, and the National Education Association. Copyright 2023 WETA Public Broadcasting.

Artwork by Caldecott Award-winning illustrator David Diaz and Pura Belpr Award-winning illustrator Rafael Lpez is used with permission. Homepage illustrations 2009 by Rafael Lpez originally appeared in "Book Fiesta" by Pat Mora and used with permission from HarperCollins.

Who was Kojve? He was an influential figure in 20th-century French philosophy, who thought that there was no human nature but only the gradual unfolding of history. But he fascinates people mainly because he abandoned academia after WWII, going on to become a major figure in the trade agreements that laid the groundwork for the European Union.

Hopefully this sets the scene for the first of the three translation issues I want to concentrate on. I have been calling this person Kojve, which is the Gallicized version of his original surname Kozhevnikov. But while ZH and J are pronounced the same in the film, when it came to adding written subtitles, we had to decide how to spell the original Russian name. Should we go for Kojevnikov, as is written on his gravestone shown in the film, and giving greater visual identity with Kojve, the name by which this figure is most widely known? Or Kozhevnikov, which is the standard English transliteration? We chose the second option.

The last translation issue was a general one, insofar as we knew that the words in our translated subtitles had to a) fit on the screen and b) align with what was being said, when it was being said. In respect of a), we went for brevity wherever we could, producing 10,600 English words as a translation of 12,200-word French transcript. We also had to rearrange some syntax, which is a normal and legitimate part of translation, but we pushed this a bit further than normal so that the subtitles matched the words as they were spoken.

If you have made it to the end of the blog you may be interested in viewing the film and attending a roundtable discussion of it! This will be held at an online conference on 2 September 2021, you can register for free here.

Ever since the resettlement of the Circassian population during the late nineteenth and early twentieth century, Jordanians with Circassian roots form one of the ethnic minority groups living in Jordan.

Personal narratives of the characters weave alongside their short-lived anticipation and preoccupation of having Jolie drop by their homes reveal the harsh madness of everyday realities living in exile.

This Oscar nominated film revolves around two young Palestinian childhood friends who have been recruited to be suicide bombers and the resulting commotion when the operation did not go according to plan.

Directed by the same man who produced Paradise Now, this Oscar nominated film is a thriller about a young Palestinian man named Omar who is forced to collaborate with Israeli intelligence after being captured following the murder of an Israeli soldier.

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Language is an essential human tool for expressing various emotions, feelings, and concepts, some of which might be sensitive, embarrassing, or inappropriate for communication. In different cultural contexts, people may speak about sensitive and obscene topics differently because of their deep cultural influence on language. Wafi (1983) pointed out that language can be conceived as a vessel of social norms and traditions. In terms of taboos, they generally differ from culture to culture; some cultures are more conservative than others, and when dealing with taboo topics, speakers resort to several euphemistic strategies. Allan and Burridge (2006) postulated that it is customary to use such strategies to talk about distasteful topics in an indirect, polite, and appropriate way that does not cause interlocutors to lose face.

As such, the translation of taboo words presents a challenge for subtitlers. It requires careful consideration of cultural sensitivities and linguistic nuances. While previous studies have examined the translation of taboo words in general, there remains a significant gap in research concerning a specific area: private body part-related taboo words (PBPRTW). Hence, the main focus of the study at hand is on the translation of PBPRTW in Hollywood films subtitled into Arabic. It is motivated by the global reach of Hollywood films and diverse viewership. Besides, with its distinct cultural and linguistic characteristics, Arabic presents striking challenges in translating PBPRTW, influenced by prevalent cultural and religious norms. Arguably, investigating the rendering of PBPRTW in Arabic subtitles provides a valuable opportunity to explore the interplay between cultural sensitivity, linguistic adaptation, and audiovisual translation.

The present study was conducted with the aim to offer practical implications for subtitlers, translation studies, and cross-cultural communication. The findings may benefit professionals engaged in audiovisual translation, such as subtitles and film producers. By comprehending the various euphemism strategies identified in this paper, the translation quality can be enhanced, and the intended meaning of the original contents is preserved. Overlooking specific areas in the literature, viz PBPRTW translation, this study is an attempt to fill in such a crucial gap by providing specialised insights into this particular domain. It addresses the following questions:

Seven euphemism strategies were used in this study: metaphorical transfer, preservation, implication, metonymy, semantic misrepresentation, and widening. They are defined, with adequate examples, in light of existing research as follows:

Widening: This strategy, taken from Williams (1975), refers to using a general word to replace a specific one. Based on this definition, the euphemised word can be particularised using a widening strategy to give the listener a logical connotation. For example, innocent is used instead of virginal.

Metaphorical transfer: This strategy generates euphemisms that conceal the offensive associations of the taboo item by referring to something perceived to have similar characteristics to the relevant person or object (Warren, 1992). For example, the use of blossom to refer to a pimple.

The significance of the present study stems from the scarcity of Arabic studies on euphemisms in Arabic subtitles of Hollywood films (Al-Adwan, 2009, 2015; Thawabteh, 2012). Hence, the study intends to address these gaps by focusing on PBPRTW in a corpus of 75 Hollywood films, which is by far the largest parallel corpus of its kind in the Arab world. The scale of this corpus allowed the author to draw some generalisations about the extent to which PBPRTW in Hollywood films is maintained and euphemised when subtitled in Arabic and how subtitlers deal with types of profanity. In addition, investigating the role of taboo function and its impact on the way subtitlers use euphemism strategies should be considered further in Arabic contexts.

The study followed a corpus-based approach in the sense that the data were taken from 75 Hollywood films (see Appendix A in the Supplementary Information). The films selected for this study are based on the following six criteria:

Availability: Many DVD movies do not have Arabic subtitles; it was necessary to resort to various video streaming services such as Amazon Prime and Netflix. Also, several movies were rented or bought from the iTunes Store.

To fit the nature and data of this study, a combination of strategies was identified. The author drew on previous studies (Al-Adwan, 2015; Davies, 2003; Farghal 1995; Williams, 1975; Warren, 1992) to identify how subtitlers deal with PBPRTW. The author conducted a pilot study using two films to determine the applicability of euphemism strategies in the remaining films. The pilot study found that several euphemism strategies are not used in Arabic subtitles, as those strategies are not designed for cross-cultural studies or written translation, such as subtitling into Arabic, but rather in monolingual contexts. To illustrate, the following example shows how the phonetic distortion strategy was used, as proposed by Farghal (1995).

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