This paper presents the virtual speech cuer built in the context of the ARTUS project aiming at watermarking hand and face gestures of a virtual animated agent in a broadcasted audiovisual sequence. For deaf televiewers that master cued speech, the animated agent can be then superimposed on demand and at the reception on the original broadcast as an alternative to subtitling. The paper presents...

This paper presents the virtual speech cuer built in the context of the ARTUS project aiming at watermarking hand and face gestures of a virtual animated agent in a broadcasted audiovisual sequence. For deaf televiewers that master cued speech, the animated agent can be then incrusted on demand and at the reception in the original broadcast as an alternative to subtitling. The paper presents th...

Focusing on contemporary Taiwanese popular culture, this paper delineates how the subtitling of a Korean music video has become a battlefield on which meanings are poached through punning in the process of translation. It contextualises Korean popular culture as one of the dominant genres in Taiwan and introduces ‘Sorry Sorry,’ a chart topper by Super Junior. In the specific social, cultural, p...

Abstract Subtitling involves constraints about differences between cultures. This requires a set of translation strategies, especially when subtitling from relatively conservative to more liberal study explores subtitlers’ strategies translating the Jordanian Arabic vernacular series Jinn into English. has been selected because it’s Netflix’s first Arabic-Jordanian containing explicit scenes an...