Viewers who watch international films in the original language with subtitles (in German we call this "OmU" for "Original mit Untertiteln") can follow the plots because of the subtitlers' written interpretation of the foreign-language dialogue. This subtitling work involves complex interlingual translation – from the foreign language into the translator's native language, and from spoken dialogue into written language.
In the course of the work process, foreign-language subtitling presents its creator with a number of challenges. The first step, creating the subtitles, is of a somewhat technical nature. This "spotting" is done with the help of special software that makes it possible to determine the input and output of the subtitle with frame accuracy; it assigns text to the on-screen dialogue and marks it with precise time codes. The subtitle must be in sync with the dialogue, but should also follow the editing and rhythm of the film. The duration of the subtitle on-screen always depends on the number of characters displayed and the assumed reading speed of the audience.
The spotter must also consider the subsequent translation process. How long can, and must, the subtitle remain in place in order to adequately and legibly convey the spoken dialogue? When a film is fast-paced and has a lot of dialogue, clever abbreviation is particularly important. The idea is to show both as much text as necessary and as little as possible. Here, too, it's important to achieve balance and edit the text skilfully. Viewers naturally don't want to have the feeling that information is being kept from them, and yet important or recurring plot elements must be kept in. All this frequently poses subtitlers with quite a puzzle.
A specific feature of foreign-language subtitling is that the original can be directly compared with the translation during the screening. This can expose it to frank criticism from the audience. Additional challenges exist since the translator is rendering spoken language in written language and may be translating dialects, slang, jokes or rhymes.
If a subtitle is successful, it nestles harmoniously under the cinematic image. It is easy to read; the viewer grasps it almost without noticing. Rather than blocking the view, it leaves enough space for the cinematic image. The translation follows the linguistic rhythm of the original as closely as possible by reflecting cultural specifics as smoothly and informally as possible.
For subtitlers, the process is a balancing act, a constant harmonisation of legibility, completeness and fidelity to the original. Subtitling is an art that requires craftsmanship, technique and experience as well as musicality, creativity and courage. And. finally, a little humility, since a good subtitler knows that their work will only succeed if the audience is barely aware of it.
