The images in Critique of Separation are often taken from comics, ID photos and newspapers, or from other films. In many cases subtitles are added, which may be rather difficult to follow at the same time as the spoken commentary. The people who have been directly filmed are almost always none other than members of the film crew.
This general critique of separation obviously contains and covers some particular memories. A less recognized pain, the awareness of a less explainable indignity. Exactly what separation was it? How quickly we have lived! It is to this point in our unreflecting history that I bring us back.
A Separation English Subtitles
Generally, each line should be broken only after a linguistic "whole" or "unit," no matter if it's the only line in the subtitle, or the first or second line in a longer subtitle. This means that sometimes it's necessary to rephrase the subtitle in order to make it possible to break lines without breaking apart any linguistic units, e.g. splitting apart an adjective and the noun that it refers to. Other times, you may need to split a subtitle into two separate subtitles, if rephrasing doesn't help with fitting within 42 characters maximum per line.
This type of rephrasing can be referred to as "compressing" or reducing text. Depending on the context, it may be possible to omit some information, if previous subtitles or other sources (a slide, the viewer's general knowledge) are certain to fill the blanks anyway. This way, you can avoid breaking apart any linguistic units. You can learn more about compressing subtitles from this guide.
Sometimes, there is just no way to break the line without splitting a proper name or a grammatical unit, like separating an article from the noun it refers to. In these cases, you can often split the subtitle itself into two separate subtitles, which will allow you to break the line longer than 42 characters. To split a subtitle, shorten the subtitle's duration using the sliders on the timeline, and then insert a new subtitle in the resulting gap by clicking the "plus" button on the subtitle below it.
Important: after you've added a new subtitle while translating, the number of subtitles in your translation will increase, so there will no longer be a 1:1 correspondence between the position of the original subtitle and the translation box. To ensure that you don't start translating subtitles in the wrong boxes and thus de-synchronize the translation, unlock the subtitle scrolling using the "padlock" button at the bottom of the interface, and scroll your translation so that the the position of first untranslated subtitle corresponds to its equivalent in the original subtitles, and then re-lock the scrolling by clicking the "padlock" button again.
The examples below show places in a sentence where lines can be broken. The ideal places to break are marked by the green slashes, while the orange slashes indicate places where it would be OK to break the line if breaking at the green slashes were not possible. Note that you don't normally break lines that do not exceed 42 characters; the examples below are simply used to show various grammatical contexts where a sentence can be broken, not to suggest that you should break subtitles into very short lines. Every language has different line-breaking rules, but the English examples below can inspire you to search for these rules in your language.
Note that this type of "line-breaking" does not always follow the pauses in the talk. Make sure that the way you end the subtitle doesn't reveal something that the viewer is not meant to know about yet. For example, imagine the speaker says "I tried the experiment one more time, not sure if it would work, and it did!," and you could make it one subtitle. However, if the speaker throws up their hands in joy when saying "and it did!," you should end the subtitle after "work," not to reveal the "success" too soon, even though the line length would allow you to keep the whole sentence in one subtitle. If you want to learn more about how to synchronize the subtitles with the talk, see the guide to transcribing talks.
To turn on English subtitles, click the CC in the Vimeo player. The characters in Asghar Farhadi’s 2011 film A Separation are trapped under protocol. In an interval wedged between a responsibility to the past and a duty to the future, their lives whirl in a conflicted present. The film is a raw and sensitive telling of a situation in which there is no right and no wrong, but a multitude of searing greys.Its title sequence and opening scene feature a cold, repetitive scan of identification documents and then an address, the characters explaining their situation directly into the camera. The viewer is first asked to look at these people as they exist on paper, and then into their eyes, to understand and to decide. One of the most captivating films of 2011 begins with this question and it takes a village to make a child answer it.
As the Web grows to rely more and more heavily on multimedia content for consumption by the general public, it is necessary to ensure the accessibility of that formats for publishing that content and the tools for viewing it. W3C promotes accessibility in its specifications in a variety of ways. Adopting XML and related specifications as the basis of markup languages promotes accessibility through increased structure, separation of structure from presentation, interoperability, and reuse. In this paper, we discuss some ways in which the Scalable Vector Graphics (SVG) and Synchronized Multimedia Integration Language (SMIL) specifications will ensure that all users can access rich multimedia on the Web. Some of these benefits arise as a result of using XML, while others are features included so that authors and software can make images, video, and synchronized multimedia accessible to people with disabilities.
SMIL allows an author to synchronize various media-specific presentation tracks. Any number of equivalent alternatives (such as text captions, audio descriptions, subtitles, parallel video tracks of signed interpreters, simplified versions of presentation elements) can be synchronized, and various test attributes allow the user to select which tracks they want.
The following sample has been provided by the CPB/WGBH National Center for Accessible Media (refer to [WGBH-NCAM]). The presentation contains captions, subtitles and auditory descriptions in English and German. To play the presentation, you will need a SMIL player such as the G2 player from [REAL]. Information about this and other SMIL players is available at the W3C Synchronized Multimedia Home Page ([SYMM]).
Awarded the Russkaya Premia in 2010, her poetry is noted for its combination of the political with traditional, lyrical themes. Gorbanevskaya's writing has been compared to that of Marina Tsvetaeva, and speaks of pain, separation, isolation and despair.
As such, this book is a highly interesting addition to the many publications within the North American performance debate. Fischer-Lichte draws on, combines, and questions the well established theories of Turner, Butler, Austin, Schechner, Auslander, and many more. But she is not affected by the separation or even antagonism between performance and theater studies that mark North American scholarship, where the focus on performance has more likely developed by either focusing on events not clearly marked as theater or those challenging conventional theatrical forms (see Jackson 2004). The insightful introduction to the English edition by Marvin Carlson also helps to elucidate this crucial difference and to contextualize The Transformative Power of Performance for the Anglophone audience, who might not be so familiar with the German theater scene. However, some of Carlson's statements (for instance, that the antagonism between theater studies and performance studies in Germany never existed, or that theater goers in Germany will associate theater more generally with "innovative, controversial and artistically challenging productions" [5]) seem slightly too optimistic and overlook differences within the varied German theater (studies) field. 2ff7e9595c
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