From old tricks to Netflix: How local are interlingual subtitling norms for streamed television?

Abstract

Like other translation norms, interlingual subtitling norms for television evolve over time, influenced by technology, mediascape development and other trends. Originating in cinema subtitling norms, TV subtitling norms began to develop at national public service broadcasters. Later, norms became international with the rise of the DVD and the proliferation of commercial TV in Europe. These days, the most influential force driving subtitling norms is arguably the global video on demand (VOD) providers. This paper investigates the subtitling guidelines of VOD giant Netflix, in search of the question: How local are interlingual subtitling norms for streamed television? The results show that there is little variation in the initial guidelines, but that they are continually becoming more varied, as they are localized using input from users.

Professional vs Non-professional Translation of Korean TV Dramas

“…These guidelines specify Netflix's standards for line length (42 characters per line), as well as duration, reading speed, line treatment, timing, credits, etc. (Pedersen, 2018). This is in contrast to Viki, who impose no strict norms or guidelines about such conventions.…”

“…Comparatively, Netflix has over 195 million paid subscriptions worldwide as of October 2020 (Netflix, 2020), and is one of the largest VOD platforms in the world with a presence in almost every country in the world (Pedersen, 2018). According to Pedersen (2018), Netflix commissions its translation through several means. Among these is the now closed Hermes test system, which was used to recruit freelancers to work directly for the company.…”

“…However, one year later, in March 2018, the program was closed, due to having "reached our capacity for each one of the language tests" according to the Netflix website (Bond, 2018). According to Pedersen (2018), other means used by Netflix include commissioning a large portion of its subtitles from independent subtitling companies, as well as occasionally purchasing used subtitle files from other distributors. However, irrespective of how the subtitles are acquired, they must follow Netlix's in-house guidelines, known as Timed Text Style Guides (TTSGs) (Pedersen, 2018).…”

“…According to Pedersen (2018), other means used by Netflix include commissioning a large portion of its subtitles from independent subtitling companies, as well as occasionally purchasing used subtitle files from other distributors. However, irrespective of how the subtitles are acquired, they must follow Netlix's in-house guidelines, known as Timed Text Style Guides (TTSGs) (Pedersen, 2018). These guidelines specify Netflix's standards for line length (42 characters per line), as well as duration, reading speed, line treatment, timing, credits, etc.…”

“…Furthermore, this is the only episode in this study in which Netflix used transliterations of Korean words such as "noona", "sunbae" and "chaebol" which is a typical feature of fansubbing. According to Pedersen (2018), Netflix occasionally purchases used subtitle files from other distributors which is a likely explanation for the striking similarity between some Netflix and Viki subtitles. Furthermore, O'Hagan ( 2009) explains that at least for anime translations, fansubbing styles appear to be influencing commercial subtitles, and some trusted fansubbing groups are occasionally even hired to create the official subtitles.…”