Why subtitle speed matters: Evidence from word skipping and rereading

Kruger, Jan‐Louis; Wisniewska, Natalia; Liao, Sixin

doi:10.1017/s0142716421000503

Cited by 12 publications

(2 citation statements)

References 49 publications

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“…Hence, the study by Szarkowska and Gerber-Morón (2018) and Kruger et al (2022) revealed opposing findings that most viewers of their participants could also read the subtitles and follow images. They did so even when the subtitle rates were fast.…”

Section: Discussionmentioning

confidence: 93%

Language Education: Conceptual and Practical Explorations (LECPE 2022)

2022

JSSH

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Implementing the online learning process requires qualified EFL teachers as agents of change to get hold of effective learning resources to help students achieve learning goals.This pilot study explores EFL students' perceptions from two private Islamic senior high schools in urban areas in Aceh Province, Indonesia, towards using video clips with subtitles (bimodal of English-Indonesian) while learning English in the classroom. The study applied the mixed-methods design by disseminating a questionnaire to 78 participants and conducting a semi-structured interview with ten selected participants. Findings revealed that most students positively perceived using subtitled video clips in learning English vocabulary. However, some encountered setbacks in learning English words due to the poor use of the elements in the video clip subtitles. Therefore, the subtitling procedures still need revisiting to assist students better in digesting subtitled movies in a more wellorganized manner.

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Section: Discussionmentioning

confidence: 93%

Language Education: Conceptual and Practical Explorations (LECPE 2022)

2022

JSSH

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“…This is not the direction that the industry is taking, though. In its most recent SDH guidelines, Netflix (2022) sets a speed of 20 characters per second, which is at the very limit of what hearing viewers can follow (Kruger et al, 2022) and very unlikely to be of use to many viewers with hearing loss. There are, predictably, financial reasons behind this: fast captions are more affordable than slow ones, as they require less editing of the original dialogue and therefore less time to make.…”

Section: The Universal In Media Accessibilitymentioning

confidence: 99%

Accessibility as a Conversation

Romero-Fresco

Dangerfield²

2022

JAT

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Film has a long-standing relationship with the notion of universality, which has often been used by Hollywood to perpetuate a dominant and unified worldview and to disseminate certain (Western) values that contribute to establishing what should and should not be considered normal, including the idea of the normative individual. Audiovisual translation and media accessibility could undermine the notion of universality in film; however, media accessibility has somehow reinstated this idea through reference to universal design and the use of the phrase “for all”. This can mask the exclusion of certain users who are not catered for by most mainstream accessibility guidelines. The first aim of this article is to explore how the notion of universality has been used in media accessibility and how it is reflected in official guidelines and in current practice. The second aim is to introduce the work of an emerging wave of (mostly disabled) artists who are proposing an alternative approach to media accessibility, one that is openly subjective, increasingly creative and that often works as a political tool in a wider fight against discrimination and for real inclusion. These artists consider access as a conversation involving meaningful contributions by disabled and non-disabled people. Lay summary The first aim of our article is to explore how the notion of universality has been used in film and especially in media accessibility. We also look at how this idea is reflected in official guidelines and in current practice. We focus on the examples of universal design and the phrase "for all", which are prevalent in the field of media accessibility. This way of thinking typically masks the exclusion of certain users who are not catered for by most mainstream accessibility guidelines. Media accessibility has the potential to challenge what is considered as "normal" and the second aim of our article is to introduce the work of an emerging wave of (mostly disabled) artists who are proposing an alternative approach to media accessibility. This approach is subjective, creative and often works as a political tool in a wider fight against discrimination and for real inclusion. These artists consider access as a conversation involving meaningful contributions by disabled and non-disabled people.

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Customization of Closed Captions via Large Language Models

Arroyo Chavez,

Thompson,

Feanny

et al. 2024

Lecture Notes in Computer Science

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This study investigates the feasibility of employing artificial intelligence and large language models (LLMs) to customize closed captions/subtitles to match the personal needs of deaf and hard of hearing viewers. Drawing on recorded live TV samples, it compares user ratings of caption quality, speed, and understandability across five experimental conditions: unaltered verbatim captions, slowed-down verbatim captions, moderately and heavily edited captions via ChatGPT, and lightly edited captions by an LLM optimized for TV content by AppTek, LLC. Results across 16 deaf and hard of hearing participants show a significant preference for verbatim captions, both at original speeds and in the slowed-down version, over those edited by ChatGPT. However, a small number of participants also rated AI-edited captions as best. Despite the overall poor showing of AI, the results suggest that LLM-driven customization of captions on a per-user and per-video basis remains an important avenue for future research.

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Why subtitle speed matters: Evidence from word skipping and rereading

Cited by 12 publications

References 49 publications

Language Education: Conceptual and Practical Explorations (LECPE 2022)

Language Education: Conceptual and Practical Explorations (LECPE 2022)

Accessibility as a Conversation

Customization of Closed Captions via Large Language Models

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