printed texts because the verbal and visual contents of audiovisual products function inseparably to create a meaningful whole. The most common screen
translation is subtitle. Subtitles, sometimes referred to captions, are transcriptions of film or TV
dialogue, presented simultaneously on the screen Baker 2005: 244. Subtitles are commonly presented in the bottom of the picture. It consists of two lines of an
average maximum length of 35 characters Baker 2005: 245. Subtitling is one of the most commonly used translation approaches to be found in the category of
screen translation. Furthermore, Gottlieb in Orero 2004: 86 defines subtitling as “the rendering in a different language of verbal messages in filmic media, in the
shape of one or more lines of written text, presented on the screen in synch with the original verbal message”.
The subtitling technique is the translation of movie dialogues, started taking shape with the invention of sound movie in 1927 Ivarsson, 2004. The
first movie to feature some audible dialogue lines was The Jazz Singer directed by Al Jolson. From the years 1927, movie producers decided to insert titles in the
picture due to translation issue. This technique is called subtitling.
3. Wordplay
a. Notions of Wordplay
Many researchers who wrote on the subject of wordplay seem to use the terms “wordplay and pun more or less interchangeably. Delabastita in Schröter
2005: 85 for example, literally says: “I will consider pun synonymous with
‘instance of wordplay”. Balci 2005: 8 also agrees with Delebastita stating that the two terms can be used interchangeably and refer to the same thing.
Chiaro 1992: 2 says that wordplay is “the use of language with intent to
amuse”. The ‘amuse’ here can be in the form of humour or seriousness, but in many cases of wordplay, comical or humorous is the main effect of using it.
However, in creating this comical or humorous effect, at the same time, wordplay reflects a fundamental characteristic of the linguistic system, the anisomorphism
between the levels of signifier and signified, lack of a one-to-one correspondence between form and meaning, which is evident in phenomena like polysemy or
homophony. As Delabastita 1994: 223 points out that the semantic and
pragmatic effects of source text wordplay find their origin in particular structural characteristics of the source language such as the existence of certain
homophones, near homophones, polysemic clusters, idioms or grammatical rules. Practically every definition of the wordplay emphasizes what one could
call the identity or similarity of form versus the difference in meaning. Leech, for example, in his definition about wordplay, he points out homonymy or
polysemy is the origin of wordplay as a foregrounded lexical ambiguity 1969: 209. Further, Delabastita 1996: 128 gives a definition on wordplay in more
precise and comprehensive way as the general name for the various textual phenomena in which structural features of the languages are exploited in order
to bring about a communicatively significant confrontation of two or more linguistic structures with more or less similar forms and more or less different
meanings.
b. Typology of Wordplay
