Definitions of Accuracy The Accuracy of Translation

subtitling is diagonal, in the sense that the subtitler crosses over from speech in one language to writing in another, thus changing mode and language. Gottlieb also draws another distinction based on technical process of subtitling. Those are open subtitling and closed subtitling. Open subtitling includes 1 cinema subtitles, which are either a physical part of the film as in films for public viewing or transmitted separately for example at festival screenings and 2 interlingual television subtitles transmitted terrestrially and broadcast as part of the television picture. Meanwhile, closed subtitling includes 1 television subtitles for the Deaf and hard hearing, selected by the individual viewer on a remote-control unit and generated by a decoder in the television set and 2 interlingual television subtitles transmitted by satellite, allowing different speech communities to receive different versions of the same program simultaneously. Hatim and Mason 2000:430-431 say that the main constraints on subtitling, which create particular kinds of difficulties for the translator. They are, broadly speaking, of four kinds: 1 the shift of mode from speech to writing. This has the result that certain features of speech non-standard dialect, emphatic devices such as intonator, code-switching, and style-shifting, turn-taking will not automatically be represented in the written form of the target text. 2 factors which govern the medium or channel in which meaning is to be conveyed. There are physical constraints of available space generally up to 33, or in some cases 40 keyboard characters per lines; no more than two line on screen and the pace of the sound-track dialogue title may remain on screen for minimum of two and a maximum of seven seconds. 3 the reduction of the source text as a consequence of 2 above. Because of this, the translator has to reassess coherence strategies in order to maximize the irretrievability of intended meaning from a more concise target language version. 4 the requirements of matching the visual image. The acoustic and visual images are separable in movie, and in translating, coherence is required between the subtitled text and the moving image itself. Thus, matching the subtitle to what is actually visible on screen may at times create additional constraint. Nida 1968:178 says that in making a translation of motion picture is simply to translate meaningful and idiomatically the speaking-script, with some general attention to overall corresponding length. This translation is then written out on movie, which is synchronized with the picture. Based on his experience in subtitling from English to Japanese, Matsumoto 2003:101-102 proposes the subtitling process into basically two stages as presented below. 1. Stage 1 includes translating materials from English into Japanese and vise versa. a. Step 1: Translating the sentences literally.