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Accessible Rhetoric

About Accessible Rhetoric

Website
http://seanzdenek.com/
Profile
Sean Zdenek is an associate professor of technical communication and rhetoric at Texas Tech University. His research interests include disability and accessibility studies, methods of rhetorical criticism, and animated software interfaces.

The Power of Dots and Dashes to Tell the Future

Thursday, March 22nd, 2012


A concern for well-timed captions is included in every definition of caption quality. Along with placement, accuracy, completeness, typography, and style (e.g. pop on or scroll up), timing is a key aspect of quality, particularly for Internet-delivered, prerecorded TV shows and streamed DVDs (where timing can be precisely controlled using “pop on” style captions). For example, according to the “First Report of the Video Programming Accessibility Advisory Committee on the Twenty-First Century Communications and Video Accessibility Act of 2010” (dated July 13, 2011), “the consumer must be given an experience that is equal to, if not better than, the experience provided as the content was originally aired on television.” A quality experience is defined in terms of completeness, placement, accuracy, timing, and media player capabilities (color, opacity, size, typefaces, etc.). The FCC’s recent statement on quality captioning for “Internet Protocol-Delivered Video Programming” continues to define quality in terms of a “consideration of such factors as completeness, placement, accuracy, and timing.”

Because viewers’ reading speed doesn’t align word for word with the speed of actors’ spoken delivery, and because reading speed varies from viewer to viewer, timing can never be fully controlled. A fast-reading viewer may finish reading a line of dialogue before a slow-speaking actor has finished delivering that line. What might start out as a perfectly timed caption can end up out of sync when readers finish reading before actors finish speaking. Continue reading The Power of Dots and Dashes to Tell the Future

When Medium Awareness Extends to Subtitles

Thursday, February 16th, 2012

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The first time I saw the guy in the Dairy Queen commercial hop on the subtitles and hilariously ride them as they chugged off the screen, I began searching for other examples in which characters showed an awareness of the subtitles. The examples I subsequently found, while not strictly accessible to deaf and hard-of-hearing viewers without the support of an additional caption track, nevertheless have the potential to increase awareness of subtitles and subtitling practices.

Subtitling practices occasionally break through to become a topic of discussion among mainstream audiences. For example, when the Papyrus typeface was used for the subtitles in Avatar, it was universally panned by designers and typophiles. Three quick examples:

The Dairy Queen commercial is compelling to me for the way it similarly elevates subtitles to a topic of discussion. Subtitles become integral, meaningful elements of the text in their own right. They don’t support or translate the primary meaning of the text, or try to sit unobtrusively at the bottom of the screen. Instead, they make their own meaning. We are asked to look at them, not merely look through them.

The examples that follow elevate subtitles by breaking through the so-called fourth wall. The imaginary fourth wall separates the audience from the action on screen or stage. When the audience suspends its disbelief, the events are taken as real and believable. When fictional characters show an awareness of the medium (e.g. by talking directly into the camera, commenting on the soundtrack, bumping into or referring to the subtitles, etc.), they break through the fourth wall that enables the audience’s suspension of disbelief.

Put simply, fictional characters are not supposed to see subtitles. When they can, it’s usually in the service of a joke.

Loaded Weapon (1993)

Austin Powers in Goldmember (2002)

Warning: Content may be offensive.

The Man with Two Brains (1983)

Fatal Instinct (1993)

Bugsy Malone (1976)

Wayne’s World (1992)

Portlandia, “Baseball” (Season 1, Ep 6, 2011)

Warning: Content may be offensive.

Closed Captions, Setting the Site (Vimeo)

Subtitled Arab (YouTube)

Warning: Content may be offensive.

As you can see, medium awareness of subtitles is often channeled through comedy, especially the screwball variety. This isn’t surprising, since breaks in the fourth wall are often used for comedic effect. When a movie threatens the presumed sanctity of the fourth wall, viewers are moved out of the real and into the absurd.

Because subtitles in these examples share the same space on the screen with the closed captions, designers and captioners must strive to avoid conflict and overlap (e.g. see the Portlandia and Goldmember examples). It’s important to remember that some viewers will be trying to process two text streams at the same time: the on-screen subtitles and the closed captions.

What additional examples of medium awareness (involving subtitles) are you aware of?

[A note on method: A number of these examples were found on TVtropes.org, which is an excellent repository for all kinds of examples of medium awareness.]

[Fair use notice: The videos on this site are transformative works used in good faith, in keeping with Section 107 of U.S. copyright law, and as such constitute fair use of copyrighted material. Read this site's full fair use notice.]

Captioning names in The Fifth Element

Friday, January 13th, 2012

One of my favorite scenes in The Fifth Element (1997) is the formal introduction between Bruce Willis and Milla Jovovich. Willis’ comedic timing is, as always, delightful. Jovovich’s quick, monotone delivery is hilarious. Seeing the full name spelled out in all its hyphenated glory is one of the highlights of the captioned viewing experience: Leeloo Minai Lekarariba-Laminai-Tchai Ekbat De Sebat.

The official DVD of The Fifth Element contains two caption streams: a bitmap stream of speech-only subtitles (the video example above), and a text stream of full closed captions (in which all significant sounds are supposed to be captioned, both speech and non-speech). While the closed captioned version below includes verbatim speech (unlike the subtitled version above), it cops out on Leeloo’s full name, opting instead for an unhelpful non-speech caption: [Speaking Unknown Language]. But that’s her name, not an unknown language! Continue reading Captioning names in The Fifth Element

Captioned Hypnosis

Tuesday, November 8th, 2011

The Hypnotoad: A large toad with pulsating, multicolored eyes which emits a loud noise.

What the Hypnotoad can teach us about closed captioning

Recurring sounds on TV shows present us with an opportunity to explore questions of consistency and accuracy in closed captioning. When a sound recurs in the same context or originates repeatedly from the same character, should it be captioned consistently? Moreover, given a number of different, presumably viable options for captioning the same recurring sound/character, which option is best?
Continue reading Captioned Hypnosis