Araştırma Makalesi
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Altyazı Çevirisinde Teknoloji Destekli Yaratıcılık Açılımı

Yıl 2021, Sayı: 30, 108 - 132, 16.07.2021
https://doi.org/10.37599/ceviri.933092

Öz

Çalışmada yaratıcı altyazı çevirisi olarak betimlenen yenilikçi bir olgu üzerinde durulmuştur. İlk bölümde altyazı çevirisine çeviribilimsel bakış açısındaki değişimler evreler hâlinde özetlenmiş, bu evrimler içinde günümüzde önemle üzerinde durulan kaynakta erişim sağlanması, herkes için tasarım, tümleşik altyazı çevirilerinin oluşturulması gibi açılımlardan da ivme alarak ortaya konan yaratıcı altyazı çevirisi olarak adlandırılabilecek açılıma odaklanılmıştır. Yaratıcılığın altyazı çevirisindeki kapsamına odaklanan bölümde ise, altyazı çevirisinde değişmeyen olgulardan söz edilmiş ve yaratıcılığın nasıl ve nerede devreye girdiği anlatılmıştır. Çalışmayla benzer konularda yapılan çalışmalara örnekler verilmiş, çok disiplinli çalışmalar, teknoloji uzmanlarının, tasarım uzmanlarının çalışmaları ve çeviribilimcilerin kısıtlı çalışmaları örneklenmiştir. Yöntemin betimlendiği bölümde altyazı çevirmeninin temel bakış açısından, uyguladığı bir yöntemin, stratejinin ne amaca hizmet edeceği veya nasıl bir etki yaratacağı araştırılarak bir araya getirilen derlem sunulmuştur. Derlem, internette çalışmada sözü edilen konuda bulunan örneklerden oluşmaktadır. Bulgular kısmında çalışma kapsamında yaratıcı altyazı çevirisinin beş açılımı olarak nitelendirilen sessel düzgüden kaynaklanan etkinin yansıtımı, kaynaktaki vurguların iletimi, ek bilgi iletimi, alımlama ve eşzamanlılık, alıcı odaklılık, duygu aktarımı konuları örneklerle betimlenmiştir. Örnekler tek tek açıklanmış, bu örneklerde uygulanan altyazı çevirisi stratejilerinin ne amaca hizmet ettiği ve edebileceği konusunda görüş ve bulgular paylaşılmıştır. Tartışma ve sonuç bölümünde çalışmada sözü edilen açılımın günümüzde yaygınlığına ve ileriye yönelik potansiyeline odaklanılmıştır. Özellikle de araştırmacıların ve eğitimcilerin bu konuda üstlenmesi gerekebilecek sorumluluklara değinilmiştir.

Kaynakça

  • ABC. (2010). Industry guidelines on captioning television programs. www.abc.net.au/mediawatch /transcripts/1105_freetvguidelines.pdf.
  • Albertini, J. & Mayer, C. (2011). Using miscue analysis to assess comprehension in deaf college readers. Journal of Deaf Studies and Deaf Education, 16, 35–46. https://doi.org/doi:10.1093/deafed/enq017.
  • Baker, R. G., Lambourne, A. & Rowston, G. (1984). Handbook for television subtitlers. Independent Broadcasting Authority.
  • BBC. (2018). BBC subtitle guidelines. The British Broadcasting Corporation. http://bbc .github.io/ subtitleguidelines/.
  • Black, S. (2020). Could integrated subtitles benefit young viewers? Children’s reception of standard and integrated subtitles: a mixed methods approach using eye tracking, Perspectives. https://doi.org/10.1080/0907676X.2020.1849324
  • Brewer, E., Selfe, C. & Yergeau, M. (2014). Creating a culture of access in composition studies. Composition Studies, 42(2), 151-154. Brown, A., Jones, R., & Crabb M. (2015) Dynamic subtitles: The user experience. D. Geerts, L. De Marez & C. Pauwels (Eds.), Proceedings of the ACMinternational conference on interactive experiences for TV and online video (ss. 103-112). Association for Computing Machinery. https://dl.acm.org/doi/proceedings/10.1145/2932206
  • Butler, J. (2016). Where access meets multimodality: The case of ASL music videos. Kairos, 21(1).
  • Butler, J. (2017). Creating a (deaf)space for the fluidity of captions in video compositions. Conference on College Composition and Communication. NCTE.
  • Chiaro, D. (2009). Issues in audiovisual translation. J. Munday (Ed.), The Routledge companion to translation studies (ss. 141-165). Routledge.
  • Delabastita, D. (1989). Translation and mass-communication: Film and TV translation as evidence of cultural dynamics. Babel, 35(4), 193–218.
  • Diaz-Cintas J., Matamala, A. & Neves, J. (Eds.) (2010). New insights into audiovisual translation and media accessibility. Rodopi.
  • Diaz-Cintas, J. & Remael, A. (2009). Audiovisaul translation: Subtitling. St Jerome Publishing.
  • Díaz Cintas, J. (2013). The technology turn in subtitling. M. Thelen & B. Lewandowska-Tomaszczyk (Eds.), Translation and Meaning. Part 9 (ss. 119-132). Zuyd University of Applied Sciences.
  • Doherty, S. & Kruger, J.-L. (2018). The development of eye tracking in empirical research on subtitling and captioning. J. Sita, T. Dwyer, S. Redmond, & C. Perkins (Eds.), Seeing into Screens (ss. 46-64). Bloomsbury.
  • Ehrlich, S. F. & Rayner, K. (1981). Contextual 20 effects on word perception and eye movements during reading. Journal of Verbal Learning and Verbal Behavior, 20, 641–655.
  • Hong, R., Wang, M., Xu, M., Yan, S. & Chua, T.-S. (2010). Dynamic captioning: Video accessibility enhancement for hearing impairment. Proceedings of ACM Multimedia Conference. ACM.
  • Jankowska, A. & Szarkowska, A. (2015). New points of view on audiovisual translation and media accessibility. Peter Lang.
  • Kruger, J.-L. & Steyn, F. (2014). Subtitles and eye tracking: Reading and performance. Reading Research Quarterly, 49(1), 105–120. https://doi.org/10.1002/rrq.59.
  • Kruger, J.-L., Szarkowska, A. & Krejtz, I. (2015). Subtitles on the moving image: an overview of eye tracking studies. Refractory, 25, 1-14.
  • Lazar, J. & Stein, M. A. (2017) Introduction. Lazar, J., Stein, M. A. (Eds.). Disability, human rights, and information technology (ss. 1-10). University of Pennsylvania Press.
  • Lee, J., Jun, S., Jodi, F. & Hudson, S. E. (2006). Using kinetic typography to convey emotion in text-based interpersonal communication. Proceedings of the 6th Conference on Designing Interactive Systems. ACM.
  • McClarty, R. (2012). Towards a multidisciplinary approach in creative subtitling. MonTI, 4, 133-153.
  • Media Access Australia. (2012). Captioning Guidelines. https://mediaaccess.org.au/practicalwebaccessibility/ media/caption-guidelines
  • Möhnle, M. (2020, 16 Nisan). Creative subtitles – design and mechanics. IRT. https://lab.irt.de/creative-subtitles-design-and-mechanics/
  • Neves, J. (2008). Training in subtitling for the d/Deaf and the hard‐of‐hearing. J. Díaz Cintas (Ed.), The didactics of audiovisual translation (ss. 171-. 189). John Benjamins.
  • Okyayuz, A. Ş. (2016). Altyazı çevirisi. Siyasal Kitabevi.
  • Okyayuz, A.Ş. (2019). Görsel-işitsel çeviri ve engelsiz erişim. Siyasal Kitabevi.
  • Okyayuz, A. Ş. & Kaya, M. (2017a). Görsel‐işitsel çeviri eğitimi. Siyasal Kitabevi.
  • Okyayuz, A. Ş. & Kaya, M. (2017b). Çevirmenlik ve yaratıcılık. Frankofoni: Fransız Dili ve Edebiyatı İnceleme ve Araştırmaları Ortak Kitabı, 30, 317-339.
  • Perego, E. (2008a). Subtitles and line-breaks: Towards improved readability. D. Chiaro, C. Heiss, & C. Bucaria (Eds.), Between Text and Image: Updating research in screen translation, (ss. 211–223). John Benjamins. https://doi.org /10.1075/btl.78.21per.
  • Perego, E. (2008b). What would we read best? Hypotheses and suggestions for the location of line breaks in film subtitles. The Sign Language Translator and Interpreter, 2(1), 35–63.
  • Perego, E. (2016). Gains and losses of watching audio described films for sighted viewers. Target, 28(3), 424-444.
  • Persson, H., Åhman, H., Yngling, A. A. & Gulliksen, J. (2015). Universal design, inclusive design, accessible design, design for all: different concepts – one goal? On the concept of accessibility – historical, methodological and philosophical aspects. Universal Access in the Information Society, 14, 505–526.
  • Rashid, R., Vy, Q., Hunt, R. & Fels D. I. (2008). Dancing with Words: Using Animated Text for Captioning. International Journal of Human-Computer Interaction, 24(5), 505–19.
  • Rawsthorn, A. (2007, 27 Mayıs). The director Timur Bekmambetov turns film subtitling into an art. New York Times. http://www.nytimes.com/2007/05/25/style/25iht- design28.1.5866427.html?pagewanted=all&_r=0.
  • Romero-Fresco, P. (2011). Subtitling through speech recognition: Respeaking. Routledge.
  • Romero-Fresco, P. (2013). Accessible filmmaking: Joining the dots between audiovisual translation, accessibility and filmmaking. The Journal of Specialised Translation, 20, 201-223.
  • Romero-Fresco, P. (2019) Accessible Filmmaking: Integrating translation and accessibility into the filmmaking process. Routledge
  • Rosenberg, G. (2007, 15 Mayıs). Rethinking the art of subtitles. Time. http://content.time.com/time/arts/article/0,8599,1621155,00.html.
  • Strapparava, C., Valitutti, A. & Stock, O. (2007). Dances with words. Proceedings from 20th International Joint Conference on Artificial Intelligence. ACM.
  • Vy, Q. V., Mori, J. A., Fourney, D. W., & Fels, D. I. (2008). EnACT: A software tool for creating animated text captions. Klaus Miesenberger, Joachim Klaus, Wolfgang Zagler, & Arthur Karshmer (Eds.), Proceedings from: Computers Helping People With Special Needs: 11th International Conference. Springer.
  • Vy, Q. V. & Fels, D. I. (2009). Using avatars for improving speaker identification in captioning. Tom Gross vd. (Eds.), INTERACT 2009, Part II, LNCS 572 (ss. 916–919). International Federation for Information Processing.
  • Vy, Q. V. (2012). Enhanced captioning: Speaker identification using graphical and text-based identifiers [Yayımlanmamış yüksek lisans tezi]. Ryerson University. http://digitalcommons.ryerson.ca/dissertations/1702/.
  • Zdenek, S. (2007). Just roll your mouse over me: Designing virtual women for customer service on the web. Technical Communication Quarterly, 16(4), 397–430.
  • Zdenek, S. (2011). Which sounds are significant? Towards a rhetoric of closed captioning. Disability Studies Quarterly, 31(3), 74-97. https://dsq-sds.org/article/view/1667/1604
  • Zdenek, S. (2014). More than mere transcription: Closed captioning as an artful practice. User Experience Magazine 14(1). http://www.usabilityprofessionals.org/uxmagazine/more-than-mere-transcription/.
  • Zdenek, S. (2015). Reading sounds: Closed-captioned media and popular culture. The University of Chicago Press.
  • Zdenek, S. (2016). Cripping closed captioning: Experiments with type, icons, and dynamic effects. Sweetland Digital Rhetoric Collaborative. Blog Carnival 9. http://www.digitalrhetoriccollaborative.org/2016/07/26/cripping-closed-captioning-experiments-with-type-icons-and-dynamic-effects/
  • Zdenek, S. (2018a). Designing captions: Disruptive experiments with typography, color, icons, and effects. Kairos: A Journal of Rhetoric, Technology, and Pedagogy, 23(1). http://kairos.technorhetoric.net/23.1/topoi/zdenek/index.html
  • Zdenek, S. (2018b). Guest editor’s introduction: Reimagining disability and accessibility in technical and professional communication. Communication Design Quarterly, 6(4), 4-11.
  • Zdenek, S. (2020). Transforming access and inclusion in composition studies and technical communication. College English, 82(5), 536-544.
  • Gattaca (1997). https://www.imdb.com/title/tt0119177/?ref_=fn_al_tt_1
  • Night Watch (2004). https://www.imdb.com/title/tt0403358/
  • Sherlock (2010-2017). https://www.imdb.com/title/tt1475582/
  • Sherlock Holmes. (2009). https://www.imdb.com/title/tt0988045/
  • The 100 (2015). Blood Must Have Blood, Part 2. https://www.imdb.com/title/tt3986350/
  • The Conjuring 2 (2016). https://www.imdb.com/title/tt3065204/?ref_=fn_al_tt_1
  • Three Musketeers (2011). https://www.imdb.com/title/tt1509767/
  • When Harry Met Sally (1989). https://www.imdb.com/title/tt0098635/?ref_=nv_sr_srsg_0

New Venues of Creativity in Subtitling with Evolving Technologies

Yıl 2021, Sayı: 30, 108 - 132, 16.07.2021
https://doi.org/10.37599/ceviri.933092

Öz

The study concerns a new venue in subtitling referred to as creative subtitling in the study. In the first section the evolution of subtitling is divided into several eras from a translation studies approach; within the latest era the new venue that builds on new approaches such as accessible filmmaking, design for all and integrated subtitling are detailed, concentrating on the impact of the production of creative subtitles. In the section dealing with the scope of creativity in subtitling, the notion itself is explained with reference to the unchanging constraints and realities in subtitling research and practice, concentrating on where creativity is sought in the act. In the following section detailing similar research, examples are provided from multidisciplinary research as well as from fields such as technology and design also referencing the limited number of studies by translation studies scholars. The methodology of the study is based on the translators’ approach to the phenomena, concentrating on the strategies used and the purpose and impact of the strategies in the product. The corpus complied through material accessible on the internet is used to provide the examples. In the section detailing the findings these examples are grouped into headings such as reflecting the intended effect of the audial channel, relaying stress and intonation, transferring additional information, reception and simultaneity, reflecting feelings in accordance with receiver profiles. The examples are explained with reference to the purpose behind the use of the specific strategies and observations and insight have also been provided. In the discussion and conclusion, the current situation in this new venue of creative subtitling is discussed and future possibilities are also presented. The responsibilities that fall to researchers, subtitlers and trainers alike are also outlined.

Kaynakça

  • ABC. (2010). Industry guidelines on captioning television programs. www.abc.net.au/mediawatch /transcripts/1105_freetvguidelines.pdf.
  • Albertini, J. & Mayer, C. (2011). Using miscue analysis to assess comprehension in deaf college readers. Journal of Deaf Studies and Deaf Education, 16, 35–46. https://doi.org/doi:10.1093/deafed/enq017.
  • Baker, R. G., Lambourne, A. & Rowston, G. (1984). Handbook for television subtitlers. Independent Broadcasting Authority.
  • BBC. (2018). BBC subtitle guidelines. The British Broadcasting Corporation. http://bbc .github.io/ subtitleguidelines/.
  • Black, S. (2020). Could integrated subtitles benefit young viewers? Children’s reception of standard and integrated subtitles: a mixed methods approach using eye tracking, Perspectives. https://doi.org/10.1080/0907676X.2020.1849324
  • Brewer, E., Selfe, C. & Yergeau, M. (2014). Creating a culture of access in composition studies. Composition Studies, 42(2), 151-154. Brown, A., Jones, R., & Crabb M. (2015) Dynamic subtitles: The user experience. D. Geerts, L. De Marez & C. Pauwels (Eds.), Proceedings of the ACMinternational conference on interactive experiences for TV and online video (ss. 103-112). Association for Computing Machinery. https://dl.acm.org/doi/proceedings/10.1145/2932206
  • Butler, J. (2016). Where access meets multimodality: The case of ASL music videos. Kairos, 21(1).
  • Butler, J. (2017). Creating a (deaf)space for the fluidity of captions in video compositions. Conference on College Composition and Communication. NCTE.
  • Chiaro, D. (2009). Issues in audiovisual translation. J. Munday (Ed.), The Routledge companion to translation studies (ss. 141-165). Routledge.
  • Delabastita, D. (1989). Translation and mass-communication: Film and TV translation as evidence of cultural dynamics. Babel, 35(4), 193–218.
  • Diaz-Cintas J., Matamala, A. & Neves, J. (Eds.) (2010). New insights into audiovisual translation and media accessibility. Rodopi.
  • Diaz-Cintas, J. & Remael, A. (2009). Audiovisaul translation: Subtitling. St Jerome Publishing.
  • Díaz Cintas, J. (2013). The technology turn in subtitling. M. Thelen & B. Lewandowska-Tomaszczyk (Eds.), Translation and Meaning. Part 9 (ss. 119-132). Zuyd University of Applied Sciences.
  • Doherty, S. & Kruger, J.-L. (2018). The development of eye tracking in empirical research on subtitling and captioning. J. Sita, T. Dwyer, S. Redmond, & C. Perkins (Eds.), Seeing into Screens (ss. 46-64). Bloomsbury.
  • Ehrlich, S. F. & Rayner, K. (1981). Contextual 20 effects on word perception and eye movements during reading. Journal of Verbal Learning and Verbal Behavior, 20, 641–655.
  • Hong, R., Wang, M., Xu, M., Yan, S. & Chua, T.-S. (2010). Dynamic captioning: Video accessibility enhancement for hearing impairment. Proceedings of ACM Multimedia Conference. ACM.
  • Jankowska, A. & Szarkowska, A. (2015). New points of view on audiovisual translation and media accessibility. Peter Lang.
  • Kruger, J.-L. & Steyn, F. (2014). Subtitles and eye tracking: Reading and performance. Reading Research Quarterly, 49(1), 105–120. https://doi.org/10.1002/rrq.59.
  • Kruger, J.-L., Szarkowska, A. & Krejtz, I. (2015). Subtitles on the moving image: an overview of eye tracking studies. Refractory, 25, 1-14.
  • Lazar, J. & Stein, M. A. (2017) Introduction. Lazar, J., Stein, M. A. (Eds.). Disability, human rights, and information technology (ss. 1-10). University of Pennsylvania Press.
  • Lee, J., Jun, S., Jodi, F. & Hudson, S. E. (2006). Using kinetic typography to convey emotion in text-based interpersonal communication. Proceedings of the 6th Conference on Designing Interactive Systems. ACM.
  • McClarty, R. (2012). Towards a multidisciplinary approach in creative subtitling. MonTI, 4, 133-153.
  • Media Access Australia. (2012). Captioning Guidelines. https://mediaaccess.org.au/practicalwebaccessibility/ media/caption-guidelines
  • Möhnle, M. (2020, 16 Nisan). Creative subtitles – design and mechanics. IRT. https://lab.irt.de/creative-subtitles-design-and-mechanics/
  • Neves, J. (2008). Training in subtitling for the d/Deaf and the hard‐of‐hearing. J. Díaz Cintas (Ed.), The didactics of audiovisual translation (ss. 171-. 189). John Benjamins.
  • Okyayuz, A. Ş. (2016). Altyazı çevirisi. Siyasal Kitabevi.
  • Okyayuz, A.Ş. (2019). Görsel-işitsel çeviri ve engelsiz erişim. Siyasal Kitabevi.
  • Okyayuz, A. Ş. & Kaya, M. (2017a). Görsel‐işitsel çeviri eğitimi. Siyasal Kitabevi.
  • Okyayuz, A. Ş. & Kaya, M. (2017b). Çevirmenlik ve yaratıcılık. Frankofoni: Fransız Dili ve Edebiyatı İnceleme ve Araştırmaları Ortak Kitabı, 30, 317-339.
  • Perego, E. (2008a). Subtitles and line-breaks: Towards improved readability. D. Chiaro, C. Heiss, & C. Bucaria (Eds.), Between Text and Image: Updating research in screen translation, (ss. 211–223). John Benjamins. https://doi.org /10.1075/btl.78.21per.
  • Perego, E. (2008b). What would we read best? Hypotheses and suggestions for the location of line breaks in film subtitles. The Sign Language Translator and Interpreter, 2(1), 35–63.
  • Perego, E. (2016). Gains and losses of watching audio described films for sighted viewers. Target, 28(3), 424-444.
  • Persson, H., Åhman, H., Yngling, A. A. & Gulliksen, J. (2015). Universal design, inclusive design, accessible design, design for all: different concepts – one goal? On the concept of accessibility – historical, methodological and philosophical aspects. Universal Access in the Information Society, 14, 505–526.
  • Rashid, R., Vy, Q., Hunt, R. & Fels D. I. (2008). Dancing with Words: Using Animated Text for Captioning. International Journal of Human-Computer Interaction, 24(5), 505–19.
  • Rawsthorn, A. (2007, 27 Mayıs). The director Timur Bekmambetov turns film subtitling into an art. New York Times. http://www.nytimes.com/2007/05/25/style/25iht- design28.1.5866427.html?pagewanted=all&_r=0.
  • Romero-Fresco, P. (2011). Subtitling through speech recognition: Respeaking. Routledge.
  • Romero-Fresco, P. (2013). Accessible filmmaking: Joining the dots between audiovisual translation, accessibility and filmmaking. The Journal of Specialised Translation, 20, 201-223.
  • Romero-Fresco, P. (2019) Accessible Filmmaking: Integrating translation and accessibility into the filmmaking process. Routledge
  • Rosenberg, G. (2007, 15 Mayıs). Rethinking the art of subtitles. Time. http://content.time.com/time/arts/article/0,8599,1621155,00.html.
  • Strapparava, C., Valitutti, A. & Stock, O. (2007). Dances with words. Proceedings from 20th International Joint Conference on Artificial Intelligence. ACM.
  • Vy, Q. V., Mori, J. A., Fourney, D. W., & Fels, D. I. (2008). EnACT: A software tool for creating animated text captions. Klaus Miesenberger, Joachim Klaus, Wolfgang Zagler, & Arthur Karshmer (Eds.), Proceedings from: Computers Helping People With Special Needs: 11th International Conference. Springer.
  • Vy, Q. V. & Fels, D. I. (2009). Using avatars for improving speaker identification in captioning. Tom Gross vd. (Eds.), INTERACT 2009, Part II, LNCS 572 (ss. 916–919). International Federation for Information Processing.
  • Vy, Q. V. (2012). Enhanced captioning: Speaker identification using graphical and text-based identifiers [Yayımlanmamış yüksek lisans tezi]. Ryerson University. http://digitalcommons.ryerson.ca/dissertations/1702/.
  • Zdenek, S. (2007). Just roll your mouse over me: Designing virtual women for customer service on the web. Technical Communication Quarterly, 16(4), 397–430.
  • Zdenek, S. (2011). Which sounds are significant? Towards a rhetoric of closed captioning. Disability Studies Quarterly, 31(3), 74-97. https://dsq-sds.org/article/view/1667/1604
  • Zdenek, S. (2014). More than mere transcription: Closed captioning as an artful practice. User Experience Magazine 14(1). http://www.usabilityprofessionals.org/uxmagazine/more-than-mere-transcription/.
  • Zdenek, S. (2015). Reading sounds: Closed-captioned media and popular culture. The University of Chicago Press.
  • Zdenek, S. (2016). Cripping closed captioning: Experiments with type, icons, and dynamic effects. Sweetland Digital Rhetoric Collaborative. Blog Carnival 9. http://www.digitalrhetoriccollaborative.org/2016/07/26/cripping-closed-captioning-experiments-with-type-icons-and-dynamic-effects/
  • Zdenek, S. (2018a). Designing captions: Disruptive experiments with typography, color, icons, and effects. Kairos: A Journal of Rhetoric, Technology, and Pedagogy, 23(1). http://kairos.technorhetoric.net/23.1/topoi/zdenek/index.html
  • Zdenek, S. (2018b). Guest editor’s introduction: Reimagining disability and accessibility in technical and professional communication. Communication Design Quarterly, 6(4), 4-11.
  • Zdenek, S. (2020). Transforming access and inclusion in composition studies and technical communication. College English, 82(5), 536-544.
  • Gattaca (1997). https://www.imdb.com/title/tt0119177/?ref_=fn_al_tt_1
  • Night Watch (2004). https://www.imdb.com/title/tt0403358/
  • Sherlock (2010-2017). https://www.imdb.com/title/tt1475582/
  • Sherlock Holmes. (2009). https://www.imdb.com/title/tt0988045/
  • The 100 (2015). Blood Must Have Blood, Part 2. https://www.imdb.com/title/tt3986350/
  • The Conjuring 2 (2016). https://www.imdb.com/title/tt3065204/?ref_=fn_al_tt_1
  • Three Musketeers (2011). https://www.imdb.com/title/tt1509767/
  • When Harry Met Sally (1989). https://www.imdb.com/title/tt0098635/?ref_=nv_sr_srsg_0
Toplam 59 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Dil Çalışmaları
Bölüm Makaleler
Yazarlar

Şirin Okyayuz 0000-0001-7512-2764

Yayımlanma Tarihi 16 Temmuz 2021
Yayımlandığı Sayı Yıl 2021 Sayı: 30

Kaynak Göster

APA Okyayuz, Ş. (2021). Altyazı Çevirisinde Teknoloji Destekli Yaratıcılık Açılımı. Çeviribilim Ve Uygulamaları Dergisi, 2021(30), 108-132. https://doi.org/10.37599/ceviri.933092

Cited By