• Valérie Gillet

Netflix and unchill

Dernière mise à jour : 28 août



I always watch everything in the original version, even when I don't understand a word of the language.


Therefore, like most people who don't watch dubbed audiovisual material, I rely heavily on subtitles to understand what's going on in languages such as Japanese, Swedish, Turkish, Arabic, Russian or even Italian and Portuguese (of which I have limited understanding).


Dubbing makes me cringe, but there's nothing as infuriating for a translator as reading a bad translation, especially when watching a good movie.


It ruins everything.


When I'm watching something in a language I know nothing about and, despite not being able to understand what's being said, I read subtitles which don't make much sense, I wonder who can translate things so badly even the people who don't get a single syllable of the source language realise the target subtitles are gibberish.


As a professional linguist, I can't help but feel angry at the people who give such a bad name to my trade.


But most of all, I blame those who commission such crucial work to non-professional subtitlers or who pay impossibly low rates and impose unfeasible deadlines to have important works of art subtitled.


For me, movies, series, documentaries and even animes are not only entertainment but also cultural, artistic, educational and sometimes life-altering material and media.


When I started studying translation, I always thought at some point I would end up translating and subtitling audiovisual work.


But the low rates, the working conditions and the crazy rhythm, as well as the lack of professionalism in the subtitling sector have deterred me so far.


It's a shame because I love cinema and the audiovisual arts in general.


Why is it that the most fascinating subjects and niches are often the least sustainable and cost-effective business-wise?

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