Basil Hatim and Ian Mason

POLITENESS IN SCREEN
TRANSLATING

The characteristics of the screen translating and the

main constraints of subtitling. They include four

main categories:
1. The shift is made from speech to writing
2. The characteristics of the channel in which the
meaning will be converted
3. The reduction of the text in order to make its
meanings as clear as possible
4. The text must match the visual image in order
to get a coherent subtitle

Politeness
Politeness means all aspects of language usage

which serve to establish, maintain, or modify

interpersonal relationships between text producer
and text receiver

Face
The term face means everyones public image and

has two main subcategories:

a) The negative face: the claim to freedom of action
and freedom of imposition
b) The positive face: the desire that the public
image is and stays appreciated.

Strategies the users can apply for maintaining a

low-risk possibility of getting a negative face
1.

Do no use the threat-facing acts at all

2. Use the off the record ( make them be seen as
intentions)
3. Do the FTA, but also maintain the negative
politeness, which means that the users should assure
others that they are respected, by using formal
expressions.
4. Do the FTA, but maintain the positive politeness,
which means that the users should express sympathy or
approval, to maintain the others positive face.
5. Do the FTA baldy.

Audience design-the way speakers accommodate

to their addressers
There are four types of audience:
1. Addressees- known to the speaker, and

directed addressed
2. Auditors-known by the speaker , not
directly addressed
3. Over hearers-known by the speaker, not
directly addressed, not ratified
4. Eavesdroppers-not known by the speaker,
their presence is unaware

Positive and negative politeness

Un coeur en hiver

Un coeur en hiver
-a vous convient?
-Oui, m
-Dites.
-Vous navez pas jou
un peu vitte?
-Si. Vous voulez
lentendre sa vitesse
-Oui si a ne

-Like it?
-Yes, but
-Go on.
-You took it a bit fast.
-Yes. You want to hear
it at the right tempo?
-If you wouldnt mind

-Alors?
-Cest trs beau.
-Vous partez dj?
-Oui.
-Vous avez dautres
rendez-vous?
-Non mais j je dois
vous laisser travailler.
Au revoir.
-Salut!

-Well?
-It very beautiful.
-Leaving already?
-Yes.
-Other busines?
-No, I must let you work.
Goodbye.
-Goodbye!

Rather than attempt a complete analysis of the

interactions in this sequence, we propose to focus on

selected features in order to add what has already
been said. They are|:
1.Camilles disagreement with the writter X
2. Maximes attempted reconciliation
3.Camilles challenge to Stephane

The expresion cest ca is a strong signal of the

ironic intention, indicating that the opinion being

stated is not sincerely held and that the words used
are intented to mimic or parody another persons
words.

Conclusion
Our final point concerns the use of personal

pronouns. The way in which speakers exploit

personal references for purpose of positive and
negative politeness.
There is no space here for a complete analysis of
pronominal use in "Un coeur en hiver", including the
mutual use of "tu" by most of the friends in the film,
constranting with the studied "vous" of Camille and
Stephane to each other