{"id":289,"date":"2021-07-26T23:11:59","date_gmt":"2021-07-26T23:11:59","guid":{"rendered":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/?post_type=chapter&p=289"},"modified":"2021-08-09T16:15:17","modified_gmt":"2021-08-09T16:15:17","slug":"7-3-4-subtitling-society-research-essay","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/chapter\/7-3-4-subtitling-society-research-essay\/","title":{"rendered":"7.3.4 Subtitling society (research essay)"},"content":{"raw":"

English 102, April 2021<\/h3>\r\nFrom the moment somebody is born they begin to form an \u2018identity kit\u2019 which will melt\u00a0them into\u00a0a discourse that they will take part\u00a0in\u00a0for the rest of their lives\u00a0(Gee, \u201cWhat is Literacy?\u201d 1).\u00a0Through the lens of literacy,\u00a0discourse refers to the interaction of similar\u00a0\u2018identity\u00a0kits\u2019\u00a0and the discussion occurring between them.\u00a0As James Paul Gee wrote in his article \u201cWhat is Literacy?\u201d,\u00a0there\u00a0are two primary methods that\u00a0people\u00a0gain knowledge\u00a0by. The first being acquisition,\u00a0which comes from being around the specific discourse that you are becoming included in\u00a0simply by experiencing it. The second being learning, where\u00a0you study, read, and practice the specific discourse you wish to become involved in\u00a0(Gee 1).\u00a0Any discourse you become involved in through acquisition\u00a0is considered a natural discourse, since it occurred naturally due to the environment you are in. A prime example of a natural discourse\u00a0you\u00a0acquire\u00a0is the language you speak.\u00a0The language you grow up with also puts you into a much larger discourse made up\u00a0of\u00a0all the people from the same environment that have also\u00a0acquired\u00a0the same language. The ethics, ideals,\u00a0and other aspects of your identity\u00a0kit\u00a0all come from the same discourse\u00a0you\u00a0acquire\u00a0your native tongue with.\u00a0Over time, you form your own opinions and preferences\u00a0regarding\u00a0certain\u00a0things, but\u00a0much of\u00a0your identity kit is the same as the rest.\u00a0Many debates\u00a0only have two sides and next to no middle ground. Many of these debates are also\u00a0equal in terms of popularity on both sides.\u00a0In my research essay, I am going to focus on the decades-long debate of subtitles versus overdubs, as well as\u00a0past and current events that give this argument its\u2019 fuel.\r\n\r\nAt some point in everyone's life, they will watch or listen to a\u00a0movie or show that was not originally produced in their native language. Thus,\u00a0in order to\u00a0understand\u00a0the events taking place, they will have to either read\u00a0the subtitles\u00a0or listen to\u00a0the overdub. Subtitles are simply a translation of the original language a movie or show is in, to\u00a0a chosen language that\u00a0one\u00a0can read to understand what is going on, while keeping the original language as the audio\u00a0and dialogue. Overdubs are the opposite,\u00a0in regards to\u00a0keeping\u00a0the original audio, since they replace the dialogue with a chosen\u00a0language one can\u00a0listen to,\u00a0to understand.\u00a0There are many advocates for\u00a0both\u00a0sides of this dispute, and each believes that his or her side is the shinier penny.\u00a0Frankly, that is all a matter of\u00a0opinion\u00a0since neither side is better than the\u00a0other.\u00a0However, each side has valid arguments as to why they believe their way is better than the\u00a0other and\u00a0will\u00a0defend their opinion like their life is on the line.\r\n\r\nBeginning with a brief history of subtitles and the relevance they have in our society,\u00a0the\u00a0article by\u00a0Aja Romano, \u201cThe debate over subtitles, explained\u201d,\u00a0is an excellent provider of material to\u00a0give some\u00a0background on the history of the dispute.\u00a0Prior to Netflix, Hulu, and other large streaming platforms that give us access to all\u00a0different kinds\u00a0of movies, shows, and documentaries from worlds over,\u00a0there was\u00a0a very small\u00a0market for foreign films, especially\u00a0in the\u00a0U.S.\u00a0At the time, the biggest foreign entertainment market came from anime, with titles such as\u00a0Dragon Ball-Z\u00a0<\/em>and\u00a0Sailor Moon<\/em>\u00a0becoming\u00a0international sensations that are enjoyed by many to this day\u00a0(Romano). However, unless it was a show or movie like\u00a0Dragon Ball-Z\u00a0<\/em>or\u00a0Sailor Moon<\/em>, there\u00a0was\u00a0almost no way to\u00a0watch a foreign production in a way that could be understood by someone\u00a0existing\u00a0on the\u00a0outside of that language.\u00a0However, there was\u00a0a very large\u00a0underground market for illegally produced, fan-made subtitles\u00a0(fansubs), so that different\u00a0animes\u00a0could be enjoyed by anyone from any country.\u00a0Although there was a questionable level of quality and accuracy, these illegally subtitled and\u00a0distributed\u00a0shows helped produce a market for overseas entertainment (Romano).\u00a0This era of subtitling led to many people seeing subtitling as a crappy, lowly form of translating foreign productions since it was not done professionally.\u00a0From that moment forward, there has been a silent battle being fought between\u00a0the samurais of\u00a0subtitling\u00a0and\u00a0knights of\u00a0overdubbing.\r\n\r\nContinuing on\u00a0the dispute, many renowned film critics answered the\u00a0million-dollar\u00a0question of which translation method they preferred to\u00a0watch their foreign productions in. An article published on\u00a0IndieWire\u00a0by Hannah Nguyen\u00a0catalogs their responses to that question, and it is no surprise that both sides are equally represented.\u00a0Neither side seemed to obviously attack the other, except for a certain someone named Daniel Fienberg who\u00a0writes for\u00a0The Hollywood Reporter, and he says, \u201cIf\u00a0it\u2019s\u00a0live action and you have a choice between subtitled or dubbed and you take dubbed, you deserve to be stripped naked, smeared in Nutella and left tied to a stake at the base of a hill of fire ants. And that\u2019s my generous and kind opinion on this subject.\u201d\u00a0Looking beyond that one painfully specific\u00a0response, it\u00a0becomes clear that the arguments and reasonings given by both sides follow the same mindsets in comparison to the rest of their side. When the film critics talk about the reason they prefer subtitles, such as\u00a0Allison Keene of Collider and Eric\u00a0Deggans\u00a0from NPR, they both mention how important the original rhythm,\u00a0cadence\u00a0and\u00a0delivery are to a\u00a0show's\u00a0integrity.\u00a0To them, the overdubs marred\u00a0the show and distracted\u00a0them from something they wanted\u00a0to enjoy.\u00a0On the other hand, the critics who preferred to watch foreign productions with overdubs instead said similar things to each other as well.\u00a0Critics such as April Neale from Monsters and Critics, and Marisa Roffman, who runs the website,\u00a0Give\u00a0me My Remote<\/em>,\u00a0are people who prefer dubbing\u00a0for their foreign entertainment. Both critics think along the same lines when it comes to watching a movie or TV show. Both Roffman and Neale see it as an\u00a0activity\u00a0people do at the end of the day to wind down\u00a0and relax. To them, it is extremely leisurely and\u00a0low maintenance. They both\u00a0mention\u00a0that they often find themselves doing other things while watching TV, so they would not be able to have subtitles on even if they wanted.\u00a0Subtitles demand your full attention, which is\u00a0actually another\u00a0reason Allison Keene enjoys subtitles more than overdubs.\u00a0What matters here is that\u00a0for\u00a0each individual, they are able enjoy whatever show they want,\u00a0in whichever method of translation that they want, and they feel comfortable talking about it.\r\n\r\nIt seems as if no one can make an\u00a0opinionated\u00a0statement without being vigorously attacked for it. A perfect example of that is when Kevin Drum, a writer and political blogger,\u00a0responded to the Japanese film\u00a0Parasite\u00a0<\/em>winning a Golden Globe for best foreign language film.\u00a0In his post, he\u00a0discussed\u00a0his distaste for subtitles and said how they are \u201conly common in countries that are too poor to afford dubbing\u201d and\u00a0that \u201cno one likes subtitles\u201d\u00a0(Romano).\u00a0While obviously an exaggeration, it is still interesting to see why and how someone can become so triggered over such a trivial thing.\u00a0He later made another post on the same website,\u00a0MotherJones, that was\u00a0comprised\u00a0of a\u00a0self-questioned interview.\u00a0In this post, he defended himself and what he said,\u00a0stating\u00a0how\u00a0it is obvious that everyone would prefer to watch a film in their native tongue if possible (Drum). Drum adds that his statement of subtitles being more common in poorer countries is statistically sound\u00a0due to\u00a0the fact\u00a0that\u00a0overdubs are\u00a0expensive,\u00a0and\u00a0that\u00a0they do not have\u00a0a large enough\u00a0market for that.\u00a0He then included a picture labeled with the countries\u00a0more popular form of translating films to and from other languages.\r\n\r\nHe then discussed\u00a0the\u00a0data gathered by UK television providers\u00a0in the year 1987 with the French\u00a0soap\u00a0opera broadcast\u00a0Ch\u00e2teauvallon.\u00a0<\/em>In this gathering of data, Great Britian ran twenty-six episodes\u00a0of the soap opera twice every week. It was the same\u00a0episode each week except for one thing, whether the episode was subbed or dubbed. This was the first\u00a0time\u00a0in Great Britain\u00a0that a program was transmitted on TV that gave its viewers a choice to watch with either subs or dubs.\u00a0The results of this experiment were the opposite of what the expected. Considering Great Britain was historically known for preferring subtitles, the fact that the overdubbed version\u00a0of the\u00a0soap opera\u00a0had a\u00a0higher rating was very surprising\u00a0(Drum). A modern study that was done with the same question in mind used the\u00a0German drama\u00a0Dark\u00a0<\/em>and its preferred form of either subtitling or overdubbing for the audience. It was then realized by people gathering data, that 81% of viewers in English-speaking countries\u00a0were watching the overdubbed version\u00a0(Drum). This\u00a0information\u00a0parallels the data discussed in Irene\u00a0Ranzatos\u2019 book,\u00a0Reassessing Dubbing.\u00a0<\/em>Ranzato\u00a0also mentions though, that in a study where\u00a0several\u00a0people were streamed\u00a0either the overdubbed or subtitled version of a show by default, the viewers who were defaulted to\u00a0the\u00a0overdubbed version\u00a0were more likely to finish the series\u00a0(Ranzato\u00a03).\u00a0It is with this data that Netflix made the decision to default all their foreign shows to the overdubbed version for a specific language.\u00a0Drum also mentioned that since the market for overdubbing is growing due to streaming services investing more into foreign productions, that it is without a doubt overdubbing will become a lot more popular over the next few years.\u00a0The discourse represented here is\u00a0marked by\u00a0his understanding that his earlier post was ill-tempered and not worth the backlash.\u00a0It also goes to show that he knows there are pros and cons to both subtitles and overdubs, and that neither is truly better than the other.\r\n\r\nFocusing more on the demographics that are involved in subtitling and overdubbing, we will\u00a0look into\u00a0Ranzatos\u2019 book, which goes into detail on what the current trends are as well as\u00a0the\u00a0future outlook\u00a0for overdubbing and subtitling\u00a0of foreign entertainment across the world.\u00a0As written by James Gill, \u201cDubbing is back - thanks to Netflix\u201d (Ranzato\u00a03).\u00a0The technological aspects of overdubs as well as the voice actors involved in overdubs are continuously improving and expanding upon themselves to supply the smoothest and most\u00a0accurate\u00a0overdub possible.\u00a0The\u00a0cadence\u00a0and rhythm of these voice actors matches the characters much better than it used to years ago, and technology as well as improved translation methods make lip synchronization an entirely different game.\u00a0Seeing as\u00a0Netflix defaults all foreign productions to the overdubbed version for a specific language, it is worth noting that\u00a0the trendiness\u00a0of overdubs is going in a positive direction\u00a0(Ranzato\u00a04). This is a double-edged sword, since the\u00a0interest in overdubs is increasing, the market for it will become larger and more stable, which will give its pioneers the ability to increase the quality further and so on.\u00a0The increased popularity of overdubs and subtitles do\u00a0go hand in hand with each other.\r\n\r\nThe future is always dependent on the next generation of adults to take over the market and support what they like the most. That is why it is so relevant to note how\u00a0the majority of\u00a0people aged under 18\u00a0prefer to watch\u00a0foreign productions with subtitles, and\u00a0actually prefer\u00a0captions on everything in general. In the article \u201cLights, camera, caption!\u201d by Hannah J. Davies, she discusses why captions are so\u00a0prevalent\u00a0in the current generation and why they\u00a0will be\u00a0the norm of future ones.\u00a0As the youth continue\u00a0to become\u00a0more and more\u00a0sophisticated with technology, the use of captions and subtitles on videos\u00a0has\u00a0skyrocketed.\u00a0Thought to be a method of viewing suitable only for the deaf or hearing impaired, subtitling has become a common part of social media and pop culture.\u00a0Davies\u2019\u00a0study estimated that of\u00a07.5 million people\u00a0from the UK using subtitles, only 1.5 million had a hearing impairment. Another important statistic is one that comes from Facebook, which revealed how 85% of videos are watched with the sound off and captioning on\u00a0(Davies). This is more than likely due to the constant smartphone use while in public, which leads courteous people to watch any videos with the sound\u00a0off,\u00a0so they do not disturb others around them. It is still a notable statistic that shows the trend of current media and how it is enjoyed.\u00a0A study done by Henry Warren inspired by research done by Brij Kothari, an Indian Academic, aimed to\u00a0identify\u00a0a\u00a0possible link\u00a0between subtitle usage and increased levels of literacy.\u00a0His hope is that by adding captioning and subtitles to videos and productions viewed in primary schooling, the literacy rates and levels will increase as well (Davies).\u00a0While subtitles are becoming more common and increasing in popularity, it would be rude to not at least consider the people who were the primary reason subtitling and captioning became more common in the first place. The hearing impaired see this global increase in interest of reading while watching truly\u00a0life changing.\u00a0Anna\u00a0Gryszkiewicz, who is 39 and lives in \u00d6sterg\u00f6tland in Sweden, was diagnosed with sensorineural hearing loss in her 20s and began using captions (Davies). Anna states how it is much easier to be deaf\u00a0today\u00a0than it would have been 15 years ago, but also\u00a0sees a negative impact on becoming reliant on technology such as YouTube\u2019s auto generator for their captioning requests. She sees that accessibility as a harmful\u00a0one, since\u00a0the\u00a0garbled\u00a0captioning YouTube will use is\u00a0most likely inaccurate\u00a0throughout much of the video (Davies).\u00a0While subtitling and captioning become more relevant, it will be important to note and record the quality of which it is done with, since that will\u00a0determine\u00a0its longevity and popularity in the future.\r\n\r\nIn an article titled \u201cTranslation Course in Film Subtitling\u201d by Tatsuya Fukushima and David L. Major, these two authors dissect all the aspects of subtitling that are factual and not\u00a0opinionated.\u00a0Their article focuses on four key limitations studies have uncovered that give subtitles a more attractive outlook based on\u00a0technical\u00a0efficiency, artistic integrity, and economic viability.\u00a0First,\u00a0they mention how overdubbing is never seen as the financially responsible course to go, since it is\u00a0generally ten\u00a0times more expensive than subtitling (Fukushima\/Major 59). This is\u00a0fairly obvious, considering\u00a0that\u00a0in order to\u00a0produce a quality overdub a company will have to cast,\u00a0pay\u00a0and direct voice actors, in addition to studio time and the editing that\u00a0has to\u00a0be done, it would make sense that overdubbing is a longer and more costly project.\u00a0Second, they mention how the\u00a0high level\u00a0of study and collaboration\u00a0makes\u00a0the overdub process much more difficult. In addition to\u00a0attempting\u00a0lip-synchronization with the characters, the voice actors must overcome rhythmic differences between their language and the productions original language.\u00a0Compare a syllable-timed language such as Japanese to a stress-timed language such as English, and the difference becomes\u00a0very hard\u00a0to overcome and match up (Fukushima\/Major 60).\u00a0Perhaps the\u00a0most important advantage subtitling has in terms of technical\u00a0efficiency\u00a0and artistic integrity is the fact that overdubs\u00a0have to\u00a0rely on lip-synchronization more than\u00a0actual\u00a0dialogue\u00a0in order to\u00a0produce a quality dub. This is their third critical\u00a0point,\u00a0and it sheds light on why subtitling is\u00a0truer and more honest\u00a0to the original production and their creative vision\/goal.\u00a0The last key point they mention is how subtitling\u00a0maintains\u00a0faithfulness\u00a0to the emotion and feeling in an\u00a0actor's\u00a0voice.\u00a0Many tonal qualities that come with overdubs do not normally match the\u00a0environment\u00a0or tone of the original\u00a0dialogue, which takes away from the quality of the production (Fukushima\/Major 60). A main parallel between this academic article and all the other articles that\u00a0provide\u00a0good information\u00a0is that the main downside of subtitles is how they require the viewer to add a third cognitive activity into their normal viewing routine. Instead of simply watching and listening,\u00a0the viewer\u00a0must now watch,\u00a0listen\u00a0and read, which is more strenuous and tiring. Add in how the viewer is not able to control the pace at which they read, and it becomes obvious why leisurely viewers would prefer to watch with overdubs after a tough day\u00a0(Fukushima\/Major 60).\r\n\r\nLastly, an important aspect of foreign translation is the study that goes into it. Students that are involved in literature classes who want to be involved in linguistics\u00a0would benefit heavily from exposure to foreign productions in all forms.\u00a0Lucia Guzzi Harrison, a teacher from Southeastern Louisiana University, posted an article that focuses on the\u00a0relevance of art,\u00a0film, and\u00a0media\u00a0in foreign language acquisition. The importance of exposure to foreign cultures is one of the keys in\u00a0acquiring\u00a0knowledge about a foreign language.\u00a0Watching a foreign film with subtitles and understanding all of what you are viewing is vital in understanding a foreign culture, which then translates into understanding the language if you choose to study it. (Harrison).\u00a0Additionally,\u00a0in a book titled\u00a0Writing About Literature\u00a0<\/em>by Judith Woolf, both writers agree\u00a0in\u00a0the aspect that\u00a0a strong foundation\u00a0of any activity is the most important part in becoming proficient at it. In a society that is so focused on scoring highly on tests and exams, we begin to lose sight of what it truly means to be a student and how to\u00a0live fruitful lives. This could be an\u00a0additional\u00a0cause of the dispute between subtitles and overdubs, increasing levels of stress and anxiety in students and people alike. The more tense and stressful a situation is the harder it becomes to control and understand your own feelings as well as other people\u2019s. It seems like people are bred to later be put at each other's throats and\u00a0they learn\u00a0to\u00a0just\u00a0be ok with that.\u00a0A simple argument such as the one between subtitle advocates and overdub advocates can reveal a lot more about a person and society than one may realize.\r\n\r\nIt is obvious through all the research and information I have gathered on this subject, that the\u00a0never-ending\u00a0debate of subtitles versus overdubs is rooted in a whole lot more than personal preference.\u00a0Throughout the course of this\u00a0semester\u00a0I have been doing my own experiments and studies into the difference in quality between subtitles and overdubs. I\u00a0had\u00a0asked many people I know how they prefer to watch foreign\u00a0films\u00a0and some told me they do not watch foreign films to begin with. Additionally, a few people have also said that they would never watch a movie in a different language because we live in America and English is the best. It was hard for me to switch back and forth between overdubs and subtitles while watching shows and movies because it truly is like watching two different things at the same time.\u00a0I know that with advancements in technology and an increase in interest\u00a0for\u00a0foreign films, subtitling and overdubbing will become better than ever before.\u00a0Both have a long\u00a0and complicated history, yet each is just as important as the other. Even though for many the dispute is simply a matter of opinion and situation, it should also be known that to others, it is a debate\u00a0fueled by classism,\u00a0xenophobia, and oppression. In the United States, subtitles are more popular than overdubs. The United States, however, has an incredibly weak attraction to foreign productions compared to other countries, which\u00a0is surprising considering how large our entertainment market is and that every movie or TV show will have a subtitle or overdub option for English.\u00a0This is\u00a0mainly\u00a0due\u00a0to the fact that\u00a0English is the most spoken and known language in the world, but also because English speaking countries tend to be wealthier and have massive markets for entertainment of all sorts. The entire back and forth on which one is\u00a0better,\u00a0or which one is right versus wrong is utterly ridiculous. Both subtitles and overdubs have their place in society and deserve to be placed on pedestals side by side.\u00a0While there are drawbacks for both, and the financial situation of a market does often influence which translation method will be produced, neither side has the\u00a0upper hand on the other. When it comes to a matter of\u00a0personal\u00a0opinion, majority rules and that is the only statistic that can be used when trying to make one seem better than the other. Beyond that, there is simply nothing you can say to someone else who prefers to watch something in one way, that will make them want to watch it in\u00a0a different way. The only time that will\u00a0ever\u00a0happen is\u00a0if, or\u00a0when,\u00a0they choose to.\r\n\r\n \r\n\r\nWorks Cited\r\n\r\n \r\n\r\nDavies, Hannah. \u201cLights, Camera, Caption! Why Subtitles Are No Longer Just for the Hard of Hearing.\u201d\u00a0The Guardian<\/em>, 25 July 2019,\u00a0www.theguardian.com\/tv-and-radio\/2019\/jul\/21\/subtitles-tv-hearing-no-context-twitter-captions<\/a>.\r\n\r\nDrum, Kevin, et al. \u201cLet\u2019s Have Another Go at Subtitles, Shall We?\u201d\u00a0Mother Jones<\/em>, 11 Feb. 2020,\u00a0www.motherjones.com\/kevin-drum\/2020\/02\/twitter-2<\/a>.\r\n\r\nNguyen, Hanh. \u201cCritics Debate How They Prefer Their Foreign-Language TV.\u201d\u00a0IndieWire<\/em>, 17 Apr. 2018,\u00a0www.indiewire.com\/2018\/04\/dubbed-subtitles-netflix-foreign-tv-show-critics-survey-1201953918<\/a>.\r\n\r\nO\u2019Falt, Chris. \u201cSubtitles Vs. Dubbing: The Big Business of Translating Foreign Films in a Post-\u2018Parasite\u2019 World.\u201d\u00a0Indie Wire<\/em>, 25 Feb. 2020,\u00a0www.indiewire.com\/2020\/02\/subtitles-vs-dubbing-what-you-need-to-know-1202212800.\r\n\r\nRomano, Aja. \u201cThe Debate over Subtitles or Dubbing, Explained.\u201d\u00a0Vox<\/em>, 20 Feb.\r\n\r\n2020,\u00a0www.vox.com\/2020\/2\/20\/21134355\/subtitles-or-dubs-which-is-better-parasite- <\/a>debate-history-anime.\r\n\r\nScholarly\u00a0Sources\r\n\r\nFukushima, Tatsuya. \u201cTranslation Course in Film Subtitling.\u201d\u00a0Translation Review<\/em>,\u00a0www.tandfonline.com\/doi\/pdf\/10.1080\/07374836.2002.10523828?needAccess=true<\/a>.\r\n\r\nGee, James Paul. \"What is literacy.\"\u00a0Negotiating academic literacies: Teaching and learning\u00a0<\/em> across languages and cultures<\/em>\u00a0(1998): 18-25. Accessed February 25, 2021.\r\n\r\nHarrison, Lucia. \u201cForeign Films\u00a0In\u00a0The\u00a0Classroom: Gateway\u00a0To\u00a0Language\u00a0And\u00a0Culture.\u201d\u00a0Clute Journals<\/em>, Southeastern Louisiana University, 8 Nov. 2009,\u00a0www.clutejournals.com\/index.php\/TLC\/article\/view\/1118<\/a>.\r\n\r\nRanzato, Irene. \u201cReassessing Dubbing.\u201d\u00a0Google Books<\/em>, Google,\r\n\r\nhttps:\/\/books.google.com\/books?hl=en&lr=&id=_LGoDwAAQBAJ&oi=fnd&pg=PA1&dq=subtitles+versus+overdubs&ots=9-_uD0mfdx&sig=WPEY1FOVwJxgLl8B3KLfTK1CwDI#v=onepage&q&f=false<\/a>\r\n\r\nWoolf, Judith. \u201cWriting About Literature.\u201d\u00a0Google Books<\/em>, Routledge, 16 Feb. 2005,\r\n\r\nhttps:\/\/books.google.com\/books?hl=en&lr=&id=LhK456oVjCgC&oi=fnd&pg=PP1&dq=translating+foreign+literature&ots=Y3AWT5Un3z&sig=0PIiC4Qcj3VBLYFbfvQnIr9y56k#v=onepage&q&f=false<\/a>","rendered":"

English 102, April 2021<\/h3>\n

From the moment somebody is born they begin to form an \u2018identity kit\u2019 which will melt\u00a0them into\u00a0a discourse that they will take part\u00a0in\u00a0for the rest of their lives\u00a0(Gee, \u201cWhat is Literacy?\u201d 1).\u00a0Through the lens of literacy,\u00a0discourse refers to the interaction of similar\u00a0\u2018identity\u00a0kits\u2019\u00a0and the discussion occurring between them.\u00a0As James Paul Gee wrote in his article \u201cWhat is Literacy?\u201d,\u00a0there\u00a0are two primary methods that\u00a0people\u00a0gain knowledge\u00a0by. The first being acquisition,\u00a0which comes from being around the specific discourse that you are becoming included in\u00a0simply by experiencing it. The second being learning, where\u00a0you study, read, and practice the specific discourse you wish to become involved in\u00a0(Gee 1).\u00a0Any discourse you become involved in through acquisition\u00a0is considered a natural discourse, since it occurred naturally due to the environment you are in. A prime example of a natural discourse\u00a0you\u00a0acquire\u00a0is the language you speak.\u00a0The language you grow up with also puts you into a much larger discourse made up\u00a0of\u00a0all the people from the same environment that have also\u00a0acquired\u00a0the same language. The ethics, ideals,\u00a0and other aspects of your identity\u00a0kit\u00a0all come from the same discourse\u00a0you\u00a0acquire\u00a0your native tongue with.\u00a0Over time, you form your own opinions and preferences\u00a0regarding\u00a0certain\u00a0things, but\u00a0much of\u00a0your identity kit is the same as the rest.\u00a0Many debates\u00a0only have two sides and next to no middle ground. Many of these debates are also\u00a0equal in terms of popularity on both sides.\u00a0In my research essay, I am going to focus on the decades-long debate of subtitles versus overdubs, as well as\u00a0past and current events that give this argument its\u2019 fuel.<\/p>\n

At some point in everyone’s life, they will watch or listen to a\u00a0movie or show that was not originally produced in their native language. Thus,\u00a0in order to\u00a0understand\u00a0the events taking place, they will have to either read\u00a0the subtitles\u00a0or listen to\u00a0the overdub. Subtitles are simply a translation of the original language a movie or show is in, to\u00a0a chosen language that\u00a0one\u00a0can read to understand what is going on, while keeping the original language as the audio\u00a0and dialogue. Overdubs are the opposite,\u00a0in regards to\u00a0keeping\u00a0the original audio, since they replace the dialogue with a chosen\u00a0language one can\u00a0listen to,\u00a0to understand.\u00a0There are many advocates for\u00a0both\u00a0sides of this dispute, and each believes that his or her side is the shinier penny.\u00a0Frankly, that is all a matter of\u00a0opinion\u00a0since neither side is better than the\u00a0other.\u00a0However, each side has valid arguments as to why they believe their way is better than the\u00a0other and\u00a0will\u00a0defend their opinion like their life is on the line.<\/p>\n

Beginning with a brief history of subtitles and the relevance they have in our society,\u00a0the\u00a0article by\u00a0Aja Romano, \u201cThe debate over subtitles, explained\u201d,\u00a0is an excellent provider of material to\u00a0give some\u00a0background on the history of the dispute.\u00a0Prior to Netflix, Hulu, and other large streaming platforms that give us access to all\u00a0different kinds\u00a0of movies, shows, and documentaries from worlds over,\u00a0there was\u00a0a very small\u00a0market for foreign films, especially\u00a0in the\u00a0U.S.\u00a0At the time, the biggest foreign entertainment market came from anime, with titles such as\u00a0Dragon Ball-Z\u00a0<\/em>and\u00a0Sailor Moon<\/em>\u00a0becoming\u00a0international sensations that are enjoyed by many to this day\u00a0(Romano). However, unless it was a show or movie like\u00a0Dragon Ball-Z\u00a0<\/em>or\u00a0Sailor Moon<\/em>, there\u00a0was\u00a0almost no way to\u00a0watch a foreign production in a way that could be understood by someone\u00a0existing\u00a0on the\u00a0outside of that language.\u00a0However, there was\u00a0a very large\u00a0underground market for illegally produced, fan-made subtitles\u00a0(fansubs), so that different\u00a0animes\u00a0could be enjoyed by anyone from any country.\u00a0Although there was a questionable level of quality and accuracy, these illegally subtitled and\u00a0distributed\u00a0shows helped produce a market for overseas entertainment (Romano).\u00a0This era of subtitling led to many people seeing subtitling as a crappy, lowly form of translating foreign productions since it was not done professionally.\u00a0From that moment forward, there has been a silent battle being fought between\u00a0the samurais of\u00a0subtitling\u00a0and\u00a0knights of\u00a0overdubbing.<\/p>\n

Continuing on\u00a0the dispute, many renowned film critics answered the\u00a0million-dollar\u00a0question of which translation method they preferred to\u00a0watch their foreign productions in. An article published on\u00a0IndieWire\u00a0by Hannah Nguyen\u00a0catalogs their responses to that question, and it is no surprise that both sides are equally represented.\u00a0Neither side seemed to obviously attack the other, except for a certain someone named Daniel Fienberg who\u00a0writes for\u00a0The Hollywood Reporter, and he says, \u201cIf\u00a0it\u2019s\u00a0live action and you have a choice between subtitled or dubbed and you take dubbed, you deserve to be stripped naked, smeared in Nutella and left tied to a stake at the base of a hill of fire ants. And that\u2019s my generous and kind opinion on this subject.\u201d\u00a0Looking beyond that one painfully specific\u00a0response, it\u00a0becomes clear that the arguments and reasonings given by both sides follow the same mindsets in comparison to the rest of their side. When the film critics talk about the reason they prefer subtitles, such as\u00a0Allison Keene of Collider and Eric\u00a0Deggans\u00a0from NPR, they both mention how important the original rhythm,\u00a0cadence\u00a0and\u00a0delivery are to a\u00a0show’s\u00a0integrity.\u00a0To them, the overdubs marred\u00a0the show and distracted\u00a0them from something they wanted\u00a0to enjoy.\u00a0On the other hand, the critics who preferred to watch foreign productions with overdubs instead said similar things to each other as well.\u00a0Critics such as April Neale from Monsters and Critics, and Marisa Roffman, who runs the website,\u00a0Give\u00a0me My Remote<\/em>,\u00a0are people who prefer dubbing\u00a0for their foreign entertainment. Both critics think along the same lines when it comes to watching a movie or TV show. Both Roffman and Neale see it as an\u00a0activity\u00a0people do at the end of the day to wind down\u00a0and relax. To them, it is extremely leisurely and\u00a0low maintenance. They both\u00a0mention\u00a0that they often find themselves doing other things while watching TV, so they would not be able to have subtitles on even if they wanted.\u00a0Subtitles demand your full attention, which is\u00a0actually another\u00a0reason Allison Keene enjoys subtitles more than overdubs.\u00a0What matters here is that\u00a0for\u00a0each individual, they are able enjoy whatever show they want,\u00a0in whichever method of translation that they want, and they feel comfortable talking about it.<\/p>\n

It seems as if no one can make an\u00a0opinionated\u00a0statement without being vigorously attacked for it. A perfect example of that is when Kevin Drum, a writer and political blogger,\u00a0responded to the Japanese film\u00a0Parasite\u00a0<\/em>winning a Golden Globe for best foreign language film.\u00a0In his post, he\u00a0discussed\u00a0his distaste for subtitles and said how they are \u201conly common in countries that are too poor to afford dubbing\u201d and\u00a0that \u201cno one likes subtitles\u201d\u00a0(Romano).\u00a0While obviously an exaggeration, it is still interesting to see why and how someone can become so triggered over such a trivial thing.\u00a0He later made another post on the same website,\u00a0MotherJones, that was\u00a0comprised\u00a0of a\u00a0self-questioned interview.\u00a0In this post, he defended himself and what he said,\u00a0stating\u00a0how\u00a0it is obvious that everyone would prefer to watch a film in their native tongue if possible (Drum). Drum adds that his statement of subtitles being more common in poorer countries is statistically sound\u00a0due to\u00a0the fact\u00a0that\u00a0overdubs are\u00a0expensive,\u00a0and\u00a0that\u00a0they do not have\u00a0a large enough\u00a0market for that.\u00a0He then included a picture labeled with the countries\u00a0more popular form of translating films to and from other languages.<\/p>\n

He then discussed\u00a0the\u00a0data gathered by UK television providers\u00a0in the year 1987 with the French\u00a0soap\u00a0opera broadcast\u00a0Ch\u00e2teauvallon.\u00a0<\/em>In this gathering of data, Great Britian ran twenty-six episodes\u00a0of the soap opera twice every week. It was the same\u00a0episode each week except for one thing, whether the episode was subbed or dubbed. This was the first\u00a0time\u00a0in Great Britain\u00a0that a program was transmitted on TV that gave its viewers a choice to watch with either subs or dubs.\u00a0The results of this experiment were the opposite of what the expected. Considering Great Britain was historically known for preferring subtitles, the fact that the overdubbed version\u00a0of the\u00a0soap opera\u00a0had a\u00a0higher rating was very surprising\u00a0(Drum). A modern study that was done with the same question in mind used the\u00a0German drama\u00a0Dark\u00a0<\/em>and its preferred form of either subtitling or overdubbing for the audience. It was then realized by people gathering data, that 81% of viewers in English-speaking countries\u00a0were watching the overdubbed version\u00a0(Drum). This\u00a0information\u00a0parallels the data discussed in Irene\u00a0Ranzatos\u2019 book,\u00a0Reassessing Dubbing.\u00a0<\/em>Ranzato\u00a0also mentions though, that in a study where\u00a0several\u00a0people were streamed\u00a0either the overdubbed or subtitled version of a show by default, the viewers who were defaulted to\u00a0the\u00a0overdubbed version\u00a0were more likely to finish the series\u00a0(Ranzato\u00a03).\u00a0It is with this data that Netflix made the decision to default all their foreign shows to the overdubbed version for a specific language.\u00a0Drum also mentioned that since the market for overdubbing is growing due to streaming services investing more into foreign productions, that it is without a doubt overdubbing will become a lot more popular over the next few years.\u00a0The discourse represented here is\u00a0marked by\u00a0his understanding that his earlier post was ill-tempered and not worth the backlash.\u00a0It also goes to show that he knows there are pros and cons to both subtitles and overdubs, and that neither is truly better than the other.<\/p>\n

Focusing more on the demographics that are involved in subtitling and overdubbing, we will\u00a0look into\u00a0Ranzatos\u2019 book, which goes into detail on what the current trends are as well as\u00a0the\u00a0future outlook\u00a0for overdubbing and subtitling\u00a0of foreign entertainment across the world.\u00a0As written by James Gill, \u201cDubbing is back – thanks to Netflix\u201d (Ranzato\u00a03).\u00a0The technological aspects of overdubs as well as the voice actors involved in overdubs are continuously improving and expanding upon themselves to supply the smoothest and most\u00a0accurate\u00a0overdub possible.\u00a0The\u00a0cadence\u00a0and rhythm of these voice actors matches the characters much better than it used to years ago, and technology as well as improved translation methods make lip synchronization an entirely different game.\u00a0Seeing as\u00a0Netflix defaults all foreign productions to the overdubbed version for a specific language, it is worth noting that\u00a0the trendiness\u00a0of overdubs is going in a positive direction\u00a0(Ranzato\u00a04). This is a double-edged sword, since the\u00a0interest in overdubs is increasing, the market for it will become larger and more stable, which will give its pioneers the ability to increase the quality further and so on.\u00a0The increased popularity of overdubs and subtitles do\u00a0go hand in hand with each other.<\/p>\n

The future is always dependent on the next generation of adults to take over the market and support what they like the most. That is why it is so relevant to note how\u00a0the majority of\u00a0people aged under 18\u00a0prefer to watch\u00a0foreign productions with subtitles, and\u00a0actually prefer\u00a0captions on everything in general. In the article \u201cLights, camera, caption!\u201d by Hannah J. Davies, she discusses why captions are so\u00a0prevalent\u00a0in the current generation and why they\u00a0will be\u00a0the norm of future ones.\u00a0As the youth continue\u00a0to become\u00a0more and more\u00a0sophisticated with technology, the use of captions and subtitles on videos\u00a0has\u00a0skyrocketed.\u00a0Thought to be a method of viewing suitable only for the deaf or hearing impaired, subtitling has become a common part of social media and pop culture.\u00a0Davies\u2019\u00a0study estimated that of\u00a07.5 million people\u00a0from the UK using subtitles, only 1.5 million had a hearing impairment. Another important statistic is one that comes from Facebook, which revealed how 85% of videos are watched with the sound off and captioning on\u00a0(Davies). This is more than likely due to the constant smartphone use while in public, which leads courteous people to watch any videos with the sound\u00a0off,\u00a0so they do not disturb others around them. It is still a notable statistic that shows the trend of current media and how it is enjoyed.\u00a0A study done by Henry Warren inspired by research done by Brij Kothari, an Indian Academic, aimed to\u00a0identify\u00a0a\u00a0possible link\u00a0between subtitle usage and increased levels of literacy.\u00a0His hope is that by adding captioning and subtitles to videos and productions viewed in primary schooling, the literacy rates and levels will increase as well (Davies).\u00a0While subtitles are becoming more common and increasing in popularity, it would be rude to not at least consider the people who were the primary reason subtitling and captioning became more common in the first place. The hearing impaired see this global increase in interest of reading while watching truly\u00a0life changing.\u00a0Anna\u00a0Gryszkiewicz, who is 39 and lives in \u00d6sterg\u00f6tland in Sweden, was diagnosed with sensorineural hearing loss in her 20s and began using captions (Davies). Anna states how it is much easier to be deaf\u00a0today\u00a0than it would have been 15 years ago, but also\u00a0sees a negative impact on becoming reliant on technology such as YouTube\u2019s auto generator for their captioning requests. She sees that accessibility as a harmful\u00a0one, since\u00a0the\u00a0garbled\u00a0captioning YouTube will use is\u00a0most likely inaccurate\u00a0throughout much of the video (Davies).\u00a0While subtitling and captioning become more relevant, it will be important to note and record the quality of which it is done with, since that will\u00a0determine\u00a0its longevity and popularity in the future.<\/p>\n

In an article titled \u201cTranslation Course in Film Subtitling\u201d by Tatsuya Fukushima and David L. Major, these two authors dissect all the aspects of subtitling that are factual and not\u00a0opinionated.\u00a0Their article focuses on four key limitations studies have uncovered that give subtitles a more attractive outlook based on\u00a0technical\u00a0efficiency, artistic integrity, and economic viability.\u00a0First,\u00a0they mention how overdubbing is never seen as the financially responsible course to go, since it is\u00a0generally ten\u00a0times more expensive than subtitling (Fukushima\/Major 59). This is\u00a0fairly obvious, considering\u00a0that\u00a0in order to\u00a0produce a quality overdub a company will have to cast,\u00a0pay\u00a0and direct voice actors, in addition to studio time and the editing that\u00a0has to\u00a0be done, it would make sense that overdubbing is a longer and more costly project.\u00a0Second, they mention how the\u00a0high level\u00a0of study and collaboration\u00a0makes\u00a0the overdub process much more difficult. In addition to\u00a0attempting\u00a0lip-synchronization with the characters, the voice actors must overcome rhythmic differences between their language and the productions original language.\u00a0Compare a syllable-timed language such as Japanese to a stress-timed language such as English, and the difference becomes\u00a0very hard\u00a0to overcome and match up (Fukushima\/Major 60).\u00a0Perhaps the\u00a0most important advantage subtitling has in terms of technical\u00a0efficiency\u00a0and artistic integrity is the fact that overdubs\u00a0have to\u00a0rely on lip-synchronization more than\u00a0actual\u00a0dialogue\u00a0in order to\u00a0produce a quality dub. This is their third critical\u00a0point,\u00a0and it sheds light on why subtitling is\u00a0truer and more honest\u00a0to the original production and their creative vision\/goal.\u00a0The last key point they mention is how subtitling\u00a0maintains\u00a0faithfulness\u00a0to the emotion and feeling in an\u00a0actor’s\u00a0voice.\u00a0Many tonal qualities that come with overdubs do not normally match the\u00a0environment\u00a0or tone of the original\u00a0dialogue, which takes away from the quality of the production (Fukushima\/Major 60). A main parallel between this academic article and all the other articles that\u00a0provide\u00a0good information\u00a0is that the main downside of subtitles is how they require the viewer to add a third cognitive activity into their normal viewing routine. Instead of simply watching and listening,\u00a0the viewer\u00a0must now watch,\u00a0listen\u00a0and read, which is more strenuous and tiring. Add in how the viewer is not able to control the pace at which they read, and it becomes obvious why leisurely viewers would prefer to watch with overdubs after a tough day\u00a0(Fukushima\/Major 60).<\/p>\n

Lastly, an important aspect of foreign translation is the study that goes into it. Students that are involved in literature classes who want to be involved in linguistics\u00a0would benefit heavily from exposure to foreign productions in all forms.\u00a0Lucia Guzzi Harrison, a teacher from Southeastern Louisiana University, posted an article that focuses on the\u00a0relevance of art,\u00a0film, and\u00a0media\u00a0in foreign language acquisition. The importance of exposure to foreign cultures is one of the keys in\u00a0acquiring\u00a0knowledge about a foreign language.\u00a0Watching a foreign film with subtitles and understanding all of what you are viewing is vital in understanding a foreign culture, which then translates into understanding the language if you choose to study it. (Harrison).\u00a0Additionally,\u00a0in a book titled\u00a0Writing About Literature\u00a0<\/em>by Judith Woolf, both writers agree\u00a0in\u00a0the aspect that\u00a0a strong foundation\u00a0of any activity is the most important part in becoming proficient at it. In a society that is so focused on scoring highly on tests and exams, we begin to lose sight of what it truly means to be a student and how to\u00a0live fruitful lives. This could be an\u00a0additional\u00a0cause of the dispute between subtitles and overdubs, increasing levels of stress and anxiety in students and people alike. The more tense and stressful a situation is the harder it becomes to control and understand your own feelings as well as other people\u2019s. It seems like people are bred to later be put at each other’s throats and\u00a0they learn\u00a0to\u00a0just\u00a0be ok with that.\u00a0A simple argument such as the one between subtitle advocates and overdub advocates can reveal a lot more about a person and society than one may realize.<\/p>\n

It is obvious through all the research and information I have gathered on this subject, that the\u00a0never-ending\u00a0debate of subtitles versus overdubs is rooted in a whole lot more than personal preference.\u00a0Throughout the course of this\u00a0semester\u00a0I have been doing my own experiments and studies into the difference in quality between subtitles and overdubs. I\u00a0had\u00a0asked many people I know how they prefer to watch foreign\u00a0films\u00a0and some told me they do not watch foreign films to begin with. Additionally, a few people have also said that they would never watch a movie in a different language because we live in America and English is the best. It was hard for me to switch back and forth between overdubs and subtitles while watching shows and movies because it truly is like watching two different things at the same time.\u00a0I know that with advancements in technology and an increase in interest\u00a0for\u00a0foreign films, subtitling and overdubbing will become better than ever before.\u00a0Both have a long\u00a0and complicated history, yet each is just as important as the other. Even though for many the dispute is simply a matter of opinion and situation, it should also be known that to others, it is a debate\u00a0fueled by classism,\u00a0xenophobia, and oppression. In the United States, subtitles are more popular than overdubs. The United States, however, has an incredibly weak attraction to foreign productions compared to other countries, which\u00a0is surprising considering how large our entertainment market is and that every movie or TV show will have a subtitle or overdub option for English.\u00a0This is\u00a0mainly\u00a0due\u00a0to the fact that\u00a0English is the most spoken and known language in the world, but also because English speaking countries tend to be wealthier and have massive markets for entertainment of all sorts. The entire back and forth on which one is\u00a0better,\u00a0or which one is right versus wrong is utterly ridiculous. Both subtitles and overdubs have their place in society and deserve to be placed on pedestals side by side.\u00a0While there are drawbacks for both, and the financial situation of a market does often influence which translation method will be produced, neither side has the\u00a0upper hand on the other. When it comes to a matter of\u00a0personal\u00a0opinion, majority rules and that is the only statistic that can be used when trying to make one seem better than the other. Beyond that, there is simply nothing you can say to someone else who prefers to watch something in one way, that will make them want to watch it in\u00a0a different way. The only time that will\u00a0ever\u00a0happen is\u00a0if, or\u00a0when,\u00a0they choose to.<\/p>\n

 <\/p>\n

Works Cited<\/p>\n

 <\/p>\n

Davies, Hannah. \u201cLights, Camera, Caption! Why Subtitles Are No Longer Just for the Hard of Hearing.\u201d\u00a0The Guardian<\/em>, 25 July 2019,\u00a0www.theguardian.com\/tv-and-radio\/2019\/jul\/21\/subtitles-tv-hearing-no-context-twitter-captions<\/a>.<\/p>\n

Drum, Kevin, et al. \u201cLet\u2019s Have Another Go at Subtitles, Shall We?\u201d\u00a0Mother Jones<\/em>, 11 Feb. 2020,\u00a0www.motherjones.com\/kevin-drum\/2020\/02\/twitter-2<\/a>.<\/p>\n

Nguyen, Hanh. \u201cCritics Debate How They Prefer Their Foreign-Language TV.\u201d\u00a0IndieWire<\/em>, 17 Apr. 2018,\u00a0www.indiewire.com\/2018\/04\/dubbed-subtitles-netflix-foreign-tv-show-critics-survey-1201953918<\/a>.<\/p>\n

O\u2019Falt, Chris. \u201cSubtitles Vs. Dubbing: The Big Business of Translating Foreign Films in a Post-\u2018Parasite\u2019 World.\u201d\u00a0Indie Wire<\/em>, 25 Feb. 2020,\u00a0www.indiewire.com\/2020\/02\/subtitles-vs-dubbing-what-you-need-to-know-1202212800.<\/p>\n

Romano, Aja. \u201cThe Debate over Subtitles or Dubbing, Explained.\u201d\u00a0Vox<\/em>, 20 Feb.<\/p>\n

2020,\u00a0www.vox.com\/2020\/2\/20\/21134355\/subtitles-or-dubs-which-is-better-parasite- <\/a>debate-history-anime.<\/p>\n

Scholarly\u00a0Sources<\/p>\n

Fukushima, Tatsuya. \u201cTranslation Course in Film Subtitling.\u201d\u00a0Translation Review<\/em>,\u00a0www.tandfonline.com\/doi\/pdf\/10.1080\/07374836.2002.10523828?needAccess=true<\/a>.<\/p>\n

Gee, James Paul. “What is literacy.”\u00a0Negotiating academic literacies: Teaching and learning\u00a0<\/em> across languages and cultures<\/em>\u00a0(1998): 18-25. Accessed February 25, 2021.<\/p>\n

Harrison, Lucia. \u201cForeign Films\u00a0In\u00a0The\u00a0Classroom: Gateway\u00a0To\u00a0Language\u00a0And\u00a0Culture.\u201d\u00a0Clute Journals<\/em>, Southeastern Louisiana University, 8 Nov. 2009,\u00a0www.clutejournals.com\/index.php\/TLC\/article\/view\/1118<\/a>.<\/p>\n

Ranzato, Irene. \u201cReassessing Dubbing.\u201d\u00a0Google Books<\/em>, Google,<\/p>\n

https:\/\/books.google.com\/books?hl=en&lr=&id=_LGoDwAAQBAJ&oi=fnd&pg=PA1&dq=subtitles+versus+overdubs&ots=9-_uD0mfdx&sig=WPEY1FOVwJxgLl8B3KLfTK1CwDI#v=onepage&q&f=false<\/a><\/p>\n

Woolf, Judith. \u201cWriting About Literature.\u201d\u00a0Google Books<\/em>, Routledge, 16 Feb. 2005,<\/p>\n

https:\/\/books.google.com\/books?hl=en&lr=&id=LhK456oVjCgC&oi=fnd&pg=PP1&dq=translating+foreign+literature&ots=Y3AWT5Un3z&sig=0PIiC4Qcj3VBLYFbfvQnIr9y56k#v=onepage&q&f=false<\/a><\/p>\n","protected":false},"author":253,"menu_order":8,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":["tzeman"],"pb_section_license":""},"chapter-type":[],"contributor":[74],"license":[],"class_list":["post-289","chapter","type-chapter","status-publish","hentry","contributor-tzeman"],"part":260,"_links":{"self":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapters\/289","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/wp\/v2\/users\/253"}],"version-history":[{"count":2,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapters\/289\/revisions"}],"predecessor-version":[{"id":583,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapters\/289\/revisions\/583"}],"part":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/parts\/260"}],"metadata":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapters\/289\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/wp\/v2\/media?parent=289"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/pressbooks\/v2\/chapter-type?post=289"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/wp\/v2\/contributor?post=289"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/wp-json\/wp\/v2\/license?post=289"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}