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David Nguyen
David Nguyen

Nobody Subtitles Polish

The only people Akira trusts are themselves also marginalized, a clumsy convenience store clerk and a lonely truant middle school girl. He befriends the quiet Saki (Kan Hanae), who lives in an upscale condominium home and wears impeccably polished shoes, but who also has unstated issues with bullies from school. The chronic truancy problem in Japan is a phenomenon not primarily of rebellious youth who skip class for more engaging activities, but more often of introverted children like Saki weakened by troubles at home or bullying (ijime) from more aggressive peers at school.

Nobody subtitles Polish


Actually what I _would_ support is selected programs (not just English-language ones) shown with subtitles of the original language (but complete dialogue whenever possible and not the abbreviated versions that are usually employed). That is much more conducive to language learning.

Languages Available in: The download links above has Nobodysubtitles in Arabic, Bengali, Brazillian Portuguese, Bulgarian, Burmese, Chinese Bg Code, Croatian, Czech, Danish, Dutch, English, Estonian, Farsi Persian, Finnish, French, German, Greek, Hebrew, Hungarian, Indonesian, Italian, Japanese, Korean, Latvian, Lithuanian, Malay, Malayalam, Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Thai, Turkish, Urdu, Vietnamese Languages.

The prevalence of the six-seconds rule may be rooted in the belief that fast subtitle speeds will not allow viewers to follow both the subtitles and the on-screen action [3]. However, how much time do viewers actually spend reading subtitles and watching the images? This can be assessed using the concepts of absolute reading time and proportional reading time [15]. Absolute reading time is measured in seconds and it is the actual time spent on reading the subtitle. For instance, a viewer can spend 4 seconds reading a subtitle displayed for 6 seconds, which leaves them 2 seconds to follow the on-screen action in the film. Proportional reading time is measured in percentages and is the proportion of the total subtitle display time during which the viewer is actually gazing at the subtitle. Thus, if a reader looks at the 6-second-subtitle for 4 seconds, their proportional reading time is 66%. Longer subtitle display times have been found to increase the absolute reading time but decrease the proportional reading time [15, 16]. On the one hand, this finding may suggest that longer subtitle display times can benefit viewers by giving them more time to follow the on-screen action. On the other hand, however, it is plausible that when faced with fast subtitles, viewers simply read them more efficiently and, ultimately, do not need longer display times.

When it comes to the differences between the videos in a language that is familiar (English in Exp. 2) and unfamiliar (Hungarian in Exp. 1) to viewers, we hypothesized that because people support their viewing with auditory information from the soundtrack, the preference for faster speeds and unreduced text may be more discernible when they understand the language of the film dialogue, whereas it may be less pronounced in the case of a language that viewers have no knowledge of. Furthermore, the analysis between different groups of subjects (Spanish, Polish and English) enabled us to consider the impact of experience with subtitling on the processing of subtitled videos. We expected that people who are familiar with subtitling may have developed certain strategies allowing them to process subtitles more efficiently, possibly evidenced by higher comprehension and lower cognitive load.

Despite our expectations prior to the study and the linguistic background of the participants, when asked about the preferred type of audiovisual translation, the vast majority stated they prefer subtitling. This, on the one hand, may reflect changes in audiovisual translation landscape, and on the other may be attributed to the fact that the participants were living in the UK at the time the study was carried out. Finally, the preference for a given type of translation is not synonymous with its prevalence in a country; this is to say that although some participants may prefer subtitles now, they still grew up in a non-subtitling country.

Subtitle speed had an effect on all eye tracking measures (Table 10). There were no interactions. Slower subtitles induced more fixations and higher mean fixation duration than faster subtitles. The absolute reading time was longest in the 12 cps condition, whereas the proportional reading time was highest in the 20 cps condition. Fig 1A shows that an increase in subtitle speeds resulted in an increase in the percentage of time spent in the subtitle area, relative to subtitle duration. Subtitles in the slowest condition (12 cps) triggered the largest number of revisits, which may mean that participants read the subtitle, looked at the scene and gazed back at the subtitle area, only to find the same subtitle there. We discovered a trend, depicted in Fig 1B, that the longer the subtitle duration, the more revisits to the subtitle area. When watching slow subtitles, viewers re-read two out of three subtitles, but when watching fast subtitles, they re-read about one in five.

We also found an interaction between speed and language in effort, F(2,71) = 6.935, p = .002, ηp2 = 163) and in frustration, F(2,71) = 4.658, p = .013, ηp2 = .116). We decomposed these interactions with simple effects with Bonferroni correction and found a main effect of subtitle speed on frustration in the English, F(1,26) = 16.980, p = .000, ηp2 = .395, and Spanish group, F(1,25) = 4.355, p = .047, ηp2 = .148. Frustration was lower in the 20 cps condition compared to 12 cps. For Polish speakers, there was a main effect of subtitle speed on effort, F(1,20) = 14.134, p = .001, ηp2 = .414 but not for frustration. Polish participants declared to expend more effort when reading faster subtitles displayed at 20 cps compared to the slow subtitles.

Similarly to Experiment 1, we found the main effect of subtitle speed on all eye tracking measures (see Table 18). The slow subtitles induced more fixations than the fast ones. In all groups of participants, the mean fixation duration was lower in the 20 cps condition. Absolute reading time for the 20 cps condition was lower than the 12 cps condition. Proportional reading time, however, was higher for faster subtitles.

The implication of the number of revisits to the subtitle area for the subtitle reading process is that when watching slow subtitles, viewers re-read every second subtitle, whereas in the case of the fast subtitles, only one in five or one in six was re-read. This may be taken to mean that slow subtitles resulted in a more disrupted reading process.

We also found a main effect of language in all eye tracking measures except for revisits (see Table 19). Spanish people made significantly more fixations on subtitles than English people, p = .001, 95% CI [.31, 1.46], and had a significantly longer mean fixation duration than Polish people, p = .025, 95% CI [2.73, 52.20]. They also dwelled the longest in the subtitle, as shown by their longest absolute reading time compared to the English, p = .007, 95% CI [49.88, 389.01] and to the Polish, p = .006, 95% CI [57.46, 413.62]. Their proportional reading time was longer than analogous time spent by English, p = .002, 95% CI [.03, .17] and Polish participants, p = .005, 95% CI [.02, .17], see Fig 6.

The fact that slower subtitles did not result in higher comprehension may be somewhat surprising but possibly suggests that viewers can cope well with reading subtitles irrespective of their speed. Our results are consistent with the prior work on SDH, which showed that slow edited subtitles did not result in higher comprehension than fast unreduced subtitles [6, 36].

Parents need to know that Nobody Sleeps in the Woods Tonight is a gory Polish horror movie (with English subtitles) featuring gruesome, super-strong, man-eating twin monsters stalking a camp of teens who are addicted to internet use. The ghastliness includes pustule-covered giant monsters who kill and eat their victims. Expect blood, gore, severed heads, limbs, a man sliced in half, stab wounds, bitten faces, stranglings, shootings, and other bloody representations. Two teens share a joint and have sex. Breasts are shown. Language includes "f--k," "s--t," "ass," "suck," and "d--k."

And yet, it is a great pity that the fundamental and formally legalfoundations of our state were not promptly cleansed of the odious and utopianfantasies inspired by the revolution, which are absolutely destructive for anynormal state. As it often happened in our country before, nobody gave anythought to the future.

Other posts aim to educate a Polish-speaking audience about racism, prejudice, and issues such as colonialism (often with subtitles and explanations in English) but also highlight to a wider population that Poland is more complex and diverse than often depicted in the media.

Yiddish Curiosities: a library of wonderful but forgotten Yiddish songs from the late 1920s and after (includes Polish Jewish Cabaret). Have a listen!1. Link to list of posts on this site2. Link to songs for sale3. Click here for our music videos of Yiddish songs with English subtitles (mainly post-1925)4. List of the still lost songs. Do you know any of them?5. Warszawa zumerkurs song linksSEARCH THE BLOG: Saturday, December 17, 2022 Ver ken di libe fun a heyliker mame farshteyn? Fabulous Yiddish tango from "Bandit Gentleman" UPDATED to include a link to the Olga Mieleszczuk I just found on youtube: Heyliker mame.And here is my singalong video (with the transliterated Yiddish text and translation):Or click on the long-suffering mother (right) to listen to and/or buy this track from our Lebedik Yankel cd.In Itzik Zhelonek's collection he references this song as being from BenZion Witler's show "Bandit Gentleman" - I couldn't find the recording by Benzion Witler until I wrote to Karsten Troyke, who has recorded the song as "Ver ken di libe," and he kindly pointed me to the Witler 78 - it's hiding on Youtube under the name Der ken di libeh. Since I hadn't been able to find that version, I had already transcribed the song from a Herman Fenigstein recording found at - and here's our version of the song and the sheet music with translation, transcription, chords, etc:Here's our Yiddish music video with captions from a 2013 concert:Troyke's version is faster and has the authentic rhythm from the Witler recording. Ours is more like the slower Fenigstein version. It's a great song either way. Note bene, the song has also been found under these transliterations: Ver ken du liebe and Wer, ken du liebe. 041b061a72


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