Creative freedom versus conventional norms in SDH: The case of Stranger Things

Abstract

This study focuses on creative practices in media accessibility. It examines the differences between the conventional approach to subtitling for the D/deaf and hard-of-hearing (SDH) and an emergent creative approach experimented with by Netflix, with a special focus on the descriptive quality of SDH tags. It explores the extent to which SDH subtitlers steer away from standard norms and practices when granted creative freedom by the client and the extent to which their authorial input is visible. A secondary aim is to observe whether there is also an element of authorial intent suggesting the possibility of some kind of agenda. To this end, this study engages in an in-depth comparative analysis of two episodes of the Netflix TV series Stranger Things, one belonging to the first season, following the conventional approach, and the other to the fourth season, in which subtitlers were given free rein. The SDH tags in each episode were singled out, quantified, and categorized according to Chaume’s (2004) taxonomy of filmic signifying codes (linguistic, paralinguistic, musical, special effects, sound arrangement, photography, mobility, planning). The analysis also reveals which categories are impacted the most by the creative input. The main findings reveal how subtitlers adopting this freer approach tend to stress the communicative meaning of the SDH tags, enhancing the hearing-impaired users’ experience. To achieve this, they use a vaster number and variety of adjectives (compared to conventional practices) while trying to create terms that resonate on a sensory level with the specific genre and plot.