ESIST was founded in March 1995 in Cardiff by a group of professionals and academics from fifteen European universities to establish communication with creators, translators, distributors, and scholars working in the area of European audiovisual broadcasting and multimedia production.[3][4]
ESIST has been active in promoting European cooperation in audiovisual translation training[5][6] and the standardization of subtitling practices at a European level.[7] In 2000 it launched The Comparative Subtitling project, the first comparative analysis of subtitling practices and guidelines in all European countries.[8][9]
In 1998, ESIST endorsed the Code of Good Subtitling Practice.[10] The Code is a set of guidelines developed by Jan Ivarsson and Mary Carroll,[11][12] which has emerged as a recognized standard in the profession.[13][14]
In 2010, ESIST signed a protocol of understanding with the European Society for Translation Studies (EST) to enable knowledge exchange in the field of audiovisual translation.[15]
In 2018, the inaugural issue of Journal of Audiovisual Translation was published by ESIST, and new issues are published at a rate of at least two a year. This open-access, peer-reviewed journal is the first academic international journal dedicated to audiovisual translation studies and media accessibility.[16]
Jan Ivarsson Award
Since 2010, ESIST has presented the Jan Ivarsson Award for invaluable services to the field of audiovisual translation. The award is given biannually at the Languages & the Media conference in Berlin.
^Gambier, Y., 2002, De quelques enjeux de la traduction audiovisuelle, Hyeronymous, 2, p.3.
^Multimedia Consulting Group, 2007, Study on dubbing and subtitling needs and practices in the European Audiovisual Industry: Final Report, Information Society and Media Directorate-General and Education and Culture Directorate-General of the European Commission, p.77.
^James, H., Roffe, I. and Thorne, D., 1995. Assessment and Skills in Screen Translation. In: C. Dollerup and V. Appel, eds. 1995. Teaching Translation and Interpreting 3. Amsterdam and Philadelphia: John Benjamins Publishing Co., p.178.
^Bartoll, E. and Martinez Tejerina, A., 2010. The positioning of subtitles for deaf and hard of hearing. In: A. Matamala and P. Orero, eds. Listening to Subtitles. Subtitles for the Deaf and Hard of Hearing. Bern: Peter Lang, p.72.
^Romero-Fresco, P., 2010. D’Artagnan and the Seven Musketeers: SUBSORDIG travels to Europe. In: A. Matamala and P. Orero, eds. Listening to Subtitles. Subtitles for the Deaf and Hard of Hearing. Bern: Peter Lang, p.166.
^Arnàiz Uzquiza, V., 2010. SUBSORDIG: The need for a deep analysis of data. In: A. Matamala and P. Orero, eds. Listening to Subtitles. Subtitles for the Deaf and Hard of Hearing. Bern: Peter Lang, p.166.
^Mangiron, C., 2011. Subtitling in game localisation: a descriptive study. Perspectives: Studies in Translation Theory and Practice, 21(1), pp.42-56. doi:10.1080/0907676X.2012.722653
^Ivarsson, J. and Carrol, M., 1998. Subtitling. Simrishamn: Transedit, pp.157-159.
^Díaz Cintas, J. and Remael, A., 2007. Audiovisual Translation: Subtitling. Manchester: St. Jerome Publishing, p.80.
