 Italy, Spain and Germany. These are the three countries where you have a dictatorship. This is something very typical. In a dictatorship, you do not want anything from abroad. So they say, okay, everything should be dubbed. Germans are Germans. They recovered very fast. Now, that's true. They do not have a bad command of foreign languages. Okay, but Italy and Spain, of course, there are more reasons why we do not... Spanish people, we do not have a good command of foreign languages. First, the stronger your language, the worse for foreign language acquisition. Spanish is a very powerful language. You can go to Latin America, you can go to Miami, you can go to New York, you can go to many places and they will talk to you in Spanish. If you spoke, I don't know, Hungarian, nobody is going to speak to you in Hungarian. Okay, so that's the second version. Now, intra-lingual subtitling means that you are going to subtitle from one language into the same language. That means that you can translate a video, which is in English, into English. Or you can translate that same video, which is in Spanish, into Spanish. That is intra-lingual, okay, within the same language. A second possibility is inter-lingual subtitling, which is the most common, all right? So you translate from English into Spanish. The film is in English and the subtitles are in Spanish. Or the other way around, the subtitles are... The film is in Spanish and the subtitles are in English. By the way, there is very, I don't know if interesting is the word, anecdote from Poland, because in Poland, if you go there, they doubt everything and there is one person who is a man, who is called Elektor, who doubts everything. The same voice. I watched the Simpsons in Poland and there was a man with a very strong voice saying, Lisa Simpson and Mads and everything. And they still think we are stupid, really. They think we are wrong. But this is how they do it in Poland. Now, there is a third thing, which is partially interesting to you in the case you have some interest on accessibility, which is subtitling for the deaf and hard of hearing. That is, instead of only capturing the dialogue, you also translate and you also convey sounds. Think about a film where there are two people arguing, one of them leaves and shuts the door. So you should write slam or whatever. That is for people with some accessibility problem. Now, I'm going to tell you a couple of things about subtitling just for you to know in case you are curious before we go into the activities. First, as you know, there are usually two lines on the screen. You do not have three or four, why? Because it should not close that much of the theme. So two lines per subtitle, maximum. Second, four to six seconds. That is the standard. If you are working with children in primary education, they read slower. So I would recommend ten seconds on average, about ten seconds for the subtitle to be on the screen. Not any type of... not any typeface, okay? Tipo de letra. No vale cualquier tipo de letra, cualquier fuente, cualquier color. Why not? Because you read them better or worse. Why do you think taxis are yellow? You can see them at night. You can see them very easy. White and yellow are better for subtitling. Yellow or white, okay? Because you can see that better. And this type of letter, this is a sans-sarif, you know the difference between sarif and sans-sarif, okay? Con sarifa is in sarifa in Castellano. I do not remember the other name. For example, Times New Roman is a sarif type, okay? Because it has some kind of ending, some kind of decorations, okay? That make them very easy to read when it is printed. So when you print something, it is better to use Times New Roman, for example. Your eyes read faster. When it is on the screen, you should use, for example, this is Ariel, which is sans-sarif. You don't have these kind of decorations. And your eye reads better and faster on a screen. Do not split sentences. Do not cut. You cannot split a sentence in two, like this, for example. The monster wanted to eat a cookie. Logical, isn't it? I mean, you cannot do that in a subtitle. And you shouldn't separate nouns and adjectives, like in this case. They found a magic treasure in the forest, okay? Very basic things, no big deal. If you want to subtitle with your students in primary education, I strongly recommend videos from 30 seconds to two minutes. No longer than that, because this is very demanding and very exhausting. It is not difficult, but they will get tired, okay? So 30 seconds is enough. One minute is enough. Two minutes, maximum. In general, working with long videos in primary education, I mean, it's not generally. You know that golden rules are always dangerous in education, but generally, overall speaking, it's not a very good idea, okay? So 30 seconds to two minutes. What tools have you got? I'm going to show you two, no more. First, you have this program, which is called Subtitle Workshop. This is a free program, okay? Open Source, developed in Uruguay. So you can download it. It is free for you, and it works on PC. You can download it. It is very simple to use. You can just install it and use it very easily, and it looks like this. So all the subtitling software is more or less the same. You have the central part of the screen where you open or you load a video, and in this lower part here, you just write your subtitles, okay? Simple sentences. Then what you have to do is to synchronize it with the voices. That is the most difficult part. Synchronizing is extremely difficult, okay? If you want to do some lip synchronization. That is very difficult to do. Too difficult for your students in primary education, probably. I would only recommend that for secondary education. The second one is Aihisa. It is multi-platform. That means that you can use it in Windows or Mac. And again, it is free, okay? It has quite a similar aspect. You have the central screen with the subtitles, and this also allows you to do some dabbing in case you want. Have you got any questions so far? No. Okay, I'm going to show you just how it works. It is very simple, as I said. The only thing you have to do... So this is the program, okay? This is Aihisa. You can see it. So you just go to video, okay? You open a video. Any video. You can see that it works here. And here you write your subtitle, okay? Then what you have to do is to go to the place where you want to put it. Like that. And of course you have to clearly mark where you want your subtitle to end. It is very easy. You do not want to get things complicated, okay? As simple as that. I'm going to show you something else. I did it before when I was... I know it is stupid, but what happens? Children love it. I can promise you that. They like it. So as you can see, it is a very simple software that you can use, and it is free. This is the next thing. For those of you who are not techies, who are afraid of technology, you can use a question paper. Yes, why not? There is no problem. You don't have to use technology per se, okay? The important thing is that you are creative. You can use your own notes. You can use a paper. You can use your mobile phones. I'm going to show you a couple of apps for subtitling and dubbing with your phones, okay? Which are very, very effective. For subtitling and clay, why on earth should we use subtitling on clay? If you asked me, I have a couple of ideas. I'm going to show you five, only five. First, cold switching is important. The 100% in English can be argued. In bilingual education, it is extremely important that you are able to switch from one language to another. I mean, it is important that our children can be able to switch from English into Spanish from Spanish into English. Cold switching works in clay. Believe me, it works. So this promotes cold switching. Cambio decodero, translanguaging. You know we started it in Wales with people explaining things in English and using materials in Welsh language, okay? And it works. Second, active bilingualism. The parts of the flower are okay. But they do not promote active bilingualism. I mean, I don't know the parts of the flower in Spanish. I don't, believe me. I think I don't know them in English neither. I don't know. Active bilingualism is something different. If you are interested, go and read Jim Cummings on the difference between basic interpersonal skills and academic language proficiency. So one thing is common English for every day situations and another thing is academic English, okay? If you have been abroad or if you have studied through English, it is not the same. Being into an Erasmus, having a beer in English or listening to me talking about subtitling, it is not the same. They are two different worlds, okay? So we have to promote active bilingualism. And please remember one thing. We do not want monolingualism in English. We do not want to change one thing for the other. If your students in science know how to say lands but don't know how to say pulmón, that is a failure. So we have to promote active bilingualism. Whatever the language, okay? And this can promote active bilingualism. Many people in Spain and many people in Europe think clear should promote subject-specific literacies. So there are some literacies. My friends think... Is it in English? Yellow mismo, no. It is not the same. You have specific literacies for every subject in clear, okay? So with this thing, we can stimulate that. The forces. Is there anyone who doesn't know what the forces are? Confess now, you know, okay? So cognition, they have to think in the foreign language, which is extremely difficult. Culture, it comes to the video, okay? You can use any video you want. Communication, I strongly recommend that when you use technology in your classes, they do not work individually. They should work in groups. They can do it at home alone, but they should work in groups. And... Which is the other one? No, culture, I mentioned it, I think. Content, Jesus Christ. Content, it depends on the video. Again, you can use it in science, arts. Depending on the video, you can work with some contents. Accessibility, again. For those of you who have students with special needs, or any hearing impairment, even all the type of learning problems, that might be a helping hand. Now, I'm going to show you an example of something we did for the last years. We used this film, I don't know if you watched it, Frank and Winnie, you know it. This is Tim Barton's portrait of the classical Frankenstein, but instead of the monster, you have a dog, okay? This is a great film. So this is what we did. We did a project on task-based learning. This is just a proposal for you to see how you can do this in clear. We used it in science, all right? And these are some typical activities you can do. First, as usual, you can do a pre-watch. Five minutes, okay? So you can talk to them about Frankenstein, the book, the novel. You can talk to them about Mary Shelley writing the book and all that story. Okay, you know that she wrote the book because Lord Byron and some of the people told her she was a woman. She was not able to write a terror story. And they say that she wrote Frankenstein in one night. I don't know if one night was accurate, but she wrote it, okay? And it is a story about... It's not a story about a monster. It's a story about feeling different, about acceptance, about many things, okay? So we chose this for the beginner. You can then play the video, okay? I have the trailer there for you to watch. And ask them to do the main thing, the subtitling thing. Again, in paper, using software as you want. And then, of course, the post-watching. So this is a typical task-based learning approach. No different to the type of tasks that you normally do in any video. However, if you work in Clil, it is very important that they make predictions, that they can hypothesize, okay? Making hypotheses, making predictions. What is going to happen? So you can stop the video at any time and ask them, what do you think is happening? What do you think will happen next, okay? Imagining Clil is of paramount importance. You have to activate their cognition. So ask them more demanding things. Then you can watch the video with or without audio, okay? You can summarize. Yes, this is something more common in traditional foreign language learning. And you can ask them to describe, for example, characters. Finally, you can do some content activities. I don't know if you are familiarized with this website, Film Education. Unfortunately, it closed in 2013, I think, but the website is still online. So Film Education was a charity from the United Kingdom which was intended to promote education through films, okay? They have a lot of materials online, very good materials indeed. One of them is, for example, about this Franken-Winnie. So you have this, this is online. This is available for you to download. Not only about Franken-Winnie, there are more films. So, for example, this is about electricity. Frankenstein, as you know, was about electricity, bringing things back into life. So they explain what is electricity about. Insulators, conductors, all these things that you explain in science, okay? So you have pineapple keys which are metal, rubber. So you have objects that do transfer electricity and some others which don't, okay? And you have these type of activities which were intended for fourth, fifth year of primary education, okay? Circuits. You have many other activities on forces, how to do this funny and fashion hair. And you have even, you have even the teacher's note. This is, again, available for you if you go to filmeducation.org, okay? Yes, it is. I mean, they did it. And you have more films, more films and more teaching units like this. This was designed for arts, science, and... Oh, here we are. Literacy, okay? I do not have much time to go through this, but you can more or less get the picture, okay? Now, you can watch the video. For those of you who are not that much into subtitling, you can go into a traditional scheme, okay? So you can watch the video. You can have general questions on the clip. You can then specific questions on content, okay? You can have the typical fill-in-the-gaps with language issues and you can then transcript or translate. Which are the advantages? First, content, cognition, culture, and communication. As I said before, in our case, content was science, electricity. We also approached some other things, animals, respect for other people, and so on and so forth. Cognition, we asked them to make hypotheses and predictions on what was going to happen next. So that is higher-order skills. Communication, we asked them to work in small groups and report on their work to the rest of the people and culture. In this case, you have Frankenstein, okay? Which is a noble, which is a book. Second, you really can integrate language and culture with subtitles, all right? Third, you can promote collaborative work, especially if you do not allow your students to work individually, which is essential here. And, as I said before, you can stimulate cognition skills in the elder, in English, in our case. For those of you who are into ICTs, as long as you use this software, you can promote the active use of technology. This is the most important thing, creativity, believe me. This sort of experiment was very relevant to discover how creative children are. We use that in sixth year of primary education, in science, in several bilingual classrooms in Asturias. You know that children always do unexpected things, always. This is what we found. They did like subtitling from English into Spanish, but there was something that they preferred. They preferred to be naughty. They preferred to subtitle things which were not real. So they did create their own subtitles. At the beginning, my colleagues said, no, no, no, it's not acceptable. But then I convinced them that that was great. As long as they are using the language to create something, they can learn a lot. How many of you know about dubs and mass dubs? That's this ring a bell. You probably have watched hundreds of videos of Bruno Ganz, the actor here portraying Hitler in the downfall, very angry because Donald Trump won the elections, because there is no Starbucks near home, whatever. There is a hilarious video about this guy from, I don't know, El Recitas, you remember El Recitas, about these failures with Apple, all that things. What happens? Our children started to create their own subtitling and their own dialogues in English. And we discovered that they learn a lot of vocabulary. So you can give them words for them to use and ask them to create subtitles. It works, really. Another thing, if you give them voiceless videos, so videos with no dialogues, for them they can narrate them, they can play with the dialogues, or they can subtitle them. That is probably the most insightful and the most fruitful part, instead of subtitling. So ask them to create things. Have you got any questions so far? Okay, so now what I would like you to do is to, as we do not have computers, you can take your mobile phones or tablets or whatever, you can think, okay? That would be in personal small groups, if you want. I would like you to try to create, with paper, of course, a subtitle for any video that you can think about, okay? So it is freestyle. You can do intralingual subtitles, interlingual subtitles, or you can create your own subtitles. You only need paper, okay? Or you can just do them orally. You can just take a video and think about subtitling or creating the dialogues. I'm going to give you 15 minutes for that, okay? Go.