I have come to rely on captions not only to catch what I’ve missed but also to make sense of what I’m hearing. While these days I can still suffer through an uncaptioned movie at the theater if I have to, I much prefer to watch everything with closed captioning. We watched DVDs with closed captions too, and at some point-I can’t recall the exact moment when this first happened, but it feels like forever ago-his mom and I began watching DVDs with captioning even when the kids were out of the room. Because it’s a hassle to toggle TV captions on and off without a handy “cc” button on the remote, we left the captions on all the time. We started watching everything with closed captions, even though he was, at first, too young to read them. Hearing aids and other accommodations, including closed captioning, quickly followed. When he was about eight months old, audiological tests confirmed what we had suspected: Pierce was born with profound hearing loss in both ears. Everything changed in 1997, with the birth of our second son. I grew up a hearing kid in a hearing family. I grasped what closed captioning was at a rudimentary level but didn’t have any real experiences with it. No deaf neighbors or relatives that I knew of. (I was eleven years old when closed-captioned TV was introduced in March 1980.) I didn’t have any deaf or hard-of-hearing friends. For Pierce Contents Preface ix 1 A Rhetorical View of Captioning 1 2 Reading and Writing Captions 33 3 Context and Subjectivity in Sound Effects Captioning 81 4 Logocentrism 107 5 Captioned Irony 141 6 Captioned Silences and Ambient Sounds 183 7 Cultural Literacy, Sonic Allusions, and Series Awareness 8 In a Manner 9 The Future of Speaking of Closed Captioning Acknowledgments 303 Bibliography 309 Index 331 219 250 290 Preface Growing up in Southern California in the 1970s and ’80s, I watched a lot of television but never with closed captioning. pages cm Includes bibliographical references and index. Reading sounds : closed-captioned media and popular culture / Sean Zdenek. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2015 by The University of Chicago All rights reserved. Reading Sounds Reading Sounds Closed-Captioned Media and Popular Culture Sean Zdenek The University of Chicago Press Chicago and London S e a n Z d e n e k is associate professor of technical communication and rhetoric at Texas Tech University. Cultural Literacy, Sonic Allusions, and Series Awareness. Context and Subjectivity in Sound Effects Captioning.
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