However, the lack of agreed-on standards does not necessarily mean the use of telop is totally intuitive. Telop are usually inserted in post-production editing, largely based on the editors’ or directors’ intuitions, and not on evidence-based practices based on industrial or official standards. This trend can potentially evidence how TV producers on a global scale are exploiting textual inserts as a new form of meaning making on screen, and hence a new way to enhance their programs and their reception.
“authorial titles” ( Pérez-González 2012), are becoming more common in the West and are novel in that they break the priority typically given to visual, non-verbal images (i.e., faces and scenes) over visual, and verbal texts on screen. They have spread to China and Korea, where Park (2008) calls them “impact captions.” More recently telop can be linked to so-called integrated titles, which are diegetic texts intended to be part of the narrative, as illustrated by the BBC’s Sherlock series (e.g., Kruger et al. “Variety shows”-an entertainment program genre incorporating more than one type of content ( Koga 2013, 68)-use them most commonly, although the use of telop is also increasing in news programs, which may be considered part of tabloidization (cf. Since the late 1980s, when telop were first used on screen in Japan to enhance TV programs’ entertainment value, their quantity and variations in style have grown steadily ( Shitara 2011).
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