According to this table proposed by Gottlieb (1992), types 1-7 provide correspondent translations of the segments involved. Type 7 is often seen as the prototype of subtitling, and many critics confuse quantitative reduction (of the number of words etc.) with semantic reduction. However, in a condensation – as opposed to decimation _ the subtitle does convey the meaning and most of the stylistic content of the original. Normally, the only loss implied in a condensation is the loss of redundant oral language features – especially when dealing with spontaneous speech, as found in interviews etc. Even with planned discourse (drama, news commentary etc.) much of the reduction necessitated by the formal constraints of subtitling is created automatically, due to the diagonal nature of this type of translation. In cases where semantic or stylistic content does suffer in the process of subtitling, we are dealing with types 8 and 9. These strategies represent drastic cuts in the original expression, but through positive feedback from the audiovisual tracks, the translated version as a whole will often manage in conveying the message. Unlike types 5-9, which are all supposedly more common in subtitling than in printed translation, resignation (type 10) occurs in all types of verbal transmissions. In subtitling, this abortive strategy is often found in situations where the translator finds himself unable to render tricky idioms and other culture/language-specific elements because of negative feedback from the non-verbal track.