- ホーム
- > 洋書
- > 英文書
- > Cinema / Film
Full Description
This rich collection of articles and essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last twenty years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first fifty years of the twentieth century.
This is the first book-length study, in any language, of the international history of audiovisual translation which includes silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological and industrial contexts. The Translation of Films, 1900-1950 draws extensively on archival sources and expertise. In doing so it revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film.
The Translation of Films, 1900-1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.
Contents
List of illustrations
List of tables
Notes on Contributors
Foreword
Acknowledgements
1: Carol O'Sullivan and Jean-François Cornu: Introduction
2: Bryony Dixon: Titles and Translation in the Field of Film Restoration
3: Claire Dupré la Tour: Early Film Titling Practices: Pathé's Innovative and Multilingual Strategies in 1903
4: Dominique Moustacchi: Intertitles, Translation, and Subtitling: Major Issues for the Restoration of Silent Films
5: Charles Barr: 'Don't Mention the War': the Soviet Re-editing of Three Live Ghosts
6: Thomas C. Christensen: Confessions of a Film Restorer
7: Geoff Brown: Universal Language, Local Accent: Music and Song in the Early Talking Film
8: Adrián Fuentes-Luque: Silence, Sound, Accents: Early Film Translation in the Spanish-speaking World
9: Carla Mereu Keating: 'A Delirium Tremens': Italian-language Film Versions and Early Dubbings by Paramount, MGM, and Fox (1930-33)
10: Charles O'Brien: Dubbing in the Early 1930s: an Improbable Policy
11: Jean-François Cornu: The Significance of Dubbed Versions for Early Sound-film History
12: Martin Barnier: The Reception of Dubbing in France 1931-33: the Case of Paramount
13: Rachel Weissbrod: Creativity under Constraints: The Beginning of Film Translation in Mandatory Palestine
14: Christopher Natzén: Film Translation in Sweden in the Early 1930s
15: Carol O'Sullivan: 'A Splendid Innovation, These English Titles!': The Invention of Subtitling in the US and the UK
16: Carol O'Sullivan and Jean-François Cornu: Conclusion
Bibliography
Index
