The translation of films 1900-1950
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書誌事項
The translation of films 1900-1950
（Proceedings of the British Academy, 218）
Published for the British Academy by Oxford University Press, 2019
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注記
Bibliography: p. [297]-301
Includes index
内容説明・目次
内容説明
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.
目次
List of illustrations
List of tables
Notes on Contributors
Paolo Cherchi Usai: Foreword
Acknowledgements
1: Carol O'Sullivan & Jean-Francois Cornu: Introduction
2: Bryony Dixon: Titles and Translation in the Field of Film Restoration
3: Claire Dupre la Tour: Early Film Titling Practices: Pathe'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: Adrian 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-Francois 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 Natzen: 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 & Jean-Francois Cornu: Conclusion
Bibliography
Index
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