The significance of dubbed versions for early sound-film history

2019 ◽  
pp. 191-220
Author(s):  
Jean-François Cornu
Keyword(s):  
Film History ◽  
Source Material ◽  
Sound Film ◽  
Voice Treatment ◽  
Translation Technique

Dubbing as a film translation technique has been largely taken for granted since its origins. Yet such origins are rarely looked into from historical, technical, and artistic perspectives. The study of early French-dubbed Hollywood and European films has a lot to teach us. This chapter examines aspects of voice-acting, lip synchronisation, dialogue alteration, and sound mixing in nine American, German, and British films. It reveals how the makers of French dubbed versions, in Hollywood and in France, were keen on recreating the soundtrack of foreign films according to their own perception of sound and voice treatment, sometimes disregarding the source material to the point of ‘enriching’ it. This approach has major implications for the reception of these versions, but also for the study of the evolution of sound practices in the early sound period. The historical merits of these versions also have significant archival and exhibition implications.

Julien Duvivier

2017 ◽  
Author(s):  
Ben McCann
Keyword(s):  
English Language ◽  
Film History ◽  
Film Noir ◽  
French Cinema ◽  
Literary Adaptation ◽  
German Occupation ◽  
French Film ◽  
Sound Film ◽  
Continuity And Change ◽  
Poetic Realism

This book is the first ever English-language study of Julien Duvivier (1896-1967), once considered one of the world’s great film filmmakers. It provides new contextual and analytical readings of his films that identify his key themes and techniques, trace patterns of continuity and change, and explore critical assessments of his work over time. Throughout a five-decade career, Duvivier zigzagged between multiple genres – film noir, comedy, literary adaptation – and made over sixty films. His career intersects with important historical moments in French cinema, like the arrival of sound film, the development of the ‘poetic realism’, the exodus to America during the German Occupation, the working within the Hollywood studio system in the 1940s, and the return to France and to a much-changed film landscape in the 1950s. Often dismissed as a marginal figure in French film history, this groundbreaking book illustrates Duvivier’s eclecticism, technical efficiency and visual fluency in films such as Panique (1946) and Voici le temps des assassins (1956) alongside more familiar works like La Belle Equipe (1936) and Pépé le Moko (1937). It will particularly appeal to scholars and students of French cinema looking for examples of a director who could comfortably straddle the realms of the popular and the auteur.

Animation on Trial

Animation ◽  
2011 ◽  
Vol 6 (3) ◽  
pp. 259-275 ◽  
Author(s):  
Karen Beckman
Keyword(s):  
Video Games ◽  
Contemporary Art ◽  
Film History ◽  
Source Material ◽  
Popular Media ◽  
Video Installation ◽  
Visual Tool ◽  
The Difference

This article first considers Kota Ezawa’s video installation, The Simpson Verdict within the broader context of the rising interest in animation on the contemporary art landscape. After exploring three trends within this proliferation of artists’ animation – works that animate moments from film history, works that animate ‘reality’, and works that use popular media such as cartoons, television and video games as source material, this article examines the difference between Ezawa’s work, which re-draws already overexposed live footage, and those documentaries that use animation as a supplementary visual tool when live footage does not and/or could not exist.

Legacy of the Lambs

2013 ◽  
pp. 97-98
Author(s):  
Barry Forshaw
Keyword(s):  
Twentieth Century ◽  
Film History ◽  
Source Material ◽  
Literary Fiction ◽  
Significant Aspect ◽  
Psychiatric Institution ◽  
Thomas Harris ◽  
Late Twentieth ◽  
Popular Writing ◽  
Late Twentieth Century

This chapter explores the legacy of The Silence of the Lambs. What is the most significant aspect of Thomas Harris's achievement, both on the page and on the screen? Certainly, there is the creation of a massively successful franchise which has proved itself to be both durable and renewable; the latest incarnation of Harris's signature character is a television series, Hannibal, with the British actor Hugh Dancy impressively nervous as Will Graham, and the Scandinavian Mads Mikkelsen as Harris's eponymous psychiatrist. What is perhaps most enduring about the legacy of The Silence of the Lambs and the writer's other books is the permanent change that malign screen characters have undergone since the appearance of Dr Lecter in the bowels of that psychiatric institution. Nowadays, most ambitious thrillers imbue their villains with a fierce intelligence and analytical intuitiveness. But even more important than this, Thomas Harris demonstrated that popular writing can boast the acumen, elegance, and masterly prose of the best literary fiction, and has inter alia raised the game of the whole genre of thriller writing. Similarly, Jonathan Demme's place in film history is assured thanks to his confident handling of the source material and its influence on horror cinema of the late twentieth century.

An Adaptable Aesthetic: Theodor Sparkuhl's Contribution to Late Silent and Early Sound Film-making at British International Pictures, 1929–30

2020 ◽  
Vol 17 (2) ◽  
pp. 172-190
Author(s):  
Kelly Robinson
Keyword(s):  
Film Industry ◽  
Film History ◽  
International Market ◽  
National Cinema ◽  
International Dimension ◽  
Sound Film ◽  
Feature Films ◽  
Film Making ◽  
Transitional Phase ◽  
Death Knell

The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure’ during this turbulent period in British film history. Sparkuhl indisputably contributed to this achievement, working as he did on eight feature films in just two years from around July 1928 to April 1930, as well as directing several BIP shorts. Sparkuhl's career embodies the international nature of the film industry in the 1920s and 1930s. In Germany he moved within very different production contexts, from newsreels to Ufa and the Großfilme; in Britain from big-budget films aimed at the international market to low-scale inexpensive films at BIP. As what Thomas Elsaesser has called an ‘international adventurer’, Sparkuhl cannot be contained within any single national cinema history. The ease with which he slipped in and out of different production contexts demonstrates not just his ability to adapt but also the fluidity between the different national industries during this period. In this transitional phase in Britain, Sparkuhl worked on silent, part sound and wholly sound films, on films aimed at both the international and the indigenous market, and in genres such as the musical, the war film and comedy. The example of Sparkuhl shows that German cameramen were employed not only for their aesthetic prowess but also for their efficiency and adaptability.

Voice Treatment for Individuals With Parkinson's Disease

2007 ◽  
Vol 12 (1) ◽  
pp. 2-11
Author(s):  
Lorraine Ramig ◽  
Cynthia Fox
Keyword(s):  
Parkinson’S Disease ◽  
Parkinson's Disease ◽  
Voice Treatment

Coverage for Voice Treatment

ASHA Leader ◽  
2010 ◽  
Vol 15 (14) ◽  
pp. 3-30
Author(s):  
Mark Kander
Keyword(s):  
Voice Treatment

Health Plan Denials and Appeals

2008 ◽  
Vol 18 (1) ◽  
pp. 27-32
Author(s):  
Sandra Schwartz ◽  
Janet McCarty
Keyword(s):  
Health Plan ◽  
Voice Therapy ◽  
Voice Treatment ◽  
Independent Review

Abstract Challenging health plan denials for voice treatment through appeals or advocacy efforts can pay off. This article describes the process of obtaining authorization for voice therapy, filing claims, establishing goals, preparing needed documentation, appealing claims through various levels including independent review, and developing an advocacy campaign if coverage is not offered or is very limited.

Screening Statues

2017 ◽  
Author(s):  
Steven Jacobs ◽  
Susan Felleman ◽  
Vito Adriaensens ◽  
Lisa Colpaert
Keyword(s):  
Contemporary Art ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Film History ◽  
Two Dimensional ◽  
Artistic Practice ◽  
Experimental Art ◽  
Broad Scope ◽  
Art Practices ◽  
Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

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