Film translation in Sweden in the early 1930s

2019 ◽  
pp. 255-266
Author(s):  
Christopher Natzén
Keyword(s):  
Film Industry ◽  
Spoken Language ◽  
Early Years ◽  
New Methods ◽  
Gradual Shift ◽  
Technical Construction

The main focus of this chapter is how the Swedish film industry settled on subtitling as its method of film translation in the late 1920s and early 1930s. The early 1930s saw a gradual shift towards favouring subtitling over dubbing and intertitles. Subtitling was further promoted as new methods for providing the subtitles on the film were developed. A second focus in the chapter is the heightened media sensitivity brought on by dubbing and how this may be related to distributors’ experiments in film translation during the early years of conversion to sound. As the years progressed, a consensus developed in Sweden in favour of subtitling, which was perceived as unobtrusive, since it masked the technical construction of the film medium for those spectators who knew the spoken language in the film.

scholarly journals From disaster relief to disaster risk reduction: a consideration of the evolving international relief mechanism

2008 ◽  
Vol 4 (2) ◽  
Author(s):  
Dewald Van Niekerk
Keyword(s):  
Risk Reduction ◽  
Disaster Preparedness ◽  
Disaster Risk Reduction ◽  
Disaster Relief ◽  
Development Assistance ◽  
Disaster Risk ◽  
Development Aid ◽  
Early Years ◽  
Gradual Shift ◽  
International Policies

Disaster risk reduction is an ever-growing concept and finds its application within various disciplines. This article investigates the development of disaster risk reduction and some of the most important aspects which shaped it. The early years of international disaster relief are discussed and it is shown how a change in this system was necessitated by a variety of factors and international disasters, which exposed its weakness. The article argues that disaster relief and development aid were inextricably linked and it is this linkage which provided a catalyst for questioning the manner in which relief, and development assistance, were provided. The later emphasis on disaster preparedness and management is discussed, and international policies and mechanisms, which contributed to a gradual shift in focus towards disaster risk reduction, enjoy attention. The article concludes that solutions to disaster risks lie within a rigorous trans- disciplinary focus.

scholarly journals The Centennial of the Department of Epidemiology at Johns Hopkins Bloomberg School of Public Health: A Century of Epidemiologic Discovery and Education

2019 ◽  
Vol 188 (12) ◽  
pp. 2043-2048
Author(s):  
David D Celentano ◽  
Elizabeth Platz ◽  
Shruti H Mehta
Keyword(s):  
Public Health ◽  
New Technologies ◽  
Immune Deficiency Syndrome ◽  
Deficiency Syndrome ◽  
Early Years ◽  
Epidemiologic Transition ◽  
Disease Etiology ◽  
Disease Epidemiology ◽  
Infectious Disease Epidemiology ◽  
New Methods

Abstract The Department of Epidemiology at Johns Hopkins School of Hygiene and Public Health was founded in 1919, with Wade Hampton Frost as inaugural chair. In our Centennial Year, we review how our research and educational programs have changed. Early years focused on doctoral education in epidemiology and some limited undergraduate training for practice. Foundational work on concepts and methods linked to the infectious diseases of the day made major contributions to study designs and analytical methodologies, largely still in use. With the epidemiologic transition from infectious to chronic disease, new methods were developed. The Department of Chronic Diseases merged with the Department of Epidemiology in 1970, under the leadership of Abraham Lilienfeld. Leon Gordis became chair in 1975, and multiple educational tracks were developed. Genetic epidemiology began in 1979, followed by advances in infectious disease epidemiology spurred by the human immunodeficiency virus/acquired immune deficiency syndrome epidemic. Collaborations with the Department of Medicine led to development of the Welch Center for Prevention, Epidemiology, and Clinical Research in 1989. Between 1994 and 2008, the department experienced rapid growth in faculty and students. A new methods curriculum was instituted for upper-level epidemiologic training in 2006. Today’s research projects are increasingly collaborative, taking advantage of new technologies and methods of data collection, responding to “big data” analysis challenges. In our second century, the department continues to address issues of disease etiology and epidemiologic practice.

scholarly journals Academic language as an object of teaching foreign languages to philology students

2021 ◽  
Vol 5 (S4) ◽  
pp. 657-676
Author(s):  
Oksana V. Asadchykh ◽  
Liudmyla H. Smovzhenko ◽  
Iryna V. Kindras ◽  
Ihor I. Romanov ◽  
Tetiana S. Pereloma
Keyword(s):  
Foreign Language ◽  
Academic Language ◽  
Spoken Language ◽  
Foreign Languages ◽  
Practical Significance ◽  
Visual Images ◽  
New Methods ◽  
Language Research ◽  
Intercultural Exchange ◽  
Knowledge Communication

In the modern socio-educational environment, which is developed through intercultural exchange and the implementation of new methods of spreading knowledge, communication in the student environment is based on the exchange of visual images and philological units. For students of the philological direction, communication with foreign language communicants is determined by the possibility of improving the function of conversation, perception of cultural characteristics and obtaining new images. Of relevance is the perception of not only spoken language by students, but also of the academically correct lexical group. The novelty of the study is determined by the fact that academic language is often perceived as a kind of anachronism, as something insufficient to expand linguistic competence. The study proves that the readiness of students to implement the provisions of academic language is possible not only culturally, but is also achievable by pedagogical methods. The study demonstrates that the implementation of the extended learning format is achieved through the techniques of linguistic learning. The practical significance of the study is that the perception of academic language will allow students of the philological direction to implement their skills in various social spheres, which may require historical language research and be predominantly fundamental.

scholarly journals Adaptation of Film Terminology in the General Language

2020 ◽  
Vol 22 (3) ◽  
pp. 859-868
Author(s):  
S. A. Pankratova
Keyword(s):  
Film Industry ◽  
Spoken Language ◽  
Scientific Interest ◽  
Continuous Sampling ◽  
Image Element ◽  
Film Discourse

The paper deals with modern aspects of terminology in film industry. The paper aims at the study of the linguistic and extralinguistic levels of film terminology in the professional dialect of filmmakers and general strata of the language. The broader context of the film discourse viewed as a complex communicative issue requires simplified understanding among professionals, as well as during interaction between filmmakers and cinephiles. The author believes that there are two sources of film neologisms, connected with the appearance of new artifacts and adaptation of cinema terms in the interpretative discourse. The method of continuous sampling from modern cinema magazines provided a copious terminological material, which was afterwards studied by means of stylistic, word-building, and axiological analysis. The material demonstrated that modern film industry uses several ways of terminologisation, thus diminishing the distance to the general spoken language. They include simplification, abbreviation, imagery, string terms, holophrasis, blending, and rhymed terminological units. The new means of terminological innovation revealed a trend to conserve the term’s meaning while rendering the term with the additional meaningful or image element, which would facilitate its comprehension in intense communication. The means of terminological innovation were aimed at increasing simplicity, aesthetism, beautification, and irony, as well as invigorating dead imagery, expressing a new concept, and creating euphemisation. The determinologisation of the semantic sphere of cinema was supported by multiple examples and revealed great public and scientific interest to this sphere, indicating continuous productive innovational processes in cinema terminology.

Australian Film and the Cultural Cold War

2004 ◽  
Vol 111 (1) ◽  
pp. 118-130 ◽  
Author(s):  
David McKnight
Keyword(s):  
Cold War ◽  
Film Industry ◽  
Early Years ◽  
Film Festivals ◽  
Film Culture ◽  
Slow Development ◽  
Cultural Cold War ◽  
The 1950S

This article examines whether, and in what way, anti-communism was a factor in the slow development of an Australian film industry in the 1950s and early 1960s and in the kind of film culture developed in Australia, particularly through film festivals. In particular it examines the activities of the Australian Security Intelligence Organisation (ASIO) towards left and liberal filmmakers and film lovers. It briefly examines the effect of anti-communism on the struggle for Australian content by Actors' Equity in the early years of television.

Entrepreneurs and the State in the Italian Film Industry, 1919–1935

2011 ◽  
Vol 85 (4) ◽  
pp. 775-798
Author(s):  
Marina Nicoli
Keyword(s):  
Interwar Period ◽  
Film Industry ◽  
The State ◽  
Early Years ◽  
Joint Stock Company ◽  
Stock Company ◽  
Benito Mussolini ◽  
Italian Government ◽  
Italian Film

During its early years, entrepreneurs in the Italian film industry maintained a complicated relation with the state. The arrangements between the joint-stock company Società Anonima Stefano Pittaluga and the Italian government in the interwar period were typical. Initially, Italian banks financed productions, despite the difficulties entailed in assessing a film's potential profitability. Following the rise of Benito Mussolini, the state invested in the industry, viewing it as a means of building nationalism and shaping the country's culture. While the deal was disastrous for the quality of the films, it nevertheless enabled filmmakers to gain technical experience and acquire production facilities that they were later able to put to better use.

scholarly journals The Birth of Identity in the Finnish Cinema

2016 ◽  
Vol 8 (1) ◽  
pp. 80-90
Author(s):  
Christina O Ivannikova
Keyword(s):  
Film Industry ◽  
Early Years ◽  
Silent Cinema ◽  
Russian Film

The article is devoted to the early years of Finnish film industry. Given the renown of Danish and Swedish film schools, it investigates the reasons for the lack of interest on the part of international (including Russian) film scholars to the phenomenon of Finnish silent cinema.

scholarly journals Ricerche sul Corpus del parlato romanzo C-ORAL-ROM

2007 ◽  
Keyword(s):  
Language Teaching ◽  
Spoken Language ◽  
Direct Application ◽  
Romance Languages ◽  
New Methods ◽  
Teaching Unit

This book is the first initiative of its kind aimed at underscoring the importance of the C-ORAL-ROM project, and proposing new methods of utilisation and study of the corpora comprised within it, especially in the framework of language teaching. The objective of the project is that of creating a corpus of the spontaneous spoken language for the principal Romance languages: French, Italian, Portuguese and Spanish. The publication includes both written and audio texts, considered as the most appropriate manner of utilising and studying the oral corpora. The texts of the authors hosted in the volume dwell on the various aspects that enable C-ORAL-ROM to be used as a container of information, as a teaching instrument and also as a means of analysing the formal, structural and prosodic characteristics of the texts. The last part of the book presents a teaching unit that proposes a direct application to the teaching of the oral corpora.

Writing from the Margins of Media: Screenwriting Practice and Discourse During the First Indian Talkies

2018 ◽  
Vol 9 (2) ◽  
pp. 117-136
Author(s):  
Rakesh Sengupta
Keyword(s):  
Film Industry ◽  
Film History ◽  
Early Years ◽  
The Other ◽  
Conceptual Tool ◽  
Autobiographical Accounts ◽  
Film Scripts

This article is an attempt to rethink the intermedial practice and discourse of screenwriting during the first Indian talkies through a study of the margins of print, theatre and film history. I engage with the unfortunate archival absence of film scripts from the early years as a heuristic rather than a handicap, employing intermediality both as an archaeological and a conceptual tool in reconstituting screenwriting as a converged media practice. I argue that the widespread circulation of screenwriting manuals for amateurs constituted a pedagogical infrastructure separate from, but parallel to, the other infrastructural flow of ideas and professionals from the Parsi theatre into the film industry. The autobiographical accounts of some of the first playwright-turned-screenwriters bear testimony to the spaces they negotiated for themselves in the talkies after a successful stint with the Parsi stage. These memoirs form an interesting counterpoint to the testimonies of another group of screenwriters from the Indian Cinematograph Committee evidences (1927–1928) in which these writers express great apathy towards the practice in the Indian studios and declare their freelancing associations with Hollywood studios which solicited story ideas from viewers worldwide.

Nigar Hai Toh Industry Hai: Notes on the Morale and Mortality of Pakistani Film

2020 ◽  
Vol 11 (2) ◽  
pp. 187-206
Author(s):  
Salma Siddique
Keyword(s):  
South Asia ◽  
Film Industry ◽  
Early Years ◽  
Local Production ◽  
Visual Content ◽  
Film Exhibition ◽  
Post Colonial ◽  
Ethnographic Fieldwork ◽  
Cross Border ◽  
Production Strategies

Combining archival and ethnographic fieldwork, this piece reflects on the scope of film publicity through the author’s conversations with the proprietor-editor of the oldest film magazine in Pakistan, The Nigar Weekly. Offering a larger view from post-colonial Karachi of political and national transitions, Nigar’s brand of film commentary in the 1950s and 60s, reveled in connecting and cohabiting the multiple film centers in South Asia: Karachi, Lahore, Dhaka and Bombay. Foregrounding the muhajir background of its founders and its self-styled relationship with the film industry, the piece draws attention to a distinctive characteristic of the publication: its satirical visual content. The magazine while borrowing select content from a Bombay film magazine in its early years, vividly commented on issues such as film trade with India, censorship and public morality in Pakistan, cross-border film intimacies, film exhibition practices, and local production strategies. The cartoons, while directly connected to the written content, could also exaggerate and provoke as can be expected of visual satire. And it is in this less restrained feature of Nigar that a cautionary critique and a calculated celebration of the Pakistani cinema emerges.

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