Cinematic JourneysFilm and Movement

Eleftheriotis, Dimitris

doi:10.3366/edinburgh/9780748633128.001.0001

Cited by 4 publications

(5 citation statements)

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“…As shown by recent reception research in AVT/MA (Di Giovanni & Gambier, 2018), foreign audiences may have a very different experience from that of the original audience or even from that of foreign audiences from other countries, depending on whether a film is shown with different types of subtitle, dubbed or with a voiceover narration. Eleftheriotis (2010) notes, for example, that subtitles must have been an integral part of the filmic experience of the French theorists who analysed this apparatus so thoroughly. Yet, they never acknowledged (let alone analysed) the presence of subtitles, which would have posed a threat to the perceived objectivity and universality of their claims.…”

Section: Background: a New Avt-and Ma-aware Notion Of Filmmentioning

confidence: 99%

“…Yet, they never acknowledged (let alone analysed) the presence of subtitles, which would have posed a threat to the perceived objectivity and universality of their claims. For Eleftheriotis (2010), this has two implications:…”

Section: Background: a New Avt-and Ma-aware Notion Of Filmmentioning

confidence: 99%

“…The intention here is to tackle head on, and even embrace, the difference brought about by translation, which includes (a) acknowledging the disparity between original and translated or accessible film versions, (b) identifying the effect the disparity may have on the viewers' experience, (c) promoting a notion of Film Studies that can account for this difference in the analysis of film and (d) introducing a new collaborative filmmaking model that can consider translation early on in the process, with the aim of bridging the gap between the experience of the different audiences. This requires a new, translation-aware notion of film that is not far from the consideration of subtitling put forward by Eleftheriotis (2010):…”

Section: Background: a New Avt-and Ma-aware Notion Of Filmmentioning

confidence: 99%

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Training in Accessible Filmmaking

Romero-Fresco

2020

LANS-TTS

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Accessible filmmaking (AFM), that is, the integration of audiovisual translation (AVT) and media accessibility (MA) into the filmmaking process through collaboration between filmmakers and translators/MA experts, has developed significantly over the past few years. It has been endorsed by filmmakers such as Ken Loach and institutions such as the British Film Institute (BFI), which has decided to embrace it as a key element in the production of films and the training of future filmmakers. However, current training in AFM is at best anecdotal. This article aims to address this gap by proposing two different courses on AFM. By way of introduction, section 2 sets the background with an analysis of the reasons behind the division between film and AVT/MA. Special attention is paid to the invisibility of AVT/MA in Film Studies and to the new AVT/MA-aware notion of film that underpins the current proposal for AFM training. Sections 3 and 4 provide an overview of the training currently available in AVT/MA and film(-making). Finally, section 5 offers an account of the first pioneering attempts to provide AFM training and, most importantly, a proposed outline for two different courses designed to equip accessible filmmakers and translators/MA experts with the required skills and competences to apply the AFM model.

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Section: Background: a New Avt-and Ma-aware Notion Of Filmmentioning

confidence: 99%

Section: Background: a New Avt-and Ma-aware Notion Of Filmmentioning

confidence: 99%

Section: Background: a New Avt-and Ma-aware Notion Of Filmmentioning

confidence: 99%

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Training in Accessible Filmmaking

Romero-Fresco

2020

LANS-TTS

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“…Professional Romanian singer Naarghita became internationally recognized in the 1950s for her live Hindi film song concerts and recordings (K. Gajendra Singh, quoted in Iordanova 2006:123). Hindi film songs were influential in Greece at this time as well, with local musicians adapting Hindi film songs into a genre called indoprepi (Abadzi 2008;Eleftheriotis 2010).…”

Section: The Introduction Of Hindi Film Music In Tamale Homesmentioning

confidence: 99%

Hindi Film Songs in the Home: Gendered Experiences of Singing Popular Songs in Tamale, Northern Ghana

Young

2022

Ethnomusicology

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Beginning in the 1950s, Dagbamba and Hausa women in Tamale listened to Hindi film songs in their homes, via gramophone records and through state-run women's radio programs. Hindi film songs were soon integrated into existing domestic singing practices, including songs meant for domestic labor (tuma-yila) and childcare (biyola-yila). Through an analysis of oral history interviews as well as recorded performances of Hindi film songs sung by women, men, and youth in Tamale, I show how everyday performances of Hindi film songs reveal gendered and intergenerational experiences of domestic space, labor, and social life in Tamale.

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“…15 The marketing strategies clearly involve the 'dynamics of a familiarity/foreignness dialectic'. 16 Although the narrative connects with foreign audiences, the film self-consciously exoticises its own internal procedures via references to South Indian dance forms such as Kathakali or to Bollywood cinema, with the intention of criticising them.…”

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confidence: 99%

Fissured legacies in Roysten Abel's In Othello

García-Periago

2023

Cahiers Élisabéthains: A Journal of English Renaissance Studies

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In Othello (2003) offers both a critique and inadvertent affirmation of racial and colonial hierarchies and a reflection on the postcolonial nation. The film fosters Orientalist sensibilities via a fetishisation of ‘otherness’, in order to subvert it. It is a hybrid and ambivalent production in which the characters possess intersectional identities that are always multiple, in line with Hindu philosophy. This hybridity can also be observed in the mixture of traditions on which the film is based, and as such, it serves as a ‘rhizomatic interrelation’. The film shows how Shakespeare's play may provide a meditation on the Indian nation, where issue ssuch as transgressive romance, ostracisation, and gender roles remain unsettled.

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Cinematic JourneysFilm and Movement

Cited by 4 publications

References 0 publications

Training in Accessible Filmmaking

Training in Accessible Filmmaking

Hindi Film Songs in the Home: Gendered Experiences of Singing Popular Songs in Tamale, Northern Ghana

Fissured legacies in Roysten Abel's In Othello

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