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The Translation of Films, 1900-1950$

Carol O'Sullivan and Jean-François Cornu

Print publication date: 2019

Print ISBN-13: 9780197266434

Published to British Academy Scholarship Online: September 2019

DOI: 10.5871/bacad/9780197266434.001.0001

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PRINTED FROM BRITISH ACADEMY SCHOLARSHIP ONLINE (www.britishacademy.universitypressscholarship.com). (c) Copyright British Academy, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in BASO for personal use.date: 29 May 2020

(p.297) Select bibliography

(p.297) Select bibliography

Source:
The Translation of Films, 1900-1950
Author(s):
Carol O’, Jean-François Cornu
Publisher:
British Academy

Bibliography references:

This bibliography is a ‘starter kit’, as it were, for researchers in the area of film-translation history. In order to keep it manageable we have not included primary sources, including press sources and first-person accounts by translators; for details of these, see the individual chapters in this volume. We have included a couple of the most commonly cited statements on film translation by filmmakers. Inevitably, there are gaps, above all as regards languages which the editors of this volume do not read, but we hope that it will prove useful for fellow travellers in this field.

François Albera, Claire Angelini, and Martin Barnier (2013), ‘M / Le Maudit, ses doubles et son doublage’, Décadrages, 23–4 (2013), 80–113; also published in German as ‘“M” /“Le Maudit”: Doppelgänger und Dubbing’, in Alain Boillat and Irene Weber Henking (eds), Dubbing: Die Übersetzung im Kino / La Traduction audiovisuelle (Marburg, Schüren, 2014), pp. 65–114.

Alejandro Ávila, La historia del doblaje cinematográfico (Barcelona, Editorial CIMS 97, 1997).

Tino Balio, The Foreign Film Renaissance on American Screens 1946–1973 (Madison, University of Wisconsin Press, 2010).

Ana Ballester Casado, Traducción y nacionalismo: La recepción del cine americano en España a través del doblaje (1928–1948) (Granada, Comares, 2001).

Martin Barnier, En route vers le parlant : histoire d’une évolution technologie, économique et esthétique du cinéma 1926–1934 (Liège, Céfal, 2002).

—, Des films français made in Hollywood : les versions multiples 1929–1935 (Paris, L’Harmattan, 2004).

Jacques Becker, ‘Film doublé = film trahi’, L’Écran français, 2 (11 July 1945).

Mark Betz, ‘The Name above the (Sub)Title: Internationalism, Coproduction, and Polyglot European Art Cinema’, Camera Obscura, 46 (2001), 1–44.

Hans-Michael Bock and Simone Venturini (eds), ‘Multiple and Multiple-language Versions II’, special issue of Cinema & Cie, 6 (2005).

Alain Boillat, Du bonimenteur à la voix-over (Lausanne, Éditions Antipodes, 2007).

Joost Broeren, ‘“The titles are in Dutch—which makes it quite simple”: Intertitles as an Agent of Appropriation in the Netherlands, 1907–1916’, unpublished MA thesis (Utrecht, 2008).

Rudmer Canjels, Distributing Silent Film Serials: Local Practices, Changing Forms, Cultural Transformation (London, Routledge, 2011).

Marcel Carné, ‘De l’internationalité du parlant’, Cinémagazine, 48 (29 November 1929), 335.

Thomas Chen, ‘An Italian Bicycle in the People’s Republic: Minor Transnationalism and the Chinese Translation of Ladri di biciclette / Bicycle Thieves’, Journal of Italian Cinema & Media Studies, 2.1 (2014), 91–107; also published in French as (p.298) ‘Une bicyclette italienne en République populaire de Chine: à propos de la version chinoise du Voleur de bicyclette’, trans. Jean-François Cornu, L’Écran traduit, 4 (2015), http://ataa.fr/revue/archives/3667.

Jean-François Cornu, ‘Hollywood en français : de quelques pionniers des versions doublées aux États-Unis de 1930 à 1932’, in Christian Viviani (ed.), Hollywood : les connexions françaises (Paris, Nouveau Monde éditions, 2007), pp. 53–63.

—, Le Doublage et le sous-titrage : histoire et esthétique (Rennes, Presses universitaires de Rennes, 2014).

— and Carol O’Sullivan, ‘The Translation of Films: History, Preservation, Research and Exhibition’, Journal of Film Preservation, 94 (April 2016), 25–31.

Martine Danan, ‘Dubbing as an Expression of Nationalism’, Meta, 36.4 (1991), 606–14.

—, ‘À la recherche d’une stratégie internationale : Hollywood et le marché français des années trente’, in Yves Gambier (ed.), Les Transferts linguistiques dans les médias audiovisuels (Villeneuve d’Ascq, Presses universitaires du Septentrion, 1996), pp. 109–30.

—, ‘Hollywood’s Hegemonic Strategies: Overcoming French Nationalism with the Advent of Sound’, in Andrew Higson and Richard Maltby (eds), ‘Film Europe’ and ‘Film America’: Cinema, Commerce and Cultural Exchange, 1920–39 (Exeter, University of Exeter Press, 1999), pp. 225–48.

Jorge Díaz Cintas, La traducción audiovisual: El subtitulado (Salamanca, Ediciones Almar, 2001), pp. 53–62.

—, ‘Film Censorship in Franco’s Spain: The Transforming Power of Dubbing’, Perspectives: Studies in Translatology (2018), https://doi.org/10.1080/0907676X.2017.1420669.

Nataša Ďurovičová, ‘Translating America: The Hollywood Multilinguals 1929–1933’, in Richard Altman (ed.), Sound Theory, Sound Practice (New York and London, Routledge, 1992), pp. 138–53.

—, ‘Local Ghosts: Dubbing Bodies in Early Sound Cinema’, in Anna Antonini (ed.), Il film e i suoi multipli / Film and Its Multiples (Udine, Forum, 2003), pp. 83–98.

— (ed.), ‘Multiple and Multiple-language Versions’, special issue of Cinema & Cie, 4 (2004).

—, ‘Vector, Flow, Zone: Towards a History of Cinematic Translatio’ in Ďurovičová and Kathleen Newman (eds), World Cinema, Transnational Perspectives (New York and London, Routledge, 2010), pp. 90–120.

Tessa Dwyer, ‘Universally Speaking: Lost in Translation and Polyglot Cinema’, Linguistica Antverpiensia, new ser. 4 (2005), 295–310.

—, ‘Mute, Dumb, Dubbed: Lulu’s Silent Talkies’, in Lieven D’hulst, Carol O’Sullivan, and Michael Schreiber (eds), Politics, Policy and Power in Translation History (Berlin, Frank & Timme, 2016), pp. 157–86.

Bernard Eisenschitz, ‘La Parole écrite : extrait des mémoires d’un traducteur’, in Jacques Aumont (ed.), L’Image et la parole (Paris, Cinémathèque française, 1999), pp. 29–45.

Rafael de Luna Freire, ‘O início da legendagem de filmes no Brasil’ and English translation, ‘The Introduction of Film Subtitling in Brazil’, MATRIZes, 9.1 (2015), 187–211.

(p.299) Joseph Garncarz, ‘Made in Germany: Multiple-language Versions and the Early German Sound Cinema’, in Andrew Higson and Richard Maltby (eds), ‘Film Europe’ and ‘Film America’: Cinema, Commerce and Cultural Exchange 1920–1939 (Exeter, University of Exeter Press, 1999), pp. 249–73.

Rosario Garnemark, ‘Ingmar Bergman, maternidad y Franquismo: Traducción y censura de En el umbral de la vida’, Meta, 57.2 (2012), 310–24, also available in French as ‘Ingmar Bergman, maternité et franquisme : traduction et censure d’Au seuil de la vie’, trans. Nathalie Diu and Marie-Christine Guyon, L’Écran traduit, 2 (Autumn 2013), 62–84, http://ataa.fr/revue/wp-content/uploads/2013/10/ET-02-Bergman.pdf.

—, Ingmar Bergman y la censura cinematográfica franquista: Reescrituras ideológicas (1960–1967) (Santander, Shangrila Textos Aparte, 2015).

Colin Gunckel, ‘The War of the Accents: Spanish Language Hollywood Films in Mexican Los Angeles’, Film History, 20 (2008), 325–43.

Camino Gutiérrez Lanza, ‘Traducción y censura de textos cinematográficos en la España de Franco: Doblaje y subtitulado inglés-español (1951–1975)’, Ph.D. thesis (León, University of León, 1999).

—, ‘Spanish Film Translation and Cultural Patronage: The Filtering and Manipulation of Imported Material during Franco’s Dictatorship’, in Maria Tymoczko and Edwin Gentzler (eds), Translation and Power (Amherst, University of Massachusetts Press, 2002), pp. 141–59.

Jeremy Hicks, ‘The International Reception of Early Soviet Sound Cinema: Chapaev in Britain and America’, Historical Journal of Film, Radio and Television, 25.2 (2005), 273–89.

—, ‘Lost in Translation? Early Soviet Sound Film Abroad’, in Stephen Hutchings (ed.), Russia and Its Other(s) on Film (Basingstoke, Palgrave Macmillan, 2008), pp. 113–29.

Jan Ivarsson and Mary Carroll, Subtitling (Simrishamn, TransEdit HB, 1998).

Natàlia Izard, La traducció cinematogràfica (Barcelona, Publicacions de la Generalitat de Catalunya, 1992).

Anne Jäckel, ‘Dual Nationality Film Productions in Europe after 1945’, Historical Journal of Film, Radio and Television, 23.3 (2003), 231–43.

Haina Jin, Towards a History of Translating Chinese Silent Films (1905–1949) (Beijing, Peking University Press, 2013).

Frank Kessler and Nanna Verhoeff (eds), Networks of Entertainment: Early Film Distribution 1895–1915 (Eastleigh, John Libbey Publishing, 2007).

Rainer M. Köppl, ‘Hitchcock und die IG Farben—Filmsynchronisation als Tanz in Ketten’, in Lew. N. Zybatow (ed.), SprachenkontaktMehrsprachigkeitTranslation (Frankfurt-am-Main, Peter Lang, 2007), pp. 107–41, also available in French as ‘Hitchcock et IG Farben : le doublage ou la danse dans les chaînes’, trans. Anne-Lise Weidmann, L’Écran traduit, 5 (Summer 2016), 37–73, http://ataa.fr/revue/wp-content/uploads/2016/05/ET-05-IG-Farben.pdf.

Richard Maltby and Ruth Vasey, ‘The International Language Problem: European Reactions to Hollywood’s Conversion to Sound’, in David Ellwood and Rob Kroes (eds), Hollywood in Europe: Experiences of a Cultural Hegemony (Amsterdam, VU University Press, 1994), pp. 68–93.

(p.300) Lucy Mazdon and Catherine Wheatley, French Film in Britain: Sex, Art and Cinephilia (Oxford, Berghahn, 2013).

Carla Mereu, ‘“100% Italian”: The Coming of Sound Cinema in Italy and State Regulation on Dubbing’, California Italian Studies, 4.1 (2013), 1–24.

Carla Mereu Keating, The Politics of Dubbing: Film Censorship and State Intervention in the Translation of Foreign Cinema in Fascist Italy (Oxford, Peter Lang, 2016).

Raquel Merino Álvarez, Traducción y censura en España (1939–1985): Estudios sobre corpus. TRACE: cine, narrativa, teatro (Bilbao, Universidad de León & Universidad del País Vasco, 2009).

Christopher Natzén, The Coming of Sound Film in Sweden 1928–1932: New and Old Technologies (Stockholm, Stockholm University, 2010), pp. 156–77.

Gerd Naumann, Filmsynchronisation in Deutschland bis 1955 (Frankfurt am Main, Peter Lang, 2016).

Abé Mark Nornes, ‘For an Abusive Subtitling’, Film Quarterly, 52.3 (Spring 1999), 17–34.

—, Cinema Babel (Minneapolis, University of Minnesota Press, 2007).

Charles O’Brien, Cinema’s Conversion to Sound: Technology and Film Style in France and the United States (Bloomington, Indiana University Press, 2005).

—, ‘The “Cinematization” of Sound Cinema in Britain and the Dubbing into French of Hitchcock’s Waltzes from Vienna (1934)’, in Lucy Mazdon and Catherine Wheatley (eds), Je t’aime… moi non plus: Franco-British Cinematic Relations (Oxford, Berghahn, 2010), pp. 37–49.

Carol O’Sullivan, Translating Popular Film (Basingstoke, Palgrave Macmillan, 2011).

—, ‘Images Translating Images: “Dubbing” Text on Screen’, L’Écran traduit, 2 (2013), http://ataa.fr/revue/archives/2387; French translation, ‘Quand l’image traduit l’image : “doubler” le texte à l’écran’, trans. Marie Causse and Betty Serandour in the same issue at http://ataa.fr/revue/archives/2038.

— and Jean-François Cornu, ‘History of Audiovisual Translation’, in Luis Pérez González (ed.), Routledge Handbook of Audiovisual Translation (London, Routledge, 2018).

Francesco Pitassio and Leonardo Quaresima (eds), ‘Multiple and Multiple-language Versions III’, special issue of Cinema & Cie, 7 (2005).

Vincent Porter, ‘The Exhibition, Distribution and Reception of French Films in Great Britain during the 1930s’, in Lucy Mazdon and Catherine Wheatley (eds), Je t’aime … moi non plus: Franco-British Cinematic Relations (Oxford, Berghahn, 2010), pp. 19–36.

Guido Marc Pruys, Die Rhetorik der Filmsynchronisation: Wie ausländische Spielfilme in Deustschland zensiert, verändert und gesehen werden (Tübingen, Gunter Narr, 1997).

Mario Quargnolo, ‘Pionieri ed esperienze del doppiato italiano’, Bianco e Nero, 5 (1967), 67–79.

—, La parola ripudiata: L’incredibile storia dei film stranieri in Italia nei primi anni del sonoro (Gemona, La Cineteca del Friuli, 1986).

—, ‘Il doppiato italiano’, in Chris Taylor (ed.), Tradurre il cinema: Atti del Convegno organizzato da G. Soria e C. Taylor 29–30 novembre 1996 (Trieste, Università degli studi di Trieste, 2000).

(p.301) Elena Razlogova, ‘The Politics of Translation at Soviet Film Festivals during the Cold War’, SubStance, 44.2 (2015), 66–87.

Jean Renoir, ‘Contre le doublage’ [January 1939], in Écrits 1926–1971 (Paris, Pierre Belfond, 1974).

Esteve Riambau (ed.), Multiversions (Barcelona, Filmoteca de Catalunya, 2013).

Anna Sofia Rossholm, Reproducing Languages, Translating Bodies: Approaches to Speech, Translation and Cultural Identity in Early European Sound Film (Stockholm, Department of Cinema Studies, 2006).

Laura Isabel Serna, ‘Translations and Transportation: Toward a Transnational History of the Intertitle’, in Jennifer M. Bean, Anupama Kapse, and Laura Horak (eds), Silent Cinema and the Politics of Space (Bloomington, Indiana University Press, 2014), pp. 121–45.

Ella Shohat and Robert Stam, ‘The Cinema after Babel: Language, Difference, Power’, Screen, 26.3–4 (1985), 35–58.

Kristin Thompson, Exporting Entertainment: America in the World Market, 1907–1934 (London, BFI, 1985).

Yuri Tsivian, ‘The Wise and Wicked Game: Re-Editing and Soviet Film Culture of the 1920s’, Film History, 8.3 (1996), 327–43.

Jeroen Vandaele, ‘Funny Fictions: Francoist Translation Censorship of Two Billy Wilder Films’, The Translator, 8.2 (2002), 267–302.

—, Estados De Gracia: Billy Wilder y la censura franquista (1946–1975) (Leiden, Brill, 2015).

Ruth Vasey, The World According to Hollywood 1918–1939 (Exeter, University of Exeter Press, 1997).

Ginette Vincendeau, ‘Les Films en versions multiples : un échec édifiant’, in Christian Belaygue (ed.), Le Passage du muet au parlant (Toulouse, Cinémathèque de Toulouse/Éditions Milan, 1988), pp. 29–35.

—, ‘Les Films à version multiple au début du parlant’, in Jacques Aumont, André Gaudreault, and Michel Marie (eds), Histoire du cinema : nouvelles approches (Paris/Cerisy, Publications de la Sorbonne/Colloque de Cerisy, 1989), pp. 101–17.

—, ‘Hollywood Babel’, Screen, 29.3 (1988), 24–39; reprinted in Andrew Higson and Richard Maltby (eds), ‘Film Europe’ and ‘Film America’: Cinema, Commerce and Cultural Exchange 1920–1939 (Exeter, University of Exeter Press, 1999), pp. 207–24.

Chris Wahl, Sprachversionsfilme aus Babelsberg: Die internationale Strategie der Ufa 1929–1939 (Munich, Richard Boorberg Verlag, 2009); English translation, Multiple Language Versions Made in Babelsberg: Ufa’s International Strategy, 1929–1939 (Amsterdam, Amsterdam University Press, 2016). (p.302)