Show Summary Details
- Title Pages
- Dedication
- Plates
- Figures
- Tables
- Notes on contributors
- Foreword
- Acknowledgements
- 1 Introduction Film history meets translation history: The lure of the archive
- 2 Titles and translation in the field of film restoration
- 3 Early titling on films and Pathé’s innovative and multilingual strategies in 1903
- 4 Intertitles, translation, and subtitling: Major issues for the restoration of silent films
- 5 ‘Don’t mention the war’: The Soviet re-editing of <i>Three Live Ghosts</i>
- 6 Confessions of a film restorer
- 7 Universal language, local accent: Music and song in the early talking film
- 8 Silence, sound, accents: Early film translation in the Spanish-speaking world
- 9 A ‘delirium tremens’: Italian-language film versions and early dubbings by Paramount, MGM, and Fox (1930–3)
- 10 Dubbing in the early 1930s: An improbable policy
- 11 The significance of dubbed versions for early sound-film history
- 12 The reception of dubbing in France 1931–3: The case of Paramount
- 13 Creativity under constraints: The beginning of film translation in Mandatory Palestine
- 14 Film translation in Sweden in the early 1930s
- 15 ‘A splendid innovation, these English titles!’ The invention of subtitling in the USA and the UK<sup>1</sup>
- 16 Conclusion The public face of film translation history
- Select bibliography
- Index
(p.xvii) Foreword
(p.xvii) Foreword
- Source:
- The Translation of Films, 1900-1950
- Author(s):
Paolo Cherchi Usai
- Publisher:
- British Academy
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- Title Pages
- Dedication
- Plates
- Figures
- Tables
- Notes on contributors
- Foreword
- Acknowledgements
- 1 Introduction Film history meets translation history: The lure of the archive
- 2 Titles and translation in the field of film restoration
- 3 Early titling on films and Pathé’s innovative and multilingual strategies in 1903
- 4 Intertitles, translation, and subtitling: Major issues for the restoration of silent films
- 5 ‘Don’t mention the war’: The Soviet re-editing of <i>Three Live Ghosts</i>
- 6 Confessions of a film restorer
- 7 Universal language, local accent: Music and song in the early talking film
- 8 Silence, sound, accents: Early film translation in the Spanish-speaking world
- 9 A ‘delirium tremens’: Italian-language film versions and early dubbings by Paramount, MGM, and Fox (1930–3)
- 10 Dubbing in the early 1930s: An improbable policy
- 11 The significance of dubbed versions for early sound-film history
- 12 The reception of dubbing in France 1931–3: The case of Paramount
- 13 Creativity under constraints: The beginning of film translation in Mandatory Palestine
- 14 Film translation in Sweden in the early 1930s
- 15 ‘A splendid innovation, these English titles!’ The invention of subtitling in the USA and the UK<sup>1</sup>
- 16 Conclusion The public face of film translation history
- Select bibliography
- Index
