Dimas Hari Saputra 2015130089 Dellara Indriarti 2015130102 Dimas Luthfi Haryanto 2015130126 Niken Tri Utami 2015130031 Translation goes to the Movie Micheal Cronin
Translation goes to the Movies demonstrates how translation has been an
abiding concern of film makers dealing with questions of culture, identity, migration, conflict, representation and globalization. The work not only introduces the reader to a number of core concerns in translation theory and practice but it also shows how these issues matter greatly in the wider culture and society as presented on screen.
how translation is presented on the big screen? given the continuing popularity of cinema, on both the big and the small screen, and the intensely global nature of its dissemination over a very long period, motion pictures are apotent source of images and representation of what translation might or might not involve. Demonstrating the importance of translation to interlingual and intercultural contact and heightening the visibility of translation and translators, demands that we look more closely at a medium where translation has long been a matter of visible thematic and representational concern. Chapter 1, Translation: the screen test
“The picture that moves is a universal language” (David Llewelyn
Wark Griffith the director of The Birth of a Nation (1915) and Intolerance (1916). He believed that the picture was a universal symbol and not “flicker” as one of his actresses said.
The supposed immediacy or accessibility of the image, the universal currency of the symbol, is closely linked to the rise of prestige of the visual and of the importance of visual evidence in the scientific revolutions of the sixteenth and seventeenth century (Rorty 1980). Integration
Michael Chanan has observed that ‘the film business was international from the very beginning’ (Chanan 1990: 187) and Tom Gunning claims that in the early period of the silent movie ‘film has an international distribution that is unparalleled in later history’ (Gunning 1990b: 89).
in German market before 1994, the German share
of movie distributed on market was around 15% and the rest were sourced from France 30%, United States 25%, Italy 20%. Only a third of the movie produced in United States, the rest came from Europe and half of these were produced by one company, Pathè (Musser 1990s:364,412).
Companies that dominated the movie business up until the outbreak of war in 1914 including Pathè and Gaumont in France, Edison, Biograph and Vitagraph in the United States, and Messter in Germany. The Sound Of Silence According to Gaudreult :
Silent films is not that they were silent,
but this could take the form of live music, sound effects, sychronized dialogue spoken by actor behind the screen or a comentary provided by lecturer filling out or explaining what was going on in the images. The film maker could not be everywhere at once. So, The Film Maker make a choice to edit their film is called editing.
The methods (written dan oral form) involve
the use of languages.
The relation between sound of silence and the
movie translation is to help the audience to understand the meaning and what was going on in the film FILM RECEPTION The two form of screen translation, dubbing, and subtitling, complement the distancing mechanism of language alterity.
It is a sense because Hollywood cinema needs
to be translated that it can continue to function as a site of intense projection and multiple interpretations The language of Hollywood is a language that was actually spoken by real people and going behind the screen, crossing over from celluloid fantasy to local reality, meant an engagement with this linguistic reality in all its complexity. The success or the reach of US popular cinema would be inconceivable without the intervention of dubbers and subtitlers
yet in mainstream film studies, even when
considering questions of audience reception, their efforts are almost invariably ignored. For this reason, the research carried out by translation studies scholars on the history of subtitling and dubbing practies is vital for a fuller understanding of how cinema has been mediated in different languages and contexts.
