The translation of films, 1900-1950
- Submitting institution
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University of Bristol
- Unit of assessment
- 26 - Modern Languages and Linguistics
- Output identifier
- 255356753
- Type
- B - Edited book
- DOI
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- Publisher
- Oxford University Press for the British Academy
- ISBN
- 9780197266434
- Open access status
- -
- Month of publication
- April
- Year of publication
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- As lead editor and contributor, O’Sullivan has shaped the prior discussion, article selection and scholarly direction of this volume. The volume originated in a conference conceived by O’Sullivan and funded by a 2014 British Academy conference grant for which she was PI. The work proceeds from the assumption that the understanding, and evaluation of the implications, of film translation require an interdisciplinary approach. O’Sullivan brought Cornu on board as Co-I, to provide a practitioner perspective and to involve participants from FIAF, the International Association of Film Archives as well as to strengthen the volume’s content on dubbing. By bringing Dixon, Christensen, Fuentes Luque, O’Brien, Weissbrod and Natzén on board, O’Sullivan ensured a combination of historical, archival and Translation Studies perspectives. She commissioned further chapters from Barr, Brown and Mereu Keating. As editor, and in the light of peer reviews, O’Sullivan pushed contributors to sharpen their arguments and specifically to broaden and deepen their use of primary sources. O’Sullivan is lead author for the introduction and conclusion, in which she argues for an innovative definition of film translation that goes beyond dubbing and subtitling to encompass the editing and paratextual reframing involved in the international distribution of film. One of O’Sullivan’s central arguments is that a translation-informed approach makes us question received wisdom in both film and translation history; e.g., it complicates our understanding of the translation of silent film both in the silent period and today. Her own chapter complements other case studies in the volume by providing the first detailed account of the development of subtitles in the UK and demonstrating the superficiality of previous accounts, including that of Rachael Low, which have all been too dependent on a single secondary source.
- Author contribution statement
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- Non-English
- No
- English abstract
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