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[ecrea] CFP Languages in European Cinema
Fri Dec 16 18:03:27 GMT 2011
Languages in European Cinema
Isabelle Le Corff
The European geopolitical space has been variable, more frequently
defined by economic than by cultural considerations. In this early
Twenty-First Century, European Cinema, reflecting this mutability,
invites us to pay particular attention to the concepts which make it
possible to identify and define this area. Academic publications focus
for the most part on national cinemas and individual European
filmmakers. /Les Cahiers de l’ Afeccav /proposes to study films that
constitute the « European film heritage ». Once we accept that such a
heritage does in fact exist, we must ask how it was created, and what
exchanges have taken place. In every case, the construction of European
film production involves linguistic choices at all levels (production,
filming, distribution, reception). What is the impact of national and
regional languages and of language specificities on this heritage?//
Its multiplicity of languages is one of the features of the European
area that defines it, in opposition to the other great Western film
production centre, North America. Does their abundance put a brake on,
or does it , rather, bring dynamism to European production? How do the
exchanges of programmes and films occur in Europe , given the constraint
of language barriers? Are there dominant languages? Do regional
languages play a part in European production? Language appears to be not
only a national marker but also a social marker through accents (e.g.,
regional accents, rural accents, accents of first generation immigrants,
suburban accents) or linguistic forms posed as assertions of
transnational identity, of hybrid cultures. What roles do languages and
accents play in the construction of stereotypes? How do these markers
function in European film? What is the aesthetic impact of such markers?
As for production and distribution, how does European legislation
interact with national legislations, and how does it influence the
production of films, TV films and series? Are there language obligations
in the production systems? Do co-productions inevitably lead to
"europuddings" necessarily acted in English, then dubbed in different
languages? What do programs such as MEDIA, or EUROPA really bring in to
the global political will to preserve languages? How do these
co-productions affect the choice of languages in films? How does the
distribution of co-productions filmed in regional languages function on
the European market?
Links established in the 1920s between the different European producers
have grown with the generalization of sound movies. The historical
aspect of this intra-European interaction also deserves to be revisited
in linguistic terms. In the 1930s, prior to the development of dubbing,
the shooting of a film simultaneously in several languages gave
surprising results. /Les Chemins du Paradis/ was a huge success, just
like /Die Drei von der Tankstelle/. The actors differ but the script
remains the same. There are different nuances in the actors’ ways of
performing and pronouncing their lines. These comparisons between
French, Italian, German, English, Hungarian, Swedish films, etc. shot in
multiple language versions during this period are rich in teaching about
the contexts of production as well as the contexts of reception. For
example, the German-Czech films made just before the "Sudeten Crisis"
acquired a particular meaning according to the language in which they
were played. In the 1950s, international films were made with actors
from different countries to promote co-productions. There is an
"international version" of /The Leopard /with each actor speaking in his
mother tongue. The films are dubbed in the language of each country.
What are the transformations involved by accents, linguistic
idiosyncrasies of the same film seen in different countries?
Questions of reception within Europe are also important. How are
transfers and exchanges organized? Do national audiences more readily
accept certain languages than others in original language versions? With
regard to original language versions, dubbing and subtitling, how does
the meaning of dialogue evolve from one country to another? Are remakes
essential to have films with strong local cultural colorations circulate
within Europe? ( e.g., /Welcome to the Chtis/). Finally, can
developments in the reception of European films be perceived both within
Europe and outside Europe?
Proposals for contributions shall be submitted, in French or English to
Isabelle Le Corff ((cils /at/ wanadoo.fr) <mailto:(cils /at/ wanadoo.fr)>) and Martin
Barnier ((Martin.Barnier /at/ univ-lyon2.fr)
<mailto:(Martin.Barnier /at/ univ-lyon2.fr)>) : the mandatory deadline is
February 15^th , 2012. After review by the Editorial Board of /Les
Cahiers de l’AFECCAV/, authors whose proposals have been selected will
submit their contribution by June 1^st , 2012.
CHION MICHEL, /Le Complexe de Cyrano, La langue française au cinéma/.
Editions Cahiers du Cinéma, Essais. Paris, 2008.
DUROVICOVA NATASA, NEWMAN KATHLEEN (Edt), /World Cinemas, Transnational
Perspective/, Afi Film Readers, 2009.
ELSAESSER THOMAS, /European Cinema : Face to Face with Hollywood/,
Amsterdam University Press, 2005.
EVERETT WENDY (Edt), /European Identity in Cinema/, Intellect Books, 2005.
EVERETT WENDY, GOODBODY AXEL, /Revisiting Space : Space and Place in
European Cinema/, Peter Lang, 2005.
FOWLER CATHERINE, /The European Cinema Reader/, Routledge, 2002.
GALT ROSALIND, /The New European Cinema : Redrawing the Map/, 2006.
KONSTANTARAKOS MYRTO(Edt), /Spaces in European Cinema/, Intellect Ltd, 2000
NACIFY HAMID, /An Accented Cinema : Exilic and Diasporic Filmmaking/,
Princeton, N. J. 2001.
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