DOCSLIB.ORG

The Translator-Function: Translating Bande-Dessinée for the Anglophone Reader

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Translator-Function: Translating Bande-Dessinée for the Anglophone Reader University of New Mexico UNM Digital Repository Foreign Languages & Literatures ETDs Electronic Theses and Dissertations Spring 4-29-2020 The Translator-Function: Translating Bande-Dessinée for the Anglophone Reader Ryan C. Gomez Follow this and additional works at: https://digitalrepository.unm.edu/fll_etds Part of the European Languages and Societies Commons, French and Francophone Literature Commons, Language Interpretation and Translation Commons, Modern Languages Commons, Modern Literature Commons, and the Translation Studies Commons Recommended Citation Gomez, Ryan C.. "The Translator-Function: Translating Bande-Dessinée for the Anglophone Reader." (2020). https://digitalrepository.unm.edu/fll_etds/138 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Foreign Languages & Literatures ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected], [email protected], [email protected]. Ryan Christopher Gomez Candidate Foreign Languages and Literatures Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: Dr. Francis Higginson, Chairperson Dr. Marina Peters-Newell Dr. Stephen Bishop i THE TRANSLATOR-FUNCTION: TRANSLATING BANDE DESSINÉE FOR THE ANGLOPHONE READER by RYAN CHRISTOPHER GOMEZ BACHELOR OF ARTS, LINGUISTICS & FRENCH UNIVERSITY OF NEW MEXICO, 2015 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts French The University of New Mexico Albuquerque, New Mexico May 2020 ii DEDICATION In memory of my grandfather, Edwin Sandoval, who always believed in me. This thesis is dedicated to my parents, Connie and Hector, and my brother, Nathan, who have always encouraged me to pursue my passions inside and outside of academia. Without my family’s support, my parents’ values, and my brother’s friendship, I would never have had the strength or courage to persevere. I am forever grateful for their guidance, their love, and for always doing their best to never let self-doubt get the better of me. iii ACKNOWLEDGMENTS I wish to express my sincere thanks to my thesis committee chair, Dr. Pim Higginson, whose thoughtful and thorough guidance was indispensable in the writing process, even from great distances. He persistently encouraged me to expand my thought without sacrificing concision and pushed me to elevate the quality of my writing to meet the potential he saw in project. His initial and continued enthusiasm for the project propelled my work in more ways than I can express. Thank you for your honest and patient guidance, without which this thesis would not have been possible. I would like to show my deep gratitude to Dr. Stephen Bishop, whose detailed suggestions on my writing and manuscript formatting played a vital role during the revision process. His teaching, encouragement, and humor has made my experience at the Department of Foreign Languages and Literatures truly positive. I am indebted to Dr. Marina Peters-Newell not only for her valuable contributions on my committee but also for her professional pedagogical leadership and the many opportunities that she has given me to succeed in my teaching at UNM. Her constant support and kindness have made teaching French at FLL my favorite job to date. The valuable lessons I’ve learned under her direction will forever stay with me going forward in my professional life. I would like to pay special regards to Dr. Pamela Cheek, whose guidance and inspiration throughout my academic study has been a blessing. I would never have even considered pursuing a postgraduate degree in French if it weren’t for her encouragement years ago, and her belief in me ever since has widened the possibilities I can see for myself in the future. I wish to thank all of my colleagues and fellow TAs in the Department of Foreign Languages and Literatures for their caring professionalism. It has been truly a pleasure to work and learn alongside such intelligent and kind people, especially Hannah Garver, Cole Carvour, David Barnes, Kaela Thomas, Marisa Minnick, Marie Bellec, and Teresa Caprioglio. Their camaraderie has been crucial in persevering throughout this program. I wish to thank Motomi Kajitani and Anna Shkireva for being the two best officemates I could have ever asked for. Their kindness, warmth, and willingness to share their expertise has always made time in the office a pleasure. A very special thanks to Christine Ellis, not only for her support in all things academic but most importantly for her friendship. Through her encouragement and her candor, she has never let me see myself as anything less than I am. Our solidarity means more to me than I can express. A sincere thank you to my dear friends outside of academia, especially Rachel and Monica Romero, Rachel McAlister de Abreu, Laura Loewenstein, Rachel Smotherman, Liz Beson, Savannah Caffy, Rowan Christie, and Anna Schaffer. Your friendship and support mean the world to me. Lastly, I wish to acknowledge the support and great love of my family: my mother, Connie; my father, Hector; my brother, Nathan; my grandmother, Isabelle; and my aunt, Marti the Great. They keep me going on, and this work would not have been possible without their love and support. Thank you. iv The Translator-Function: Translating Bande-Dessinée for the Anglophone Reader Ryan Christopher Gomez Bachelor of Arts, Linguistics & French Master of Arts, French ABSTRACT The principal aim of this thesis is to examine the unique position of the translator by examining the products of translation (French-language bandes-dessinées and their English translations) and considering critical literary and translation theories. I will demonstrate the unique position held by translators and their work through the proposal of what I call the translator-function. Translation, I contend, is worthy of critical literary consideration rather than simply being a necessary function within the market forces of global literary industries. Translation figures perform essential and sometimes transformative functions in the transmission of literary and cultural information from one language to another, while oscillating between the positions of reader and author in very distinctive ways. The concept of the translator-function will assist in conceiving the translator’s role and thus be formulated through a consideration of the translator’s various roles in negotiating a source text’s language, visual elements, influences, contexts, and target readership. v TABLE OF CONTENTS LIST OF FIGURES ................................................................................................. vii INTRODUCTION ................................................................................................... 1 CHAPTER 1—Situating the Translator: Persepolis ............................................ 16 Historical Understandings of the Process and Products of Translation ........ 21 The Translator’s Shifting Roles: The Case of Persepolis ............................. 30 The Relationship between Text and Image in Translating Persepolis .......... 41 The Translator’s State of Flux: Reader and Author Roles ............................ 48 CHAPTER 2—The Cultural Turns: Translating Hergé ..................................... 53 Stereotypes and Visual Space in Translating Hergé ...................................... 61 Equivalence and the Cultural Turn of Translation Studies ........................... 66 The First Cultural Turn: Stereotypical Criminal Characters ......................... 79 The Second Cultural Turn: Racial Stereotypes and Caricatures ................... 84 The Third Cultural Turn: Reduction of Criticisms ........................................ 93 The Stake of Translation in Hergé ................................................................. 101 CONCLUSION ........................................................................................................ 104 REFERENCES ........................................................................................................ 109 vi LIST OF FIGURES Figure 1. Panel 64A1 from English translation of Persepolis ................................... 44 Figure 2. Panel 64A1 from original text of Persepolis ............................................. 45 Figure 3. Panel 1A1 from Tintin en Amérique .......................................................... 63 Figure 4. Panel 1A1 from Tintin in America ............................................................. 64 Figure 5. Panel 1A1 from Tintin en Amérique with my own English gloss .............. 64 Figure 6. Panel 5C3 from Tintin en Amérique .......................................................... 85 Figure 7. Panel 5C3 from Tintin in America ............................................................. 85 Figure 8. Panel 19B2 from Tintin en Amérique ........................................................ 88 Figure 9. Panel 19B2 from Tintin in America ........................................................... 88 Figure 10. Panel 16D2 from Tintin en Amérique ...................................................... 95 Figure 11. Panel 16D2 from Tintin in America ......................................................... 95 Figure 12. Panel 34B2 from Tintin en Amérique ...................................................... 99 Figure 13. Panel 34B2 from Tintin in America ........................................................
Load more

Recommended publications
  • Deepa Mehta (See More on Page 53)
    table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region.
    [Show full text]
  • Hergé and Tintin
    Hergé and Tintin PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Fri, 20 Jan 2012 15:32:26 UTC Contents Articles Hergé 1 Hergé 1 The Adventures of Tintin 11 The Adventures of Tintin 11 Tintin in the Land of the Soviets 30 Tintin in the Congo 37 Tintin in America 44 Cigars of the Pharaoh 47 The Blue Lotus 53 The Broken Ear 58 The Black Island 63 King Ottokar's Sceptre 68 The Crab with the Golden Claws 73 The Shooting Star 76 The Secret of the Unicorn 80 Red Rackham's Treasure 85 The Seven Crystal Balls 90 Prisoners of the Sun 94 Land of Black Gold 97 Destination Moon 102 Explorers on the Moon 105 The Calculus Affair 110 The Red Sea Sharks 114 Tintin in Tibet 118 The Castafiore Emerald 124 Flight 714 126 Tintin and the Picaros 129 Tintin and Alph-Art 132 Publications of Tintin 137 Le Petit Vingtième 137 Le Soir 140 Tintin magazine 141 Casterman 146 Methuen Publishing 147 Tintin characters 150 List of characters 150 Captain Haddock 170 Professor Calculus 173 Thomson and Thompson 177 Rastapopoulos 180 Bianca Castafiore 182 Chang Chong-Chen 184 Nestor 187 Locations in Tintin 188 Settings in The Adventures of Tintin 188 Borduria 192 Bordurian 194 Marlinspike Hall 196 San Theodoros 198 Syldavia 202 Syldavian 207 Tintin in other media 212 Tintin books, films, and media 212 Tintin on postage stamps 216 Tintin coins 217 Books featuring Tintin 218 Tintin's Travel Diaries 218 Tintin television series 219 Hergé's Adventures of Tintin 219 The Adventures of Tintin 222 Tintin films
    [Show full text]
  • Tintin and the War - FT.Com
    Tintin and the war - FT.com ft.com > life&arts > Welcome [email protected] Your account Site tour Sign out News FT Magazine Quotes Search Home World Companies Markets Global Economy Lex Comment Management LifeArts & ArtsArts Extra FT Magazine Food & Drink House & Home Style Books Pursuits Travel How To Spend It Tools October 21, 2011 10:08 pm Share Clip Reprints Print Email Tintin and the war By Simon Kuper Much has been written about Hergé the collaborator, but the books themselves reveal all. As Steven Spielberg’s new film opens, Simon Kuper investigates Editor’s Choice LIFE & ARTS LUNCH WITH THE FT Lionel Shriver, author of Mickey Drexler: the man ‘We Need to Talk About behind Michelle Obama’s Kevin’, explores the favourite fashion brand appeal of the unappealing Coming soon: Tintin and the Thomson twins in a scene from Steven Spielberg’s new movie n October 1940, the Belgian cartoonist Georges Remi began publishing a I comic strip about Tintin in the children’s supplement of the pro-Nazi newspaper Le Soir. Hergé (Remi’s pen name) drew the “boy reporter” for over half a century, but he arguably peaked in the war years. Steven Spielberg clearly thinks so. The director’s new film The Adventures of Tintin, released next Wednesday, is based on three Tintin books written from 1941 through 1944: The Crab with the Golden Claws, The Secret of the Unicorn and Red Rackham’s Treasure. Most popular in Life & Arts During the war Hergé mastered storytelling and drawing, created the undying 1. Is there a shadowy plot behind gold? characters Captain Haddock and Professor Calculus, and worked through the 2.
    [Show full text]
  • Discussion Guide
    n o s a e P.O.V. 19S Discussion Guide Tintin and I A Film by Anders Østergaard www.pbs.org/pov P.O.V. n o Tintin and I s Discussion Guide | a 19e S Letter from the Filmmaker FREDERIKSBERG, DENMARK, MAY 2006 Dear Colleague, It is exciting to know that you will be spending time discussing my film Tintin and I. Most probably, you will discover new aspects of the story that I am not even aware of myself. And it would be unwise of me to supply you with a fact sheet on how the film should be understood. But you may appreciate knowing a bit about why I was driven to make this film in the first place. On the surface, Tintin and I is about the art of comics and about modern European history—and how the two, in this case, are tangled amazingly together. But on a deeper level, Hergé’s life story also has an existential note, which may have been the real reason I got involved in it. To me, it is the story of a dreamer who wants to turn his back on the boredom of his upbringing and who looks for mystery and adventure in his imaginary world. And at a young age, he strikes a deal with the devil, so to speak. His editor allows him to keep on dreaming on a monthly salary if he stays within a set of strictly Catholic values. This pact becomes a great vehicle for Hergé’s creativity, but it also leads him into personal disaster at the end of the war.
    [Show full text]
  • Tintin in Tibet—Part 1(SUPROMIT MAITI)
    Dept. of English, RNLKWC--SEM- IV-- HCC10-- Tintin in Tibet—Part 1(SUPROMIT MAITI) The Department of English RAJA N.L. KHAN WOMEN’S COLLEGE (AUTONOMOUS) Midnapore, West Bengal Course material- 1 on Tintin in Tibet (General Introduction) For English Hons. Semester- IV Paper- HCC10 (Popular Literature) Prepared by SUPROMIT MAITI Faculty, Department of English, Raja N.L. Khan Women’s College (Autonomous) Prepared by: Supromit Maiti. April, 2020. 1 Dept. of English, RNLKWC--SEM- IV-- HCC10-- Tintin in Tibet—Part 1(SUPROMIT MAITI) Tintin in Tibet Tintin, the young, dashing and flamboyant Belgian reporter has been a familiar figure across the globe since decades now. With his passion for unveiling the truth, Tintin has become a global sensation for his intense desire to solve mysteries, his love for adventure, his unscathed honesty and his love for his friends and companions. Conceived as a character drawn to entice a readership comprising primarily of children, Tintin and his escapades charmed the young-adult and the adult readers too. A childhood hero for many, Tintin, through his numerous adventures, had travelled to places around the world, thus exposing the readers to a varied range of cultures and rituals that makes the narratives all the more interesting. Immensely favoured by readers of all age, it was only a matter of time that Tintin’s antics would feature prominently in any course of popular literature. And here we are, in a post-colonial country, reading Tintin in Tibet in a class of under-graduate students, and I guess, enjoying it? Meet Herge, the creator! The Belgian cartoonist Georges Prosper Remi won accolades under his pen name Herge, and one could wonder whether Herge had any idea that his pen name would go on to be immortalized when he used it to claim his comics.
    [Show full text]
  • Download Download
    JRFM JOURNAL RELIGION 2019 FILM 05/02 MEDIA JRFM JOURNAL FOR RELIGION, FILM AND MEDIA 2019 05/02 Alexander D. Ornella (ed.) Apocalyptic Imaginings Licensed under Creative Commons CC BY-NC JRFM JOURNAL FOR RELIGION, FILM AND MEDIA CHIEF EDITORS Stefanie Knauss Daria Pezzoli-Olgiati Villanova University University of Munich (LMU) Christian Wessely University of Graz EDITORIAL BOARD Bärbel Beinhauer-Köhler Philippe Bornet University of Marburg University of Lausanne Natalie Fritz Anna-Katharina Höpflinger Catholic Media Center Zurich University of Munich (LMU) Marie-Therese Mäder Alexander D. Ornella University of Munich (LMU) University of Hull ADVISORY BOARD Freek Bakker Chris Deacy Utrecht University University of Kent Cristiana Facchini Peter Hasenberg University of Bologna Catholic Film Commission Germany Theresia Heimerl Julia Helmke University of Graz University of Erlangen Syed Adnan Hussain Athina Karatzogianni Saint Mary´s University of Halifax University of Leicester Gerhard Larcher Markus Leniger University of Graz Cath. Academy Schwerte Walter Lesch Marek Lis Université Catholique de Louvain University of Opole Clive Marsh Charles Martig University of Leicester Catholic Media Center Zurich Marcello Neri Margaret Olin University of Flensburg Yale University Florence Pasche-Guignard Sofia Sjö University of Fribourg Åbo Akademi University Joachim Valentin Paola von Wyss-Giacosa University of Frankfurt University of Zurich Elie Yazbek Reinhold Zwick Saint-Joseph University of Beirut University of Münster CONTACT Institut für Fundamentaltheologie / JRFM Heinrichstrasse 78/B/1, A-8010 Graz, Austria e-mail: [email protected] www.jrfm.eu JRFM JOURNAL FOR RELIGION, FILM AND MEDIA JRFM is a peer-reviewed, open-access, online publication. It offers a platform for scholarly research in the broad field of religion and media, with a particular interest in audiovisual and interactive forms of communication.
    [Show full text]
  • Innovations at Cannes
    Innovations at Cannes By Ron Holloway Fall 2000 Issue of KINEMA CANNES: INNOVATIONS IN THE CERTAIN REGARD, DIRECTORS’ FORTNIGHT AND CRITICS WEEK For the third year in a row, an entry in Un Certain Regard was awarded the increasingly important prize of the Fondation GAN pour le cinéma (worth FF 200,000 in French distribution aid) by an independent international jury. Consequently this Cannes sidebar is now viewed by many as a ”backup festival” to the Competition in the official program. For the second year in a row under the new management ofMarie- Pierre Macia, the Quinzaine des Réalisateurs (Directors’ Fortnight) continued to distance itself from the prior policies of Pierre-Henri Deleau (three decades on the job) by formulating a programming image that was even more actor-and-personality oriented than last year’s event. And for the first time in 16 years, the Semaine de la critique (Critics Week) finds itself under new management: José María Riba was elected by the Paris-based critics to replace Jean Roy on the job. UN CERTAIN REGARD VIEWS Two years ago, in 1998, the Fondation GAN pour le cinéma awarded its prize for the first time to Darezhan Omirbaev’s Tuer à gages (Killer, Kazakhstan-France). In 1999, it went to Jasmin Dizdar’s Beautiful People (UK). This year, the jury, headed by actress Jane Birkin, gave its prize to Rodrigo Garcia’s Things You Can Tell Just by Looking at Her (USA), a collection of five vignettes about intertwined relationships shared by a group of men and women. Herewith some random comments on seven other films from around the world that were selected for programming in the Certain Regard, regarded by many festival directors as a fertile hunting-ground for entries to programme in their own competitions: Le premier du nom (First of the Name, France-Switzerland), Sabine Franel Sabine Franel, better known as a film editor, has collaborated in the past with Portuguese master Mañoel de Oliveira (Les Cannibales, 1988 Cannes entry), João Canjo, Claude Weisz, and Emil Weisz.
    [Show full text]
  • Publisher's Note
    PUBLISHER’S NOTE Graphic novels have spawned a body of literary criti- the graphic novel landscape. It contains works that are FLVPVLQFHWKHLUHPHUJHQFHDVDVSHFL¿FFDWHJRU\LQWKH self-published or are from independent houses. The SXEOLVKLQJ¿HOGDWWDLQLQJDOHYHORIUHVSHFWDQGSHUPD- entries in this encyclopedic set also cover a wide range nence in academia previously held by their counterparts RISHULRGVDQGWUHQGVLQWKHPHGLXPIURPWKHLQÀXHQ- in prose. Salem Press’s Critical Survey of Graphic tial early twentieth-century woodcuts—“novels in Novels series aims to collect the preeminent graphic pictures”—of Frans Masereel to the alternative comics novels and core comics series that form today’s canon revolution of the 1980’s, spearheaded by such works for academic coursework and library collection devel- as Love and Rockets by the Hernandez brothers; from RSPHQWR൵HULQJFOHDUFRQFLVHDQGDFFHVVLEOHDQDO\VLV WKHDQWKURSRPRUSKLFKLVWRULFDO¿FWLRQRIMaus, which of not only the historic and current landscape of the in- attempted to humanize the full weight of the Holo- terdisciplinary medium and its consumption, but the caust, to the unglamorous autobiographical American wide range of genres, themes, devices, and techniques Splendor series and its celebration of the mundane; that the graphic novel medium encompasses. and from Robert Crumb’s faithful and scholarly illus- The combination of visual images and text, the em- trative interpretation of the Book of Genesis, to the phasis of art over written description, the coupling of tongue-in-cheek subversiveness of the genre
    [Show full text]
  • Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Content
    Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Content Introduction 5 Lithuania and Poland. Neighbourship in Filmic Form in the Cinema of the 1960s 6 A Short Review of Lithuanian Cinema 12 Feature Film after 1990: Generation Change, New Aspects and Challenges 18 Raimundas Banionis: Film Plots Dictated by Reality 22 Algimantas Puipa: My Work Starts Where the Novel Ends 26 Gytis Lukšas: I Measure My Life in Films 30 Valdas Navasaitis: Everything Is a Private Matter 34 Audrius Juzėnas: Evil Is Not an Abstraction; It Influences Our Destinies 38 Kristijonas Vildžiūnas: Finding Historical Truths 42 Kristina Buožytė: Film Is the Door to a Specific World 46 Ignas Jonynas: I Belong to a Generation Very Rich with Experience 48 Šarūnas Bartas’ Films 52 Šarūnas Bartas: The Philosopher of Lithuanian Cinema 54 Jonas Mekas’ Diary Films 60 Documentary Film after 1990 64 Audrius Stonys: Showing the Invisible 70 Arūnas Matelis: Films Emerge from Sensations 74 Janina Lapinskaitė: Heroes Carry Their Sadness Along with Them 78 Julija and Rimantas Gruodis: We Are Trying to Walk on the Bright Side of Life 82 Giedrė Žickytė: Film Is an Emotion 86 Index 89 Introduction ver the past decade, Lithuanian cinema of Lithuanian filmmakers is also pursuing new has experienced a period of intense opportunities and original forms of expression. change. The production of films in Films by such female film directors as Alantė OLithuania has been on the increase, as has the Kavaitė, Kristina Buožytė and Giedrė Žickytė audience’s interest in films produced domestically.
    [Show full text]
  • RITROVATI E RESTAURATI Recovered and Restored
    RITROVATI E RESTAURATI Recovered and Restored Programma a cura di / Programme curated by Gian Luca Farinelli, Peter von Bagh e Guy Borlée 132 GRAND TOUR D’ITALIE: IL ‘DAL VERO’ DEI PRIMI ANNI DIECI GRAND TOUR D’ITALIE: ACTUALITY FILMS FROM THE EARLY 1910S Programma a cura di / Programme curated by Andrea Meneghelli Questo programma, dedicato al ‘dal lare che le avanguardie già bramano di century transforms the itinerary of intel- vero’ italiano dei primi anni Die- incendiare), al tempo stesso conosce lectual and human growth once satis- ci, mi piace pensare sia una sorta di l’estasi impaziente del futuro: l’arditi- fied by the Grand Tour in a convenient ode al movimento. Un viaggio che smo degli eroi dell’aviazione, l’obietti- tourist outing. Film revolutionized the tende sempre alla ripartenza, dove il vo puro della velocità nelle invenzioni adventure of travelling by making it an fine sembra essere non tanto l’arrivo, ingegneristiche. L’ultimo movimento adventure of viewing. A mobile view by quanto piuttosto l’attraversare. Forse che evochiamo è una specie di vertigi- definition that multiplies its routes with anche per il destino morfologico e sto- ne, che ancora una volta affonda in un the help of various means: trains, boats, rico che caratterizza l’Italia, percorrere contrasto: tra l’Italia di oggi e quella and tripods cameras rest on to show off il paese a bordo di questi film signi- di un secolo fa, sul crocevia tra l’ine- their panoramic potential… Travel in fica affacciarsi a esperienze e paesaggi vitabile cambiamento e la colpevole time or, better still, through time.
    [Show full text]
  • Hrvatski Filmski Ljetopis God
    hrvatski filmski ljetopis god. 16 (2010) broj 64, zima 2010. Hrvatski filmski ljetopis utemeljili su 1995. Hrvatsko društvo filmskih kritičara, Hrvatska kinoteka i Filmoteka 16 Utemeljiteljsko uredništvo: Vjekoslav Majcen, Ivo Škrabalo i Hrvoje Turković Časopis je evidentiran u FIAF International Index to Film Periodicals i u Arts and Humanities Citation Index (A&HCI) Uredništvo / Editorial Board: Nikica Gilić (glavni urednik / editor-in-chief) Krešimir Košutić (novi filmovi i festivali / new films and festivals) Bruno Kragić Jurica Starešinčić Tomislav Šakić (izvršni urednik / managing editor) Hrvoje Turković (odgovorni urednik / supervising editor) Suradnici/Contributors: Ana Brnardić (lektorski savjeti / proof-reading) Juraj Kukoč (kronika/chronicles) Sandra Palihnić (prijevod sažetaka / translation of summaries) Duško Popović (bibliografije/bibliographies) Anka Ranić (UDK) Dizajn i priprema za tisak / Design and pre-press: Barbara Blasin Naslovnica / Front cover: Glave, serija od 12 fotografija (Tom Gotovac, 1971) Stražnje korice / Back cover: Glave, serija od 12 fotografija (Tom Gotovac, 1971) Nakladnik/Publisher: Hrvatski filmski savez Za nakladnika / Publishing Manager: Vera Robić-Škarica ([email protected]) Tisak / Printed By: Tiskara C.B. Print, Samobor Adresa/Contact: Hrvatski filmski savez (za Hrvatski filmski ljetopis), HR-10000 Zagreb, Tuškanac 1 Tajnica redakcije: Vanja Hraste ([email protected]) telefon/phone: (385) 01 / 4848771 telefaks/fax: (385) 01 / 4848764 e-mail uredništva: [email protected] / [email protected] www.hfs.hr/ljetopis Izlazi tromjesečno u nakladi od 1000 primjeraka Cijena: 50 kn / Godišnja pretplata: 150 kn Žiroračun: Zagrebačka banka, 2360000-1101556872, Hrvatski filmski savez (s naznakom “za Hrvatski filmski ljetopis”) Hrvatski filmski ljetopis is published quarterly by Croatian Film Association Subscription abroad: 60 € / Account: 2100058638/070 S.W.I.F.T.
    [Show full text]
  • Ronnie Wood: Somebody up There Likes Me
    APRIL 2020 RONNIE WOOD: SOMEBODY UP THERE LIKES ME “velveteen glamour and brilliant programming...” (The Guardian) “possibly Britain’s most beautiful cinema..” (BBC) APRIL 2020 • ISSUE 181 www.therexberkhamsted.com 01442 877759 Mon-Sat 10.30-6.30pm Sun 4.30-5.30pm BEST IN APRIL CONTENTS Films At A Glance 20-21 Rants & Pants 30-31, 33 BOX OFFICE: 01442 877759 Ronnie Wood: Somebody Up There Likes Me Mon to Sat 10.30-6.30 An off-the-wall documentary about a fabulous One-Off from the up-the- wall world of full-on (it’s only) rock’n roll but… Don’t dare miss. Sun 4.30-5.30 See page 16 SEAT PRICES FILMS OF THE MONTH Circle £9.50 Concessions/ABL £8.00 Back Row £8.00 Table £11.50 Concessions/ABL £10.00 Royal Box Seat (Seats 6) £13.00 Whole Royal Box £73.00 Matinees - Upstairs £5, Downstairs £6.50, Royal Box £10 Casino Royale Portrait of a Lady Disabled and flat access: through Daniel’s first and best 007 where he the gate on High Street (right of on Fire should have hung out his speedos, apartments) Gorgeous, sumptuous, beautiful - dropped his gun and greased those and all and none. Stunning, teasing, pecs - just this once…? diverting, riveting, mesmerising and Director: James Hannaway See page 10 unbearably French. See page 14 01442 877999 Advertising: Chloe Butler 01442 877999 Artwork: Demiurge Design 01296 668739 The Rex High Street (Three Close Lane) Berkhamsted, Herts HP4 2FG www.therexberkhamsted.com “ Unhesitatingly The Rex Ragtime The Truth is the best cinema I Coalhouse Walker Jnr from far “…is rarely plain and never simple” outside, runs with the posh NY (Oscar Fingal O’Flahertie etc…) have ever..” society of 1910 - and pays the An Irish poet, a Japanese auteur and (STimes Culture) price.
    [Show full text]