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Film Production Terminology: an English, French And FILM PRODUCTION TERMINOLOGY: AN ENGLISH, FRENCH AND ROMANIAN DICTIONARY RAMONA DIACONESCU A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN TRANSLATION YORK UNIVERSITY, TORONTO, ONTARIO MARCH 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-45933-1 Our file Notre reference ISBN: 978-0-494-45933-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformement a la loi canadienne Privacy Act some supporting sur la protection de la vie privee, forms may have been removed quelques formulaires secondaires from this thesis. ont ete enleves de cette these. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. Canada ABSTRACT This paper includes a 60-entry sample for a trilingual film dictionary in English, French and Romanian for the use of film technicians, film school candidates and translators of film books; as well as a series of practical and theoretical considerations regarding the development of such a dictionary. This paper will focus on lexicographical issues such as: word collection and filing, corpus development, variations of the subject tree specific to each of the three cultures, structure of dictionary entries, and methods of classification. Nation-specific production practices, labour division, theoretical approaches to film and linguistic hegemony are questioned as key factors that shape the structure and evolution of film terminology and influence the way vocabulary is mapping reality. iv ACKNOWLEDGMENTS I am deeply thankful to my professors at York University and Glendon College: Prof. Marie-Christine Aubin whose Documentation and Translation classes inspired the idea for this paper; for her patience, the interest she took in my paper, for her insightful suggestions and her encouragements; Prof. Tereza Barta for sharing so honestly with us her thoughts on North American and European filmmaking, for encouraging me to include Romanian language within the scope of the dictionary and helping with the verification of Romanian technical words and expressions; Prof. Daniel Simeoni, whose course on Translation of Social Sciences and Humanities texts inspired many of the theoretical reflections in this paper. Many thanks to my dear friend Alexandra Maria Anca, to George Anca and Victor Citiriga for their incredible efforts in helping me find most of the books in the Romanian corpus. To the Romanian film technicians Andra Barbuica, Toni Cartu, Elena Ene, Marian Tanase, and Andreea Tudose who so generously helped me put together my Romanian word collection. And most of all, I am grateful to Monica Garbur and to my dear friend Simona Costea whose contribution was extremely valuable. Many thanks to Castel Film Studio for offering me the opportunity to work in Romania; to the cast and crew of Ghouls for making me feel so welcome and for sharing their knowledge with me. I'm also grateful to York University for the Fieldwork Grant that covered a part of my travel expenses to Romania. Many thanks to the French film technicians Susanne Benoit and Jean-Pierre Messinelle for their help in the verification of French technical words and expressions; to Jennifer Cook for proofreading and reviewing the English text. Many thanks also to Daniela Saioni and Margaret Tanod, two script supervisors who have constantly helped me in my career. I am also grateful to the Canadian Film Centre, where it all started. Many thanks to all those who, over the years, made a contribution to my understanding of filmmaking and its language. v TABLE OF CONTENTS Abstract iv Acknowledgements v Parti 1. Introduction 1 Proj ect background 1 Project typology 2 Structure 3 Work evolution and method of research 4 2. The subject field and the subject tree 6 Delimitation of the subject field 6 The subj ect tree 7 Relations with other disciplines 10 Differences across cultures 12 3. Research justification and intended users 16 Assessment of previous work in the field 16 A response to linguistic hegemony 19 Intended users 21 Film crews 21 Translators and the book market 23 Film and literature students / Language for special purposes 27 4. Lexicography, terminography and pragmatics 29 Main and secondary fields 29 Approach 29 Headword classification 30 Entry structure 31 5. Corpus development and reflections on source text selection 41 Types of documents for a balanced corpus 41 Texts created by specialists 45 Texts representative of the subject field 47 Assessment of original texts 49 vi Translations versus original texts 50 Oral sources: Getting feedback from film technicians 52 6. Language as a way of mapping reality 55 Methodological considerations 55 New word formation: Noun modifiers 57 Changes in word extension under the influence of Hollywood 59 Language-specific degrees of lexicalization 61 Language games and double entendres 64 Language as illustration of aesthetic approaches to cinema 66 7. Conclusion. 70 Part 2 Abbreviations 73 Dictionary entries 74 Bibliography 140 Corpus bibliography 147 Appendix A Film subject tree 150 Appendix B Romanian film books 152 Appendix C English index 157 Appendix D French index 161 Appendix E Romanian index 165 vii OK, locution americaine utilisee d'une maniere exclusive par les cineastes franqais, et qui signifie: OK - Jean Vigo Boy, those French: They have a different word for everything! - Steve Martin It's too cerebral! We're trying to make a movie here, not a film! - Steve Martin, Bowfinger Parti 1. Introduction Project background This project originated seven years ago, when, as a film student at York University, having some knowledge of film terminology in French and none in English, I started to build a list of English specialized words and expressions much needed for writing my term papers. In 2003, wishing to complement my theoretical knowledge of film with hands-on experience, I began volunteering in Canadian Film Centre productions. I enlarged my list of English words and expressions, at first as a way to familiarize myself with the often puzzling jargon, and later, with the intent of finding their equivalents in French - an attempt to open myself to a bigger market in a moment when the Toronto film industry was in deep crisis. During a trip to Romania in 20061 noticed, in contrast with the growth of the film industry, there was a lack of film books (Romanian works and translations alike), as well as a need for more comprehensive dictionaries in this field. It is at that time that the project of an English-French-Romanian film dictionary took shape. 1 Project typology This project is a sample for a future trilingual dictionary of specialized film vocabulary. Its main users will be translators. As such, while providing equivalents and adaptations of the English entries, it is meant to improve the knowledge of the film subject field (which explains the inclusion, occasionally, of encyclopaedic information1). In discussing bilingual dictionaries, A. M. Al-Kasimi identifies four types according to their purpose: 1) comprehension or 2) production of a text in the source language of the dictionary which is the first language of the translator - in our case: Romanian / French speakers who wish to understand / produce texts in English, English being used as a source language; 3) comprehension or 4) production of a text in the target language of the dictionary which is a second language for the translator - in our case: English speakers who wish to understand / produce texts in Romanian / French, English being used as the source language. One may add yet another category, to which the present project belongs - dictionaries that help translators improve the production of a text in their native language. This might look like the description of what monolingual dictionaries usually do; however, the same can be said about multilingual dictionaries when the user comes to 1 Pertaining to practical knowledge, as opposed to linguistic information. 2 A. M. Al-Kasimi, "The Interlingual/Translation Dictionary: Dictionaries for Translation", London, New York: Academic Press, 1983) 157. 2 find out domestic terms by means of a second language. It is a phenomenon recurrent in bilingual communities, which was pointed out by several terminologists in relation to Quebec: "Les francophones [au Canada] connaissent mieux les terminologies anglaises que les terminologies francaises. II faut apprendre alors aux francophones le mot francais a partir du mot anglais, situation tout a fait paradoxale." Structure The theoretical component of the paper is structured as follows: Chapter 2 discusses the film subject field and points out some of the differences across languages.
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