GIALens 2017 Volume 11, No. 1 Film-maker ventriloquism in ethnographic film: Where subtitles don’t let subjects “speak for themselves” by Dr. Robert Guy McKee, Graduate Institute of Applied Linguistics, Senior Faculty email:
[email protected] The question of whose voices address us most audibly in an ethnographic film is … influenced by the general and highly personal politics of production. – Loizos (1993: 13) 1. Introduction The purpose of the present paper1 is to make and illustrate a point concerning the use of subtitles in ethnographic film. The point concerns the received notion that ethnographic film-makers use subtitles to enable film subjects to “speak for themselves” – to speak their own words in their own exotic languages, which film-makers render via subtitles into the lan- guage of the intended audience. The point is that film-makers might sometimes instead use subtitles ventriloquially, as a kind of “voice of Oz”2 (cf. traditional film narrative’s “voice of God”), putting their message into subjects’ mouths more than faithfully translating subjects’ speech. The film speech and subtitles by which the point is illustrated are those of the 1989 ethnographic television film Spirits of defiance: The Mangbetu people of Zaire (British Broadcasting Corporation [BBC] 1989).3 (Since the May 1997 overthrow of the Mobutu gov- ernment, Zaire is again called the Democratic Republic of the Congo.) There are four film languages concerned: French, which was Zaire’s one official language; Lingala, which re- mains the most widely spoken of its four major national languages; the local Mangbetu lan- guage, in its predominant Meegye dialect;4 and English, the language of the film’s primary intended audience and thus also of its narration and subtitles.