File spoon-archives/film-theory.archive/film-theory_2003/film-theory.0304, message 2


Date: Mon, 14 Apr 2003 15:23:27 -0400 (EDT)
From: Spoon Collective <spoons-AT-lists.village.Virginia.EDU>
Subject: Dovzhenko - Zemlia, subtitles (fwd)


---------- Forwarded message ----------
Date: Mon, 14 Apr 2003 10:27:14 -0400
From: sk5 <sk5-AT-acpub.duke.edu>
To: Film-Philosophy Salon <FILM-PHILOSOPHY-AT-JISCMAIL.AC.UK>,
     film-theory-AT-lists.village.virginia.edu, lahusen-AT-sympatico.ca
Cc: H-RUSSIA-AT-H-NET.MSU.EDU, SEELANGS-AT-LISTSERV.CUNY.EDU
Subject: Dovzhenko - Zemlia, subtitles

Dear all,
sorry to bother with a question - this is both "Slavic" and film -
philosphical/theoretical- directed at people who may have seen Dovzhenko's
Zemlia (Earth), whether in its short (cut) or the long version. But it may
be asking about something obvious, widespread (and no less interesting) -
only that I have not noticed it before. (Apologies for the 'silliness,' in
that case...)
Especially in the first fifteen minutes of the film, a lot of dialogue
appears to go on on the screen, mouths moving, characters reacting to each
other - that (this is a silent movie) never appears on the intertitles, not
even as a 'summary,' so the viewer is left in wonderment what kind of
conflict(s), what kind of crises are brought into the open.
I only have the film with English subtitles - so, one question is if this
is a 'translation censorship', how rich are the intertitles in Russian. But
as this is a "transition-era" film (between silent and sound film too),
this seems interesting - are there other analogies and more concretely (for
my current purposes more importantly) has this been written about regarding
Dovzhenko? What would one make of this kind of disconnection between image
and text, and what would you make of it (viz. what is made of it for
Zemlia?)
I hope this is not entirely 'beside the point'...
With many thanks,
Simon Krysl


     --- from list film-theory-AT-lists.village.virginia.edu ---

   

Driftline Main Page

 

Display software: ArchTracker © Malgosia Askanas, 2000-2005