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Cinéma --- Doublage

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Dubbing of motion pictures. --- Doublage de films

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La généralisation du cinéma parlant à l’orée des années 1930 pose aussitôt une question cruciale : comment poursuivre la diffusion internationale des films tout en surmontant l’obstacle des langues ? Contrairement à ce que l’on croit souvent, il a fallu plusieurs années pour que le doublage et le sous-titrage s’imposent et permettent aux sociétés de production étrangères de conserver le marché particulièrement rentable que représentait la France. Différents procédés, techniques et pratiques ont vu le jour, ainsi que de nouveaux métiers. Cet ouvrage éclaire un aspect trop longtemps ignoré de l’histoire du cinéma en retraçant les origines et les évolutions du doublage et du sous-titrage en France, de 1930 à nos jours. Il permet ainsi de mieux comprendre les conditions de réalisation des versions doublées et sous-titrées, variables selon les époques, les conséquences esthétiques qu’elles ont sur les films et leurs implications sur la perception par les spectateurs. Loin des positions de principe opposant de façon stérile une méthode à l’autre, ce double point de vue historique et esthétique sur la question apporte un éclairage inédit sur des pratiques qui sont bien plus que de simples opérations techniques.

Film Radio Television --- cinéma --- doublage --- sous-titrage --- histoire du cinéma

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"Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context."--

PERFORMING ARTS / Film & Video / Direction & Production. --- Voice in motion pictures. --- Dubbing of motion pictures. --- Voice-overs. --- Voix au cinéma --- Doublage de films --- Voix hors champ --- Voix (cinéma) --- Films --- Voix off --- Doublage --- Voix au cinéma --- Voix off. --- Doublage.

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ondertiteling --- Translation science --- English language --- Film --- Sociolinguistics --- Spanish language --- History of Spain --- Subtitling. Supertitling --- anno 1950-1959 --- anno 1970-1979 --- anno 1960-1969 --- Doublage de films --- Dubben van films --- Dubbing of motion pictures --- Dubbing of moving-pictures --- Films -- Doublage --- Films -- Dubben --- Films -- Synchronisatie (Dubben) --- Films -- Synchronisation (Doublage) --- Motion pictures -- Dubbing --- Synchronisatie (Dubben) van films --- Synchronisation (Doublage ) de films --- Motion pictures --- Censorship --- Spain