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Malgré une baisse de fréquentation, le cinéma se porte bien.
IN “STAR TREK”, a television series of the 1960s, no matter how far across the universe the Starship Enterprise travelled, any aliens it encountered would...
IN “STAR TREK”, a television series of the 1960s, no matter how far across the universe the Starship Enterprise travelled, any aliens it encountered would...
Youtube vient d'étoffer son système de sous-titrage automatique en ajoutant 6 langues, parmi lesquelles le français. Une fonctionnalité utile, bien qu'imparfaite. Jusque-là, Youtube proposait de so...
Diane Couderc, directora del canal: «Son seis películas al día, 1.300 horas de ficción y 2.000 horas de documentales cada año»...
Michel Roy a été reconduit pour cinq ans au poste de président du conseil d'administration de Téléfilm Canada. Le ministre du Patrimoine canadien et des Langues officielles, James Moore, en a fait l'annonce mardi.
MUMBAI, Nov. 12 -- Aamir Khan is famous for his out-of-the-box film promotion ideas.
Il est courant que les titres de films étrangers soient modifiés pour leur exploitation française. Pas de règle en la matière, les distributeurs fonctionnent au cas par cas.
The actress is likely to dub in Tamil... The latest buzz in the industry is that actress Deepika Padukone, who makes her Kollywood debut with Superstar's Kochadaiyaan, will be dubbing her own lines in it. While Deepika, her spokesperson and director Soundarya remained unavailable for comment, a highly-placed source from the production house confirms, saying, "Yes, Deepika has been asked to dub her lines in Tamil and she will be working on it." A member from the film's cast tells us, "It's going to be tough as the dialogues are not even in conversational Tamil. And though Deepika is from the south, it will be tad too difficult. If she can pull it off, then nothing like it."
n a small studio just a seagull's squawk from Tokyo Bay in the Higashi Gotanda district of Shinagawa Ward, a unique play titled "Understandable?" briefly delighted packed houses of baffled Japanese and others recently with its absurd-but-not, "abandoned- in-translation" dialogue devoid of subtitles. Sweet somethings: Three Japanese actors (left) playing a Japanese man, and three French actors playing a French woman discuss love in "Understandable?" GOTANDADAN
Showcasing the combined talents of local theater company Gotandadan and a French one named Astrov, all the play's "action" consisted of two sets of three actors sitting in chairs facing the audience. One set, made up of two Japanese women and a Japanese man, collectively played a Japanese man; while the other set comprising two French men and a French woman played a French woman. A challenge for audiences it surely was. However, in ways perhaps especially pertinent in Japan, "Understandable?" brought out universal issues surrounding culture clashes and the fertile ground for conflict they offer. (Japanese) Man: "Hello. ... Are you a French? ... I can't speak English. Do you believe this? ... I ... I love you." (French) Woman: "You must be kidding. We've just met here. Why? What? Anyhow, who are you? ... It's not love! You are mad!" Soon, strangely, this international couple start going out with each other, trying hard to converse in fragmentary English. And even as hopelessly jumbled as their words sometimes become, they plug away and in the process reveal gender- and culture-based discrepancies in feeling and understanding. Woman: "Did you really understand the film?" Man: "No." Woman: "But, you are crying now." Man: "Because I realized there was sad atmosphere there."
Revue de presse – printemps 2012 Journées Européennes du doublage 2012
Retour sur Inglourious Basterds
1. Langues et traduction chez Tarantino
Retour sur Inglourious Basterds Le film de Quentin Tarantino Inglourious Basterds (2009) est un objet d’étude passionnant pour quiconque s’intéresse aux langues. Parce qu’il mêle quatre idiomes, en donnant une importance à peu près équivalente à trois d’entre eux (l’anglais, le français et l’allemand – la présence de l’italien étant plus anecdotique), d’abord, mais aussi parce que ces langues jouent un rôle essentiel dans l’intrigue et les thématiques du film, et ne sont pas un simple élément de réalisme ou de vraisemblance. Sans surprise, cette œuvre pose donc des problèmes ou en tout cas des questions quant à son adaptation vers d’autres langues que l’anglais. Aussi, l’équipe de rédaction du blog de l’ATAA s’est penchée sur ces problématiques et proposera ces prochaines semaines une série de billets autour de ce film. Le premier est un article écrit en février 2010 par l’universitaire britannique Carol O’Sullivan pour son blog MA Translation Studies News destiné aux étudiants en traduction de l’université de Portsmouth. Rédigé en anglais, il est intitulé « Tarantino on Language and Translation ». Un grand merci à son auteure, qui nous a autorisés à le traduire en français. Langues et traduction chez Tarantino Je viens de revoir le film Inglourious Basterds de Quentin Tarantino et j’ai eu envie de partager mes émotions sur ce blog. Les critiques du film ont été mitigées. L’un des critiques en qui j’ai le plus confiance l’a qualifié de « exaspérant de nullité et suprêmement décevant ». La scène principale, selon lui, est aussi insoutenable qu’interminable ; il a même déclaré que le film était un immense bide dans la carrière du réalisateur. En allant le voir au cinéma, je ne m’attendais pas à grand-chose. Ou plutôt je m’attendais à voir un film de mauvais goût, violent, sans rythme, avec des dialogues distanciés et d’inévitables références à la culture de masse. J’ignorais que le sujet même du film était la traduction. (Attention, ce qui suit dévoile des moments clés de l’intrigue) Des critiques de cinéma, comme Jim Emerson, ont fait remarquer que le film était sciemment divisé en cinq chapitres ayant pour points de mire successifs les différents personnages, le Colonel SS Hans Landa, le bataillon juif de l’armée américaine dénommé « les Bâtards », puis la rescapée juive propriétaire d’un cinéma, Shosanna Dreyfus. Les 147 minutes du film sont truffées de références à des films sur la Seconde Guerre mondiale et à l’histoire du cinéma en général, ce qui est typiquement « Tarantinien ».
UN DÉPUTÉ VEUT QUE LA TV DIFFUSE DES FILMS EN VERSION ORIGINALE SOUS-TITRÉE
ÉCRIT PAR TRISTAN QUINAULT MAUPOIL LE 18 OCTOBRE 2012. PROPOSITION DE LOI - Le député UMP Denis Jacquat a déposé une proposition de loi pour que la télévision diffuse des films étrangers en version originale sous-titrée dans le but de favoriser l’apprentissage des langues. Il espère bénéficier du soutien de la ministre de la Culture, Aurélie Filippetti. Denis Jacquat, député UMP de la Moselle a déposé la semaine dernière une proposition de loi dans le but d’améliorer la compréhension orale des langues étrangères. Les Français sont souvent pointés du doigt quant à leur mauvais niveau en langues, plus particulièrement en anglais. “La visualisation de films étrangers en version originale sous-titrée peut favoriser le développement de la compétence de la compréhension orale”, note l’élu dans sa proposition de loi. “Ces dispositions répondent d’ailleurs à une demande de plus en plus forte des étudiants qui souhaitent s’imprégner d’une langue étrangère”, poursuit-il. Interrogé par Fréquence ESJ, le député note qu’il est élu dans une circonscription frontalière, proche du Luxembourg, un pays souvent montré en exemple: “Les Luxembourgeois maîtrisent souvent trois à quatre langues”, assure Denis Jacquat. Bon nombre de ses administrés travaillent dans ce pays. Fort de ce constat, il reconnaît que la maîtrise d’une langue étrangère peut être un point fort pour trouver un emploi. “La mention « anglais exigé » est d’ailleurs de plus en plus souvent adjointe aux annonces d’offres d’emploi”, écrit le député.
Josu Barambones, profesor de Traducción de la UPV/EHU ha presentado sus dos últimas obras que hacen una revisión de la Traducción Audiovisual: 'Lenguas minoritarias y traducción: La traducción audiovisual en euskera' y 'Mapping the Dubbing Scene'. Estos dos libros muestran la importancia que para el desarrollo del euskera y nacimiento de la EITB ha tenido todo el trabajo que se ha tendido que realizar en Traducción Audiovisual. No obstante, los nuevos caminos que han abierto estas traducciones en euskera, así como en otras lenguas minoritarias, no han recibido un reconocimiento parejo al avance y crecimiento que han supuesto para estas lenguas. De hecho, todavía en la actualidad, se sigue produciendo una especie de invisibilidad de la traducción audiovisual en euskera. De esta forma, los dos libros publicados este año 2012 por Barambones permiten valorar la labor, que muchas veces pasa desapercibida, a favor de lenguas minoritarias, como el caso del euskera, que se ha venido realizado durante las últimas décadas en diferentes medios audiovisuales. Ambos volúmenes reúnen un indudable interés científico y divulgativo. Con la publicación de Lenguas minoritarias y traducción: La traducción audiovisual en euskera, se cubre en parte la falta de literatura en castellano sobre la traducción audiovisual en lenguas minoritarias. Además esta obra destaca por el tratamiento que en él se le da a la oralidad de los textos audiovisuales. En su otra obra, Mapping the Dubbing Scene, Barambones también contribuye a aumentar la visibilidad de la Traducción Audiovisual en euskera en el País Vasco y a que sea conocida a nivel internacional al estar escrita en lengua inglesa. Su aspecto más innovador radica en su enfoque cultural y descriptivo, así como en la comparación de los modelos de lengua de los textos traducidos con el de un texto audiovisual original en euskera. Ambas obras pueden ser de especial utilidad para estudiantes, investigadores y profesionales de la Traducción, Estudios Vascos, Ingleses o Filología, así como otros profesionales y estudiantes de Comunicación Audiovisual e incluso podrían llegar a ser utilizadas como una guía por personas responsables en Política Lingüística. Lenguas minoritarias y traducción: La traducción audiovisual en euskera
La traducción constituye siempre una actividad cultural de amplio espectro, hecho que adquiere incluso una nueva dimensión cuando toma parte en el trasvase una lengua minoritaria como el euskera. Esta afirmación queda bien manifiesta en el caso de la traducción audiovisual, donde el doblaje de productos extranjeros hizo posible que la televisión pública vasca pudiese empezar a emitir. Sin embargo, a pesar de su enorme importancia, la invisibilidad de la traducción audiovisual al euskera sigue siendo patente en la actualidad. Este libro pretende suplir dicha carencia y hacer más visible la traducción audiovisual en el caso de las lenguas minoritarias. El libro va más allá de una visión puramente lingüística e invita al lector a considerar también aquellos aspectos socioculturales que inciden de una forma directa en la traducción para el doblaje. Mapping the Dubbing Scene
El libro explora el papel desempeñado por la Traducción Audiovisual en la promoción y desarrollo del euskera desde el nacimiento de Euskal Telebista hasta nuestros días. Para ello, en primer lugar el autor sitúa la traducción audiovisual en el contexto socio-cultural del País Vasco, y en segundo lugar, se centra en el doblaje en euskera de series de animación cuya lengua original es el inglés.
Lenguas minoritarias y traducción :La traducción audiovisual en euskera
New book reveals audience responses to film subtitling Do subtitles have an impact on how audiences understand the movie? A University of Nottingham academic published a book on viewers’ interpretations of dynamic interactions represented in films via subtitling. Dr Xiaohui Yuan, a lecturer in Translation and Interpreting Studies at The University of Nottingham, shared her views in the latest book Politeness and Audience Response in Chinese-English Subtitling on how the face negotiation is dealt with when subtitling between Chinese and English. Her book aims to explore and understand how people use verbal and non-verbal languages in society to manage interpersonal relationships across cultures, how it is delineated in Chinese and English films respectively and what Chinese and British viewers’ interpretations of dynamic rapport interactions represented in films via subtitling are. Dr Yuan said: “The research is highly original and fills the gap in several areas of Audiovisual Translation and Intercultural Studies. Particularly, it has for the first time established a composite model to explain people’s relationship management features in Western and Far Eastern cultures. Chinese and English are markedly remote from each other in both linguistic and cultural terms. The research is also the first using Chinese-English data to successfully demonstrate the representation of those interpersonal features in the process of subtitling and how it facilitates viewers’ correct or incorrect comprehension of protagonists’ personality, attitude and intentions.” Audience response data shows cultural differences The research focuses on Chinese and English languages. In order to see the differences of viewers’ interpretations of protagonists’ interactions, she conducted audience response experiments in which Chinese and British audiences were recruited in two groups for comparison. One was relying on the sound track and images of the original film sequences while the other was relying on the subtitles of those sequences. One-on-one interviews were undertaken with all the British and Chinese subjects. The results demonstrated that viewers who relied on the subtitles produced significantly different impressions of the interlocutors’ personality, attitude and intentions as well as the nature of their relationships, from those of audiences who replied on the soundtrack. This might lead to different interpretations of film characters and their interactional features. Subtitles can be misleading The findings of the book demonstrate that the absence of interpersonal elements and change of interpersonal relationship management strategies often happen in the process of subtitling, due to temporal and spatial constraints. The cumulative effect of these omissions and changes in the subtitles may inevitably impact on viewers’ interpretations of film characters and their interactional features. Dr Yuan also discovered body languages have played an important role in constructing viewers’ interpretations of interactions on the screen. Characterised by cultural differences, it is suggested that subtitles must represent interactional features which are expressed via paralinguistic behaviour, in order to assist foreign viewers to avoid misinterpretations. Dr Yuan said: “It is highly important that interpersonal features are represented in subtitles so that they can provide adequate support for the audiences’ correct comprehension of dynamic interactions taking place on the screen. This will enhance their understanding of the movie and ultimately their enjoyment of the film.” More information is available from Dr Xiaohui Yuan, at The University of Nottingham, on +44 (0)115 846 6577, Xiaohui.Yuan@nottingham.ac.uk; or Dr Miao He, Communications and Marketing Assistant at The University of Nottingham, Miao.He@nottingham.ac.uk.
Translating Film – Subtitles vs. Dubbing
Films remain one of the entertainments that so far haven’t been completely transformed by the digital age.
Posted by Stacey on Thu, 10/11/2012 - 04:23 Yes, the mechanisms have gone digital, but the process of watching them remains the same in some ways: We gather in an auditorium at a specific time (no on demand technology here!) and the film is projected onto a huge screen. One thing that always surprises me is subtitles. It’s always the same story: When first walking into the theater, I assume the subtitles will annoy and distract me. After all, I’ll have to take my eyes off the actors in order to read their dialog – how could it not be distracting? And yet, it’s always the same: Within a few minutes, I have completely forgotten that I am reading words at the bottom of the screen. I am completely immersed. For this reason – and others outlined below – I think subtitling is always a superior solution to dubbing foreign films. Preserving the Acting First of all, the actors in a film have put a lot of work into their performances, including their voices. Tone, delivery – it’s all part of the character they have painstakingly created for your entertainment. Subtitling allows you to at least hear these aspects of their voices while still giving you the sense of what they are saying. Dubbing, on the other hand, removes this. Suddenly there is another actor entirely speaking the lines, making their own artistic decisions. While I would imagine they make an effort to match the tone and delivery of the original actor, this remains an interpretation, and is sometimes limited when the languages don’t sync up well with mouth movements or the amount of time the voice actor has to squeeze the translated line in. This sometimes results in rewritten lines, further distorting the meaning. And dubbing just looks silly. Words that don’t match up with the mouth movements of the actors have been played for laughs by everyone from Benny Hill to Woody Allen. You simply can’t take a dubbed film seriously. A Passive Teaching Tool
Le doublage en français des voix du film d’animation Sarila a été complété cette semaine, à Montréal. Mariloup Wolfe, Maxime Le Flaguais et Guillaume Perreault ont fait un saut en studio, jeudi soir, afin d’enregistrer des entrevues qui seront notamment utilisées pour faire la promotion du film que réalise Nancy Florence Savard. Dans sa version originale anglaise, Sarila compte sur la participation de Christopher Plummer, vainqueur d’un Oscar en février, sur celle de Geneviève Bujold et de Rachel Lefevre. La distribution francophone comprend également Elisapie Isaac, Mario Saint-Amant, Dorothée Berryman, Rémy Girard et Marina Orsini. Sarila, long-métrage en 3D dont l’action se passe dans le Grand Nord canadien, sortira en salles au début du mois de février.
Basavaraj Hiremath in Sri Daakshayini Movie Makers banner has completed the dubbing work for this mythological and devotion filled Kannada cinema ‘Sri Amareshwara Mahatme’ that is set in northern Karnataka background. At Om Studio near Subbaiah Circle the dubbing was completed for this film. Producer Hiremath has intentions of releasing the film in the month of December 2012. Aravind Mulagunda has written the screenplay and directed this film with Mahabalesh camera, MS Maruthi music, Mahesh Mannapur dialogues, Shivu Beradagi lyrics, Thriller Manju stunts, Madan and Harini choreography, and Ramesh Desai art direction.
Córdoba, 14 oct (EFE).- El Festival de Cine Africano de Córdoba (FCAT), que ha comenzado esta noche, proyectará durante una semana casi un centenar de películas realizadas en treinta países de dicho continente.La programación del FCAT incluye la proyección de las últimas producciones de la cinematografía africana, con especial protagonismo de Sudáfrica, país invitado al FCAT Espacio Profesional, y Marruecos.En el festival están representados veintiocho países, entre los que destacan Angola, Argelia, Burkina Faso, Chad, Guinea Bissau, Kenia, Mali, Marruecos, Mozambique, Níger, República Democrática del Congo, Ruanda, Senegal, Sudáfrica, Tanzania y Túnez.El Festival de Cine Africano, que celebró sus ocho primeras ediciones en Tarifa (Cádiz), dedicará a partir de este una mirada especial a los cines del Medio Oriente.Además, la muestra incorpora una nueva sección fuera de competición, denominada "Panarábica", en la que se podrá ver una selección de trabajos que compitieron en la sección oficial de la última edición del Festival Internacional de Cine de Dubai (DIFF), entre los que hay películas de Egipto, Jordania, Líbano y Siria.
MONTREAL — The lights have been dimmed in a sixth-floor dubbing studio just west of Old Montreal. Claudia Laurie stands at a microphone, syncing her lines to the video silently playing on the screen a few feet in front of her. The actress is playing an army nurse in Afghanistan.
Phoneticized text scrolls above the scene. A red pilot light goes on when it’s Laurie’s turn to speak. “Il y a une chose dont je tenais à te parler,” the nurse announces to a doctor friend, with whom, apparently, she’s having an affair. “J’ai l’intention de reprendre mes études.”
To Laurie’s side, voice director Julie Burroughs sits at a table with the script. Occasionally, she feeds the actress a suggestion: speed up, slow down, speak more softly, change the accent, give it more punch. A technician in the booth behind them keeps the playback coming.
On screen, the characters are arguing. The doctor complains he has let himself get too distracted lately — “me laisser distraire” — by their secret affair. “Distraire?” replies the nurse, feigning insult. “Je te jure,” she adds flirtatiously, “je crois que t’a réussi à explorer chacune de mes coutumes.”
Afraid of being overheard, the doctor tells her to keep her voice down.
“O, mon Dieuuu!” the nurse replies, exasperated. Laurie stretches her intonation to match the “Oh, my gawwwd!” of the original. “Non, mais t’es serieux? T’a peur de te faire prendre à cause d’une mé-ta-phorrre?”
End of scene.
Other actors will come and go during the day here at Audio Postproduction SPR Inc., as dubbing continues for another episode of Combat Hospital, a TV drama series about Canadian and other international military medical staff in war-torn Afghanistan. Shot in Toronto, the series aired on Global and ABC in the summer of 2011 before being cancelled. Now Radio-Canada has picked up the series for Quebec, and the job of adapting it into French has come here, to SPR.
It’s not the only job this Tuesday afternoon.
In a studio across the hall, a separate dubbing session is in progress for something completely different — for kids. It’s Franklin and Friends, the Canadian TV animation series that airs on Treehouse and Nickelodeon. The series is based on the popular Franklin the Turtle books by Paulette Bourgeois and Brenda Clark. In Quebec, the title character goes by the name Benjamin. In France, he’s still Franklin, but pronounced the French way: Frunk-laen.
Today, for the episode called Franklin Makes Some Noise, actress Annie Girard is voicing Goose and Éloisa Cervantes incarnates Snail. Their high-pitched kiddie voices ring through the studio.
“J’adore jouer à cache-cache — ooo-wee!” cries one. “Bon, c’est moi qui compte — allez vous cacher!” commands the other. “Un, deux, trois, quaaatre, ciiiiinq, siiix, sept, huit, neuf, dix — j’ai fini de compter!”
And they do it again a couple of times to get it right.
Dubbing is a precise craft and Quebec is a unique market. Able to draw on a wealth of bilingual talent, dubbing firms here are at the centre of the trade in Canada. Read more: http://www.montrealgazette.com/entertainment/movie-guide/Quebec+million+dubbing+industry+squeezed+lagging+economy+cheaper/7383075/story.html#ixzz29Cw91iGZ
Dubbing pooja of SVSC held
TNN Oct 7, 2012, 04.07PM IST Tags:
Venkatesh|SVSC movie|Seethamma Vakitlo Sirimalle Chettu|Mahesh Babu The dubbing pooja of the multistarrer Seethamma Vakitlo Sirimalle Chettu was held today to formally commence the dubbing activities of the movie. Post production activities are going on simultaneously to get the movie ready in time for its intended December release. Victory Venkatesh and Superstar Mahesh Babu will be seen as brothers in this family entertainer. Samantha and Anjali will be seen as the leading ladies in the movie. Music is being composed by Micky J Meyer and the audio launch will take place next month. Srikanth Addala is directing the film produced by Dil Raju under Sri Venkateswara Creations.
New book reveals audience responses to film subtitling Do subtitles have an impact on how audiences understand the movie? A University of Nottingham academic published a book on viewers' interpretations of dynamic interactions represented in films via subtitling. Dr Xiaohui Yuan, a lecturer in Translation and Interpreting Studies at The University of Nottingham, shared her views in the latest book Politeness and Audience Response in Chinese-English Subtitling on how the face negotiation is dealt with when subtitling between Chinese and English. Her book aims to explore and understand how people use verbal and non-verbal languages in society to manage interpersonal relationships across cultures, how it is delineated in Chinese and English films respectively and what Chinese and British viewers' interpretations of dynamic rapport interactions represented in films via subtitling are. Dr Yuan said: "The research is highly original and fills the gap in several areas of Audiovisual Translation and Intercultural Studies. Particularly, it has for the first time established a composite model to explain people's relationship management features in Western and Far Eastern cultures. Chinese and English are markedly remote from each other in both linguistic and cultural terms. The research is also the first using Chinese-English data to successfully demonstrate the representation of those interpersonal features in the process of subtitling and how it facilitates viewers' correct or incorrect comprehension of protagonists' personality, attitude and intentions." Audience response data shows cultural differences The research focuses on Chinese and English languages. In order to see the differences of viewers' interpretations of protagonists' interactions, she conducted audience response experiments in which Chinese and British audiences were recruited in two groups for comparison. One was relying on the sound track and images of the original film sequences while the other was relying on the subtitles of those sequences. One-on-one interviews were undertaken with all the British and Chinese subjects. The results demonstrated that viewers who relied on the subtitles produced sig¬nificantly different impressions of the interlocutors' personality, attitude and intentions as well as the nature of their relationships, from those of audiences who replied on the soundtrack. This might lead to different interpretations of film characters and their interactional features. Subtitles can be misleading The findings of the book demonstrate that the absence of interpersonal elements and change of interpersonal relationship management strategies often happen in the process of subtitling, due to temporal and spatial constraints. The cumulative effect of these omissions and changes in the subtitles may inevitably impact on viewers' interpretations of film characters and their interactional features. Dr Yuan also discovered body languages have played an important role in constructing viewers' interpretations of interactions on the screen. Characterised by cultural differences, it is suggested that subtitles must represent interactional features which are expressed via paralinguistic behaviour, in order to assist foreign viewers to avoid misinterpretations.
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Foreign language films – Subtitling or dubbing?
Posted by: Jacqs
We’ve all sat through hours of subtitled and dubbed films and TV programmes at some point in our lives, but which is the preferred viewing method? Living in Britain, we’re not very exposed to foreign language films and television programmes, so the subtitling or dubbing debate isn’t one we come across very often. However, when the odd foreign language film is aired on British television channels it is always subtitled, never dubbed. Over the past few years I’ve spent a lot of time in Spain, and never in that time have I watched a foreign television programme or film which hasn’t been dubbed. So why does Britain favour subtitles and Spain favour dubbing? Subtitles are a brilliant way of developing your language skills. Even though I’ve studied Spanish for the past eight years, I never watch Spanish films without subtitles. I don’t mind whether they are in English or Spanish, but being able to read what is being said helps me to follow the story more precisely, and learn new vocabulary and phrases in the process. The other great thing about subtitles is that they keep the original essence of the film/programme.You can still hear the tones of the voices which were originally chosen for the roles. However, there are some negative aspects to subtitling. Young children would struggle to read at a quick enough speed to follow the plot, meaning that they would lose interest altogether. Subtitles can also be a problem for anyone who is illiterate. If there was no subtitling, just dubbing, many illiterate people would miss out on foreign language films and television programmes. Subtitles can also be very distracting for viewers as they draw your attention away from main part of the screen. Watching a film with subtitles requires intense concentration which often makes watching films more tiring than enjoyable.
Like any marketplace, the film industry is subject to inflation, and action- movie sequels tend to surpass their predecessors in terms of explosives detonated, cars crashed, goons maimed, and so on.
Taken 2 bucks this trend. Olivier Megaton’s wan and weedy follow-up to Pierre Morel’s muscularly unpleasant 2008 thriller feels like such a swindle that the original film’s sizeable fanbase may well end up subtitling it “The Cleaners”.
Once again, disaster strikes when an American family decides to holiday in Europe. In the first film, the teenage daughter of CIA agent Bryan Mills (Liam Neeson) was abducted by sex traffickers almost as soon as she left the baggage hall at Charles de Gaulle Airport. This time, during a reconciliatory trip to Istanbul, Bryan and his ex-wife Lenore (Famke Janssen) are kidnapped by some Albanians related to the oodles of pimps Bryan slaughtered in Paris four years ago.
And so it falls to daughter Kim (Maggie Grace) to rescue her parents – or at least it does for about 10 minutes, until Bryan escapes from his cell and starts hunting down his abductors one by one.
Meghana set to debut in dubbing
Parvathy S Nayar, TNN | Oct 2, 2012, 12.00AM IST
Article
Comments inShare Read More:Up And Down: Mukalil Oraal Undu.|Tamilian|Poppins|Meghana Meghana Raj Bangalore-based actress Meghana Raj has been a big hit in M-Town eversince her career-changing 'Beautiful' happened. However, she had not dubbed for any of her roles so far. Buzz is that soon she'll give the voiceover for her character in V K Prakash's 'Poppins'. But here's the catch — the film is in Malayalam, alright, but Meghana plays a Tamilian in the flick, and her lines are in Tamil! A cheerful Meghana says, "Yes, that's the twist. I'm all set to dub for the first time ever in Mollywood." Poppins has Meghana pairing up with her Beautiful co-star Jayasurya in one of the five segments. The movie is a remake of VKP's own Kannada film, Aidu Ondla Aidu. Meghana plays a newly-wed with an unkempt, untidy look and will be seen clumsily draped in saris in this film adaptation of a folk tale. "It's the story of how the lives of a newly-married Tamil couple turns topsy turvy because of a mirror," says Meghana. So, when will we hear her Malayalam onscreen? "Well, I believe that by now, my Malayalam has turned out to be quite good. I'm hoping that I'll be able to dub for myself soon," says the actress, who's currently playing a nun in director T K Rajeev Kumar's Up and Down: Mukalil Oraal Undu.
Hyderabad, Sep 26 — It seems that young Telugu actor Vishnu Manchu now wants to impress Malayalam audiences as his forthcoming film "Dhenikaina Ready" will be dubbed in the language. Both versions will simultaneously hit the screens.
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