Books: 'Filmic language'

1

Cinema and language loss: Displacement, visuality and the filmic image. New York: Routledge, 2012.

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Pavesi, Maria. La traduzione filmica: Aspetti del parlato doppiato dall'inglese all'italiano. Roma: Carocci, 2005.

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Imperatore, Charles J. Learning sign language rules! [Cleveland, OH]: SLIC, Inc., 2006.

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4

Spencer-Hall, Alicia. Medieval Saints and Modern Screens. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982277.

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This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.

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5

Schwerdtfeger, Inge C. Sehen und verstehen: Arbeit mit Filmen im Unterricht Deutsch als Fremdsprache. Berlin: Langenscheidt, 1989.

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6

Lingwistyka i filmoznawstwo: Krytyczna ocena tendencji lingwistycznej w badaniach nad filmem. Katowice: Uniwersytet Śląski, 1986.

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7

Jeremy, Grant, and British Film Institute, eds. Teaching analysis of film language. London: BFI Education, 2007.

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8

Tiersma, Peter Meijes. Language-based humor in the Marx Brothers films. Bloomington: Indiana University Linguistics Club, 1985.

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9

Tiersma, Peter Meijes. Language-based humor in the Marx brothers films. Bloomington: Indiana University Linguistics Club, 1985.

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10

Will, Lehman, and Grieb Margit, eds. Cultural perspectives on film, literature, and language: Selected proceedings of the 19th Southeast Conference on Foreign Languages, Literatures, and Film. Boca Raton, Fla: Brown Walker Press, 2010.

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11

Southeast, Conference on Foreign Languages Literatures and Film (20th 2012 DeLand Fla ). Current trends in language and culture studies: Selected proceedings of the 20th Southeast Conference on Foreign Languages, Literatures, and Film. Boca Raton: Brown Walker Press, 2013.

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12

Sipos, Thomas M. Horror film aesthetics: Creating the visual language of fear. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2010.

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13

Lentz, Robert J. Korean War filmography: 91 English language features through 2000. Jefferson, N.C: McFarland, 2008.

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14

Class, language, and American film comedy. Cambridge, UK: Cambridge University Press, 2002.

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15

How to read a film: The world of movies, media, and multimedia : language, history, theory. 3rd ed. New York: Oxford University Press, 2000.

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16

The language and style of film criticism. London: Routledge, 2011.

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17

Rhodes, Nancy C. Language by video: An overview of foreign language instructional videos for children. Washington, DC: Center for Applied Linguistics/Delta Systems, 2004.

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18

Horror film aesthetics: Creating the visual language of fear. Jefferson, N.C: McFarland & Company, 2010.

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19

Chao, Shi-Yan. Queer Representations in Chinese-language Film and the Cultural Landscape. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462988033.

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Queer Representations in Chinese-language Film and the Cultural Landscape provides a cultural history of queer representations in Chinese-language film and media, negotiated by locally produced knowledge, local cultural agency, and lived histories. Incorporating a wide range of materials in both English and Chinese, this interdisciplinary project investigates the processes through which Chinese tongzhi/queer imaginaries are articulated, focusing on four main themes: the Chinese familial system, Chinese opera, camp aesthetic, and documentary impulse. Chao’s discursive analysis is rooted in and advances genealogical inquiries: a non-essentialist intervention into the "Chinese" idea of filial piety, a transcultural perspective on the contested genre of film melodrama, a historical investigation of the local articulations of mass camp and gay camp, and a transnational inquiry into the different formats of documentary. This book is a must for anyone exploring the cultural history of Chinese tongzhi/queer through the lens of transcultural media.

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20

Ellis, Jack C. The documentary idea: A critical history of English-language documentary film and video. Englewood Cliffs, N.J: Prentice Hall, 1989.

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21

Imperatore, Charles J. Learning to sign is cool! [Cleveland, OH]: SLIC, Inc., 2006.

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22

Ingmar, Bergman. Nattvardsgästerna: Winter light. [Place of publication not identified]: The Criterion Collection, 2003.

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23

1945-, Nowlan Gwendolyn Wright, ed. The films of the eighties: A complete, qualitative filmography to over 3400 feature-length English language films, theatrical and video-only, released between January 1, 1980, and December 31, 1989. Jefferson, N.C: McFarland & Co., 1991.

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24

Burtt, Ben. Star Wars galactic phrase book & travel guide: A language guide to the galaxy. New York: Lucas Books, 2001.

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25

Jan, Distelmeyer, ed. Babylon in FilmEuropa: Mehrsprachen-Versionen der 1930er Jahre. München: Edition Text + Kritik, 2006.

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26

Abbamonte, Antoinette, and Steve Kokette. Sign and ABCs. Madison, WI: Aylmer Press, 1998.

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27

Coleman, Rachel de Azevedo. Baby signing time!: A new day. Midvale, Utah: Two Little Hands Productions, 2008.

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28

Coleman, Aaron, and Rachel de Azevedo Coleman. Baby signing time!: Here I go. Midvale, Utah: Two Little Hands Productions, 2008.

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29

Mowitt, John. Re-takes: Postcoloniality and foreign film languages. Minneapolis: University of Minnesota Press, 2005.

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30

Re-takes: Postcoloniality and foreign film languages. Minneapolis: University of Minnesota Press, 2005.

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31

Ltd, Animasia IP Pte. ABC monsters: Meet the ABC monsters. [Dallas, TX.?]: NCircle Entertainment, a division of Alliance Entertainment, LLC, 2015.

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32

Ashby, Bryan. King Midas. Washington, D.C: Kendall Green Publications, 1990.

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33

Mamula, Tijana. Cinema and Language Loss: Displacement, Visuality and the Filmic Image. Taylor & Francis Group, 2015.

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34

Taylor-Jones, Kate. Rhythm, Texture, Moods. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0013.

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This chapter directly engages with Ozu as the site of a postcolonial aesthetic and places him alongside French director Claire Denis, who has expressed how Ozu inspires her own work. The hegemonic experiences of the colonizing nation are at the heart of many of Claire Denis’s films as she struggles to articulate the French postcolonial moment. While the environments that Ozu was working inside of are not part of the prototypical representational dynamics of the colonial and postcolonial moment, nevertheless can an interrogative and postcolonial aesthetic possibly be found in his work in the year following Japan’s defeat? This chapter examines how both directors deconstruct and evaluate the multiplicities and tensions that exist in the colonial and postcolonial bodies via the rhythm, textures, and moods inherent in their respective filmic oeuvres. This will involve seeing the postcolonial aesthetic as situated as an affective part of the film language.

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35

Pomerance, Murray. Cinema, If You Please. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474428682.001.0001.

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Cinema is a prime example of contemporary experience. However, film viewers seem infrequently to express their engagement with this experience in terms of rapt pleasure or plain delight. This book seeks to move beyond the purely rational language of meaning and “interest,” to regard some examples of cinematic work with the sort of pleasured rapture in which people partook in certain eighteenth century experiences of the aesthetic. In-depth analysis of sequences from Vertigo, A Matter of Life and Death, Clouds of Sils Maria, Personal Shopper, Blow-up, and many other films, urges readers to think and move beyond narrative storytelling; beyond contemporary cultural relevance; beyond moral and political stricture; and into a serious consideration of what it is to be “swept away” by a film. A guiding principle of this text is that new light can be thrown on beloved films by consideration of certain culturally established ways of achieving aesthetic delight that took form in or around the eighteenth century, including but not limited to: viewing Dutch oil paintings; listening to the music of Mozart; strolling through the English Pleasure Garden and public promenade, and reading of the voyages of Captain James Cook. Such socially organized pleasures are cast as historical foundations from which we might draw a better understanding of the pleasure and delight filmic moments can offer.

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36

Rothermel, Dennis. Becoming-Animal Cinema Narrative. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0014.

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This chapter connects distinctive animal territories to specific uses of film language through a series of case studies, most notably Robert Bresson’s Au hasard Balthazar (1966), Michelangelo Frammartino’s Le Quattro Volte (2011), Bela Tarr’s The Turin Horse (2011), and Ang Lee’s Life of Pi (2012). Significantly, becoming-animal cannot be represented by conventional point-of-view and shot-reverse-shot editing (the structural mainstay of filmic suture), because it ties the animal to the conventional (and thus delimiting) human vectorial space of Deleuze’s action-image. Instead, inspired by Pier Paolo Pasolini’s seminal essay, ‘The “Cinema of Poetry”’, the chapter notes that all four filmmakers resort to a form of free-indirect discourse, whereby animality fills up the film from the inside as formative of the representation rather than rendering the subject within the structure of representation. Not unlike T.S. Eliot’s objective correlative, where the character’s subjectivity is presented objectively in and through the mise-en-scène as well as individual focalisation (in this case the character is also on-screen), animal perception is able to be expressed by a form of camera self-consciousness, what Deleuze calls ‘cinema a special kind of cinema where the camera makes itself felt.

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37

Chion, Michel. The Audio-Logo-Visual and the Sound of Languages in Recent Film. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0029.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Language is "divided" into its (unrelated) spoken and written forms. Cinema uses language in the distinctly different channels of sound and image, and thus is audio-logo-visual. Some films attempt to transcend the language division via embodied language (e.g., deaf sign language). This chapter considers the transition from silent film to sound and the presence of written speech in narrative films depicting screen media. Subtitling “kills” language: it cannot approximate dialects or accents, different languages being spoken, hubbub, and indistinct recording; thus it demobilizes listening. Could filmmakers develop graphic conventions in subtitles to indicate some of the richness of language spoken on the soundtrack?

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38

Hird, Derek, and Geng Song, eds. The Cosmopolitan Dream. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455850.001.0001.

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What does it mean to be a mainland Chinese man in a transcultural world? What resources do mainland Chinese men utilise to perform a masculinity that is both Chinese and cosmopolitan? This volume demonstrates that the newly emerging formations of mainland Chinese masculinity, whether located in China or overseas, can only be fully understood through attending to the transnational dimensions of their construction. This volume maps multiple instantiations of the 'transnational turn' in Chinese masculinities, including portrayals of the transnational business masculinity of globe-trotting Chinese businessmen in Chinese and German TV dramas, transcultural models of caring fatherhood in Chinese reality TV shows, the transnational journeys of young Chinese entrepreneurs in search of a sense of cultural identity in Chinese blockbuster movies, filmic portrayals of Chinese gay identities ‘haunted’ by premodern masculine models, the integration of sexually liberated Western masculinities and historical caizi images in contemporary fiction, the culinary masculinity of cosmopolitan Chinese TV chefs, the representation of Chinese masculinities in Japan and in online Chinese-language forums in the US, the effect of migration to Africa on Chinese fathering subjectivities, and Chinese fathers' involvement in the growing transnational phenomenon of 'birth tourism' in California.

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39

O'Sullivan, Carol, and Jean-François Cornu, eds. The Translation of Films, 1900-1950. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.001.0001.

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This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century. This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological, and industrial contexts. The Translation of Films, 1900–1950 draws extensively on archival sources and expertise, and revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film. The Translation of Films, 1900–1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.

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40

Lewis, Hannah. “An achievement that reflects its native soil”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0004.

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The third chapter focuses on several French-language musical films, known as opérettes filmées (filmed operettas), that were produced by American and German companies and intended for French audiences. Because French production was slow to adopt sound film technology, many French personnel (directors, composers, and actors) worked on their first sound films through these international contexts. The films analyzed in this chapter—Chacun sa chance, Le Chemin du paradis, and Il est charmant—drew influence from a range of stage genres from different national traditions, and attempted to negotiate theatrical and cinematic aesthetics. Furthermore, in the opérettes filmées, filmmakers attempted to bring an element of fantasy back to cinema that many feared the realism of spoken dialogue had displaced. This chapter reveals how the genre made an important contribution to a broader critical acceptance of sound film in France.

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41

Buhler, James. Language, Semiotics, and Deleuze. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0004.

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Chapter 4 opens with the issue of the “film language” and examines how the concept served to ground film semiotics. Both film and music have been called universal languages, and this languagelike quality meant that both areas were inviting objects to the emerging academic field of semiotics. After a general overview of “film language,” this chapter considers the contributions of Jean Mitry and Christian Metz to the field of film semiotics and what film semiotics contributes to the theory of the soundtrack. The chapter closes with a discussion of Gilles Deleuze, whose philosophy of cinema draws extensively from the semiotic tradition of Charles S. Peirce. Deleuze himself offers mostly cryptic comments about the soundtrack, and this chapter uses the typology Deleuze developed for the movement-image and seeks analogues in the treatment of the soundtrack.

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42

Whitehead, Kevin. Play the Way You Feel. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.001.0001.

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This book—both a narrative and a film directory—surveys and analyzes English-language feature films (and a few shorts and TV shows/movies) made between 1927 and 2019 that tell stories about jazz music, its musicians, its history and culture. Play the Way You Feel looks at jazz movies as a narrative tradition with recurring plot points and story tropes, whose roots and development are traced. It also demonstrates how jazz stories cut across diverse genres—biopic, romance, musical, comedy and science fiction, horror, crime and comeback stories, “race movies” and modernized Shakespeare—even as they constitute a genre of their own. The book is also a directory/checklist of such films, 67 of them with extensive credits, plus dozens more shorter/capsule discussions. Where jazz films are based on literary sources, they are examined, and the nature of their adaptation explored: what gets retained, removed, or invented? What do historical films get right and wrong? How does a film’s music, and the style of the filmmaking itself, reinforce or undercut the story?

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43

So-hee, Kim. Interview with Kim Ki-duk. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036699.003.0002.

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This interview was originally published in a promotional booklet, edited by Lee Hae-jin, entitled Kim Ki-duk: From Crocodile to Address Unknown (Seoul: LJ Film, 2001). It is reprinted here with permission of LJ Film America. Although the interview only covers Kim Ki-duk’s first six feature films, many of the issues, themes, and ideas presented here apply to his later films as well. Several Korean-language interviews about Kim’s more recent films are quoted in the main essay to supplement this interview....

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44

author, Marland John, and Rawle Steven author, eds. The language of film. 2015.

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45

Schotter, Jesse. Solving the Problem of Babel. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424776.003.0006.

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By situating James Joyce within a larger discourse about the problem of Babel, this chapter show how hieroglyphs were used to make arguments for the origin of linguistic differences. The journal transition—in which Joyce’s work was serialized—served as a clearinghouse for ideas about how a new linguistic unity might be forged: either through Joyce’s Wake-ese or through the philosopher C. K. Ogden’s universal language of Basic English. Fascinated by these theories of universal language and drawn to the anti-imperialist politics underlying them, Joyce in Ulysses andFinnegans Wake turns to visual and gestural languages—film, hieroglyphs, advertisements, and illuminated manuscripts—in an effort to subvert theories of ‘Aryan’ language and imagine a more inclusive origin for the world’s cultures. The commonality of writing and new media become in Joyce a political gesture: a way of insisting on the unity of all races and languages in a mythic past against Nazi claims for racial purity.

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46

Schotter, Jesse. Coda: The Rosetta Stone. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424776.003.0008.

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Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

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47

Rascaroli, Laura. Sound. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0006.

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In embracing an understanding of essay film’s soundscape that does not stop at voiceover, but extends to all the elements of a complex environment made up of speech, music, sounds, noise, and silence, this chapter moves beyond traditional logocentric and vococentric approaches to the essay film to explore the disjunctive interstice of Deleuze’s sound image. The complexly imbricated auditory space of Language Gulf in the Shouting Valley (2013) by Lawrence Abu Hamdan is considered in light of an essayistic use of voice and sound as political agents. Hypothesizing a genre of musical essay films, the chapter also examines sound in Pier Paolo Pasolini’s La rabbia (Rage, 1963), seen in comparison with Santiago Álvarez’s Now! (1964) and Erik Gandini’s Surplus: Terrorized into Being Consumers (2003). The Barthesian Neutral and ideas of dissonance form the basis of a discussion of musical queering as a form of protestation.

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48

Korean War Filmography: 91 English Language Features through 2000. McFarland & Company, 2003.

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49

Class, Language, and American Film Comedy. Cambridge University Press, 2002.

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50

Centre for Information on Language Teaching and Research. and BBC School Television, eds. France-francais: A series of fifteen-minute programmes, specially filmed in Provence, featuring Provençal teenagers. (London): Centre for Information on Language Teaching and Research, 1987.

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Books on the topic 'Filmic language'

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