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Journal articles on the topic 'French subtitles'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

NEW, BORIS, MARC BRYSBAERT, JEAN VERONIS, and CHRISTOPHE PALLIER. "The use of film subtitles to estimate word frequencies." Applied Psycholinguistics 28, no. 4 (September 28, 2007): 661–77. http://dx.doi.org/10.1017/s014271640707035x.

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We examine the use of film subtitles as an approximation of word frequencies in human interactions. Because subtitle files are widely available on the Internet, they may present a fast and easy way to obtain word frequency measures in language registers other than text writing. We compiled a corpus of 52 million French words, coming from a variety of films. Frequency measures based on this corpus compared well to other spoken and written frequency measures, and explained variance in lexical decision times in addition to what is accounted for by the available French written frequency measures.

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2

Gupta, Prabhakar, and Mayank Sharma. "Unsupervised Translation Quality Estimation for Digital Entertainment Content Subtitles." International Journal of Semantic Computing 14, no. 01 (March 2020): 137–51. http://dx.doi.org/10.1142/s1793351x20500026.

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We demonstrate the potential for using aligned bilingual word embeddings in developing an unsupervised method to evaluate machine translations without a need for parallel translation corpus or reference corpus. We explain different aspects of digital entertainment content subtitles. We share our experimental results for four languages pairs English to French, German, Portuguese, Spanish, and present findings on the shortcomings of Neural Machine Translation for subtitles. We propose several improvements over the system designed by Gupta et al. [P. Gupta, S. Shekhawat and K. Kumar, Unsupervised quality estimation without reference corpus for subtitle machine translation using word embeddings, IEEE 13th Int. Conf. Semantic Computing, 2019, pp. 32–38.] by incorporating custom embedding model curated to subtitles, compound word splits and punctuation inclusion. We show a massive run time improvement of the order of [Formula: see text] by considering three types of edits, removing Proximity Intensity Index (PII) and changing post-edit score calculation from their system.

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3

Ovchinnikova, G. V. "Translation constraints of eastern loans in russian film subtitles in French." Philology at MGIMO 6, no. 4 (December 28, 2020): 82–88. http://dx.doi.org/10.24833/2410-2423-2020-4-24-82-88.

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The active development of intercultural communication in the cinematic arts sets new challenges for translation theorists and practitioners. The article presents concepts that are widely used in film translation, provides a classification of audiovisual translation types, and for the first time establishes a distinction between such concepts of translation studies as: “langue relais” (translator language), ”langue pont” (transition language),”langue véhiculaire” (Transporter language) and “langue interface” (interface language). Using the example of subtitles for the film “Turkish gambit”, the authors identified ways to translate them from Russian to French and conducted a detailed statistical analysis of the frequency of using methods of translating subtitles. According to the results of experimental data, borrowing was the leading technique in translating subtitles of Boris Akunin’s script “Turkish gambit”, which necessitated a comparative study of borrowings of Eastern languages, their assimilation in Russian and French, and translation features. The use of etymological, component and morphological analysis methods allowed us to identify the specifics of translation of orientalisms in Russian and French.

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Hoeflaak, Arie. "Paivio's "Dual Coding Theory" en Effect van Visuele Stimuli op het Verwerken en Onthouden van Informatie." Toegepaste Taalwetenschap in Artikelen 66 (January 1, 2001): 91–99. http://dx.doi.org/10.1075/ttwia.66.08hoe.

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The use of video in foreign language teaching is considered to be a powerful tool by many teachers and researchers. It seems, however, that a sound 'video teaching methodology' has not yet been fully developed. This article sets out to present some reflections on the advantages of the use of video. We will then briefly describe some elements from two more or less theoretical studies, Lang (1995) and particularly Paivio (1986), and discuss the results of other experiments that we found in the literature. Finally, we will put forward some tentative ideas about experiments that we will prepare on the basis of the most important findings of other experiments. The main idea is that information is best processed if it is presented in a redundant way, e.g., both by an audio and a video channel. Many experiments claim that reversed subtitling (subtitles not in L1, but in L2 or FL) is the most successful visual support for foreign language learners. Our experimental design will be organized as follows. Subjects (pre-university students and first-year university students of French) will be divided into four experimental groups to be tested under four different conditions: 1) Image, sound (French spoken text), no subtitles; 2) Image, no sound, French subtitles; 3) No image, sound, subtitles; 4) Image, sound, subtitles. We hypothesize that condition 4 will yield the best result, but before conducting the experiment, we will have to examine three aspects: 1) The assessment format: subjects might consider open questions unclear, whereas, in closed questioning (true-false, multiple choice, cloze), items might be biased by the test constructor. 2) Clarifying the distinction between high, medium, and low redundancy. 3) Bi- or multimodal information input may lead to cognitive overload.

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Ranita, Laras Chintya, and Myrna Laksman-Huntley. "Les problèmes de la traduction des temps passés dans le film Ballerina en indonésien." Digital Press Social Sciences and Humanities 3 (2019): 00029. http://dx.doi.org/10.29037/digitalpress.43302.

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<p class="Keyword" style="margin-bottom:12.0pt">The cinema is one of the most popular literary works. However, the films produced by each country being different, translation is necessary to understand the language used in each country. In the cinema, the translations can be displayed in form of dubbing or subtitling. This article discusses the problem of translation in the subtitle of the French film of Gaumont Ballerina in Indonesian. However, this study is limited to translations of anterior sentences as the significative differences between French and Indonesian. Using qualitative methods and literature study techniques, this study explains how the translation problems can be solved considering the impact on the public. Through the analysis of translation techniques, equivalent and changes in translation, and subtitles rules we state that there is no fixed model in the translation of the past tense in Indonesian. But the subtitle of the film Ballerina in Indonesian is acceptable as it does not disrupt the scenario.</p>

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6

Baines, Roger. "Subtitling Taboo Language: Using the Cues of Register and Genre to Affect Audience Experience?" Meta 60, no. 3 (April 5, 2016): 431–53. http://dx.doi.org/10.7202/1036137ar.

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Using French-English/English-French examples, this article puts forward the hypothesis that, in the film genre of social realism (depicting low socio-economic groups), subtitlers use linguistic and visual cues which are embedded in genre to trigger audience reactions to representations of taboo language. Examples of the subtitling of taboo language are drawn from three films and the hypothesis above will be explored along three main interrelated axes: i) the value of treating subtitles as an entire system; ii) the relationship between the specific film genre of social realism (depicting low socio-economic groups) and audience perceptions of taboo language use; and iii) discourse representations through register and its effect on characterisation. Nuances are brought to evidence from existing research which argues that the choices relating to taboo language made in the oral to written mode shift are subject to politeness restrictions in terms of register, and that these choices have a homogenising/levelling effect on characterisation (Lambert 1990; Taylor 2006a; Mailhac 2000 for example).

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7

Feral, Anne-Lise. "Gender in audiovisual translation: Naturalizing feminine voices in the French Sex and the City." European Journal of Women's Studies 18, no. 4 (November 2011): 391–407. http://dx.doi.org/10.1177/1350506811415199.

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This article explores how certain feminine voices are adapted or ‘naturalized’ in audiovisual translation in order to conform to the intended audience’s assumed gender beliefs and values. Using purposefully selected examples from the American series Sex and the City, the author analyses elements pertaining to American feminism and how they are rendered in the French dubbing and subtitles. While the subtitles retain most references, the dubbing reveals a marked tendency to delete, weaken and transform allusions to American feminist culture as well as female achievements in the public sphere and feminist ideology. These findings are discussed in relation to the history, place and representation of women and feminism in France. The case study suggests that integrating a feminist approach in audiovisual translation research could help women’s studies detect the unspoken gender values of the cultures for which audiovisual translation is produced.

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8

Marchand, Trevor H. J. "‘IT'S IN OUR BLOOD’: MALI'S GRIOTS AND MUSICAL ENSKILMENT." Africa 85, no. 2 (April 24, 2015): 356–64. http://dx.doi.org/10.1017/s0001972015000054.

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Film review of Da Kali: the pledge of the art of the griot (2013, 86 minutes) and Dò Farala A Kan: something has been added (2013, 69 minutes). French and Bamanankan, with English subtitles. Directed by Lucy Durán, edited by Michele Banal, and made with assistance from Lassana Diabaté.

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Guillot, Marie-Noëlle. "Communicative Rituals and Audiovisual Translation – Representation of Otherness in Film Subtitles." Meta 61, no. 3 (March 23, 2017): 606–28. http://dx.doi.org/10.7202/1039221ar.

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In a contrastive study of front door rituals between friends in Australia and France (Béal and Traverso 2010), the interactional practices observed in the corpus collected are shown to exhibit distinctive verbal and non-verbal features, despite similarities. The recurrence of these features is interpreted as evidence of a link between conversational style and underlying cultural values. Like contrastive work in cross-cultural pragmatics more generally, this conclusion raises questions of representation from an audiovisual and audiovisual translation perspective: how are standard conversational routines depicted in film dialogues and in their translation in subtitling or dubbing? What are the implications of these textual representations for audiences? These questions serve as platform for the case study in this article, of greetings and other communicative rituals in a dataset of two French and one Spanish contemporary films and their subtitles in English. They are addressed from an interactional cross-cultural pragmatics perspective and draw on Fowler’s Theory of Mode (1991, 2000) to assess subtitles’ potential to mean cross-culturally as text.

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10

Iheka, Cajetan. "Frank Bieleu. The Big Banana. 2011. Cameroon. French, with English subtitles. 85 min. ArtMattan. $295.00." African Studies Review 56, no. 2 (August 8, 2013): 238–40. http://dx.doi.org/10.1017/asr.2013.73.

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11

Neufeld, James. "Divided We Fall: Subtitles, Sound, and the Postwar Reconstruction of Language." Religion and the Arts 12, no. 4 (2008): 559–68. http://dx.doi.org/10.1163/156852908x357407.

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AbstractThis essay considers the ethical significance of language in a Czech film (Divided We Fall, 2000) about the Nazi occupation of Czechoslovakia during the Second World War. It argues that linguistic shifts from Czech to German, to French, and to Yiddish, in both the dialogue and the lyrics to background music, expose the politically and ethically contested terrain of the film. Bilingual Czech nationals make subtle language choices depending on their circumstances, and those language choices gradually assume ethical significance as they highlight both the characters' prejudices and their small acts of heroism. Language itself thus becomes a guidepost to the film's examination of the ethically complicated choices which Nazi authority imposed on ordinary citizens. By paying close attention to language, one can see even the reviled Nazi collaborator in the film as attempting to assert some small measure of the human charity which his status as a collaborator contradicts. The paper concludes with a suggestion that the linguistic choices of the film contribute to a larger project of reclaiming the German language itself from the corruption it suffered because of its wartime use as the language of Nazi ideology and propaganda.

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12

Levshina, Natalia. "A Multivariate Study of T/V Forms in European Languages Based on a Parallel Corpus of Film Subtitles." Research in Language 15, no. 2 (June 30, 2017): 153–72. http://dx.doi.org/10.1515/rela-2017-0010.

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The present study investigates the cross-linguistic differences in the use of so-called T/V forms (e.g. French tu and vous, German du and Sie, Russian ty and vy) in ten European languages from different language families and genera. These constraints represent an elusive object of investigation because they depend on a large number of subtle contextual features and social distinctions, which should be cross-linguistically matched. Film subtitles in different languages offer a convenient solution because the situations of communication between film characters can serve as comparative concepts. I selected more than two hundred contexts that contain the pronouns you and yourself in the original English versions, which are then coded for fifteen contextual variables that describe the Speaker and the Hearer, their relationships and different situational properties. The creators of subtitles in the other languages have to choose between T and V when translating from English, where the T/V distinction is not expressed grammatically. On the basis of these situations translated in ten languages, I perform multivariate analyses using the method of conditional inference trees in order to identify the most relevant contextual variables that constrain the T/V variation in each language.

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13

Vavrus, Frances. "Bamako directed by Abderrahmane Sissako. Artificial Eye, 2006. 112 minutes. [In French and Bambara with English subtitles.]." Comparative Education Review 59, no. 1 (February 2015): 190–92. http://dx.doi.org/10.1086/679395.

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14

Ondrus, Suzanne. "Arzouma Kompaore, director. Hawa. 2015. 30 minutes. French and English (with English subtitles). United States. Vimeo. $5.00." African Studies Review 60, no. 1 (March 13, 2017): 239–41. http://dx.doi.org/10.1017/asr.2017.37.

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15

Gabara, Rachel. "Rosine Mbakam, dir. Chez Jolie Coiffure. 70 minutes. French with English subtitles. Belgium. Icarus Films. $390. 2018." African Studies Review 63, no. 4 (October 8, 2020): E84—E86. http://dx.doi.org/10.1017/asr.2020.93.

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16

Radley, Ben. "Kristof Bilsen, director. Elephant’s Dream. 2014. 71 minutes. Lingala, French (with English, French, or Dutch subtitles). Democratic Republic of the Congo. Dalton Distribution. €15.00." African Studies Review 60, no. 1 (March 13, 2017): 243–44. http://dx.doi.org/10.1017/asr.2017.39.

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17

Shugaeva, Ekaterina Anatolyevna, Irina Andreevna Sinitsyna, and Zhanna Dmitryevna Egorova. "PRAGMATIC POTENTIAL AND FEATURES OF MATCHING TITLES WITH SUBTITLES IN NEWSPAPER ARTICLES (BASED ON THE MODERN FRENCH PRESS)." Philology and Culture 55, no. 1 (2019): 128–35. http://dx.doi.org/10.26907/2074-0239-2019-55-1-128-135.

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18

Georges, Abosede. "Dao Abdoulaye, director. An Uncommon Woman. 2009. 101 minutes. French with English Subtitles. Burkina Faso. Art Mattan. $245.00." African Studies Review 57, no. 2 (August 18, 2014): 239–41. http://dx.doi.org/10.1017/asr.2014.77.

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19

Sendra, Estrella. "Alain Gomis, dir. Félicité. 2017. 124 minutes. Lingala (with French and English subtitles). Jour 2 Fête, DVD, €19.99." African Studies Review 61, no. 2 (April 10, 2018): 275–76. http://dx.doi.org/10.1017/asr.2018.33.

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20

Matin, Usep Abdul. "The Roots of Violence in Western Social Theories: In Search of Solution for Islam and Modernity." Insaniyat: Journal of Islam and Humanities 3, no. 2 (May 31, 2019): 139–50. http://dx.doi.org/10.15408/insaniyat.v3i2.11145.

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I argue that if we recognize the roots of violence in modern social theories, we may have at least a picture of how to solve the problem of violence for both Islam and modernity. I use the term “violence” to refer to an idea or an action that explicitly endorses revolt or physical conflict in attaining a goal. I will review fourteen social theories of the colonial and post-colonial period from the beginning to the end of the Twentieth Century, as presented by Charles Lemert in his book, Social Theory: The Multicultural & Classic Readings (1993). I refer my understanding of violence and its solutions for Islam and modernity on my interpretation of the types of abuse that I took from Lemert’s book. I discuss my argument in the following subtitles. The first subtitle is an introduction to capitalism as the answer to Islam and modernity. The second item is my finding of the notion of violence as a concept that is originated in the Western social theories of the colonial period. The third point is the degree to which I find that the roots of violence are also originated in the Western social methods of the post-colonial period. The fourth point of my article conveys the term “violence” used in linguistics by two French philosophers: Jacques Derrida and Michelle Foucault. The fifth element concludes this article by strengthening the above-mentioned assumption.

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21

Hochwald, Eve. "Cinépingle: la mémoire du geste (The Last Pin Movie). 73 min. French with English subtitles. By Eric Breitbart, dir." Anthropology of Work Review 31, no. 1 (June 14, 2010): 46–47. http://dx.doi.org/10.1111/j.1548-1417.2010.01040_1.x.

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Prazak, Miroslava. "Welcome to Refugeestan Anne Poiret, dir. 72 min. English, French, and Arabic with English subtitles. Paris: Icarus Films, 2017." American Anthropologist 122, no. 1 (March 2020): 180–81. http://dx.doi.org/10.1111/aman.13370.

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23

Hale, Thomas A. "Zola Maseko. Manuscripts of Timbuktu. 2009. South Africa, Mali, Morocco. French and Arabic, with English subtitles. 52 min. California Newsreel. $195.00." African Studies Review 55, no. 2 (September 2012): 198–99. http://dx.doi.org/10.1353/arw.2012.0046.

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24

Boudraa, Nabil. "Merzak Allouache, director. The Rooftops.2013. 91 minutes. Arabic with French subtitles. France/Algeria. Les Films de l’Atalante. No price reported." African Studies Review 59, no. 1 (April 2016): 229–30. http://dx.doi.org/10.1017/asr.2016.18.

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Boudraa, Nabil. "Merzak Allouache, director. Investigating Paradise. 2016. 135 minutes. Arabic and French, with English subtitles. France/Algeria. Les Asphofilms. No price reported." African Studies Review 60, no. 2 (July 18, 2017): 283–84. http://dx.doi.org/10.1017/asr.2017.59.

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Bergère, Clovis. "Travels in the Congo (Voyage au Congo) Marc Allégret, dir. 117 min. French with English subtitles. New York: Icarus Films, 2017." American Anthropologist 121, no. 4 (September 30, 2019): 941–42. http://dx.doi.org/10.1111/aman.13331.

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Celis, Abigail E. "Amandine Gay, director. Speak Out/Make Their Way. Original Title: Ouvrir la voix. 2017. 122 mins. French (with English subtitles). Bras de Fer Productions. France. - Marthe Djilo Kamga, director. Vibrancy of Silence. 2017. 90 mins. French (with English subtitles). Les Identités du Baobab. Belgium. No price reported." African Studies Review 61, no. 2 (April 10, 2018): 237–41. http://dx.doi.org/10.1017/asr.2018.21.

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28

Clancy-Smith, Julia. "Drowning in Bullets (Algeria) 1992. 52 min. Director: Philip Brooks. Producer: Alan Hayling. French with English subtitles. Distributor: First Run Ikarus Films." Middle East Studies Association Bulletin 37, no. 2 (December 2003): 302–4. http://dx.doi.org/10.1017/s0026318400046204.

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29

Sendra, Estrella. "Rama Thiaw, director. The Revolution Won’t Be Televised. 2015. 110 minutes. Wolof and French (with English subtitles). Senegal. Boul Falle Images. €250.00." African Studies Review 60, no. 1 (March 13, 2017): 248–50. http://dx.doi.org/10.1017/asr.2017.42.

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Fyfe, Alexander. "Sylvestre Amoussou, director. L’Orage Africain: Un continent sous influence. 2017. 88 min. French, with English subtitles. Benin, France. Koffi Productions. Vimeo. $5.00." African Studies Review 62, no. 3 (April 4, 2019): E55—E57. http://dx.doi.org/10.1017/asr.2019.17.

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31

Merlin, Aude. "Mylène Sauloy, Danse avec les ruines (Dancing through the Ruins). 2002, 52 minutes. In Chechen and Russian (with French subtitles). Contact: www.marathon.fr>,." Nationalities Papers 31, no. 3 (September 2003): 381–82. http://dx.doi.org/10.1017/s0090599200021152.

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32

Leggett, Mike. "Eternity Has No Doors of Escape directed by Arthur Bornis. Icarus Films, 2018. 80 min. French and English with subtitles. Distributor's website: www.icarusfilms.com." Leonardo 52, no. 5 (October 2019): 508. http://dx.doi.org/10.1162/leon_r_01812.

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33

Fauvel, Aude. "Chroniques du tiers-exclu/Tales of the Madhouse, DVD, directed by Claire Angelini (France: La Fabrique, 2017), 116 min, French with English subtitles." Medical History 63, no. 2 (March 26, 2019): 246–48. http://dx.doi.org/10.1017/mdh.2019.25.

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34

Labouba, Manouchka Kelly. "Olivier Nakache and Eric Toledano, directors. Samba. 2014. 119minutes. French, with English subtitles. France. Quad & Ten Films and Gaumont. No price reported." African Studies Review 58, no. 3 (November 23, 2015): 286–87. http://dx.doi.org/10.1017/asr.2015.107.

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35

Gauch, Suzanne. "Habib Ayeb, director. Couscous: Seeds of Dignity. 2017. 57 minutes. Arabic with English or French subtitles. Not currently in distribution. No price reported." African Studies Review 60, no. 3 (October 17, 2017): 267–68. http://dx.doi.org/10.1017/asr.2017.114.

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36

Chirol, Marie-Magdeleine. "Studio Malembe Maa. L’Animation Indépendante Africaine: Volume 2. 2016. 87 minutes. French, with English and Dutch subtitles. France. Les Films du Paradoxe. €19.00." African Studies Review 60, no. 1 (March 13, 2017): 237–39. http://dx.doi.org/10.1017/asr.2017.36.

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37

Leggett, Mike. "Donna Haraway: Story Telling for Earthly Survival directed by Fabrizio Terranova. Icarus Films, 2017. 81 min. French and English with subtitles. Distributor's website: www.icarusfilms.com." Leonardo 52, no. 5 (October 2019): 507. http://dx.doi.org/10.1162/leon_r_01811.

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Orlando, Valérie K. "Manthia Diawara, director. Maison Tropicale. 2008. Republic of Congo/France. French, Portuguese, Wolof with English subtitles. 58 minutes. Third World Newsreel. No price reported." African Studies Review 57, no. 2 (August 18, 2014): 228–30. http://dx.doi.org/10.1017/asr.2014.71.

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Harrow, Kenneth W. "Mati Diop, director. A Thousand Suns. Original title: Mille Soleils. 45 minutes. French and Wolof, with English subtitles. Criterion Channel. 2013. No price reported." African Studies Review 63, no. 3 (July 6, 2020): E56—E58. http://dx.doi.org/10.1017/asr.2020.67.

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40

Pressley-Sanon, Toni. "Jordi Esteva, director. Return to the Land of Souls. 2010. 68minutes. French with English subtitles. Ivory Coast. Documentary Educational Resources. $245.00 (institutions); $29.95 (private purchases)." African Studies Review 58, no. 2 (September 2015): 288–89. http://dx.doi.org/10.1017/asr.2015.66.

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Dalle Vacche, Angela. "Ousmane William Mbaye, director. Kemtiyu, Cheikh Anta. 2016. 94 minutes. Wolof and French with English subtitles. Senegal. Les Films Mame Yande anf Autoproduction. DVD. $20.00." African Studies Review 60, no. 3 (November 29, 2017): 268–71. http://dx.doi.org/10.1017/asr.2017.115.

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Garritano, Carmela. "Rosine Mbakam, director. The Two Faces of a Bamiléké Woman. 2016. 76 min. French and Bamiléké, with English subtitles. Cameroon and France. Icarus Films. $348." African Studies Review 63, no. 1 (September 20, 2019): E40—E42. http://dx.doi.org/10.1017/asr.2019.56.

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43

MacAulay, Alison. "Joel Karekezi, director. The Mercy of the Jungle. 2018. 91 minutes. French and Kinyarwanda (with English Subtitles). Belgium/France. Neon Rouge Production. No price reported." African Studies Review 62, no. 2 (March 22, 2019): E56—E58. http://dx.doi.org/10.1017/asr.2019.7.

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44

Gabara, Rachel. "Dieudo Hamadi, director. National Diploma. 2014. Original title: Examen d’État. 92 minutes. Lingala and French (with English subtitles). Congo RDC/France. Agat Films and Icarus Films. $398. - Dieudo Hamadi, director. Mama Colonel. 2017. Original title: Maman colonelle. 72 minutes. Lingala and French (with English subtitles). Congo RDC/France. Agat Films and Icarus Films. $390." African Studies Review 62, no. 1 (October 16, 2018): E53—E55. http://dx.doi.org/10.1017/asr.2018.114.

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45

Stefanovic, Аna. "Baroque references in works of Vlastimir Trajkovic." Muzikologija, no. 13 (2012): 141–62. http://dx.doi.org/10.2298/muz120401016s.

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The article examines Baroque references in three Trajkovic?s compositions: Arion, Le nuove musiche per Chitarra ed Archi op. 8 (1979), Le retour des z?phyres ou ?Zefiro torna? op. 25 (2001) and solo song Renoveau from the cycle Cinq po?mes de St?phane Mallarm? op. 29, in its version for voice, flute and piano (2003), all these compositions being unified by the idea of modernity and novelty, metaphorically contained also in the idea of renewal of nature, which connects music of the moderns from the beginning of the 17th century and Trajkovic?s search for new paths in music, opposite to ?gothic? tangles of the Avant-garde. Complex and multi-layered, the references to the Baroque era in Trajkovic?s works reflect fundamentally generic, arche-textual relations. Compositions Arion and Zefiro torna are set upon explicit references to Italian origins of the Baroque epoch, in theoretical, as well as in the creative domain (to Caccini?s collection of madrigals - Le nuove musiche, 1601, and Monteverdi?s madrigal Zefiro torna, 1614, after Petrarch?s sonnet). Zefiro torna, with a primarily French title and subtitles of the ?scenes? given after antique mythological sources, indicates, again, a twofold generic relation: to the Italian madrigal tradition (including another Monteverdi?s madrigal with the same title composed after Rinuccini?s sonnet, from 1632) and the French tradition of opera/ballet, additionally mediated by references to the opuses of Debussy and Ravel. Multiple literary and musical trans-historical relations can be observed in the solo song Renouveau. However, from these compositions, implicit generic relations, far more than explicit para-textual references, with the whole corpus of themes, forms, texts, discourses as well as crucial poetic concepts of the 17th century music can be inferred.

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Taoua, Phyllis. "Jean-Marie Teno, director. Leaf in the Wind. Original title: Une feuille dans le vent. 2013. 55 minutes. In English and French (with subtitles in French, English, Spanish and German). Cameroon/France. Raphia Films. €25.00." African Studies Review 58, no. 1 (March 16, 2015): 285–87. http://dx.doi.org/10.1017/asr.2015.29.

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MacAulay, Alison. "Violaine Baraduc and Alexandre Westphal, dir. À Mots Couverts. 2015. 88 minutes. French and Kinyarwanda (with English subtitles). France. Les films de l’embellie. No price reported." African Studies Review 62, no. 1 (October 8, 2018): E50—E52. http://dx.doi.org/10.1017/asr.2018.112.

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Ekotto, Frieda. "TWO DOCUMENTARY FILMS - Eléonore Yaméogo, dir. Paris My Paradise. Original Title: Paris mon paradis. 2011. French, with English subtitles. 67 mins. Burkina Faso: Overlap Film (Erwann, Greec’h Roman Da Costa). No price reported. - Kim Longinotto and Florence Aysi, dirs. Sisters in Law. 2005. Pidgin English, with French and English subtitles. 104 mins. Cameroon. Women Make Movies Production. $295.00." African Studies Review 56, no. 1 (April 2013): 221–23. http://dx.doi.org/10.1017/asr.2013.33.

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Bouwer, Karen. "THE VAN VELZEN SISTERS - Femke van Velzen and Ilse van Velzen. Fighting the Silence: Sexual Violence against Women in the Congo. 2007. Netherlands and Congo. French and Swahili with English subtitles. 53 minutes. Women Make Movies. $295.00. - Femke van Velzen and Ilse van Velzen. Weapon of War: Confession of Rape in Congo. 2009. Netherlands and Congo. French and Swahili with English subtitles. 59 minutes. Women Make Movies. $295.00. - Femke van Velzen and Ilse van Velzen. Justice for Sale. 2011. Netherlands and Congo. French, Swahili, and Lingala with English subtitles. 84 minutes. Women Make Movies. $295.00." African Studies Review 56, no. 2 (August 8, 2013): 221–26. http://dx.doi.org/10.1017/asr.2013.67.

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Fyfe, Alex. "THE DEMOCRATIC REPUBLIC OF THE CONGO AND THE DOCUMENTARIAN’S GAZE - Michael Ramsdell, director. When Elephants Fight. 2015. 80 minutes. English, French, Kiswahili, Lingala with English subtitles. U.S. Janson Media. No price reported. Available on Amazon video and Netflix. - Kristof Bilsen, director. Elephant’s Dream. 2014. 77 minutes. French, Lingala with English subtitles. Belgium. Associate Directors. €12.00. DVD. Also available on Netflix. - Kiripi Katembo Siku, Dieudo Hamadi, Divita Wa Lusala, directors. Congo in Four Acts. 2010. 72 minutes. English, French, Kiswahili with English subtitles. The Democratic Republic of Congo, South Africa. Suka! Productions. No price reported." African Studies Review 60, no. 2 (July 24, 2017): 275–81. http://dx.doi.org/10.1017/asr.2017.58.

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