Books by natasa durovicova
The Routledge Handbook of Translation and Globalization, 2020
On the face of it, the proposition that translation is an unnegotiable feature of world cinema se... more On the face of it, the proposition that translation is an unnegotiable feature of world cinema seems an unproblematic, almost banal, claim, intuitively corroborated by each new globe-spanning simultaneous release of a (Hollywood) blockbuster received as enthusiastically in Chennai as in Kyiv. As scholars arguing for translation’s infrastructure-like function in a globalized world have pointed out, its ‘invisible’ presence is the prerequisite for both its ubiquity and its pervasiveness, in cinema as much as it is in other pathways of the globalized world. Yet, as the South Korean director Bong Joon- Ho said (in Korean) when receiving his 2020 Oscar for Parasite—a first-ever ‘foreign’ film so recognized—the ‘one-inch barrier’ of a subtitle at the bottom of the frame has under some circumstances been an insurmountable obstacle to a film’s global circulation. Studying world cinema under the sign of translation will thus entail charting the mechanisms needed to move films across linguistic fault lines, as well as the pathways determining those flows.
Babylon in Film-Europe: Mehrsprahsversionen in der 1930-er Jahre, 2006
Paramount and the Homeostatic Moment
In looking more closely at the three years (1930-1933) dur... more Paramount and the Homeostatic Moment
In looking more closely at the three years (1930-1933) during which Les Films Paramount Française S.A., a branch of the US major Paramount Publix Corporation made films in France, this essay aims to complement the European focus of the present volume. Its ultimate goal is to underscore that, beyond challenging the category ‘national (cinema)’ during the extremely volatile period of late 1920s and early 1930s, the phenomenon of the multiple language versions continues to complicate the historiographically and politically cherished division of “Hollywood vs. Europe.”
The standard analytical category of "national cinema" has increasingly been called into question ... more The standard analytical category of "national cinema" has increasingly been called into question by the category of the "transnational." This anthology examines the premises and consequences of the coexistence of these two categories and the parameters of historiographical approaches that cross the borders of nation-states. The three sections of World Cinemas, Transnational Perspectives cover the geopolitical imaginary, transnational cinematic institutions, and the uneven flow of words and images.
Papers by natasa durovicova
Journal of Cinema and Media Studies, 2010
The Old and the New. The old cinema is a "cinema of teamwork,"2 a well-organized, profe... more The Old and the New. The old cinema is a "cinema of teamwork,"2 a well-organized, professional cinema made by masters of decor and lighting, with its slick images. It is also a cinema of screenwriters, with well-known dialogue writers such as Jacques Prevert, Jean Aurenche, Pierre Bost, and Henri Jeanson adapting literary classics or novels by Simenon, virtuosos of the quotable line or the witty repartee. It is, as well, a "cinema of stars," magnifying their images and reliant on their commercial attractiveness, which the popular press helps boost. And finally, it is a big-budget cinema, subject in part to the logic of production for a mass audience. This mode peaks in the "Tradition of Quality," the "French Quality" style in which Marcel Carne,Jean Delannoy, Claude Autant-Lara, Rene Clement, Henri-Georges Clouzot, and so on, came into their own. This cinema also garners the most prestige: following as it does all the rules of the art, showing off the most celebrated stars at their best, it reaps awards at festivals and is admired by writers, including Sartre, then at the height of his fame.3 The new cinema, in turn, is the New Wave, the "young cinema" with its emblematic works: The 400 Blows {Les quatre cents coups [Truffaut, 1959]), Breathless {A bout de souffle [Godard, I960]), Paris Belongs to Us [Paris nous appartient [Jacques Rivette, I960]), Les cousins
Quarterly review of film studies, Sep 1, 1985
Annette Michelson, (ed.) Kino‐Eye: The Writings of Dziga Vertov. Translated by Kevin O'Brien.... more Annette Michelson, (ed.) Kino‐Eye: The Writings of Dziga Vertov. Translated by Kevin O'Brien. Berkeley: University of California Press, 1984. 344pp. $9.95 paper.
World Cinemas, Transnational Perspectives, 2009
... globalization and hybridization 315 fredric Jameson 15 ... within global economies 320 Jonath... more ... globalization and hybridization 315 fredric Jameson 15 ... within global economies 320 Jonathan rosenhaum selected bibliography 326 contributors 354 index of film and television ... while presenting them "under erasure" so as to acknowledge the limits of the nation-state paradigm ...
Il film ei suoi multipli/Film and Its Multiples, IX …, 2003
... of Grand Illusion some time in the early 1950s, to fill in the full rendition of an anti-Semi... more ... of Grand Illusion some time in the early 1950s, to fill in the full rendition of an anti-Semitic remark of Maréchal (Gabin) to Rosenthal ... had a personal dubber into French as well as German, much like Shearer's role was played by Huguette Duflos in Le proces Mary Dugan, by Nora ...
Annette Michelson, (ed.) Kino‐Eye: The Writings of Dziga Vertov. Translated by Kevin O'Brien.... more Annette Michelson, (ed.) Kino‐Eye: The Writings of Dziga Vertov. Translated by Kevin O'Brien. Berkeley: University of California Press, 1984. 344pp. $9.95 paper.
During the brief but intense period of multiple-language film production in the early sound year... more During the brief but intense period of multiple-language film production in the early sound years (1928-1933) Paramount's "modular" approach to voice recording led to a uniquely decentralized,potentially transnational model of production.
Mutaciones Del Cine Contemporaneo Jonathan Rosenbaum Adrian Martin 2010 Isbn 978 84 937889 9 5 Pags 251 264, 2010
Annette Michelson, (ed.) Kino‐Eye: The Writings of Dziga Vertov. Translated by Kevin O'Brien. Ber... more Annette Michelson, (ed.) Kino‐Eye: The Writings of Dziga Vertov. Translated by Kevin O'Brien. Berkeley: University of California Press, 1984. 344pp. $9.95 paper.
Transnational Cinemas, Jan 1, 2010
Early sound and the problem of translation: a history of voice replacement technologies and techn... more Early sound and the problem of translation: a history of voice replacement technologies and techniques vis a vis foreign language versions.
The city as the architectural and acoustic space of babel.
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Books by natasa durovicova
In looking more closely at the three years (1930-1933) during which Les Films Paramount Française S.A., a branch of the US major Paramount Publix Corporation made films in France, this essay aims to complement the European focus of the present volume. Its ultimate goal is to underscore that, beyond challenging the category ‘national (cinema)’ during the extremely volatile period of late 1920s and early 1930s, the phenomenon of the multiple language versions continues to complicate the historiographically and politically cherished division of “Hollywood vs. Europe.”
Papers by natasa durovicova
In looking more closely at the three years (1930-1933) during which Les Films Paramount Française S.A., a branch of the US major Paramount Publix Corporation made films in France, this essay aims to complement the European focus of the present volume. Its ultimate goal is to underscore that, beyond challenging the category ‘national (cinema)’ during the extremely volatile period of late 1920s and early 1930s, the phenomenon of the multiple language versions continues to complicate the historiographically and politically cherished division of “Hollywood vs. Europe.”