The history of Dubbing in France

The history of Dubbing in France Economic issues Dominance of dubbing in the French film industry has been there for the past six decades. This translation technique requires an expert to match the actor’s dialogue with lips synchrony, a factor that has economic effect on both the small and medium distributors in the industry. Hiring such experts would be hugely expensive for these small and medium distributors like what Joinville studios experienced (Christine 2004, p. 208).Advertising We will write a custom research paper sample on The history of Dubbing in France specifically for you for only $16.05 $11/page Learn More Major distributors have dominated the industry because their bulk production does not incur a lot of cost when dubbing (Dana 1991, p. 607). The expense for producing a dubbed film is 10 times higher than any other translational technique; these producers can only afford this form. Preferences for dubbed films have driven many filmmakers to acclimatize to their marke t demands by embracing dubbing as opposed to subtitling (Bogucki 2004, p. 71). A tradition by French citizens to hold firmly onto dubbing has done little to embrace translational change. It is true that any abrupt change without both technological considerations as well as market survey would mean economic woes to dubbing industry just like what subtitling companies in Europe went through before the version could, became attractive to local companies (Riggio 2010, p. 31). Dubbing has in turn created a few job opportunities for the actors doing voice translation. A survey carried out by European commission (2007, p. 1) inextricably linked economic down trend with dubbing by arguing that citizens from nations like France who grew up in a culture without diversity lack English skills to land them considerable contracts because dubbing neither promote English language development nor cultural diversity (Cattrysse 2004, p. 39). Social class issues This method of translation has been in u se across France because it is a perfect way of shunning certain expressions and trademarks found in the films. This involves actors replacing vulgar words with a softer language expression that will not be offensive to the viewers. These would include advertisements on alcohol, drugs, and certain brand names like coca cola trademarks. The elites and professionals within the social group AB prefer subtitles and original versions to those in the lower social ranks who prefer dubbed films. However, it is true that one would go for the method he or she came across at an earlier stage of life, this is particularly true with French citizens. Subtitle movies have not had commanding support because most common citizens prefer dubbed version. Attitude has also played a crucial role in French movie industry in the sense that most citizens’ views dubbing as a way of preserving their culture and nationalism, as opposed to those shown in foreign languages (Danan 1991, p. 611).Advertising Looking for research paper on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Literacy Studies show that international students from nations dominated with subtitles like Scandinavians and Dutch learning English have always outperformed students from countries dominated with dubbed movies, of these France and Germany students are the majority. Literacy improves in countries consuming subtitling movies, for it promotes foreign language comprehension, as opposed to dubbing (Koolstra and Beentjes 1999, p. 51). Subtitle and the original versions would not only help the viewers learn foreign languages but also help in learning proper pronunciation; this would improve learning skills of a person (Danan 2004, p. 67). Dubbing, on the other hand, has promoted the French people to embrace a culture of people who do not want to read and learn other people’s traditions and customs (Pettit 2004, p. 25; Heiss 2004, p. 208) . Reference List Bogucki, L. 2004.The constraint of relevance in subtiting. The Journal of Spedialised Translation 1 Web. Available from: jostrans.org/issue01/artuckes/boguckien.htm . Cattrysse, P. 2004. Stories Travelling Across Nations and Cultures. META, 49(1), pp. 39-51 Web. Available from: erudit.org/revue/meta/2004/v49/n1/009018ar.html . Christine, H. 2004. Dubbing Multilingual Films: A New Challenge? META, 49(1), pp.208-220 Web. Available from: erudit.org/revue/meta/2004/v49/n1/009035ar.html . Danan, M. 1991. Dubbing as an Expression of Nationalism. Meta: Translators Journal, 36(4), pp. 606–614 Web. Available from: erudit.org/revue/meta/1991/v36/n4/002446ar.pdf . Danan, M. 2004. Captioning and subtitling: undervalued Language learning Strategies. Meta: Translators Journal, 49(1), pp. 67-77 Web. Available from: erudit.org/revue/meta/2004/v49/n1/009021ar.html .Advertising We will write a custom research paper sample on The history of Dubbing in France specificall y for you for only $16.05 $11/page Learn More European Commission 2007. Effects on the European Economy of Shortage of foreign Language skills in Enterprise Web. Available from: http://europa.eu/rapid/pressReleasesAction.do?reference=MEMO/07/79format=HTMLaged=0language=ENguiLanguage=fr . Heiss, C. 2004. Dubbing Multilingual Films: A New Challenge? META, 49(1), pp.208-220 Web. Available from: erudit.org/revue/meta/2004/v49/n1/009035ar.html . Koolstra, C.M. and Beentjes, W.J. 1999. Childrens vocabulary acquisition in a foreign language through watching subtitled television programs at home. Educational Technology Research and Development, 47(1), pp. 51-60 Web. Available from: springerlink.com/content/7951541774721423/ . Pettit, Z. 2004. The Audio-Visual Text: Subtitling and Dubbing Different Genres. META, 49(1), pp. 25-28 Web. Available from: erudit.org/revue/meta/2004/v49/n1/009017ar.html . Riggio, F. 2010. Dubbing vs. Subtitling Web. Available from: 1stoptr.com/adm in/UpImage/Dubbing_vs_Subtitling.pdf .

Facts About the Prehistoric Xilousuchus

Facts About the Prehistoric Xilousuchus Originally classified as a proterosuchid (and thus a close relative of the contemporary Proterosuchus) a recent analysis has located Xilousuchus much closer to the root of the archosaur family tree (the archosaurs were the family of early Triassic reptiles that gave rise to dinosaurs, pterosaurs, and crocodiles). The significance of Xilousuchus is that it dates to the very beginning of the Triassic period, about 250 million years ago, and it seems to have been one of the earliest crocodilian archosaurs, a hint that these ruling lizards split off into prehistoric crocodiles and the ancestors of the first dinosaurs (and thus of the first birds) much earlier than had previously been thought. By the way, the Asian Xilousuchus was closely related to another sailed archosaur of North America, Arizonasaurus. Why did the cat-sized Xilousuchus  have a sail on its back? The most likely explanation is sexual selection; perhaps Xilousuchus males with bigger sails were more attractive to females during mating season, or perhaps the sail fooled predators into thinking that Xilousuchus was bigger than it was, thus sparing it from being eaten. Given its small size, though, its very unlikely that the sail of Xilousuchus served any temperate-regulation function; thats a more likely hypothesis for 500-pound reptiles like Dimetrodon, which needed to heat up quickly during the day and dissipate excess heat at night. Whatever the case, the lack of any sailed crocodiles in the later fossil record hints that this structure wasnt crucial for the survival of this widespread family. Fast Facts About  Xilousuchus   Name:  Xilousuchus (Greek for Xilou crocodile); pronounced ZEE-loo-SOO-kussHabitat:  Swamps of eastern AsiaHistorical Period:  Early Triassic (250 million years ago)Size and Weight:  About three feet long and 5 to 10 poundsDiet:  Small animalsDistinguishing Characteristics:  Small size; sail on back