Chapter published in:
Reception Studies and Audiovisual Translation
Edited by Elena Di Giovanni and Yves Gambier
[Benjamins Translation Library 141] 2018
► pp. 133156
References

References

Anderson, Benedict
1991Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso.Google Scholar
Balio, Tino
2010The Foreign Film Renaissance on American Screens 1946–1973. Madison, Wisconsin: University of Wisconsin Press.Google Scholar
Barker, Martin
2010 “ ‘Typically French’?: Mediating Screened Rape to British Audiences.” In Rape in Art Cinema, ed by Dominique Russell, 145–158. New York: Continuum.Google Scholar
Barnier, Martin
2013 “Versions multiples et langues en Europe.” Mise au point 5. Online at https://​map​.revues​.org​/1490 (last accessed on 31 January 2017).Google Scholar
Betz, Mark
2001 “The Name above the (Sub)Title: Internationalism, Coproduction, and Polyglot European Art Cinema.” Camera Obscura 46 (16): 1–44. CrossrefGoogle Scholar
Biltereyst, Daniel, Meers, Philippe and Van de Vijver, Lies
2011 “Social Class, Experiences of Distinction and Cinema in Postwar Ghent.” In Explorations in New Cinema History: Approaches and Case Studies, ed by Richard Maltby, Daniel Biltereyst and Philippe Meers, 101–124. Malden, MA: Wiley-Blackwell. CrossrefGoogle Scholar
Blinn, Miika
2009Dubbed or duped? Path dependence in the German film market. An inquiry into the origins, persistence, and effects of the dubbing standard in Germany. PhD Thesis, Freien Universität Berlin. Online at http://​www​.diss​.fu​-berlin​.de​/diss​/receive​/FUDISS​_thesis​_000000008627.Google Scholar
Bouchard, Vincent
2010 “Commentary and Orality in African Film Reception.” In Viewing African Cinema in the Twenty First Century: Art Films and the Nollywood Video Revolution, ed by Ralph Austen and Mahir Saul, 95–107. Athens: Ohio University Press.Google Scholar
Châteauvert, Jean and Gaudreault, André
2001 “The Noises of Spectators, or the Spectator as Additive to the Spectacle.” In The Sounds of Early Cinema, ed by Richard Abel and Rick Altman, 183–191. Bloomington and Indianapolis: Indiana University Press.Google Scholar
Chomentowski, Gabrielle
2014 “Du cinéma muet au cinéma parlant: La politique des langues dans les films soviétiques.” Cahiers du monde russe 55 (3/4): 295–320.Google Scholar
Colvin, J. Brandon
2013 “Examining Ethnic Exhibition: The Success of Scandinavian-Language Films at Chicago’s Julian Theater in the 1930s.” Film History: An International Journal 25 (3): 90–125. CrossrefGoogle Scholar
Cornu, Jean-François
2011 “Le public ? Quel public ? De l’influence négligeable des spectateurs sur les stratégies de traduction audiovisuelle des films en France.” In Traduction et médias audiovisuels, ed by Adriana Şerban and Jean-Marc Lavaur, 21–35. Villeneuve d’Ascq: Presses Universitaires du Septentrion.Google Scholar
2014Le doublage et le sous-titrage. Histoire et esthétique. Rennes: PUR.Google Scholar
Danan, Martine
1991 “Dubbing as an Expression of Nationalism.” Meta 36 (4): 606–614. CrossrefGoogle Scholar
1996 “A la recherche d’une stratégie internationale : Hollywood et le marché français des années trente.” In Les transferts linguistiques dans les médias audiovisuels, ed by Yves Gambier, 109–130. Paris: Presses universitaires du Septentrion.Google Scholar
de Luna Freire, Rafael
2015 “The Introduction of Film Subtitling in Brazil.” Trans. Rita Isadora Pessoa. MATRIZes 9 (1): 187–210. Online at www​.revistas​.usp​.br​/matrizes​/article​/view​-File​/100680​/99416 doi: CrossrefGoogle Scholar
Dibbets, Karel
1997 “The introduction of sound.” In The Oxford History of World Cinema, (ed )Geoffrey Nowell-Smith, 211–219. Oxford: Oxford University Press.Google Scholar
Ďurovičová, Natasa
1992 “Translating America: the Hollywood Multilinguals 1929–1933.” In Sound Theory, Sound Practice, ed by Rick Altman, 139–153, 261–266. London/New York: Routledge.Google Scholar
2009 “Vector, Flow, Zone: Towards a History of Cinematic Translation.” In World Cinemas, Transnational Perspectives, ed by Natasa Ďurovičová and Kathleen Newman, 90–120. London/New York: Routledge.Google Scholar
Dyer, Richard and Vincendeau, Ginette
(eds) 1992Popular European Cinema. London/New York: Routledge.Google Scholar
Englert, Birgit and Moreto, Nginjai Paul
2010 “Inserting Voice: Foreign Language Film Translation as a Local Phenomenon in Tanzania.” Journal of African Media Studies 2 (2): 225–239. CrossrefGoogle Scholar
Gambier, Yves
2003 “Screen Transadaptation: Perception and Reception.” The Translator 9 (2): 171–189. CrossrefGoogle Scholar
Garncarz, Joseph
1994 “Hollywood in Germany: The Role of American Films in Germany.” In Hollywood in Europe. Experiences of a Cultural Hegemony, ed by David W. Ellwood and Rob Kroes, 94–135. VU University Press, Amsterdam.Google Scholar
2004 “Making Films Comprehensible and Popular Abroad: The Innovative Strategy of Multiple-language Versions.” Cinema & Cie. International Film Studies Journal 4 (1): 72–79.Google Scholar
2010 “‘Films That Are Applauded All Over the World’: Questioning Chaplin’s Popularity in Weimar Germany.” Early Popular Visual Culture VIII (3): 285–296. CrossrefGoogle Scholar
Gomery, Douglas
1992Shared Pleasures: History of movie presentation in the United States. London: The University of Wisconsin Press.Google Scholar
Gürata, Ahmet
2008 “Hollywood in Vernacular: Translation and Cross-Cultural of American Films in Turkey.” In Going to the Movies: Hollywood and the Social Experience of Cinema, ed by Richard Maltby, Melvyn Stokes, Robert Clyde Allen, 333–350. Exeter: University of Exeter Press.Google Scholar
Hansen, Miriam
1991Babel and Babylon Spectatorship in American Silent Film. Harvard: Harvard University Press.Google Scholar
1993 “Early Cinema, Late Cinema: Permutations of the Public Sphere.” Screen 34 (3): 197–210. CrossrefGoogle Scholar
1999 “The Mass Production of the Senses: Classical Cinema as Vernacular Modernism.” Modernism/Modernity 6 (2): 59–77. CrossrefGoogle Scholar
Hawk, Howard
1932 Scarface. USA.
1944 To Have and Have Not. USA.
Hicks, Jeremy
2005 “The international Reception of Early Soviet Sound Cinema: Chapaev in Britain and America.” Historical Journal of Film, Radio and Television 25 (2): 273–289. CrossrefGoogle Scholar
2008 “Lost in Translation? Early Soviet Sound Film Abroad.” In Russia and its Other(s) on Film: Screening Intercultural Dialogue, ed by Stephen Hutchings, 113–129. NewYork: Palgrave Macmillan.Google Scholar
Hollinshead, Ailsa
2011 ““And I Felt Quite Posh!” Art-House Cinema and the Absent Audience – The Exclusion of Choice.” Participations. Journal of Audience and Reception Studies 8 (2): 392–415.Google Scholar
Jacobs, Lea
2008The Decline of Sentiment: American Film in the 1920s. Berkeley, Los Angeles and London: University of California Press.Google Scholar
Jarvinen, Lisa
2012 "Hollywood and Spanish-Speaking Audiences”. In The Wiley-Blackwell History of American Film, ed by Roy Grundmann, Cynthia Lucia, Art Simon, 156–178. Oxford: Wiley Blackwell Publishing.Google Scholar
Jenkins, Henry
2000 “Reception theory and audience research: the mystery of the vampire’s kiss.” In Reinventing Film Studies, ed by Christine Gledhill and Linda Williams, 165–182. London: Arnold.Google Scholar
Kilborn, Richard
1993 ‘“Speak My Language”: Current Attitudes to Television Subtitling and Dubbing.” Media, Culture and Society 15 (4): 641–660. CrossrefGoogle Scholar
Klinger, Barbara
1997 “Film History Terminable and Interminable: Recovering the Past in Reception Studies.” Screen, 38 (2): 107–128. CrossrefGoogle Scholar
Kuhn, Annette
2002An Everyday Magic: Cinema and Cultural Memory. London: I.B. TaurisGoogle Scholar
Lacasse, Germain
1998 “Du cinéma oral au spectateur muet.” Cinémas : revue d’études cinématographiques/Cinémas: Journal of Film Studies 9 (1): 43–62. CrossrefGoogle Scholar
2012 “The Film Lecturer.” In A Companion to Early Cinema, ed by André Gaudreault, Nicolas Dulac and Santiago Hidalgo, 487–497. Oxford: Wiley-Blackwell. CrossrefGoogle Scholar
Lembach, Joachim
2003The Standing of the German Cinema in Great Britain after 1945. Lewiston, N.Y.: Edwin Mellen Press.Google Scholar
Mac Dubhghaill, Uinsionn
2006 “Harry Potter and the Wizards of Baile na hAbhann: Translation, Subtitling and Dubbing Policies in Ireland’s TG4, from the Start of Broadcasting in 1996 to the Present Day.” Mercator Media Forum 9 (1): 47–58.Google Scholar
Maltby, Richard, and Ruth Vasey
1994 “The International Language Problem: European Reactions to Hollywood’s Conversion to Sound.” In Hollywood in Europe: Experiences of a Cultural Hegemony, ed by David W. Ellwood, and Rob Kroes, 78–79. Amsterdam: VU University Press.Google Scholar
Mazdon, Lucy
2016 ““Kings of the Middle Way”: Continental Cinema on British Screens.” In Middlebrow Cinema, ed by Sally Faulkner, 181–195. London/New York: Routledge.Google Scholar
Mazdon, Lucy and Catherine Wheatley
(eds) 2010Je t’aime … moi non plus: Franco-British Cinematic Relations. Oxford/New York: Berghahn Books.Google Scholar
Mazdon, Lucy and Wheatley, Catherine
2013French Film in Britain. Sex, Art and Cinephilia. Oxford: Berghan Books.Google Scholar
Meers, Philippe and Daniel Biltereyst
2012 “Film Audiences in Perspective: The Social Practices of Cinema-going”. In The Social Use of Media: Cultural and social scientific perspectives on audience research, Helena Bilandzic, Geoffroy Patriarche and Paul Traudt (eds), 123–140. Chicago: Intellect/University of Chicago Press.Google Scholar
Meers, Phillipe
2001 “Is there an audience in the house?: New Research Perspectives on (European) Film Audiences.” Journal of Popular Film & Television 29 (3): 138–144. CrossrefGoogle Scholar
Mereu Keating, Carla
2016The Politics of Dubbing. Film Censorship and State Intervention in the Translation of Foreign Cinema in Fascist Italy. Bern: Peter Lang.Google Scholar
Forthcoming a). “A ‘delirium tremens’: The Reception of Paramount, MGM ahe Reception of Paramount, MGM and Fox’ Italian-Language Film Versions and Early Dubbings (1930–33).” In ‘Splendid Innovations:’ The Translation of Films, 1900–1944 ed by Carol O’Sullivan and Jean-François Cornu Oxford Oxford University Press
(Forthcoming b). “Locked into Dubbing: Retracing the Origins, Establishment and Fortune of Italy’s Mainstream AVT Practice.” In Reassessing Dubbing ed by Irene Ranzato and Serenella Zanotti
Mingant, Nolwenn
2010Hollywood à la conquête du monde: marchés, stratégies, influences. Paris, France: CNRS éditions.Google Scholar
2012 “ ‘Do you understand me?’ Assessing Hollywood’s Efforts to Speak Arabic.” Paper presented at The translation and reception of multilingual films/La traduction et reception de films multilingues. University of Montpellier 3, 15–16 June 2012.
(Forthcoming). “When the Thief of Baghdad Tried to Steal the Show: The Short-Lived Dubbing of Hollywood Films into Arabic in the 1940s.” In Reassessing Dubbing ed by Irene Ranzato and Serenella Zanotti
Musser, Charles
1991Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company. Berkeley: University of California Press.Google Scholar
Nornes, Abé Mark
2007Cinema Babel – Translating Global Cinema. Minneapolis: University of Minnesota Press.Google Scholar
Nathaus, Klaus
2016Made in Europe: The Production of Popular Culture in the Twentieth-Century. London/New York: Routledge.Google Scholar
O’Brien, Charles
2005Cinema’s Conversion to Sound: Technology and Film Style in France and the U.S. Bloomington and Indianapolis: Indiana University Press.Google Scholar
2010 “The ‘Cinematization’ of Sound Cinema in Britain and the Dubbing into French of Hitchcock’s Waltzes from Vienna (1934).” In Je t’aime … moi non plus: Franco-British Cinematic Relations, ed by Lucy Mazdon and Catherine Wheatley, 37–49. Oxford and New York: Berghahn Books.Google Scholar
O’Sullivan, Carol
2016 “Imagined Spectators: The Importance of Policy for Audiovisual Translation Research.” Target 28 (2): 261–275.Google Scholar
OTX and UKFC
Pafort-Overduin, Clara
2011 “Distribution and Exhibition in the Netherlands, 1934–1936.” In Explorations in New Cinema History: Approaches and Case Studies, ed by Richard Maltby, Daniel Biltereyst and Philippe Meers, 125–139. Oxford: Wiley-Blackwell. CrossrefGoogle Scholar
Pérez-González, Luis
2014aAudiovisual Translation: Theories, Methods and Issues. London/New York: Routledge.Google Scholar
Perkins, V. F.
1992 “The Atlantic Divide.” In Popular European Cinema, ed by Richard Dyer and Ginette Vincendeau, 194–205. London/New York: Routledge.Google Scholar
Plantinga, Carl
2009Moving Viewers: American Film and the Spectator’s Experience. University of California Press, Berkeley City.Google Scholar
Pozner, Valérie
2004 “Le bonimenteur rouge: Retour sur la question de l’oralité à propos du cas soviétique.” Cinémas 14 (2–3): 143–178. CrossrefGoogle Scholar
Razlogova, Elena
2014 “Listening to the Inaudible Foreign: Simultaneous Translators and Soviet Experience of Foreign Cinema.” In Sound, Music, Speech in Soviet and Post-Soviet Cinema, ed by Lilya Kaganovsky and Masha Salazkina, 162–178. Bloomington: Indiana University Press.Google Scholar
2015 “The Politics of Translation at Soviet Film Festivals during the Cold War.” SubStance 44 (2): 66–87. CrossrefGoogle Scholar
Rich, Ruby
2004 “To Read or Not to Read: Subtitles, Trailers and Monolingualism.” In Subtitles: On the Foreignness of Film, ed by Ian Balfour and Atom Egoyan, 153–169. Cambridge, Mass.: Cambridge MIT Press.Google Scholar
Rossholm, Sophia
2006Reproducing Languages, Translating Bodies: Approaches to Speech, Translation and Cultural Identity in Early European Sound Film. Stockholm: Almkvist & Wiksell.Google Scholar
Segrave, Kerry
2004Foreign Films in America: A History. Jefferson, NC: McFarland & Co.Google Scholar
Smoodin, Eric
2011 “Going to the Movies in Paris, around 1933: Film Culture, National Cinema, and Historical Method.” The Moving Image: The Journal of the Association of Moving Image Archivists 11(1): 25–55.Google Scholar
Srinivas, Lakshmi
2002 “The Active Audience, Spectatorship, Social Relations and the Experience of Cinema in India.” Media Culture and Society 24 (2): 155–173. CrossrefGoogle Scholar
Staiger, Janet
1992Interpreting Films. Studies in the Historical Reception of American Cinema. Princeton, New Jersey: Princeton University Press.Google Scholar
Stempel, Tom
2001American Audiences on Movies and Moviegoing. Lexington: University of Kentucky Press.Google Scholar
Stigsdotter, Ingrid
2007 “'Very Funny if You Can Keep Up with the Subtitles: The British Reception of ‘Le Fabuleux Destin d Amélie Poulain’.” In France at the Flicks: Trends in Contemporary French Popular Cinema, ed by Darren Waldron and Isabelle Vanderschelden, 198–211. New Castle: Cambridge Scholars.Google Scholar
Stokes, Melvyn
1999 “Introduction: Reconstructing American Cinema Audience.”. In American Movie Audiences: From the Turn of the Century to the Early Sound Era, ed by Melvyn Stokes and Richard Maltby, 1–11. London: British Film Institute.Google Scholar
Szczepanik, Petr
2012 “Hollywood in Disguise. Practices of Exhibition and Reception of Foreign Films in Czechoslovakia in the 1930s.” In Cinema, Audiences and Modernity. New Perspectives on European Cinema History, ed by Daniel Biltereyst, Richard Maltby, and Philippe Meers, 166–186. London/New York: Routledge.Google Scholar
Thompson, Elizabeth
2010 “Scarlett O’Hara in Damascus: Hollywood, Colonial Politics, and Arab Spectatorship during World War II”. In Globalizing American Studies, ed by Brian Edwards and Dilip Parameshwar Gaonkar, 184–208. Chicago: The University of Chicago Press. CrossrefGoogle Scholar
Treveri Gennari, Daniela and Sedgwick, John
2015 “Memories in Context: The Social and Economic Function of Cinema in 1950s Rome.” Film History: An International Journal 27 (2): 76–104. CrossrefGoogle Scholar
Vasey, Ruth
1997The World According to Hollywood. Madison: University of Wisconsin Press.Google Scholar
Vasilyev, Georgi and Segei
1934 Chapaev. USSR.
Vincendeau, Ginette
1988 “Hollywood Babel: The Coming of Sound and the Multiple Language Version.” Screen 29 (2): 24–39. CrossrefGoogle Scholar
Wellman, William
1931 Public Enemy. UK.
Wilinsky, Barbara
2001Sure Seaters: The Emergence of Art House Cinema. Minneapolis: University of Minnesota Press.Google Scholar
Wolf, Julia
1947 “The Continental Film in Britain.” Penguin Film Review 4 (1): 89–94.Google Scholar
Zanotti, Serenella
2015 “Investigating Redubs: Motives, Agents, and Audience Response.” In Audiovisual Translation in a Global Context – Mapping an Ever-changing Landscape, ed by Baños Piñero, Rocío and Jorge Díaz Cintas, 110–139. Basingstoke: Palgrave Macmillan.Google Scholar
Cited by

Cited by 3 other publications

Di Giovanni, Elena
2020.  In The Palgrave Handbook of Audiovisual Translation and Media Accessibility,  pp. 397 ff. Crossref logo
Gambier, Yves & Haina Jin
2019. A connected history of audiovisual translation. Translation Spaces 8:2  pp. 193 ff. Crossref logo
Perego, Elisa & Ralph Pacinotti
2020.  In The Palgrave Handbook of Audiovisual Translation and Media Accessibility,  pp. 33 ff. Crossref logo

This list is based on CrossRef data as of 05 april 2021. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers. Any errors therein should be reported to them.