Nana devient donc un film qui se prête désormais à être étudié dans les . Il posto: la version de la première présentation publique 17 Gian Luca Prima il padre la convoca a tavola (ma lei si trattiene in camera); poi musica. i personaggi a protagonista, l'accento si sposta su Maddalena in The una versione e nell'altra. File audio: la voce di Simone D'Andrea nel film "Alexander", in cui doppia Colin Farrell. .. Lannick Gautry in "Se sposti un posto a tavola" (Eric). Se sposti un posto a tavola ()~streaming Questo non è nemmeno cinema medio, è solo un fondo di magazzino, pronto per il prime time di canali.
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Skip to main content. Log In Sign Up. International Film Studies Journal. Deux cas concrets: La tecnologia Editorial Board e il cinema italiano negli anni Venti e Trenta. Le tecnologie e il cinema popolare ita- Thomas Elsaesser Universiteit van Amsterdam liano negli anni Cinquanta e Sessanta. From the Italian Futurism to the Soviet Avant-garde After hovering for decades at the very margins of the film-historical se sposti un posto a tavola movies as a mildly Wanda Strauven bizarre curiosity — the two headed pig of the classical cinema — the phenomenon of lan- guage versions LVsi.
Thesis Project which had, se sposti un posto a tavola movies the mids, begun to be put into question. For all this attention, doing research on LVs has generally been a near-impossible task, since it depended first of all on a hands-on com- parison. Wedged in a three-corner space between Italy properSlovenia, and Austria, Friuli is palpably polylingual.
Their joint contribution to the versioning project has been not only through prints and technical support but also through a unique combination of restoration practice and the theoret- ical discourse informing it, in which the classical philological tradition of textual edit- ing is combined with new media theories.
The team responsible for assembling of the coming days. Until Cosetta Saba and Laura Vichi, with the genial, generous and inspirational Leonardo we can accurately determine the degree of planning, that is, of intentionality involved in Quaresima at its helm. To these must be added the name of Hans-Michael Bock, whose the decision to substitute elements x and y but not w and z, it will remain impossible to willingness to share films and documents, combined with superb organizational skills draw a distinction between a version and a remake, a version and an adaptation, se sposti un posto a tavola movies even and deep knowledge of the period, honed through his long-standing involvement with a version and a generic cluster, which in turn will make periodization impossible.
These were loosely approached as tained moment of experimentation during the unruly period of transition to sound. On films which solve d the problem of dialogue translation not by adding a narrowly lin- this view translation through versions was a deviation from some sort of norm whether guistic supplement dubbing and subtitlingbut rather by replicating all or some por- that norm be understood in textual or production-related terms which at some point tion of the footage through reenactment, in a relatively close temporal arrangement, became reinstated.
And when is the second work different enough so as to no longer have a rela- ma joined its technological predecessors and competitors — photography, silent film, tionship of identity to its presumed precedent, i. Gallone, locates difference squarely in the realm of each other? This drift away from the operatic and more toward the roman- challenge, that of the national cinema s?
As laid film shot consists of a film strip that includes an optical sound track. The four subsequent essays share the procedure of close and comparative reading. But access to both these markets was regulated by the multi-nation- own use of versions. There is no data available that can sustain the widely realm of the Nuremberg laws. Had schema. The format in which linguistic trans- plum of the restoratorial challenge to notions of single origins. And because of the additional factor of a massive and vast eco- works.
It is then his claim that the European MLVs, the multi-language versions pro- nomic depression that was unfolding simultaneously with the technological transi- duced in the nexii of such production networks held together by powerful producer tion, scarcity of films was the case more than an array of choices.
Even while the exports of se sposti un posto a tavola movies firmly in cheeks. But from the hindsight of the developments in the s the persistence of 2 For instance Dominique Lebrun, Paris Hollywood: For Paris: Sturm, Arthur Wohlgemuth eds. Ici Paris! Paris, the exile capital of the entre-deux- route vers le parlant: It testifies as version txt installer, I think, to a fascination with the LVs Udine: Forum, se sposti un posto a tavola movies Antonini ed.
Antonini a cura diop. There version-making in an array the language of their emperor C. Feldmarschall, Elekta- of languages continues to be a common practice, even while it coexists alongside the open and Film, ? And conversely, what of a world in which the same prying eye of a televi- artful post-synchronization of songs.
For more on the general topic see Shoma A. Television, Paramountin 13 se sposti un posto a tavola movies versions? Pabst lating them is that of cinema as harboring, or rather figuring, a series of parallel and New Brunswick: Rutgers University Press,pp. Huygue taps in his museal installation of the 3 versions of Atlantic. Language, ed. Routledge,pp. Schocken,p.
Presses de la Sorbonne, By myth I mean something known to everybody but seldom examined. It is generally taken for granted that the introduction of sound obliged film companies to modify their marketing strategies since it raised the problem of selling pictures to publics which did not understand the language of the original version. The simultaneous making of various versions of the same scripts spoken in different lan- guages was seen as a bright solution which would save money on film set, costume and extras and would allow producers to sell their pictures directly on European markets.
For a long time this was the common knowledge passed on by cinema histories, and it was scattered along with app android apk anecdotes.
We can for instance read in books written by serious scholars that every shot was filmed with the actors of the various ver- sions succeeding each pratigya ringtone mp3 in a row. Such solution would have been inefficient and expensive; as far as I know it was only used at MGM, and for a very short time — but of course the story is amusing and enlivens the book which tells it.
It would be unfair to mock such tradition since, for many decades, historians could do nothing but use unre- liable written sources, especially with reviews published in film magazines which were not necessarily well informed.
However, thanks to numerous restorations achieved during the past decades, new prospects have been opened and the Gradisca seminar has provided an unique chance to take a fresh look at the problem.
Without being an expert in this field I am only intrigued by an initiative which at first looked highly promising but turned out to be rather deceptive.
And since we se sposti un posto a tavola movies at the beginning of what might last many good years, I se sposti un posto a tavola movies like to raise the well known, but still useful questions: Up to now we have no reliable chronology of how the multilingual films were shot and released. Neither have we solid figures.
How many versions were shot? Some say one hundred fifty, others up to two hundreds. I am afraid these are hopeless statistics since there is no way of telling precisely what a multilingual film was. Of course, it was not the same as a co-production, that is to say a picture shot in one country with money coming from two or more countries, but this is the only thing we can take for granted.
Beyond that point, there is no clear-cut criterion. A multilingual film could thus be: In Forzano shot, from a screenplay of his own, Tredici uomini e un cannone. Someone has sound equipment, convinced foreign companies to work in its Berlin studios.
Once revealed its existence; is it one of the thirteen men who serve the canon? The film was again, we must be very careful. Up to UFA was an independent company which not exceptional but the story was excellent so that two years later an English and a rented its Babelsberg studios to other producers, notably to Bavaria, whose Munich stu- German company, wanting to use the script for two movies shot in their respective lan- dios had no sound equipment, or to Itala Film Berlin.
Many multilingual versions were guages, came to an agreement with the Italian producer. They made their films in an made in Babelsberg but only a few were produced by UFA. Italian studio and could share the many long shots which gave the story its back- Joinville and UFA were only two episodes in a much more complicated story whose ground.
The attempt came to - A series of movies shot separately from the same script. However, ity. Multilingual versions required higher with German technicians, while the English and Italian versions were directed by two investments than straight American pictures. The latter were usually paid back in their other filmmakers working in their own country. Shall we say that the French and German distribution on the local market so that export revenue was entirely a bonus.
On the versions are twins, while the English and Italian ones are mere cousins? After two years, the majors gave up. Theoretically the same people shot and edited all the films deriving from a script but there were many exceptions, either with mixed crews or with different teams substi- Why? Some directors made all the pictures but there were also several direc- tors or, as was the case with Paprikaone director for the German and Italian ver- There is no particular feature which would allow se sposti un posto a tavola movies to gather all multilingual films sions, another for the French one.
For linguistic reasons the cast was generally changed in a se sposti un posto a tavola movies group. But there is something which distinguishes them from other pic- but some actors played in two versions and, at the end of the decade, owing to the tures: I shall argue progress of post-synchronization, some actors — but not necessarily all of them — were that, far from being a negligible detail, this tells us a lot about the production of the hired for the various versions and were then dubbed.
Is it not surprising to see that so much importance was granted Since any definition would be disputable we had better spell out what it is we expect to the script? As was tilingual film. As far as I am concerned I believe that much can be learnt about film- noted during the Udine International Film Studies Conference, Dino De making in the s, and about the evolution of cinematic expression during the tran- Laurentiis did not hesitate in the early s to imitate scripts already shot by other sition to sound.
Why is it thus that so many screenplays were time flies nothing at all candyland remix songs by several film com- panies? It has been pointed out that shooting several versions from one script helped to save Who?
Should we in that case not be alert to the fact that there were two types of multilingual films? Some were Who were the companies or studios which specialized in the making of multilingual expensive productions such as Atlantic or Two Worlds both directed by E.
Dupontversions? Again we are faced with approximate claims and unreliable reports. But these mentioned is the Paramount studio at Joinville, a suburb of Paris, organized according to were exceptions. Most films were comedies of manners borrowed from popular plays or a Fordian rhythm of work and representing the most advanced system of gst in novels.
Paprika is a good example.