Excited for @EarlyModernDoc #OROS presentation on Bollywood Shakespeare!https://twitter.com/robert_stagg/status/1291081443595227137 …
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These subtitling practices raise political questions about power and homogeneity. These subtitles reproduce the Urdu Shakespeare in the Anglo-centric cultural image. Perhaps they think this is the only way that Anglo culture will engage with others.
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As
@EarlyModernDoc discusses intercultural translation that is a communal process of understanding, I'm thinking about words that get translated in Omkara that contribute to misunderstanding, such as when the Emilia character calls Omkara "bhai," 1/Näytä tämä ketju -
which is brother, and that is taken as their familial relation. Also thinking of shows like Ramy, where the Arabic is untranslated and non-Arabic speaking viewers has to figure out what's happening from context clues. 2/2
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@EarlyModernDoc teaching us some versatile profanity.
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Subtitles in sync with the mood of the film so that they are not noticed. Stress on invisibility. These films don't name their subtitlers. As though they have floated themselves on-screen without mediation. The technology of film similarly facilitates erasure&naturalization.
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Subtitling: collapse reading, hearing, and seeing. Very little labor is required on their part to grasp what they are viewing. "A false sense of relatability. It is possible to know others without effort. Effort is what is required for interculturalism to work."
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It's not abusive to ask the viewer to labor. Subtitlers should translate so that what is ours is made strange for the viewer. Use Shakespeare so that we don't domesticate the foreign, but adapt to foreign ways of thinking about Shakespeare.pic.twitter.com/WlbmP52S8i
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