Sheila Turek - Academia.edu (original) (raw)

Papers by Sheila Turek

French Studies, 2015

biographical essay-films, where narrative takes second place to self-presentation. In the second ... more biographical essay-films, where narrative takes second place to self-presentation. In the second part (Sophie Calle, Maı̈wenn) storytelling makes its appearance, allowing the filmmakers a certain detachment from their own presence and existence; this concept of the faux, as McFadden puts it ( passim), allows them to reconfigure intimate and painful areas of their lives without relinquishing possession of their personal stories. Distanciation also has a role to play in the first part, for example in Varda’s use of multiple mirrors in her autobiographical films. Through self-reflexion, McFadden argues, Varda is able to establish herself as ‘the female filmmaker’, a figure long left out of account. (I must admit, I feel that McFadden somewhat overstates Varda’s marginalization, going so far as to describe her as ‘excluded’ from the New Wave at one point.) For Akerman, on the other hand, selfrepresentation is a paradoxical process of substitution: her films will stand in for her in her televised self-portrait, but her presence as image-maker may also replace images which, according to Jewish tradition, are taboo. In the case of Cabrera’s intimate video-diaries, McFadden sees the camera as an image-making tool literally incorporated into the filmmaker’s body. With this concept of the ‘hybrid body, the biological coupled with the technological’ (p. 127), filming — specifically, self-filming — is presented as a bodily function, an immediate sensory engagement with the world, as unstaged as possible. It is here that the concept of the embodied camera takes full form. Overall, McFadden presents an original and thought-provoking overview of a particular strategy in women’s filmmaking, which will be of interest to any future researchers of this theme, in France or further afield.

Title of Document: IN THE MARGINS: REPRESENTATIONS OF OTHERNESS IN SUBTITLED FRENCH FILMS Sheila ... more Title of Document: IN THE MARGINS: REPRESENTATIONS OF OTHERNESS IN SUBTITLED FRENCH FILMS Sheila Marie Turek, Doctor of Philosophy, 2008 Directed By: Professor Caroline Eades, Department of French and Italian Translation involves integration of a multitude of disciplines and perspectives from which to compare two or more cultures. When translation is extended to film dialogue, in subtitling, the target language viewer unfamiliar with the source language must rely upon the subtitles to access the film’s dialogue provided within the space of the verbal exchange, and often the subtitles offer an altered version of the dialogue, particularly given the time and space constraints of the medium. Subtitling, a unique form of translation, not only involves interlingual transfer but also intersemiotic transfer from a spoken dialogue to a written text. This work examines the linguistic treatment of three marginalized groups— homosexuals, women, and foreigners—as expressed in subtitles. In many...

In subtitled films as with other translations, cultural specificities reveal themselves through i... more In subtitled films as with other translations, cultural specificities reveal themselves through interlinguistic practices such as code-mixing, code-switching, and references unfamiliar to target language (or "TL") viewers or in source language ("SL") text accessible to the spectator but not integrated into the dialogue. Condensation considerations as well as integral cultural and linguistic differences often determine the presence, absence or adaptation of these elements, resulting in an altered representation in the TL text, as the following detailed analysis of English subtitles of Inch'Allah dimanche will show.

The Journal of Popular Culture , 2012

French Review , 2010

In subtitled films as with other translations, cultural specificities reveal themselves through i... more In subtitled films as with other translations, cultural specificities reveal themselves through interlinguistic practices such as code-mixing, code-switching, and references unfamiliar to target language (or “TL”) viewers or in source language (“SL”) text accessible to the spectator but not integrated into the dialogue. Condensation considerations as well as integral cultural and linguistic differences often determine the presence, absence, or adaptation of these elements, resulting in an altered representation in the TL text.

French Cultural Studies, 2011

Subtitled films are often maligned for providing a false or incomplete representation of the orig... more Subtitled films are often maligned for providing a false or incomplete representation of the original dialogue. As language use often reinforces an objectified or derogatory vision of women, an analysis and comparison of the original dialogue with the subtitled version can reveal important nuances in this domain that have either been retained, altered or omitted in the target language version. In two popular French films, La Vie rêvée des anges (Erick Zonca, 1998) and L'Auberge espagnole (Cedrick Klapisch, 2001), the dialogue underscores the attitudes of the characters towards the women in the film as well as towards women generally. Lexical, grammatical and cultural differences between French and English often inform subtitlers' choices, as do time and space constraints inherent to the subtitling process. The subtitled dialogue in both films will be compared with their original, illustrating the degree to which linguistic reflections of attitudes have been preserved or altered in each subtitled version.

French Studies, 2015

biographical essay-films, where narrative takes second place to self-presentation. In the second ... more biographical essay-films, where narrative takes second place to self-presentation. In the second part (Sophie Calle, Maı̈wenn) storytelling makes its appearance, allowing the filmmakers a certain detachment from their own presence and existence; this concept of the faux, as McFadden puts it ( passim), allows them to reconfigure intimate and painful areas of their lives without relinquishing possession of their personal stories. Distanciation also has a role to play in the first part, for example in Varda’s use of multiple mirrors in her autobiographical films. Through self-reflexion, McFadden argues, Varda is able to establish herself as ‘the female filmmaker’, a figure long left out of account. (I must admit, I feel that McFadden somewhat overstates Varda’s marginalization, going so far as to describe her as ‘excluded’ from the New Wave at one point.) For Akerman, on the other hand, selfrepresentation is a paradoxical process of substitution: her films will stand in for her in her televised self-portrait, but her presence as image-maker may also replace images which, according to Jewish tradition, are taboo. In the case of Cabrera’s intimate video-diaries, McFadden sees the camera as an image-making tool literally incorporated into the filmmaker’s body. With this concept of the ‘hybrid body, the biological coupled with the technological’ (p. 127), filming — specifically, self-filming — is presented as a bodily function, an immediate sensory engagement with the world, as unstaged as possible. It is here that the concept of the embodied camera takes full form. Overall, McFadden presents an original and thought-provoking overview of a particular strategy in women’s filmmaking, which will be of interest to any future researchers of this theme, in France or further afield.

Title of Document: IN THE MARGINS: REPRESENTATIONS OF OTHERNESS IN SUBTITLED FRENCH FILMS Sheila ... more Title of Document: IN THE MARGINS: REPRESENTATIONS OF OTHERNESS IN SUBTITLED FRENCH FILMS Sheila Marie Turek, Doctor of Philosophy, 2008 Directed By: Professor Caroline Eades, Department of French and Italian Translation involves integration of a multitude of disciplines and perspectives from which to compare two or more cultures. When translation is extended to film dialogue, in subtitling, the target language viewer unfamiliar with the source language must rely upon the subtitles to access the film’s dialogue provided within the space of the verbal exchange, and often the subtitles offer an altered version of the dialogue, particularly given the time and space constraints of the medium. Subtitling, a unique form of translation, not only involves interlingual transfer but also intersemiotic transfer from a spoken dialogue to a written text. This work examines the linguistic treatment of three marginalized groups— homosexuals, women, and foreigners—as expressed in subtitles. In many...

In subtitled films as with other translations, cultural specificities reveal themselves through i... more In subtitled films as with other translations, cultural specificities reveal themselves through interlinguistic practices such as code-mixing, code-switching, and references unfamiliar to target language (or "TL") viewers or in source language ("SL") text accessible to the spectator but not integrated into the dialogue. Condensation considerations as well as integral cultural and linguistic differences often determine the presence, absence or adaptation of these elements, resulting in an altered representation in the TL text, as the following detailed analysis of English subtitles of Inch'Allah dimanche will show.

The Journal of Popular Culture , 2012

French Review , 2010

In subtitled films as with other translations, cultural specificities reveal themselves through i... more In subtitled films as with other translations, cultural specificities reveal themselves through interlinguistic practices such as code-mixing, code-switching, and references unfamiliar to target language (or “TL”) viewers or in source language (“SL”) text accessible to the spectator but not integrated into the dialogue. Condensation considerations as well as integral cultural and linguistic differences often determine the presence, absence, or adaptation of these elements, resulting in an altered representation in the TL text.

French Cultural Studies, 2011

Subtitled films are often maligned for providing a false or incomplete representation of the orig... more Subtitled films are often maligned for providing a false or incomplete representation of the original dialogue. As language use often reinforces an objectified or derogatory vision of women, an analysis and comparison of the original dialogue with the subtitled version can reveal important nuances in this domain that have either been retained, altered or omitted in the target language version. In two popular French films, La Vie rêvée des anges (Erick Zonca, 1998) and L'Auberge espagnole (Cedrick Klapisch, 2001), the dialogue underscores the attitudes of the characters towards the women in the film as well as towards women generally. Lexical, grammatical and cultural differences between French and English often inform subtitlers' choices, as do time and space constraints inherent to the subtitling process. The subtitled dialogue in both films will be compared with their original, illustrating the degree to which linguistic reflections of attitudes have been preserved or altered in each subtitled version.