 |
 |
Carol, Interesting you mention the subtitles in Amistad. Excuse the shameless plug, but you might like to know that I've written about the importance of these (and their strategic inconsistency) in my new book, The Cinema of Steven Spielberg: Empire of Light (Wallflower Press). Nigel Morris, Principal Lecturer in Media Theory / Teacher Fellow, Department of Media Production, University of Lincoln, Brayford Pool, Lincoln, LN6 7TS Tel: 01522 886392 I am looking for examples from film and/or television of 'conspicuous' understanding between human beings which in some way transcends apparent language differences. I was interested recently to come across several examples of language contact portrayed on film where understanding is achieved despite absolute, or at least apparent, ignorance of the = other's language. In several cases subtitles are used ironically to demonstrate = to the audience that characters are in fact in gestalt. This happens in Amistad, between Simbe and the McConaughey character; in Love Actually, between Colin Firth's character and his Portuguese housekeeper; briefly = also in Lagaan between Aamir Khan and the English commandant's sister. On a slightly different note there's a moment in The Interpreter where a = scene of interpretation by Kidman's character breaks down as the African = politician she is translating for rises to his feet and breaks unexpectedly into English. * * Film-Philosophy Email Discussion Salon. After hitting 'reply' please always delete the text of the message you are replying to. To leave, send the message: leave film-philosophy to: [log in to unmask] For help email: [log in to unmask], not the salon. **