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Speaking in SubtitlesRevaluing Screen Translation$
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Tessa Dwyer

Print publication date: 2017

Print ISBN-13: 9781474410946

Published to Edinburgh Scholarship Online: January 2018

DOI: 10.3366/edinburgh/9781474410946.001.0001

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Vanishing Subtitles: The Invisible Cinema (1970–4)

Vanishing Subtitles: The Invisible Cinema (1970–4)

Chapter:
(p.52) Chapter 2 Vanishing Subtitles: The Invisible Cinema (1970–4)
Source:
Speaking in Subtitles
Author(s):

Tessa Dwyer

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474410946.003.0003

This case-study chapter focuses on the blanket rejection of both subtitling and dubbing at New York’s short-lived Invisible Cinema, established by Anthology Film Archives in the early 1970s. In resurrecting the silent-era dream of non-translation, the Invisible Cinema drew attention, paradoxically, to translation’s centrality for screen culture generally and Anthology in particular – pinpointing the re-evaluative role that translation plays in screen culture by keeping ‘originals’ in circulation and contention. This point is affirmed by Anthology’s present-day operations and the residual legacy of its translation ban. Additionally, the chapter explores how the Invisible Cinema’s excessive zero-tolerance approach to translation actually takes certain pro-subtitling arguments to their logical conclusion and is hence ripe for deconstruction. Hence, this chapter outlines a route for revaluation developed further in subsequent chapters, identifying the flaws and failures of screen translation as necessary to the preservation and destabilisation of screen culture.

Keywords:   Anthology Film Archives, Avant-Garde film, Art cinema, Deconstruction, Subtitling/Dubbing Bans, Film Purity/Impurity, The Invisible Cinema, Jonas Mekas

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