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RECOMMENDATIONS --- EVALUATION --- FRENCH COMMUNITY --- YOUTH --- EDUCATION --- AUDIOVISUAL MEDIA --- BELGIUM

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Doelstelling: Gaandeweg heeft de vakliteratuur haar kijk op audiovisuele vertaalstrategieën verruimd van een vrij linguïstische naar een meer allesomvattende visie. Om na te gaan of een dergelijke evolutie ook in de vertaalpraktijk te vinden is, werden twee vertalingen onderzocht van een aflevering van de serie “The Persuaders”. Middelen of methode: De getranscribeerde ondertitels van 1971 en die van 2006 werden samen met de originele dialogen gealigneerd en vervolgens vergeleken op basis van een aantal theoretische concepten in verband met het visuele kanaal. Tot die concepten behoren onder andere de semiotische samenhang, tekst in beeld en de montage. Resultaten: In tegenstelling tot wat verwacht werd op basis van de evolutie in de theorie toont deze studie aan dat de ondertitelaar van de versie uit 1971 meer terugvalt op de beschikbare visuele informatie. Meer onderzoek is echter vereist om na te gaan of dit specifieke geval significant is voor de ondertitelpraktijk in het algemeen.

Audiovisual media. --- Qualitative study. --- Quantitative study. --- Subtitling. --- Vertaalkundige studie – Onderzoek van vertalingen – schriftelijke taal. --- Visual information.

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Over centuries, scholars have explored how metaphor contributes to thought, language, culture. This collection of essays reflects on Müller, Kappelhoff, and colleagues' transdisciplinary (film studies and linguistics) approach formulated in "Cinematic Metaphor: Experience - Affectivity - Temporality". The key concept of cinematic metaphor opens up reflections on metaphor as a form of embodied meaning-making in human life across disciplines. The book documents collaborative work, reflecting intense, sometimes controversial, discussions across disciplinary boundaries. In this edited volume, renowned authors explore how exposure to the framework of Cinematic Metaphor inspires their views of metaphor in film and of metaphor theory and analysis more generally. Contributions include explorations from the point of view of applied linguistics (Lynne Cameron), cognitive linguistics (Alan Cienki), media studies (Kathrin Fahlenbrach), media history (Michael Wedel), philosophy (Anne Eusterschulte), and psychology (Raymond W. Gibbs, Jr.).

Cinematography. --- Metaphor in motion pictures. --- Cinematic metaphor, audiovisual media, multimodal interaction.

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anthropology of music --- methodologies for the study of popular music --- urban music and identities --- audiovisual media and popular music --- pedagogy of popular music --- music conservation --- Popular music --- Study and teaching --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions

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A volume of essays marking out a new, historically and culturally specific model for contemplating autobiographical non-fiction film and video. There is a widespread notion in the scholarly literature on autobiographical nonfiction film that there are unchanging, universal models for the investigation of the self through audiovisual media. By insisting on the cultural andhistorical specificity of that self, the essays in this volume trace the range of politically and theoretically informed taboos, critiques, and proclivities that shape autobiographical filmmaking in German-speaking countries. Indoing so, they delineate a new model for contemplating autobiographical film and video. The essays in this volume examine the parameters shaping the audiovisual self in the Germanophone cultural context across a variety of practices and aesthetic modes, from contemporary artists including Hito Steyerl, Ming Wong, and kate hers to Rolf Dieter Brinkmann's multimedia experiments of the 1970s, and from Helke Misselwitz's challenges to the documentary tradition in the GDR to Peter Liechti's investigations of Swiss ambivalence toward the nation's iconic landscape. The volume thus takes up a number of historically and geographically specific iterations of autobiographical discourse that in each case remain contingent on the space and time in which they are uttered. Contributors: Dagmar Brunow, Steve Choe, Robin Curtis, Tobias Ebbrecht-Hartmann, Angelica Fenner, Marcy Goldberg, Feng-Mei Heberer, Rembert Hüser, Waltraud Maierhofer, Christopher Pavsek, Patrik Sjöberg, Carrie Smith-Prei, Anna Stainton. Robin Curtis is Professor of Theory and Practice of Audiovisual Media at the Heinrich-Heine-University in Düsseldorf, Germany. Angelica Fenner is Associate Professor of German and Cinema Studies at the University of Toronto.

Biographical films --- Documentary films --- Self in motion pictures. --- History and criticism. --- Motion pictures --- Documentaries, Motion picture --- Documentary videos --- Factual films --- Motion picture documentaries --- Moving-pictures, Documentary --- Documentary mass media --- Nonfiction films --- Actualities (Motion pictures) --- Bio-pics --- Biographical videos --- Biopics --- Film biographies --- Screen biographies --- Biography --- German-speaking countries. --- Helke Misselwitz. --- Hito Steyerl. --- Ming Wong. --- Peter Liechti. --- Rolf Dieter Brinkmann. --- audiovisual media. --- autobiographical discourse. --- autobiographical non-fiction film. --- kate hers. --- space and time.