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首页> 外文期刊>Early Popular Visual Culture >‘Those funny subtitles’: Silent film intertitles in exhibition and discourse
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‘Those funny subtitles’: Silent film intertitles in exhibition and discourse

机译：“那些有趣的字幕”：展览和演讲中的无声电影字幕

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摘要

Intertitles are a complex and understudied component of film. This article investigates two aspects of intertitles: their role in exhibition practice in the 1900s, and the discourse around them during the silent era. Firstly, the dynamic interplay between intertitles, the film lecturer, magic lanterns, developments in narrative film, and changing models of spectatorship is examined. The rise of in-film titles triggered a shift away from artisanal programming by film exhibitors and lecturers, resituating power in the hands of film manufacturers and producers. Intertitles were a significant factor in the increasing middle-class acceptance of film during cinema’s first decades. The shift from scenic or topical films to intertitle-reliant narrative films allowed cinema to appropriate the aura of bourgeois-friendly narrative art forms like novels and theatre; likewise, intertitles conveyed information that relied on a literate audience, often excluding immigrant populations and the lower class. The discourse around intertitles in the 1910s and 1920s is also examined, revealing the intertitle as a site of considerable anxiety and ambivalence in light of contemporary cinematic ideals. The enthusiastic reception of Anita Loos’ ‘literary’ intertitles supports the thesis that intertitles played a key role in the ‘bourgeoisification’ or upward mobility of film.View full textDownload full textKeywordsintertitle, silent film, film lecturer, magic lanterns, narrative cinema, nickelodeons, Anita LoosRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/17460654.2012.724570
机译：字幕是电影中一个复杂且未被充分研究的组成部分。本文研究了字幕的两个方面：它们在1900年代的展览实践中所扮演的角色，以及寂静时代围绕它们的论述。首先，研究了字幕，电影讲师，魔术灯笼，叙事电影的发展以及观摩模式的变化之间的动态相互作用。电影制片人的兴起引发了电影放映商和讲师的转变，从而取代了电影制片人和制片人的权力。在电影院发展的最初几十年中，字幕是电影越来越受到中产阶级欢迎的重要因素。从风景名胜或主题电影到依赖字幕的叙事电影的转变，使电影院能够采用对资产阶级友好的叙事艺术形式的光环，例如小说和戏剧；同样，字幕传达的信息依赖于识字的受众，通常不包括移民人口和下层阶级。还研究了1910年代和1920年代有关字幕的论述，揭示了字幕是根据当代电影理想而存在的大量焦虑和矛盾的地方。对Anita Loos的“文学”字幕的热情支持，支持了这样的论点，即字幕在电影的“资产阶级化”或电影的向上流动中起着关键作用。查看全文下载全文关键词魔术灯笼，叙事电影院，镍级电影，安妮塔·卢斯（Anita Loos）相关变量add add_config ：“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/17460654.2012.724570

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