#film muto

[marcogiovenale]

la lune à un mètre / georges méliès. 1898

[crocodilesareboring]

Una lotta a gonfie vele,

Tu mi hai rotto le parole,

E non ti capisco al volo

Se non volo con te.

[hatsalad]

I think the next monsterverse film should reveal that Godzillas had Junior and whilst he's asleep in the colosseum, Junior, in true mischievous child fashion, wanders off and gets lost/ends up with monarch. The rest of the film is Godzilla rampaging cause he can't find his son and is making that everyone else's problem. Meanwhile, Junior is making friends completely chill.

[eaktionsshaytan]

Friedrich Wilhelm Murnau

Faust (1926)

[davidhudson]

It’s on.

[silentlondon]

The Silent London Poll of 2023: vote for your winners now

[suntak]

[waste-it-on-something-useful]

Running in Madness, Dying in Love (Kōji Wakamatsu, 1969)

[omarfor-orchestra]

Stasera ci sono i Nobraino a Cattolica e io l'ho scoperto ieri

[marcogiovenale]

le voyage dans la lune / georges méliès. 1902

[diananortoncoleman]

Il sonoro e il doppiaggio

Parte 2

Il doppiaggio:

Con l' avvento dei film dialogati ci si trovò nella situazione di dover “tradurre” i film, per raggiungere una più grande scala di spettatori e per superare le barriere linguistiche.

Il “doppiaggio” è il sostituire la voce originale di un attore o personaggio con quella di un doppiatore . In Italia il doppiaggio assunse un ruolo molto importante e, anche se limitato dal fascismo, ha una <<consolidata tradizione con un alto grido di specializzazione e presenza di professionalità>> citando wikipedia.

Il motivo per cui si ricorre al doppiaggio è l' evidente intenzione di voler far capire a tutti quello che viene detto nel film. Se consideriamo una volta quando pochi parlavano più di una lingua, difficilmente il film potevaessere guardato e compreso da chiunque. Al giorno d'oggi invero, con il conformismo e la società di massa, tutti (o quasi) parlano l' inglese- lingua mondiale. C'è però da considerare che con il doppiaggio, oltre che a iniziali problemi tecnici, si priva l' attore che interpreta un ruolo, di trasmettere le sensazioni volute, alterando così il “prodotto finale”. Molti infatti dibattono su questo argomento, e cioè se il doppiaggio sia giusto o no: ai posteri l' ardua sentenza.

Il doppiaggio è però usato anche nello stesso paese di produzione: basti pensare a quanti attori ed attrici italiani siano stati doppiato a causa della loro scarsa bravura o il loro accento troppo dialettale. Il problema sorge quando ci sono modi di dire intraducibili, oppure appaiono personaggi che parlano diverse lingue. Nel 1933 fu così ideato di girare lo stesso film più volte nelle diverse lingue: alcune volte venivano sostituiti i personaggi di contorno, oppure se rimanevano gli stessi, si facevano doppiare da voci fuori campo, muovendo solo la bocca. Ma gli attori protagonisti dovevano rimanere sempre quelli ed erano quindi costretti a recitare in tutte le lingue che il regista aveva deciso, leggendo sugli appositi gobbi (i cartelli dietro le cineprese) in cui era riportata la pronuncia fonetica delle parole e non la loro trascrizione esatta.

Può capitare però che nel film i siano alcune battute nella stessa lingua usata nel doppiaggio, e che il dialoghista ( colui che traduce ed adatta il copione) debba per forza mantenere la differenza di lingua. Di solito si decide di sostituire l' italiano con una lingua simile, quasi sempre lo spagnolo (in rari casi il francese). È possibile salvare il senso della scena, ma al prezzo di alterare le intenzioni dell' autore.

Soprattutto nei film più vecchi (parlo prima degli anni 70) accade che certi personaggi (doppiati) dicano delle frasi al quanto improbabili. Come ad esempio uno straniero che va in un paese e chiede se lì parlino l' inglese: a noi, con una traduzione in italiano, viene da chiederci “perché mai questo che parla italiano chiede- in italiano- se qualcuno parla l' inglese?” Questi sono uno dei tanti problemi che avvolgono il magico mondo del doppiaggio. In questo caso comunque si preferisce far dire al personaggio una frase più generica adattabile dunque a tutte le lingue: <<parli la mia lingua?>> .

In conclusione vi lascio con la celebre battuta del film “Pulp Fiction” in cui Samuel L.Jackson (doppiato da Luca Ward) chiede alla sua futura vittima << “Cosa” è un paese che non ho mai sentito nominare...lì parlano la mia lingua?>>. In lingua originale il passaggio recita così: << “What” ain't no country I know! Do they speak English in “What”?>>.

[di-biancoenero]

Ambrosio’s cinematographer Giovanni Vitrotti shooting one of his early documentaries on the Piedmont Alps : “Da Courmayeur al Dente del Gigante”, “Escursione nella catena del Monte Bianco” e “Sulle dentate e scintillanti vette”. 1910

[oubliettemagazine]

Il cinema degli anni Venti: i 30 capolavori del decennio

Il cinema degli anni Venti: i 30 capolavori del decennio

Facciamo un ulteriore salto temporale all’indietro, in questa serie di “bignamini” sulla Storia del Cinema che da un po’ di tempo a questa parte vado elaborando sulle pagine di “Oubliette”, e occupiamoci oggi del cinema degli anni Venti del Novecento. Cinema anni Venti Nella Storia della “Settima Arte” gli anni Venti sono soprattutto ricordati per l’introduzione del cinema sonoro, avvenuta nel…

[astoundingbeyondbelief]

At one time the final battle in Godzilla x Kong: The New Empire took place in Moscow instead of Rio de Janeiro. I assume this was changed in light of Russia invading Ukraine (preproduction on the film began the previous month).

The first three pieces are by MUTO designer Matt Allsopp and the last is by Raj Rihal (with full Instagram post included because he used an amusing name for the Skar King).

[silentlondon]

Le Giornate del Cinema Muto 2023: Pordenone Post No 6

Good vibes only at the Giornate on this sunny Thursday. All of us who made it to the extra-early morning serial knew that we had got out of bed on the right side as soon as we realised that this episode of Le P’tit Parigot might have been called La P’tite Parisienne. Yes, it was young Bouboule’s time to shine, as she raced to the rescue of Biscot in a very fetching Delaunay pinafore, and…

[lno-x]

What about character design in Tristamp?

A person had a question for me, what is it about character designs in tristamp? It's like Vash from Tristamp and Vash from Trimax/98 adaptation are COMPLETELY different characters, and my answer to that is: they are REALLY DIFFERENT CHARACTERS, and I'll explain why right now.

To begin with, I would like to note that I have a great deal of trust in the Orange studio and its co-founder, Eiji Inomoto. Orange is one of the best CG studios in Japan, known for such acclaimed adaptations as "Beastars" and "Land of the Lustrous". These are not just some studio, but a really big guys, and by big I mean that Inomoto's experiments with the frame rate in the film adaptation of Lustrous at one time were a revolutionary thing in animation, which was picked up by the animators of the spiderverse and then that's all led to the beloved dynamic animation of the "Puss in Boots" sequel. I mean, these are THAT big guys. I'm not talking about the fact that Inomoto boosts the development of 3D in the anime industry as much as possible and literally shits from a high bell tower on the fact that everything is spitting with 3D animation purely out of principle.

Okay, the studio is cool, it is unlikely that they will make a bad product, we figured it out, but what about the designs? They don't even look like themselves! Vash does not look like a mop at all, he has lost his leather pants and berets, and looks like some kind of sucker in sweatpants and a windbreaker, and Meryl gives the impression of a schoolgirl who has strayed from the school excursion, instead of the stately lady in caprons, as we used to seeing her. Only Wolfwood hasn't changed much, except that he doesn't know how to tuck his shirt into his pants and has undergone whitewashing (which, by the way, I'm not ironically upset about). So, is that mean designs is bad as hell? Nope. Just because things look different doesn't mean it's inherently worse. Again, remember that tristamp is a REMAKE, and their task is not to stupidly repeat the same thing, but to breathe new life into the franchise, looking at it from a different angle. And I think they did a FUCKING GOOD job on it.

In interviews and at conventions, director Kenji Muto and producer Katsuhiro Takei have repeatedly said that they are big fans of the original manga and the film adaptation of 98, but it was important for them to touch and reveal those aspects of the story that their predecessors did not reach their hands on.

That is why, despite the fact that the Tristamp is very close to the original source (manga), the studio plays out many details differently or even saves them for later, so that the audience can fully experience the development of the characters. Therefore, in Tristamp, everyone looks much younger than their previous versions and / or very different from them.

The easiest way to prove this, however strange and unexpected it may seem, is by the example of Meryl. In the manga and anime 98, we immediately see her as a stately lady with a bunch of derringers under her cloak, but they don’t tell us how she came to this and what led to this. Yes, there is literally a page in the manga about some colleague who told her about self-defense and sort of taught her how to shoot, but finally he is drawn on one frame and, in general, we don’t give a shit about him.

While in Tristamp, this colleague has a name and is one of the most main characters - this is Roberto. Throughout the series, he acts as Meryl's senior mentor, protecting her whenever possible and pulling her out of trouble by the scruff of the neck like a kitten. That is why she looks so youthful and charmingly stupid compared to her previous version. Throughout the series, she literally hits herself with her heel in the chest, saying I AM!!! MERYL!!! STRIFE!!! I AM NOT NEWBIE!!! while Roberto calls her the same way, ignoring all her protests in this regard, and I think this was done for a reason. Specifically, in Tristamp we see her almost in the past, when she has not yet learned to protect herself and be fully responsible for her decisions, although she is very eager to do so. Although Roberto is a character, for the most part he is still a crutch and trigger for the development of Meryl. Through his death and the transfer of HIS gun to her, we see right before our eyes how she changes and from a shy "newbie" turns into the confident Meryl Strife. And after the timeskip, they generally show us the scene of exactly how she becomes the senior and takes Millie under her wing. And by the way, her image visually changes too.

I repeat once again, there was no such development of the character of Meryl in the manga, in the 1998 film adaptation nether.

Orange build her development completely differently and in their own way, despite the fact that she, in fact, is the same Meryl Strife no less than other versions of her. She just a little different character, which goes to the image already familiar to us, passing through kind of other events

The same thing happens with Vash! At first, he doesn't look like himself at all, but towards the end, we see how he takes on a more recognizable image. I think that in fact by the second season they will all mature and look much more "canonical", this can be seen from the concept art but in general

Tristump characters go a different way and get a different development, as happened with Meryl above, therefore, I I think we should perceive them rather as completely different characters that have common roots

And by the way, the studio Orange discussed everything very closely with Yasuhiro Nightou (author of the manga) and he gave her green light and creative freedom, because he saw how reverent people are about their job and want to develop the story. He even drew his and studio designs together!!!

All in all, the tristamp designs are really quite different from the original, but I don't think that's a bad thing, as the studio does it purposefully and cleverly to give them the development that the manga or the '98 film adaptation lacked.

Again, this is my personal opinion, and it’s worth notice here that I’m far from being an old fan and I flew into the fandom just a month and a half ago, so the character design initially did not cause me rejection, like many old fans.

But in this tirade, I tried to be as objective as possible and describe what was what, thanks to come in my ted talk