• Všechny velikosti
  • Velké
  • Malé
  • Barevné
  • Černobílé
  • Jen barevné
Figure 6. The iconic Tianmen Mountain in Hunan in the background  NOUVEL, FILM AND TRANSLALLIUOUNAL SLORY LELULING 15  f linguistic exoticism for not only Western but also the vast majority of smophone iewers. As previously mentioned, most smophone viewers also have to rely on the ‘hinese subtitles to follow the dialogues in the film. Given the seemingly intrinsic re- tionship between the ‘local’ experience and the ‘local’ language and thereby an nhanced impression of authenticity, it is almost tempting to see the film as the ‘orig- ial’ rather than the ‘adaptation’ of the novel, and the novel in French as the ranslation’ of the film. Note, however, I put ‘local’ in inverted commas, essentially ecause the film was not actually shot in Sichuan but in Hunan Province, which has s own Hunan dialect. Many Chinese viewers would be able to quickly identify the onic Tianmen Mountain (‘celestial gate’) of Zhangjiajie in Hunan — the mountain ith a gigantic hole in the middle — in the background of Luo and Ma’s stilt house ‘igure 6). The breath-taking natural landscape and attraction of Zhangjiajie creates n exotic world for Chinese viewers too. Moreover, the protagonist-narrator Ma,  layed by Liu Ye — one of the best-established contemporary mainland Chinese ctors — converses and narrates in Sichuanese with a heavy north-eastern accent hich could even sound comical to a native Sichuanese speaker.”’ Furthermore, ue to the additional factor of ‘star identification’, the truth about this character — a ative of Sichuan — is considerably undermined by the reality of the actor playing °° What this aural detail highlights is that the paralinguistic elements such as yund and accent, especially in relation or in contrast to the image, are an intrinsic  im  art of the characterization and of the performance of exoticism as well as authenticity. Jaficy remarks that ‘speech and voice have been treated as the guarantors of imme- iacy and presence’” in film studies, and ‘there is a strong tendency in the accented  Ims to preserve the native language as the marker of belonging and authenticity’.”*
Figure 6. The iconic Tianmen Mountain in Hunan in the background NOUVEL, FILM AND TRANSLALLIUOUNAL SLORY LELULING 15 f linguistic exoticism for not only Western but also the vast majority of smophone iewers. As previously mentioned, most smophone viewers also have to rely on the ‘hinese subtitles to follow the dialogues in the film. Given the seemingly intrinsic re- tionship between the ‘local’ experience and the ‘local’ language and thereby an nhanced impression of authenticity, it is almost tempting to see the film as the ‘orig- ial’ rather than the ‘adaptation’ of the novel, and the novel in French as the ranslation’ of the film. Note, however, I put ‘local’ in inverted commas, essentially ecause the film was not actually shot in Sichuan but in Hunan Province, which has s own Hunan dialect. Many Chinese viewers would be able to quickly identify the onic Tianmen Mountain (‘celestial gate’) of Zhangjiajie in Hunan — the mountain ith a gigantic hole in the middle — in the background of Luo and Ma’s stilt house ‘igure 6). The breath-taking natural landscape and attraction of Zhangjiajie creates n exotic world for Chinese viewers too. Moreover, the protagonist-narrator Ma, layed by Liu Ye — one of the best-established contemporary mainland Chinese ctors — converses and narrates in Sichuanese with a heavy north-eastern accent hich could even sound comical to a native Sichuanese speaker.”’ Furthermore, ue to the additional factor of ‘star identification’, the truth about this character — a ative of Sichuan — is considerably undermined by the reality of the actor playing °° What this aural detail highlights is that the paralinguistic elements such as yund and accent, especially in relation or in contrast to the image, are an intrinsic im art of the characterization and of the performance of exoticism as well as authenticity. Jaficy remarks that ‘speech and voice have been treated as the guarantors of imme- iacy and presence’” in film studies, and ‘there is a strong tendency in the accented Ims to preserve the native language as the marker of belonging and authenticity’.”*
Při pokusu o sdílení polohy došlo k chybě
Více informací
odkazuje na služby nejen od Seznam.cz.

© 1996–2025 Seznam.cz, a.s.