Issue 4_Multiple and multiple-language versions / Versions multiples

Edited by / Sous la direction de Nataša Ďurovičová

With the collaboration of / Avec la collaboration de Hans-Michael Bock

This issue collect the MAGIS – I Gradisca International Film Studies Spring School proceedings. The contributions can be divided into two broad groups. One takes as its implicit assignment Sorlin’s set of questions: what can be identified, historical- ly, as the common element(s) for a cluster of films so that they can qualify as “versions” of each other? In other words, exactly what were the procedures and/or textual elements that could be duplicated economically and practically (and thus copied “autographically”), and which were instead the elements in need of local modification, that is, elements seen as the required signals of national difference (i.e. “allographic” elements of non-identity)?

The other set of papers extrapolates from this research to ask: what can we learn from the interaction between LVs and the historiographic category they most apparently challenge, that of the national cinema(s)? And in extension of this, is there (not) a line to be drawn between the type of seriality deployed in the Hollywood-made “foreign” versions (FLVs) and the “multilingual” versions made in Europe (MLVs)?

Nataša Ďurovičová, Introduction

Pierre Sorlin, Multilingual Films, or What we Know about a Seemingly Bright Idea

Davide Pozzi, Quelle version restaurer? Deux cas concrets: Nana et Prix de beauté

Roberto Calabretto, Due versioni musicali a confronto. Die DreigroschenoperL’Opera de quat’sous di Georg Wilhelm Pabst

Francesco Bono, Nel nome di Maddalena. Una comparazione tra Casta Diva e The Divine Spark

Petr Szczepanczik, Undoing the National: Representing International Space in 1930s Czechoslovak Multiple-language Versions

Petr Mareš, Languages, Actors and Audience. C. A K. Polní Maršálek versus Der falsche Feldmarschall

Joseph Garncarz, Making Films Comprehensible and Popular Abroad: The Innovative Strategy of Multiple-language Versions

Charles O’Brien, Multiple Versions in France: Paramount-Paris and National Film Style 

Ivan KlimešMultiple-language Versions of Czech Films and the Film Industry in Czechoslovakia in the 1930s

Malte Hagener, Prix de beauté as a Multiple Intersection. National Cinema, Auteurism, and the Coming of Sound

New Studies

Wanda Strauven, The Meaning of the Music-hall: From the Italian Futurism to the Soviet Avant-garde

Projects & Abstracts
  • Università di Padova (Manlio Piva/ Ph.D. Thesis Abstract)
  • Université de Lausanne (Pierre-Emmanuel Jaques/ Ph.D. Thesis Project)
  • The Redpath Chautauqua Collection
    University of Iowa Libraries Special Collections

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No. 4, Spring 2004

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