Document Type
Article
Abstract
My paper examines the radical, popular reconception of the subtitle's status initiated by films like Tony Scott's 2004 Man on Fire, Timur Bekmambetov's Night Watch [Nochnoy Dozor] and its 2006 sequel, and Danny Boyle's 2008 Best Picture winning Slumdog Millionaire. Subtitles have been redirected from their customarily subsidiary, external position to become a central aspect of the filmic mise-en-scene. The establishment of anti-conventional decotitles represents the possibility of a stabile third term in the debates over subbing versus dubbing. A new aesthetic paradigm has emerged—one which places emphasis not on translation and ventriloquism, a confrontation with the foreign, but on the graphic text as a signifying unit of filmic representation, utilizing the foreign merely as an instigating excuse to create a unique visual representation.
Repository Citation
Kofoed, D. T.. "Decotitles, the Animated Discourse of Fox's Recent Anglophonic Internationalism." Reconstruction: Studies in Contemporary Culture vol. 11, no. 1, 2011, pp. 1–16. https://digitalcommons.odu.edu/reconstruction/vol11/iss1/3