Self-study
P1
Most writings on the subject of motion pictures, including those scrutinizing the structural characteristics, aesthetic qualities, and effects of motion pictures on audiences, have traditionally been relatively abstract and have not considered what a film's audiences actually see. ██ █████ ███████ ████████ ███████ █████████ ███████ ███ ███████████ ██████ ███ ███ ██████████ ███████████ █████ ████████ ███ █████████ ██ █ ████ ████ █████████████ ███ ████████ ██████████ ██ ███
Intro topic ·
Audience experience differs from filmmaker's intent
P2
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Problem ·
Film distribution has negative effects
Problem: detail 1 ·
Translation issues
Subtitles, dubbing, and reediting can all alter a film in negative ways
P3
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Problem: detail 2 ·
TV and video distribution
Problems include changes to image size and quality, introduction of ad breaks, visual and audio interruptions, and increased projection speed
P4
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Problem: detail 3 ·
Audiences and critics accept problems 1 and 2
Author's explanation ·
Film is a unique art form
Contrast ·
film to other art forms
In film, unlike in other art forms, an ideal reproduction is considered another legitimate "instance of the work"
Elaborate on problem ·
Ideal reproductions rarely occur
Implication of problem ·
Unfair to assess films based on altered reproductions
Another implication ·
Film reviews don't represent the version that viewers will see
Passage Style
Problem-analysis
Single position
6.
Suppose that a Russian company ██ ████████ ██ ██████████ ██ ████████████████ █████████ █ ████ ████ ███ ████████ ██ █████ ████ ████████ ██████████ ██████ ████ ██ ████████ ██ ███ ██ ████████ ████ ███ ███████ ████ ███ ██████ █████ ██ ████ ██████ ██ █████ ████ █████ ███ ██ ███ █████████ ███████████████ █████████ ███ █████
a
The company should ███████ ██ █████████ ███ ██████ █████ ████ ███████ ███ ██████ ████ ████ ███████████ ████████ █████████ ███ █████████ ████ ████ ██ ████████
Unsupported. The idea of translating the title into Russian does have
b
The company should █████ ████ ███ ████ █████████ ████ ██ ███████ ███ ██████████ ███████ ███ ██████████ ██████ ███████ ██ ██ ███ ███████ ███████
Anti-supported. The author talks about why it's a bad idea to have critics experience one version of the film and the audience experience a different version.
c
The film should ██ █████████ ██ ████████ ███ ████ ██ ███ ███████████ ██ ████████ ████████ ██ ███ █████████
Supported. The author's problem with subtitles was that they
d
The version of ███ ████ ████ ████████████████ █████████ ███ ██████ ███ ███████ ██████████
Unsupported. It's unreasonable to interpret the author's preference for minimal alterations to mean that the author would have the Russian speaking audience sit through an Italian film without comprehending any of the dialogue.
e
The film should ██ ████ ██████████ █████████████ ██ ███████ ██ ████ ███ ███████████ ██████████ ███████ ██ ████████████████ ██████████
Unsupported. First, note that this is a much bigger intervention than simply subtitling a film. (E) is talking about rearranging, cutting, or adding scenes to a film. While the goal of making the filmmaker’s intentions clearer to the audience is laudable, this nevertheless is the