Connect with us

Entertainment

‘God bless Birmingham’, says Banksy as artwork appears in city

Published

on


The Banksy artworkImage copyright
Banksy

Image caption

The Banksy artwork shows Ryan on a bench being “pulled” by two reindeer

Elusive artist Banksy has created new artwork in Birmingham, a festive-themed piece highlighting homelessness.

The artwork features in a film on Instagram that shows a man named Ryan on a bench being “pulled” by two reindeer painted on a brick wall in the city’s Jewellery Quarter.

It has been viewed over 1m times since it was posted earlier.

Hours later though, the work was defaced by a vandal who sprayed red noses on the reindeer.

Barriers had been installed, but the person managed to jump them, BBC Midlands Today reporter Ben Sidwell tweeted.

Image caption

A vandal sprayed the artwork with red noses on Monday evening

Unveiling the work, Banksy praised the generosity of people who gave Ryan food and drink while they filmed.

The post said: “God bless Birmingham. In the 20 minutes we filmed Ryan on this bench passers-by gave him a hot drink, two chocolate bars and a lighter – without him ever asking for anything.”

Pete Smith’s jewellery studio and workshop Vault 88 is located on Vyse Street, opposite the artwork.

He saw it when he arrived for work on Friday and said it had been attracting a lot of attention since the Instagram post.

“The world and his mother is outside,” he said.

“There’s been people taking pictures of themselves on the bench. It’s brilliant. It’s very, very clever.”

Image caption

Visitors have been recreating the artwork at the scene

He added the artist’s praise was “good for Brummies”, and showed “they care”.

Latest news from the West Midlands

Luke Crane from the Jewellery Quarter Business Improvement District said it was now a priority to protect the artwork.

Media playback is unsupported on your device

Media caption‘God bless Birmingham’, says Banksy as artwork appears in city

“We are very keen to make sure it is a part of our community and not something that is taken away,” he said.

“I think it comes at a great time of year – we obviously didn’t know it was coming, but what a great time.

“And it’s obviously about giving at a time of need for the homelessness that we have in these areas, and it’s something that we’ve been working in partnership with the council and other organisations to try and tackle, so it’s great to see it in our area.”

Follow BBC West Midlands on Facebook, on Twitter, and sign up for local news updates direct to your phone.





Source link

Entertainment

Dubs or subs? Parasite renews debate on how to watch foreign films

Published

on

By


South Korean director Bong Joon-hoImage copyright
Getty Images

Image caption

South Korean director Bong Joon-ho

The South Korean dark comedy film Parasite had a historic awards season sweep – and in the process, reignited the debate over whether subtitles or dubbing is the best way to watch a movie that isn’t in your native language.

As director Bong Joon Ho accepted the first-ever best foreign language picture Golden Globe for a South Korean film, he said: “Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films.”

Fast forward a month, and he was making history again, accepting the best picture award once more at the Oscars. Parasite’s Oscar win introduced it to a broad US audience – but not everyone was in favour of watching the award winner in its original language.

Dubbing takes the stress out of enjoying a foreign film, some argued, and performances are meant to be heard, not read. The angered response from subtitle fans ranged from accusations of racism to pointing out the needs of deaf viewers.

How you watch a foreign film is a clearly personal matter, tangled in pet peeves and accessibility. But as foreign flicks are gaining more screen time before American audiences, here’s a deeper dive into how we got here, and where the industry is headed.

In the early days of film, on-screen text was far from a “one-inch barrier” – it was the only way to express dialogue. Title cards were the precursor to subtitles, and they, too, were controversial in a way that mirrors the modern debate.

Stage actors would try to hide their work in silent film as many felt the lack of sound diminished the quality of the performance, Professor Marsha McKeever, academic director of New York University’s Tisch School of the Arts, told the BBC.

Image copyright
Getty Images

Image caption

Silent era film stars (from left) Mary Pickford, David Griffith, Charlie Chaplin and Douglas Fairbanks

But when conversations took place through cards instead of sound, adapting films to other languages was straightforward. As “movies” turned into “talkies”, subtitling emerged as a way to hold onto a lucrative foreign market.

It has since become the preferred way for film critics and connoisseurs to view foreign language features. NYU faculty, for example, would be unlikely to show a dub in class, the university’s graduate film department said.

For Prof McKeever, who is also a sound and picture editor, much of enjoying a movie boils down to what you hear.

“We react so emotionally to sound. That’s why films are scored, that’s why dialogue is important.”

If a dub has sub-par voice acting or doesn’t properly sync with what you see on screen, it can negatively affect your perception, Prof McKeever says. With subtitles, the audience both sees the original performance and hears the original emotion.

“Your brain is so used to hearing emotion in language that it will get the meaning behind the subtitle through the performance by the actor in the original language. You hear if they’re sad, if they’re happy.”

Regardless of what film purists say, however, dubbing is on the rise.

For that, you can blame Netflix.

In October, Netflix reported it had more subscribers outside the US – nearly 100 million – than domestically, where just over 60 million pay for the service.

Image copyright
Getty Images

The streaming giant is driving the dubbing business by producing content around the world and localising it for a number of markets, says Jeff Howell, a vocal coach and director who works with Netflix.

To “localise” a production, the original studio hires professionals to analyse scenes and translate them to a new language.

Mr Howell has worked both as a vocal director and an “adapter” who works on casting and direction. “We spend quite a bit of time casting, sometimes we have to read-to-picture to make sure the voice sounds like it’s coming out of that mouth,” he says.

Dubbing has a bad reputation because, for years, it was badly done, he says – there was a lack of attention to detail to the voice acting and post-production processes.

But today, professionals are focusing on ways to make it better, carefully interpreting scripts and taking into consideration things like “lip flap” – when the mouth movement and dubbed-over voice do not sync up.

Dubbing defenders say that modern viewing habits make it superior to subtitles.

Mr Howell argues that dubbing is better for audiences as they increasingly view films and series on small, portable screens. “You can’t read subtitles on a phone or iPad, really,” he says.

And dubbing is easier on the brain. Getting information from a caption requires eye movements across a screen, cognitive input to interpret the words while also paying attention to the action on the screen.

Image copyright
Getty Images

An educated US adult can do all three fluently, says Prof Charles Perfetti, a cognitive science professor at the University of Pittsburgh, but a less skilled reader will find it taxing.

For viewers with visual impairments, those cannot read or have conditions like dyslexia, dubbing is the only way they can enjoy media in non-native languages.

Outside the English-speaking world, dubbing has been less controversial. Much of Europe opts for dubbing in lieu of subtitles, though the latter is cheaper. Germany, Italy and France have dubbed foreign films since the 1930s – even as early critics blasted the process as “witchcraft” and an “amputation” of the original. China has also consistently dubbed films into Standard Mandarin.

Netflix’s dubbing efforts seem to be converting some Americans to the cause. Most US viewers preferred the dubbed versions of its most popular foreign shows, the streaming service told the New York Times.

As a dubbing director in this new streaming-heavy world, Mr Howell emphasises that he works to respect the original content – “to protect it”, not change it- though he admits some alterations are unavoidable.

“There are cultural nuances in language that we can’t possibly recreate,” he says. “We can have the greatest adaptation and it could line up almost perfectly but there are going to be subtle differences that don’t translate.

“It’s not 100% but I’d say we get as close as we possibly can, directing it in such a way that we’re protecting the creative integrity of the culture that created the material.”

And to be fair, alterations happen with subtitles too – language can be simplified to allow for quick reading in time with the action on screen.

Debates aside, outside of the streaming realm, foreign-language films still struggle to reach US markets.

As of 2020, only 12 have ever been released in more than 1,000 American theatres, according to data viewed by Quartz. Before Parasite, the last was Jet Li’s Fearless in 2006. When it debuted in October, the 2020 Best Picture Oscar winner was screened in only three theatres.

Yet, as its awards success has shown, a good film will captivate audiences no matter in what language. Subtitled films have rarely grossed over $100m (£77m), but Parasite has already surpassed $200m worldwide.

The biggest foreign language film to find success in the US to date is the Chinese drama Crouching Tiger Hidden Dragon, which grossed $128m in 2000 and won the Oscar and Golden Globe awards for best foreign language film.

“What it speaks to more than anything is we’re looking at filmmaking as the craft, not being bogged down in where it’s made and who is saying what in what language,” says Prof McKeever. “Is it a good story, is it done well, are we there emotionally with the actors?

“Regardless of language, that’s the heart of moviemaking.”



Source link

Continue Reading

Entertainment

Hip-hop’s iconic photos go on display

Published

on

By


The International Center of Photography in New York is showcasing photos of hip-hop’s greatest stars.

The ICP’s Vikki Tobak describes the exhibition as watching your favourite musical icons grow up in front of your eyes.

Included in the project is the photographer behind the famous image of The Notorious B.I.G wearing a crown.



Source link

Continue Reading

Entertainment

'Riverdance has been a part of my everyday life'

Published

on

By



It’s 25 years since Riverdance first burst onto screens during the 1994 Eurovision Song Contest.



Source link

Continue Reading

Trending