When Hollywood turned to talkies, it created a not-quite-British, not-quite-American style of speaking that has all but disappeared.
The various Star Wars movies have been translated into at least 39 languages (as also seen here in a set of 16 international logos for Attack of the Clones), but the Navajo Nation is set to be the first Native American tribe to officially dub the original Star Wars film. [more inside]
In 2005, Steven Spielberg and Dreamworks produced a 6 episode miniseries that spanned the period of expansion of the United States into the American West, from 1825 to 1890. Through fictional and historical characters, the series used two primary symbols--the wagon wheel and the Lakota medicine wheel -- to join the story of two families: one Native American, one White settlers, as they witnessed many of the 19th century's pivotal historical milestones. The award-winning Into The West can now be seen in its entirety on YouTube. [more inside]
Beanplating on The Fifth Element from architecture students at the University of Waterloo. [more inside]
A decade on, the Coen brothers' woefully underrated O Brother, Where Art Thou? [alt] is remembered for a lot of things: its sun-drenched, sepia-rich cinematography (a pioneer of digital color grading), its whimsical humor, fluid vernacular, and many subtle references to Homer's Odyssey. But one part of its legacy truly stands out: the music. Assembled by T-Bone Burnett, the soundtrack is a cornucopia of American folk music, exhibiting everything from cheery ballads and angelic hymns to wistful blues and chain-gang anthems. Woven into the plot of the film through radio and live performances, the songs lent the story a heartfelt, homespun feel that echoed its cultural heritage, a paean and uchronia of the Old South. Though the multiplatinum album was recently reissued, the movie's medley is best heard via famed documentarian D. A. Pennebaker's Down from the Mountain, an extraordinary yet intimate concert film focused on a night of live music by the soundtrack's stars (among them Gillian Welch, Emmylou Harris, Chris Thomas King, bluegrass legend Dr. Ralph Stanley) and wryly hosted by John Hartford, an accomplished fiddler, riverboat captain, and raconteur whose struggle with terminal cancer made this his last major performance. The film is free in its entirety on Hulu and YouTube -- click inside for individual clips, song links, and breakdowns of the set list's fascinating history. [more inside]
Gullah—the African-influenced dialect of Georgia’s Sea Islands—has undergone few changes since the first slave ships landed 300 years ago, and provides a clear window into the shaping of African-American English. This classic PBS program traces that story from the west coast of Africa through the American South, then to large northern cities in the 1920s. Studying the origins of West African pidgin English and creole speech—along with the tendency of 19th-century white Southerners to pick up speech habits from their black nursemaids—the program highlights the impact of WWI-era industrialization and the migration of jazz musicians to New York and Chicago.
Nants ingonyama bagithi baba! It's been nearly two decades since that glorious savanna sunrise, and once again The Lion King is at the top of the box office. It's a good chance to revisit what made the original the capstone of the Disney Renaissance, starting with the music. Not the gaudy show tunes or the Elton John ballads, but the soaring, elegiac score by Hans Zimmer which, despite winning an Oscar, never saw a full release outside of an unofficial bootleg. Luckily, it's unabridged and high-quality, allowing one to lay Zimmer's haunting, pulse-pounding, joyful tracks alongside the original video (part 2, 3, 4), revealing the subtle leitmotifs and careful matching of music and action. In addition, South African collaborator Lebo M wove traditional Zulu chorals into the score, providing veiled commentary on scenes like this; his work was later expanded into a full album, the Broadway stage show, and projects closer to his heart. Speaking of expanded works, there were inevitable sequels -- all of which you can experience with The Lion King: Full Circle (download guide), a fan-made, three-hour supercut of the original film and its two follow-ups. Want more? Look... harder... [more inside]
Canadian horror flick Pontypool (trailer) is a modern zombie tale quite unlike any other. Loosely based on a dense, complicated novel by Tony Burgess and inspired by Orson Welles' War of the Worlds, it tells the story of Grant Mazzy, a grumbling yet likable radio host (played by veteran character actor Stephen McHattie) whose penchant for philosophical ramblings gets him booted from Toronto to the sleepy winter pastures of Pontypool, Ontario. One bleak morning, as the outspoken Mazzy chafes against no-nonsense producer Sydney Briar, disturbing news begins rolling in of a series of bizarre and violent incidents sweeping the town. Trapped in their church basement broadcasting booth, Mazzy, Briar, and intern Laurel-Ann Drummond struggle to understand the odd nature of the crisis and warn the wider world before it's too late. But this is no ordinary virus, and they find their efforts may be causing far more harm than good. You can watch the film on YouTube horror channel Dead By Dawn (1 2 3 4 5 6 7), but if you're pressed for time you can also experience it in its more logical form: as a one-hour BBC radio drama voiced by the original cast. And after the credits, make sure not to miss the film's playful non-sequitur coda.
"Toity poiple boids / Sittin on da koib / A-choipin an’ a-boipin / An’ eatin doity woims." From Atlantic Avenue to Zerega Avenue (map), the kinds of New York City accents made famous by the likes of Archie Bunker, Jimmy Breslin and Travis Bickle are disappearing. But though you may not often hear “foath floah” for "fourth floor" in Manhattan anymore, documentary filmmaker Heather Quinlan knows you can still hear strains of the old mellifluous tones in Brooklyn, Queens, Staten Island, and the Bronx, and that's exactly what she's setting out to document in her film If These Knishes Could Talk.
Unlike many cinematic exports, the Disney canon of films distinguishes itself with an impressive dedication to dubbing. Through an in-house service called Disney Character Voices International, not just dialogue but songs, too, are skillfully re-recorded, echoing the voice acting, rhythm, and rhyme scheme of the original work to an uncanny degree (while still leaving plenty of room for lyrical reinvention). The breadth of the effort is surprising, as well -- everything from Arabic to Icelandic to Zulu gets its own dub, and their latest project, The Princess and the Frog, debuted in more than forty tongues. Luckily for polyglots everywhere, the exhaustiveness of Disney's translations is thoroughly documented online in multilanguage mixes and one-line comparisons, linguistic kaleidoscopes that cast new light on old standards. Highlights: "One Jump Ahead," "Prince Ali," and "A Whole New World" (Aladdin) - "Circle of Life," "Hakuna Matata," and "Luau!" (The Lion King) - "Under the Sea" and "Poor Unfortunate Souls" (The Little Mermaid) - "Belle" and "Be Our Guest" (Beauty and the Beast) - "Just Around the Riverbend" (Pocahontas) - "One Song" and "Heigh-Ho" (Snow White) - "Bibbidi-Bobbidi-Boo" (Cinderella) - Medley (Pinocchio) - "When She Loved Me" (Toy Story 2) - Intro (Monsters, Inc.)
The Image Culture - a discussion of the history, manipulation, desensitization and supplanting of language skills by the ubiquity of images. And no, there are no pretty pictures.