Dubbing in France 1920s To Date

Table of Contents Introduction The 1920’s Market Dominance The Invention of Sound Importation versus Local Conclusion References Introduction Agreementwith other film industries to open the markets for films placed France within the major risk of foreign interference. Subtitling was also not allowed per se leaving dubbing as the solitaryoption of domesticating foreign films.Advertising We will write a custom essay sample on Dubbing in France: 1920’s To Date specifically for you for only $16.05 $11/page Learn More The 1920’s By 1920’s, the whole of France and Western Europe was recovering from the destructions of the world war one, thus they were making desperate moves to dominate a large portion of the market as possible. In the early 1920’s, there was no stiff competition in the film industry and films were produced mostly for the local market. There was no foreign competition due to quotas which limited the number of films that could be imported where American films were permitted to a maximum of 20%. But later on, the market share taken by America in the film industry on foreign markets became colossal making it impossible for a single country to challenge America single-handedly (Thompson 1996). The ascending to power of Edouard Herriot brought about great changes in the French market, when he called for Europe to unite and have a common market. French film industry was poorly structured and many firms in the film industry were family owned and small which released a few films before going under. On top of that, dubbing was expansive, time consuming and labour intensive making film production to require much higher budgets than France could afford (Danan 1991). Market Dominance The film Europe policy of 1920’s allowed importation of films into the French market, thereby increasing the number of films coming in from other European countries especially Germany at the expense of the lo cal industry (O’Brien, n.d.). Importance of dubbed films also increased films from the United States of America which was advanced technologically compared to France increasing the foreign dominance in the French market. Though France also exported dubbed films to other European countries especially Germany, its industry was not technologically advanced to compete favourably in the market. Between 1926-1930, enormous portions of the French market was held by foreigners with the USA controlling up to 50% while Germany controlled around 23% (Bergan 2008). To protect the local film industry, the French government introduced regulations to limit the number of imported dubbed films on 1st may, 1928 to seven for every one film produced in France. This was later to be changed to three imported dubbed films for every one locally produced by Frances’s chambre syndicale on 27th February 1929 (Remi 2002).Advertising Looking for essay on art and design? Let's see if we can he lp you! Get your first paper with 15% OFF Learn More The Invention of Sound Invention of sound in the film industry in 1929 reduced foreign competition due to language barrier. Also with the expectation of sales increases, investment in the film industry increased. Furthermore, larger firms like â€Å"Gaumont-Franco-Film-Aubert†, ventured into the industry and production increased significantly with the target being the French speaking countries. This saw the decrease of foreign dominance with America’s market share decreasing to 43% by 1932. Incidentally, there was an over estimation as to the extent to which language will be of benefit to the French industry. Dubbing technology was quickly advanced to counter the language barrier, and once again France found itself in the middle of a crisis with stiffer competition not only in the foreign market but also in the local one (Danan 1994). Due to the high rate of collapsing among the firms in the film industry in vestment remained low as well as credit, which gave room for importation of dubbed films as Frances’s local demand was higher than the supply. Importation versus Local The number of imported dubbed films dominated the local market in France in the 1920’s and early 1930’s with the majority being from America and Germany while the local industry was deteriorating (Richard 1984). The cooperation between France and Germany in the 1920’s promoted the dominance of Germany in the French market, and further weakened the French industry because among other factors dubbing was done by foreign firms. The quota of dubbed features hindered specifically the number of foreign films allowed into the country to 140 from 24th July 1933 to 30th June 1934 and 94 to the end of 1934, leading to the decline of the foreign market share (Film birth 2009). As a result of this, the popularity of French films improved over the American imported films increasing the local market unde r French control to nearly 50%. On the other hand, inbox receipts increased raising the income of the local firms alleviating the crisis that had prevailed in the film industry (Steer 1995). The French film industry was made up of small firms which were not innovative coupled with the fact that they were not well structured, making France unable to control their market and perform poorly in the foreign market. Due to this, dubbing was also foreign based where all films were dubbed in foreign countries and only imported as finished products (Szarkowska 2005). Consequently, France was forced to keep its budgets low therefore unable to benefit from large scale production.Advertising We will write a custom essay sample on Dubbing in France: 1920’s To Date specifically for you for only $16.05 $11/page Learn More Dubbing was also allowed on the condition that it was to take place in French territory, which was a move tailored to ensure that the dubbing process was healthy to the French economy while at the same time allowing local industry to flourish (William and Hughes 2001). This made the government to pass a decree on 29th July 1932 which allowed only films dubbed in France in the market (Walford 2007). Conclusion Dubbing was inevitable in France since culture and language had to protect. On the same note, importation of dubbed films contributed to the weakening of the local cinema industry hence affecting the economy as a whole. Invention of sound was not as advantageous as was expected by the local industry. The government of France therefore, needed to implement rules and decrees which could the process of dubbing health to the economy. Much still needed to be done other than the decrees and quotas, in boosting the local film industry which had lugged behind both technologically and financially. References Bergan, R. 2008. A History of Creative Sound in Film. The Guardian. Web. Danan, M. 1991. Dubbing as an Expression of N ationalism. Journal de Traducteurs Meta, xxxvi, 4, pp. 606-614. Web. Danan, M. 1994. From Nationalism to Globalization: France’s Challenges to Hollywood’s Hegemony, Michigan: Ann Arbor. Film Birth 2009. History of Cinema in France. Web.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More O’Brien, C. Stylistic Description as Historical Method: French Films of The German Occupation – Style In Cinema. Web. Remi, L., F. 2002. French Cinema: From it’s Beginnings to the Present, New York: Continuum. Web. Richard, A. 1984. French Cinema: The First Wave, 1915-1929, Princeton: Princeton University Press. Steer, M. 1995. A Brief History of Film Dubbing Part 1. Web. Szarkowska, A. 2005. The power of Film Translation. Translation Journal, 9(2) pp. 76. Web. Thompson, K. 1996. The End of the â€Å"Film Europe† Movement. History and Film Association of Australia. PP. Web. Walford, M. 2007. French Film and World War Two,  2007 Warwick: Blogs. Web. William, J. and Hughes, A. 2001. Gender and French Cinema. New York: Berg Publishers. This essay on Dubbing in France: 1920’s To Date was written and submitted by user Salvador Baxter to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Comparative Study Between Frank Lloyd Wright and Japanese Architecture Essay Example

Comparative Study Between Frank Lloyd Wright and Japanese Architecture Essay Example Comparative Study Between Frank Lloyd Wright and Japanese Architecture Paper Comparative Study Between Frank Lloyd Wright and Japanese Architecture Paper Architecture reflects mankinds artlstlc and engineering achievements. A bulldlng may merely be used to house people or property, but It represents the designs and structural marvels of that specific period. As we move from one architectural period to another, we find Individuals who have contributed greatly to their respective architectural periods and left their mark on the growing world of art and architecture. Frank Lloyd Wright is one such individual who has changed the way we look at homes and buildings today. He is considered by many as the greatest architect in American history. He as built pieces of architecture that is marvelled by artists and aspiring architects today. Americas premier architect, Frank Lloyd Wright was born in the Richland Center, Wisconsin on June 8, 1867. Anna Lloyd Jones Wright, his mother was the driving force that helped him become the architect that people remember today. She believed it was in his destiny to become an architect and her responsibility in helping him fulfil it. He attended college at the university of Wisconsin in 1884. He was determined to be an architect. Even though the university didnt offer architecture, he stayed there and attended engineering classes. This is where he got some architectural experience from doing construction on the college. Later in 1887 he worked for the firm of Adler and Sullivan. Wrights first constructions were homes. Frank mastered the art of making the house blend with its surroundings, as it were grown from the ground. He achieved this by adding objects on to the house, which made it fit its natural environment. Frank Lloyd Wright was greatly influenced by Japanese architecture. It was the Colombian Fair in 1873 where he was first introduced and became fascinated with Japanese culture. A Japanese Pavilion, Ho-o-den which was exhibited at the fair proved to be Instrumental In Wrights fascination of Japanese architecture, as It was the first time; he was able to explore Asia and Asian culture without physically having to travel there. Wright was a big collector of Japanese prints and textiles and the Influence of Japanese design and architecture made him visit Japan In February 1905. Austere methods of onstruction, lightweight materials and porous boundaries between Inside and outside are all hallmarks of traditional Japanese architecture. The western architects bullt houses and buildings that could withstand harsh forces of nature. They used strong and heavy materials which overpower nature and help them make the tall and monumental building we so admire today. The Japanese on the other hand, bullt with nature. They used wood as a building material which went in harmony with the surroundings and embraced nature. To this day we can still see some of Japans oldest buildings and temples standing in wood. In Western architecture we often see spires and other vertical features which signify Gods omnipotent power over all things. Japanese temples and shrines comprised the horizontal and were petit which were built to be part of nature rather than stand out like their western counterparts. Minimalist design was encouraged by architects of Japan. Contrary to the Western architects who have traditionally tried to make to make their buildings interesting to look at by adding unnecessary decorations and arranging modules of differing heights, Japanese architects focused on making their structures sublime and mysterious on a horizontal level. When it comes to Japanese architecture you start with one room and put a great amount of effort to get that right before moving on to the next room. Japans less popular and smaller buildings and temples caught Wrights attention. The horizontal layouts of Japanese buildings fascinated Wright, as it showed him the principles of simplicity, monumentality, and horizontality. These would become the building blocks of his architectural style. The foundations and framework of the Japanese buildings influenced Frank Lloyd Wright. The Japanese idea of buildings not being frozen in a specific time or place inspired Wright and was eflected in many of his works. This was different from the Western mentality towards preservation and reformation. The Westerners built a building that is defined by the specific historical moment from which it was produced. Wright saw the Japanese as not having the same sense of attachment, as they regarded a building being in a continuous state of change. Japanese believed that a building could be renovated and reconstructed a number of times and remain the same, only its phase changed. The greenery of Japan, as well as Japanese tea gardens influenced Wright during his trip to Japan. Wright He implemented this concept in his architectural designs where he aimed at creating a sense of continuity between the interior and exterior elements of a house and garden. He had an idea that nature like architecture could be simplified to its basic geometric elements of line and shape. (Riccardo Cardilli, 2010) Between the eighth and twelfth century, Japan was under the Heian Reign. During this time shinden-zukuri was a popular type of architecture. Its is a Japanese style of architecture independent of and Chinese inspirations. The layout comprised a central sleeping room known as shinden, three pavilions known as tai no ya with djoining verandas known as Wataridono, and two long corridors called Ro. This traditional Japanese style was depicted in many of Wrights architectural marvels. Frank Lloyd Wright was responsible for the start of Usonia Homes. These include a planned community in the Town of Mount Pleasant which is adjacent to the village of Pleasantville, New York. The entire layout and design of the homes were under Wrights responsibility. Three homes out of the forty seven that were part of the project were designed by Wright, while the rest were done by architects: Paul Schweikher, Theodore Dixon Bower, Ulrich Franzen, KaneJi Domoto, Aaron Resnick nd David Henken who was Wrights apprentice. Wright planned the layout of the neighbourhood in such a way that it would follow a circular pattern, which helped conserve majority of trees in the vicinity and encouraging the flow of the land. The homes were themed with Wrights organic philosophy of style. Usonia was the name given to the community in homage to Wright and his goal of the togetherness of Americans. The community characterised of narrow roads which gracefully twisted and chicaned, birds sitting on windowsills, antlers roaming and maple trees in abundance. Nature dominated the community as sixty percent was forest and eadow. The houses embraced nature and nestled into its surroundings, as naturally as the tresses and grass around it. Wrights more popular and grand homes appeared to have a variety of Japanese qualities. However, the Usonian home was where the true Japanese architectural philosophies could be found. The homes Oapanese and Usonian homes) which initially appear very different, in reality are very similar when it comes to conceptualization and implementation. These similarities are characterised by four features that make them relatives. First, the entryw ay stands out to enhance the experiential quality of the home. Secondly, the houses use nature as an ingredient to building, connecting the inside of the home to its surroundings. Thirdly, the basic structure of the two types of houses includes a fondness for open and contempt towards the common box shape of the house. Finally, aesthetic simplicity is a feature that can be seen in both houses. Within each category as well, the implementations of these concepts produce equivalent structural qualities in both the Usonian and Japanese house. (Alexandra Black, 2000) Frank Lloyd Wright house Zimmerman House Manchester URL: e-architect. co. uk/boston/new_england_buildings. htm Japanese ouses are popular for having a foyer at the entrance. This is where the visitors removed their shoes before entering the actual house. This helped in the transition from the outside to the inside of the house. We see in the Wright homes a foyer is also included. The foyer is mainly used to welcome the visitor and also serve as protection from the outside dust and other elements. It also helped in providing an enlarged effect that Wright was so famous for. As the visitor enters, the ceilings are raised which makes the actual space look open and grand. Both Wright and the Japanese believed that a house should embrace its surrounding. It should not be a division between the inhabitants and the surroundings but on the other hand entice them to feel the nature around them. experience it more deeply. The Usonian and Japanese homes achieved this by using nature as a decoration of the house and making it a vital contributor to the houses beauty. Gardens were popular among the houses and played an important role to bring harmony between the interior and exterior. The walls, windows, lighting, and materials also were used to reveal the beauty of nature. Living Area of an Usonian House and Japanese House and nature URL: http:// www. galenfrysinger. com/iowa_cedar_rock. tm URL: onelife]apan. com/tours/thatch_roof_volunteer. html Japanese houses had natural lighting and were commonly illuminated by candles. Wright could not stick to this concept in America for the Usonian homes. He managed to use lighting as subtly as possible. Large panels of open glass and windows were uses whenever possible. The fireplace also provided light and heat during evenings. After sunset, Wright used smaller, soft lighting sources that were placed within the houses structural lines. These light sources were hidden and intended to reflect off of the ceilings and walls to provide a subtle sunlight effect. Some might question Wrights direct connection with Japanese architectural elements. However, it is certain that he adopted Japanese theories to aid his architectural brilliance, which is seen clearly in the comparisons between the Usonian Houses and Japanese homes. The Usonian house symbolises a reincarnation of the Japanese home which is for a modern everyday human being. Whether the Japanese influence was intentional or not, Wright has shown through his works that traditional Japanese theories of architecture pertain to today demand and livelihood to provide a house that is organic and affordable. Pfeiffer, 1918) The world is growing and diverse cultures are being exposed to wider reaches of the globe. Traditional Japanese homes would be a myth in North America. However, the ideas that are instilled in Japanese homes and the Usonian houses of the 1900s have inspired simple, elegant, organic, inexpensive architecture today. An architect must not dwell on past building designs and, but to implement the principles that has been carried on from the past and provide the world with appropriate architectural products for the present. The Japanese were pioneers at this and so was Frank Lloyd Wright who inspires aspiring and xperienced architect of today to do the same.