Their common denominator is, as I shall illustrate, that they resonate with the multi-faceted iconography of exoticism. Lost in Translation: Exoticism in Early Modern Holland Claudia Swan Art History Research output: Chapter in Book/Report/Conference proceeding Chapter Overview APA . Good stuff. Zeischtrift fr Interdisziplinre Hungarologie. For example, the documentary realist aesthetics of the Iranian New Wave films, which Nichols uses as a case study in his essay, is far too austere to qualify as exotic. Much of contemporary world cinema is, in addition, also transnational in terms of its modes of global cultural production and funding. Loosely plotted around one of Disneylands hoariest theme-park rides (which, even after recent updates, still teems with faux savagery and denatured, Her affinity for combining chinoiserie, Moghul-style flowers, and Provenal accents surfaces subtly, giving the rooms a whiff of, Bhutan has often been ranked as one of the worlds happiest countries, and WeCroak seems to be trading on a casual, Puertas assemblages, with their fake tropical greenery, faux fur, lace, rhinestones and sexualized forms, represent the, There's no trace of her Asian background or even the, For decades, Bollywood movies, at least when they were released here, had an undeniable, The earliest pictures here, dating from the 19th century and taken of Indigenous North Americans by non-Native photographers, emphasize. It is precisely these perceived Oriental qualities [] that separate Chinese and Western audience preferences for Zhangs films and Gong Lis images (Reynaud cited in Lu, 1997: 126). But needless to say, the individual human decision will not be made to use exoticisms and be in the -1 to -2 range. 554581. Benedict, Ruth Most online reference entries and articles do not have page numbers. Introduction. (2000). Translated and edited by Yal, Rachel Schlick. They allow transnational audiences to domesticate the foreign by integrating it into the established aesthetic paradigm of exoticism, which has evolved over many centuries and has been made subservient to shifting ideological and political agendas. Discovering Form, Inferring Meaning: New Cinemas and the Film Festival Circuit. . The word exotic was first introduced into the English language in 1599, meaning alien, introduced from abroad, not indigenous. World Cinema and the Ethics of Realism. Previously, it was the role of China specialists to translate and introduce artistic works from China to the Western audience. endobj The fascinating story behind many people's favori Test your vocabulary with our 10-question quiz! Honolulu: University of Hawaii Press, pp. New Brunswick, N. J.: Rutgers University Press, pp. This is, however, not to say that all exotic films substitute glossy surfaces for deep meaning, thereby effectively compensating for the hermeneutic deficit that may arise when world cinema travels. VW left that word in its ad in English to emphasize that the car is German, and to give the reader (or listener) the notion of something unusual and exotic, to underline that the car is made in Germany, and thus has great engineering, etc. The most critically acclaimed examples of global art cinema demonstrate that an aesthetics of sensuous indulgence, which combines visual pleasure with haptic visuality, effectively compensates for the hermeneutic deficit that occurs when films are watched across borders. https://www.theguardian.com/film/2016/jan/21/the-assassin-review-captivatingly-hypnotic-if-impenetrable-wuxia-tale. This paper reassesses the working relationship between Jan van Vliet and Rembrandt in the context of printmaking practices in seventeenth-century Holland. The Hollywood Reporter. Lost in Translation: Exoticism in Early Modern Holland Claudia Swan Whilecontent andlanguageformacertain unityinthe original,like afruit andits skin,the languageofthe translationenvelopsits content likearoyal robe with amplefolds.For it signifiesamoreexalted languagethan itsown andthusremains unsuited to itscontent, overpowering andalien. Whether or not this kind of autoethnography is a deliberate strategy or an unconscious process is one of the questions that Rey Chow addresses in her study Primitive Passions on Fifth Generation Chinese cinema and Chinese visual culture more broadly. Taking our cue from Al-Najjar (1989), the paper shows that employing Arabicisation can be through (1) loanword in which traits of exoticism are observed in Arabic; (2) loanblend: a hybrid form of the translated item consisting of two parts, one belongs to the Source Language (SL) and another belongs to the Target Language (TL); (3) translation . The Family Romance of Orientalism: From Madame Butterfly to Indochine. The translations of exoticism from English to other languages presented in this section have been obtained through automatic statistical translation; where the essential translation unit is the word exoticism in English. Review Captivatingly Hypnotic, If Impenetrable, Vanishing Paradise: Art and Exoticism in Colonial Tahiti, Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema, Island Dreaming: The Contemplation of Polynesian Paradise, Realism of the Senses in World Cinema: The Experience of Physical Reality, Situating World Cinema as a Theoretical Problem, Remapping World Cinema: Identity, Culture and Politics in Film, Travelling Concepts: Postcolonial Approaches to Exoticism, Revisiting Exoticism: From Colonialism to Postcolonialism, Francophone Postcolonial Studies: A Critical Introduction, Global Art Cinema: New Theories and Histories, Offering Tales they Want to Hear: Transnational European Film Funding as Neo-Orientalism, The Postcolonial Exotic: Marketing the Margins, Third-World Literature in the Era of Multinational Capitalism, Transnational Chinese Cinemas: Identity, Nationhood, Gender, The Chinese Exotic: Modern Diasporic Femininity, Chinese Cinemas (18961996) and Transnational Film Studies, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, Realist Cinema as World Cinema: Non-Cinema, Intermedial Passages, Total Cinema, Ethnic Food Fetishism, Whiteness, and Nostalgia in Recent Film and Television, Discovering Form, Inferring Meaning: New Cinemas and the Film Festival Circuit, Cultural Translation, Cosmopolitanism and the Void, Imperial Eyes: Travel Writing and Transculturation, The Third Eye: Race, Cinema and Ethnographic Spectacle, Essay on Exoticism: An Aesthetics of Diversity, Defence of Exoticism: Rescuing the Literary Imagination, New Exoticisms: Changing Patterns in the Construction of Otherness, The Assassin: Cannes Review. Lost in Translation: Exoticism in Early Modern Holland Exoticism in translation refers to using words or phrases which sound exotic in the translated language, because they are of foreign origin. Fantasy, mans capacity to give to airy nothing a local habitation and a name, has long intrigued poets, playwrights, and painters, ANTHROPOLOGY AND ETHNOLOGY. a person, an institution, an animal, a plant etc.) Film Quarterly,47 (3), pp. In: Goethezeitportal [http://www.goethezeitportal.de/db/wiss/goethe/birus_weltliteratur.pdf]. It results in creative reconfigurations that occur when the state of boundedness is disturbed by the forces of mobility (Papastergiadis, 2011: 2). The chief attraction which both world literature and world cinema hold for their recipients is the promise of offering windows onto foreign worlds that are (imagined as) profoundly different from the West (cf. Exoticism demonstrates itself in colorful spectacles of otherness purporting to be an unmediated expression of natural drives and instincts. This article evaluates whether Lawrence Venuti's translation approach of "foreignisation" is likely to achieve his stated go al: translations that can resist cultural dominance. Monstrous Ethiopians? Racial Attitudes and Exoticism in the Old English Galt and Schoonover, 2010: 327. phil., Royal Holloway. Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. The exotic first emerged as a concept in Western history when European nations began to explore and appropriate far-flung parts of the world. Considering contemporary Chinese cinemas which, because of their regional dispersal across the Peoples Republic of China, Hong Kong, Taiwan and the Chinese diaspora, are widely regarded as a paradigmatic example of transnational cinema, Sheldon Hsiao-peng Lu (1997: 12) argues that, ironically, some films achieve transnational status precisely because they are seen as possessing an authentically national, Chinese, Oriental flavor by Western audiences. (ztszm) noun. The exotic also notably unleashes the sexual desires of repressed Westerners. Commenting on the films captivating beauty, film critic Roger Ebert (1992) notes: There is a sense in which Raise the Red Lantern exists solely for the eyes. Social Text, 15, pp. The Guardian, 21 January. I knew there was some discretion in translating and it was more of an art than a science, but I didnt realize how much discretion is involved. The Hollywood Reporter, Performing Exoticism, Autoethnography and Cultural Translation, http://www.goethezeitportal.de/db/wiss/goethe/birus_weltliteratur.pdf, https://www.theguardian.com/film/2016/jan/21/the-assassin-review-captivatingly-hypnotic-if-impenetrable-wuxia-tale, https://www.rogerebert.com/reviews/raise-the-red-lantern-1992, https://www.hollywoodreporter.com/review/assassin-cannes-review-797267, https://doi.org/10.1163/26659891-01020001. In most contemporary exotic films, visual pleasure is combined with haptic visuality (Marks, 2000), denoting a particular type of embodied perception that invokes memories of touch, with other forms of synaesthesia (the perception of one sensation by another modality) and intermodality (the linking of sensations from different domains) in order to reproduce the multi-sensory pleasure that has conventionally been associated with exoticism. Citation: Studies in World Cinema 1, 2 (2021) ; 10.1163/26659891-01020001. Insights and Discoveries, Amsterdam 2017, pp. 2. 4655. The Island of Borneo evokes a powerful exoticism. Enter the email address you signed up with and we'll email you a reset link. The study of world cinema is one of the most vibrant and fastest growing areas in film studies. London and New York: Routledge. Similarly, exoticism, though a prevalent interpretative model in the transnational reception of world cinema, competes with other ones, such as those which, indebted to Fredric Jamesons influential but controversial essay Third-World Literature in the Era of Multinational Capitalism (1986), conceive of world cinema in terms of national (or political) allegory. exoticism translations: . Halle, Randall (2010). Foreignisation and resistance: Lawrence Venuti and his critics (PDF) Language ideology and the presence of calques in Romanian Set in ninth-century China during the tail end of the Tang Dynasty, it tells the story of Nie Yinniang, a female assassin who is commissioned to kill a series of government officials. For a theorisation of global art cinema, cf. Meaning of exoticism. It adopts a cultural perspective that is firmly entrenched in the conventions and belief systems of Western civilization and therefore constructs the East as the archetypical location of otherness. One of course can try to balance that. The emphasis exoticism places on sumptuous images and visual splendour shifts the attention from the films deeper meaning (such as specific historical events, social conventions and interactions articulated in the narrative) to the surface which not only shines but glosses, which looks, stares, and speaks (Chow, 1995: 150).5 Nowhere is this shift from the semantic core to surface appearance more apparent than in the films of Zhang Yimou which literally burst with bold saturated colours, a hallmark of his voluptuous visual style that is also emphasised in the titles of his films Hong Gao Liang (Red Sorghum, Zhang Yimou, China, 1987) and Raise the Red Lantern, and carefully composed painterly tableaus that invite audiences to feast their eyes on opulent interiors as well as on the enchanting beauty of Gong Li, the poster girl of Fifth Generation Chinese films (Khoo, 2007: 1) and first actress in the post-Maoist period to gain global recognition. Goods ranging from treasured, unique objects to commodities traded in vast quantities always accumulate layers of meanings as they move through time and space. The Assassin vibrant colours and painterly image compositions convey sensual pleasure. Her transnational appeal rests primarily on her ability to signify Chineseness, femininity and mystery outside her own culture.
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