Dubbing, subtitling and didactic practice
Edited By Claudia Buffagni and Beatrice Garzelli
The work focuses on audiovisual language, investigated in the linguistic and cultural dimensions and includes different genres: from election campaign commercials to short films, from animation films produced in the U.S. to Japanese anime, from classic musicals to television series, and finally European and extra European art-house films. Moreover, the volume assembles contributions concentrating both on the oral aspects dedicated to the study of the socio-cultural dimension (e.g. essays on diachronic and diastratic variations in Spanish films, also analysing specific dubbing problems) and on the written dimension represented by interlinguistic subtitles examined in their relationship with the original spoken text (e.g. German films).
IV – LEARNING LANGUAGES AT THE CINEMA: TRANSLATING IMAGES AND WORDS
ANTONELLA BENUCCI Language, culture and didactics of the Italian cinema 1. Why use cinema for the teaching of foreign and second languages The cinema is one of the most exported and appreciated Italian prod- ucts abroad, enough to constitute in itself one of the motivations for the study of our language. However, in studying for LS/L2, film should not be used instrumentally and uncritically as a pretext for doing anthropology. Among the benefits of its use, beyond that of its prestige abroad, is also the possibility to study its form of speech, and the Italian language through it, as well as the history of society and culture that produced it. Film is a familiar and malleable material which allows unlimited re-use and is an excellent tool for the presen- tation of cultural and linguistic models incorporated in ‘authentic’ communicative situations, to conduct a cross-cultural comparison and analysis of nonverbal behaviour. The educational objectives are, however, not only communicative (development of comprehension skills), intercultural and linguistic, given that film is suitable for self-learning and self-assessment activi- ties, building CLIL materials and interdisciplinary L2 courses, and for transcoding and translation activities, reading and translation of im- ages/words, in comparison to literature.1 There are obvious limits given its perishable character (though less than with other audiovisual materials), from the level of difficulty / ease of understanding in rela- 1 Cf. Pierangela Diadori and Paola Micheli, Cinema e didattica dell’italiano L2, Perugia: Guerra, 2010. Antonella Benucci 282 tion to that of L2/LS competence, to,...
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