Distortion: The Problem of Dubbing in International Cinema–Part Three, A Kingdom of Isolation

A Kingdom of Isolation

Read Part One here.

Read Part Two here.

In June of 2007, television personality and former Québécois politician Mario Dumont took his children to see Shrek the Third, the third installment of the popular ogre-centric comedy films. He left the theater outraged. The version of Shrek that he saw had been dubbed in France and then imported to Quebec, something that rendered it incomprehensible to his and apparently many other children. The dub, it seemed, had been infected with Parisian slang and garbled by an unfamiliar accent, unpleasantly distinguishing it from the international French Quebecers have come to expect in films and television. At the center of a media frenzy, Dumont called for a radical solution. He proposed a bill that would “require all movies distributed in Quebec to be dubbed in Quebec, or not shown at all.”¹ This bill did not pass. Continue reading

Rumor: Spin-off Jimmy

Tired-looking women in sleek ponytails and dirty polo shirts wipe a speckled counter, elbows rigid and rags dry. The camera focuses on bright frosting in swirls—up close, constellation-like—Cinnabons spinning on silver trays. In the background, 1940’s-style swing music plays.

The whole scene runs in black-and-white, but it’s not a flashback. It’s a flash-forward, a glimpse of Saul’s fall and a reference to the Breaking Bad quip: “If I’m lucky, best case scenario, I’m managing a Cinnabon in Omaha.”

Continue reading

A Conversation with the Editors of Nat. Brut

ssue Five flip-through

Nat. Brut is an art and literary magazine run by Advocate alumni, including former design board member Kayla E. and president emeritus Tyler Richard. The launch event for their first print issue will take place Saturday, March 28 at 6pm at the Carpenter Center and will include a film screening as well as a panel on gender disparities in the arts. The following is a conversation with Kayla and Tyler. Continue reading

Distortion: The Problem of Dubbing in International Cinema – Part Two, Lost and Found in Translation

Lost and Found in Translation

Read Part One here.

Read Part Three here.

In this world, there are those who dub and those who sub. France, Spain, Germany, and Italy have historically been dubbing countries, replacing the audio of almost all foreign-language media, while smaller countries like those in Scandinavia have preferred subtitling in most cases. Globally, dubbing is most often used in films for small children, and as of late, in all blockbuster films. Continue reading

POSSESSION: A Conversation–Part Two


Read Part One here.

On February 28th, we brought you the first installment of a two-part conversation between features board members Indiana Seresin ’15, Faye Yan Zhang ’17, Caleb Lewis ’17, and Lily Scherlis ’18 and outgoing president, Julian Lucas ’15, centering around their nonfiction contributions to the POSSESSION issue. In part one, the group discussed Seresin’s “A Love Letter to My Stepmom” and Scherlis’ “Their Party.” In the abridged transcription below, the group discusses Zhang’s “Full Circle: (Exotic) Odysseys Through (Oriental) Rainforests on (Outlawed) Tour Buses,” Lewis’ “When the Mammy Sphinx Gawks Back at You!”. Continue reading

Oscar Murillo’s Best Work


[“coconut water”] Oscar Murillo, untitled, 2012.

Much critical ink has already been spilled over the Museum of Modern Art’s tepid exhibition The Forever Now: Contemporary Painting in an Atemporal World, and I won’t rehash those commentaries here. The highlight of the show, for me, was the chance to directly see the work of a prominent young artist who had previously existed – again, for me – only in the cyber-ether, the 28-year-old Colombian-British painter Oscar Murillo. Continue reading