Beauty

Beauty – be not caused – It Is –

Image result for emily dickinson beauty it is no caused
Beauty – be not caused – It Is –
Chase it, and it ceases –
Chase it not, and it abides –
Overtake the Creases

In the Meadow – when the Wind
Runs his fingers thro’ it –
Deity will see to it
That You never do it –

Non è causata – la bellezza – ma è –
Inseguila, ed essa cessa –
Non la insegui, e sta ferma –
Afferra pure le ondate

Nel campo – quando il vento
Vi passa le sue dita –
La divinità farà in modo che
Tu non ce la faccia –

Emily Dickinson

Annunci

Soak up the sun

Sheryl Crow
My friend the communist
Holds meetings in his RV
I can’t afford his gas
So I’m stuck here watching tv
I don’t have digital
I don’t have diddly squat
It’s not having what you want
It’s wanting what you’ve got
I’m gonna soak up the sun
I’m gonna tell everyone
To lighten up, I’m gonna tell ‘em that
I’ve got no one to blame
For every time I feel lame
I’m looking up
I’m gonna soak up the sun
I’m gonna soak up the sun
I’ve got a crummy job
It don’t pay near enough
To buy the things it takes
To win me some of your love
Every time I turn around
I’m looking up, you’re looking down
Maybe something’s wrong with you
That makes you act the way you do
I’m gonna soak up the sun
I’m gonna tell everyone
To lighten up, I’m gonna tell ‘em that
I’ve got no one to blame
For every time I feel lame
I’m looking up
I’m gonna soak up the sun
While it’s still free
I’m gonna soak up the sun
Before it goes out on me
Don’t have no master suite
But I’m still the king of me
You have a fancy ride, but baby
I’m the one who has the key
Every time I turn around
I’m looking up, you’re looking down
Maybe something’s wrong with you
That makes you act the way you do
Maybe I am crazy too
I’m gonna soak up the sun
I’m gonna tell everyone
To lighten up, I’m gonna tell ‘em that
I’ve got no one to blame
For every time I feel lame
I’m looking up
I’m gonna soak up the sun
Got my 45 on
So I can rock on

Birds

Two hearts, one valve
Pumpin’ the blood, we were the flood
We were the body and
Two lives, one life
Stickin’ it out, lettin’ you down
Makin’ it right
Seasons, they will change
Life will make you grow
Dreams will make you cry, cry, cry
Everything is temporary
Everything will slide
Love will never die, die, die
I know that ooh, birds fly in different directions
Ooh, I hope to see you again
Sunsets, sunrises
Livin’ the dream, watchin’ the leaves
Changin’ the seasons
Some nights I think of you
Relivin’ the past, wishin’ it’d last
Wishin’ and dreamin’
Seasons, they will change
Life will make you grow
Death can make you hard, hard, hard
Everything is temporary
Everything will slide
Love will never die, die, die
I know that ooh, birds fly in different directions
Ooh, I hope to see you again
Ooh, birds fly in every direction
Ooh, so fly high, so fly high
When the moon is lookin’ down
Shinin’ light upon your ground
I’m flyin’ up to let you see
That the shadow cast is me
I know that ooh, birds fly in different directions
Ooh, I hope to see you again
Ooh, birds fly in different directions
Ooh, so fly high, so fly high
Ooh, so fly high, so fly high
Ooh, so fly high, so fly high

English Vinglish

Risultati immagini per english vinglish

Indian screen legend Sridevi triumphs in a gentle, but affecting, story of a woman’s awakening self-respect.

Fans of Indian cinema need no introduction to Sridevi, the star of more than 200 movies: admired for her sparkling comic timing, dancing prowess and acting chops, “Sri” ruled the marquee from the mid-‘70s to the early ‘90s before settling down to raise two daughters with her husband, producer Boney Kapoor.

It took a very special project indeed to lure this very special talent back to the big screen, and English Vinglish is it.

Directed and written by Gauri Shinde, the film depicts the transformation of Shashi, a meek, put-upon Indian housewife who speaks only Hindi, into a confident citizen of the world, over the length of a four-week crash course in English.

The Eros release, which enjoyed acclaim (and according to reports, a standing ovation) at the Toronto International Film Festival, is up against strong competition from the satire Oh My God and India’s foreign language Oscar submission, Barfi!, but its universal message — conveyed with wit and heart — is persuasive enough to draw a sizable audience nevertheless. Indeed, a recent San Francisco Bay Area screening found the audience packed with families and young children, a heartening prospect given the film’s positive message encouraging diversity and tolerance.

STORY: India Chooses ‘Barfi!’ for Oscars Foreign-Language Entry

Shashi is a dedicated mother and gifted cook, the wife of a busy executive in the western Indian city of Pune. Her laddoos (a golden, sweet snack ball) earn raves and she even runs a small catering business, but her family treats her like a servant. Her teenaged daughter treats her with contempt, while the casually masked cruelty of her husband’s words (Adil Hussain) cut her to the core: “My wife was born to make laddoos!” he gloats.

When Shashi is called upon to fly to New York City — solo — to help her sister arrange a niece’s wedding, she is terrified (look for Amitabh Bachchan in a short, but memorable, scene onboard her flight). Once in New York, the Hindi-speaking Shashi is faced with ever-mounting humiliations, in a series of beautifully mounted, yet squirm-inducing scenes.

It is at this point that Shashi realizes that her lack of English skills is holding her back, and so when she spies an ad for an English class on a passing city bus, she decides to sneak out of her relatives’ house and navigate New York City’s subways and buses to get there.

Her fellow international students include a Pakistani cab driver, a South Indian engineer, a Mexican nanny and a smitten French man (Mehdi Nabbou), also a cook, who tastes her laddoos and tells her, “You are an artist.” Shashi retorts, “When a man cooks, it’s an art. When a woman cooks, it’s just her duty.”

It’s no surprise that by the end of the film, Shashi will conquer her fears, but the route Shinde takes to get her there is distinctively Shashi’s. The image of the newly confident Shashi striding down a Manhattan street, a takeout coffee in hand and a trench coat belted over her sari, will make you smile days after you leave the theater.

There is a growing body of work that shows Indian female characters flexing their muscles: Gurinder Chadha’s Bend It Like BeckhamDeepa Mehta’s Water; the late Jagmohan Mundhra’s Provoked: A True Story, starring Aishwarya Rai; and Amol Palekar’s Anaahat/Eternity, starring Sonali Bendre, spring to mind. And the work of Indian female filmmakers like Chadha, Mehta, Mira Nair and most recently Zoya Akhtar (Zindagi Na Milegi Dobara) is always worth a look.

With English Vinglish, female director Shinde — known for her documentaries and commercials — brings her own lifetime of experience into the picture. “It is my way of saying ‘Sorry’ and ‘Thank you’ to my mother, and a tribute to women,” Shinde writes in the film’s press notes.

Ultimately, what make English Vinglish memorable are the small, step-by-step choices Shashi makes to transforms herself. Yes, there’s grit there, but it’s tempered with compassion and dignity. The way the character has been crafted by Shinde, and interpreted by Sridevi, is gloriously feminine, and uniquely Indian.

Cast: Sridevi, Adil Hussain, Mehdi Nabbou, Priya Anand, Neelu Sodhi, Cory Hibbs, Sulabha Deshpande

Director: Gauri Shinde

Screenwriter: Gauri Shinde

Producers: R. Balki, Rakesh Jhunjhunwala, R.K. Mani, Anil Lulla

Director of photography: Laxman Utekar

Costume designer: Vera Chow

Production designer: Mustafa Stationwala

Sound designer: Resul Pookutty

Editor: Hemanti Sarkar

Music: Amit Trivedi

Lyrics: Swanand Kirkire

Not rated, 129 minutes 

Hollywood Reporter

Game of Thrones: il prequel è ufficiale, ecco tutte le informazioni

Dopo Game of Thrones, la storia dei Sette Regni si riavvolgerà. HBO ha annunciato ufficialmente che la serie avrà un prequel, ambientato migliaia di anni prima.

Daenerys Targaryen e Jon Snow in Game of Thrones 7

Il progetto che ha ricevuto semaforo verde è uno dei 4 script entrati in lavorazione a maggio 2017, per l’esattezza quello sviluppato da George R. R. Martin in collaborazione con Jane Goldman (Kick-Ass, Kingsman-Secret Service), e sarà ambientato migliaia di anni prima degli eventi narrati in Game of Thrones:

[La serie sarà la cronaca, n.d.r.] della discesa del mondo dall’Età degli Eroi alla sua ora più buia. E solo una cosa è certa: dagli spaventosi segreti della storia di Westeros alla vera origine degli Estranei, dai misteri del Continente Orientale agli Stark leggendari… non è la storia che pensiamo di conoscere.

Stando alle informazioni diffuse, Goldman sarà sceneggiatrice e showrunner del prequel, oltre che produttrice esecutiva insieme a Martin, al collega di GoT Vince Gerardis e al creatore di Bloodline Daniel Zelman. Invece, come annunciato in precedenza, David Benioff e DB Weiss non saranno coinvolti in alcun modo nel progetto.

Game of Thrones: il Trono di Spade
A quanto pare, HBO potrebbe mettere in produzione anche un altro degli script ordinati nei mesi scorsi (ai quali va aggiunto pure quello scritto a 4 mani da Martin e da Bryan Cogman), ma al momento il network non avrebbe fretta.

D’altra parte, in un’intervista rilasciata a Deadline a gennaio 2017, il presidente di HBO, Casey Bloys, aveva dichiarato che l’allora ipotetico prequel sarebbe arrivato in TV non prima del 2020, ovvero (almeno) un anno dopo l’ultima stagione di GoT, che sarà trasmessa nel 2019:

Voglio che la stagione finale di Game of Thrones sia la stagione finale di Game of Thrones. Non voglio usarla per lanciare qualcos’altro. Voglio che sia il finale della più grande serie TV di tutti i tempi. Non voglio fare nulla che violi questa sacralità.

Cosa aspettarsi dal prequel di GoT?

Le informazioni sul prequel di Game of Thrones sono davvero poche, ma la breve sinossi condivisa da HBO contiene alcuni riferimenti e indizi che permettono di ipotizzare qualche scenario.

Attenzione! Possibili spoiler!

Come osserva The Hollywood Reporter (THR), l’ambientazione nel periodo della “discesa del mondo dall’Età degli Eroi alla sua ora più buia” significa che con un buon margine di certezza verranno narrati i fatti relativi alla prima Lunga Notte e alla Battaglia dell’Alba. Inoltre, il riferimento alla “vera origine degli Estranei” fa supporre che il prequel indagherà in profondità la nascita del Re della Notte, aggiungendo nuovi dettagli alla rivelazione bomba contenuta nell’episodio 5 della stagione 6 (Il tempo è giunto, in inglese The Door), secondo la quale il primo Estraneo è stato creato dai Figli della Foresta per proteggersi dagli uomini.

Se così sarà, verrà finalmente svelato se il Re della Notte è uno Stark, come sostenuto da molte teorie che circolano in rete. D’altra parte, proprio per l’accenno agli “Stark leggendari”, è lecito aspettarsi che gli antenati di Arya e Sansa saranno ben presenti nel prequel. In particolare, è assai probabile che nella serie compaia il leggendario Brandon il Costruttore, fondatore di Casa Stark e colui che ha fatto erigere Grande Inverno e la Barriera. In tal senso, mentre la stagione 7 di GoT ha mostrato la caduta del possente muro, lo spin-off potrebbe fare vedere la sua realizzazione.

Game of Thrones: il Re della NotteHBO
Chi è il Re della Notte?

THR ipotizza anche la presenza nel prequel di Lann l’Astuto, ovvero uno scaltro imbroglione che ha sottratto con l’inganno Castel Granito ai Casterly, nonché progenitore dei Lannister. Invece, ritiene poco probabile che i Targaryen abbiano un ruolo di primo piano nella serie, dal momento che il fondatore della casata, Aegon il Conquistatore, ha riunito i Sette Regni sotto il suo dominio diventando il primo re del Continente Occidentale “solo” 300 anni prima dei fatti raccontati in Game of Thrones.

Però, il fatto che la sinossi parli dei “misteri del Continente Orientale” lascia aperta la strada a un possibile sguardo a Valyria. In realtà, la sede ancestrale dei Targaryen governata dai Signori dei Draghi è stata fondata migliaia di anni dopo la Lunga Notte ed è andata distrutta nel cataclisma conosciuto come Disastro di Valyria circa 100 anni prima della conquista da parte di Aegon del Continente Occidentale. Dunque, ha raggiunto il suo apice in un arco temporale che (in teoria) non dovrebbe essere quello dello spin-off. Ma per THR, il prequel potrebbe mostrare la “preistoria” della leggendaria città e, in tal caso, ritiene plausibile che possa introdurre in qualche modo anche i Targaryen (sulla storia dei quali è incentrato il nuovo libro di George R. R. Martin, Fire and Blood).

All’opposto, la collocazione della serie in un passato molto remoto, fa pensare (e sperare) che nel prequel possano trovare spazio anche alcune creature mitologiche come le sirene e il drago marino Nagga.

Game of Thrones: DrogonHDHBO
Daenerys e Drogon in battaglia

Tuttavia, è bene tenere presente che si tratta esclusivamente di speculazioni. E non solo. La frase “non è la storia che pensiamo di conoscere” riecheggia un monito che George R. R. Martin non si stanca mai di ripetere, ovvero che le leggende e le profezie di Game of Thrones vanno prese con le pinze.

Se lo spin-off mostrasse una verità e una realtà molto diverse da quelle tramandate fino all’epoca dei fatti di GoT e che sono considerate storia acquisita dai suoi protagoniste (e dai fan)?

Per saperlo, purtroppo, tocca aspettare fino al 2020. Almeno.

Fonte: Mondofox

“Hodor” and other audiovisual translation challenges

Game of words

Game of Thrones is, without any doubt, one of the most acclaimed series of the last decade. There are many reasons for this success: it is entertaining, it keeps up the tension and it is certainly not afraid to surprise with the most unexpected plot twists. Such is their fame, that the European Fan Communities just cannot wait for the dubbed version. Viewers around the world demand fast subtitle creation for the show’s new content. We are facing, therefore, a new era of audiovisual translation, an era in which immediacy is key.
Let’s talk about the translation of this type of product.

Game of Thrones season number 6 was not only a critical and box office success, but also a translation challenge. Episode 5, to the surprise of the vast majority, relates the origins of one of the most beloved characters in the saga: “Hodor”. This long-awaited flashback narrates the trauma experienced by this character when, trying to escape from murderous creatures, he suffers a nervous episode in which he premonitions his own death. From that moment on, his name becomes “Hodor”, a nickname resulting from the phrase he heard during that episode: “Hold the door! “.

The problem is clear: how to explain the similarity of the name “Hodor” with the phrase “Hold the door” in other languages? 

 

 

Some languages were lucky, as the phonetics of the name and translation were not as catastrophically different as they might have been:

 

German: “Halt das Tor!”… “Hodor”
Turkish: “Orada dur!” (“¡Quédate ahí!”)… “Hodor”

 

Other translators, however, had a harder time doing it. The Spanish version, for example, tried to persuade Spanish-speaking viewers that “!Sostén la puerta!” could lead to “Hodor.” Other Spanish translators decided to change the word “puerta” (“door”) for the word “portón” (“gate”)…. although it doesn’t seem to have worked very well either.
Italy and France did not do better. Here are their respective versions: “Trova un modo!” “(“Find a way!”) and “Pas au-dehors!” “(“not outside, referring to the creatures).

Of course, the failure of the dubbed or subtitled version of this scene does not diminish the work done by the translators, since it was an enormous challenge given their lack of information when translating the first seasons. Some suggested that the creator of the series, George R.R. Martin, should have warned about this twist during the first few seasons. This, however, poses several problems: the spoiler threat, so important to prevent in sagas like this, and the alienation of the creative process, among other things. The truth is, fixing certain serial aspects in season 1 can seriously affect the originality of the product.

Other countries, such as DenmarkSwedenNorway and Finland, opted for a literal translation and risked the viewer not understanding this particular detail.

Difficult jokes 😕

But not only epic dramas originate translation challenges.

Sometime around the 1990s, American comedy emerged and became mainstream world-wide. So far, so good. However, this comedy is characterized by its linguistic acidity, its word games, its double meanings… In short, the joke usually goes hand in hand with the word.
This is where the translator’s challenge becomes evident, as he or she must find the equivalent of hilarious situations, an hilarity based on cultural references not known in the target culture or on linguistic aspects not present in the target language.

Thus, the jokes of this kind of American series or films vary extremely from one language/culture to another.
Here is an example: “Bazinga!“, from “The Big Bang Theory“, becomes “¡zas en toda la boca!” (“whip in the mouth!”) in Spanish-speaking cultures. This translation is based on a generalised Spanish joke, already used in other television programmes such as “Family Guy“. The translators were able to find another cultural reference, present in the target audience… although given the length of the new phrase compared to the original joke (5 words versus 1), it is somewhat difficult to place in the dubbing.

 

 

Other series, such as “The Office” or “Parks and recreation“, also require quite extreme linguistic adaptations, given the use of alliterations and double meanings.
But let us explain this with an example.

In a scene from American comedy “This is the end“, one of the characters says: “Let’s address the elephant in the room“, an English expression that is used to refer to an obvious problem that no one is talking about, an evident truth that is ignored or goes unnoticed. The visual idea of the expression is that, as the phrase suggests, there is an elephant in the room and you should talk about it. Another character in the film, ignorant of that meaning and somewhat fat, thinks that by “elephant” he means him and takes offense, creating a very funny and radical situation.
Although the expression “elephant in the room” has been accepted and is used in some Spanish-speaking groups, many do not understand the meaning, for this reason, the translator of the Spanish version of the film must completely change the joke and find a new funny phrase that fits the performance and the context. Not an easy task.

 

Nowadays, in our society, almost everything has been invented. This includes audiovisual products. Thus, audiovisual creators NEED to create increasingly original content, which also means clever jokes and smart oratory. Due to this, audiovisual translators must be prepared and qualified.

 

Source: Eazylang