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Thomas Smith

Gone With The Wind Subtitles English



Languages Available in: The download links above has Gone with the Windsubtitles in Arabic, Bengali, Brazillian Portuguese, Bulgarian, Chinese Bg Code, Czech, Danish, Dutch, English, Estonian, Farsi Persian, Finnish, French, German, Greek, Hungarian, Indonesian, Italian, Korean, Latvian, Lithuanian, Malay, Norwegian, Polish, Romanian, Serbian, Slovenian, Spanish, Swedish, Thai, Turkish, Ukranian, Vietnamese Languages.




Gone with the Wind subtitles English



We are working on completing the channel for the Chinese drama Gone with the Wind.The drama has been subbed but some episodes are still not complete to 100% Most Episodes are at least 80% with most in the 90% range. We need someone who would be willing to fill in the missing subtitles so we can get this finished. Any help would be greatly appreciated. Please PM me if you are willing to help out.


The film, however, is not without faults. Some of the acting is overly stylized, and the movie's melodrama becomes excessive during the final half-hour, as Sidney Howard's Oscar-winning screenplay struggles to pack in a flurry of tragic plot developments. And it's not without controversy either. In its portrayal of slaves, 'Gone With the Wind' does perpetuate negative stereotypes, and some of the exchanges and characterizations on screen can be uncomfortable to watch. But before we cast too many aspersions, we must remember this is a film made in 1939 that depicts events in the 1860s and '70s, and the perspective of society in both of those bygone eras was, unfortunately, much different and far less enlightened than it is today. Like many Hollywood films from the '30s and '40s, we must view 'Gone With the Wind' as a film of its time (and, in this case, told from a firmly entrenched Southern point of view) and not judge it on how it fits or doesn't fit into the context of our current generation. Slavery will always be a hot-button, deeply emotional issue, and our opinion of 'Gone With the Wind' shouldn't be irrevocably slanted by how the film treats this shameful episode in our nation's history.


The film had its first preview on 9 September 1939 at the Fox Theatre in Riverside, California. In attendance were David O. Selznick, his wife Irene Mayer Selznick, investor John Hay Whitney and editor Hal C. Kern. Kern called for the manager and explained that his theater had been chosen for the first public screening of this film, although the identity of the film was to remain undisclosed to the audience until the very moment it began. People were permitted to leave only if they didn't want to hang around for a film that they didn't know the name of, but after they'd gone the theater was to be sealed with no re-admissions and no phone calls. The manager was reluctant but eventually agreed. His one request was to call his wife to come to the theater immediately, although he was forbidden to tell her what film she was about to see. Indeed, Kern stood by him while he made his phone call to ensure he maintained the secret. When the film began, the audience started yelling with excitement. They had been reading about this film for nearly two years, so were naturally thrilled to see it for themselves.


The scene where Scarlett makes a dress out of a curtain later was later spoofed on The Carol Burnett Show (1967) in what became one of the most memorable comedy bits in TV history. Carol Burnett as "Starlet" O'Hara wears the curtains with the rod still in them. Harvey Korman as "Rat" Butler says, "Starlet, that gown is lovely", to which she responds,: "Thank you. I just saw it in the window and couldn't resist it!" The sketch was called "Went With the Wind," with Dinah Shore as Melody (a parody of Melanie Hamilton), Vicki Lawrence as Sissy (a parody of Prissy), and Tim Conway as Brashly (a parody of Ashley Wilkes).


The title comes from a Dowson transaltion of an Ancient Greek poem: "Dowson had been educated in France, and he was a translator of Verlaine. This week's poem, "Non sum qualis eram bonae sub regno Cynarae", owes some of its dreamy music to the 12-syllable French line, the Alexandrine, which dominates the beginning of each stanza, and carries the poem's story, such as it is. " Dowson's famous line of translation was the following: "I have forgot much, Cynara! gone with the wind." The narrator in this poem; Horace; is obsessed with a woman named Cynara; and this is a line reflecting on the loss of that love; gone with the wind. Mitchell was a fan of this line and used it for her famous book; and the rest is history.


Prologue: "There was a land of Cavaliers and Cotton Fields called the Old South...Here in this pretty world Gallantry took its last bow.....Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave...Look for it only in books, for it is no more than a dream remembered." "A Civilization gone with the wind..."


Costner developed the film with an initial budget of $15 million.[3] Much of the dialogue is spoken in Lakota with English subtitles. It was shot from July to November 1989 in South Dakota and Wyoming, and translated by Doris Leader Charge,[4] of the Lakota Studies department at Sinte Gleska University.


Brazilian culture is heavily influenced by American mass media, and for this reason many translation professionals have to deal with American English on a daily basis. However, until now no study has been carried out to verify how American dialects are dealt with by these professionals. Thus, the objective of this article is to report the findings of a study that verified how Southern American English is being translated in Brazil, particularly in motion picture subtitles. Based on the analysis of subtitles of three motion pictures, this article presents the norms currently guiding the translation of this dialect in Brazil, using the concept of norms as presented by Gideon Toury.


Considering all the aspects mentioned above, the aim of this article is to present a study developed to understand how SAE is currently being translated into Brazilian Portuguese movie subtitles. The general idea is to discuss what Brazilian translators have been doing when facing this form of English speech in their professional path. Have they been using Brazilian dialects in the translation? How are they differentiating SAE from standard American English? What solutions have these professionals been finding to deal with this phenomenon? This article presents the results of a study carried out to debate and find some answers for these questions.


Data collection was carried out using three tables, one for each movie analyzed. The tables had five columns: the first one presented the possible instance of SAE in bold, within its immediate context; the second one showed the official translation used in the Brazilian Portuguese subtitles of the movie; the third column presented a translation of the same instance made by the author of this article, previous to access to the official translations, in order to avoid any influence from them in the translation choices adopted; in the fourth column there was a definition of the SAEinstance obtained from dictionaries and/or encyclopedias produced by well-known SAE or general English language scholars, like the New Encyclopedia of Southern Culture and the Dictionary of American Regional English, among other sources; and the last column presented the same instance found in well known southern literary works. Those instances of SAE for which no bibliographical support could be found were excluded from the study. Below is an example of the table used for data collection and analysis (Table 1).


It is important to point out that the translators of the official subtitles could not be contacted due to confidentiality policies of the distributors in Brazil, which did not allow them to disclose the names and contact information of the translators involved. Because of this, it was not possible to contact these professionals to obtain information on their familiarity with SAE, their difficulties during the translation, and other aspects that could have contributed to the analysis. In the case of the author of this study, the difficulties presented by the instances used in the analysis were mitigated by some knowledge of southern dialect obtained during a period of residence in the American south.


The only solution presented by this author, and, with less frequency, by the translators of the official subtitles, was the use of colloquial Portuguese in the translations to express at least this one characteristic of the dialect. This attempt led to the second translation norm noticed.


Subtitles can appear in a variety of styles, but often appear as white or yellow text outlined in black, or with a black dropshadow. It is also common for subtitles to mimic the appearance of captions. Placement varies, but is often centered at the bottom of the screen for readability and ease in translation. When graphics or text appear in the lower third of the video, subtitles are typically placed just above the graphic/text. Subtitles can sometimes be customized by viewers, depending on where media is being viewed.


Storm surge is water from the ocean that is pushed toward the shore by the force of the winds swirling around the hurricane. This advancing surge combines with the normal tides and can increase the water level by 30 feet or more.


An introduction to Hungarian society and culture since the end of World War II through a selection of film classics. Films with English subtitles. Readings and discussions in English. Previously offered as HUNG 280. 041b061a72


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