Arte tradicional coreano y cine

Paquet, D. (2007). Arte tradicional coreano y cine. Nosferatu. Revista de cine. (55):59-66. http://hdl.handle.net/10251/41513.Importación Masiva59665

Jang Jin

Paquet, D. (2007). Jang Jin. Nosferatu. Revista de cine. (55):169-174. http://hdl.handle.net/10251/41526.Importación Masiva1691745

Translating for a Screen: Subtitling in the Age of Streaming

Presented online March 14, 2022, 7:00 p.m.-9:00 p.m.The sixth annual Global Media Festival, March 14-April 19, 2022, explores United Nations Sustainable Development Goal #16, which promotes human rights and the development of societies that are peaceful, fair, and inclusive. This series is sponsored and organized by the Georgia Institute of Technology (Georgia Tech) School of Modern Languages. Collaborators and Sponsors include: Georgia Tech's Library, School of Literature, Media, and Communication, Center for Serve-Learn-Sustain, Office of the Vice-Provost for International Initiatives and Global Change Program; Atlanta Global Studies Center, French Consulate of Atlanta, Japan Foundation, and Villa Albertine.Part of the 2022 Global Media Festival, this is a recording of an online roundtable on subtitling in the age of digital media.Runtime: 106:36 minutesAn online roundtable exploring how subtitling has changed in the era of Netflix. Discussions focused on the topic of translation and subtitling, and how streaming is changing this work. Featuring Darcy Paquet (subtitler for Parasite), Prof Kerim Yasar (USC) and Prof Irhe Sohn (Smith). Moderated by Keung Yoon Bae of the School of Modern Languages. Sponsored by the Japan Foundation and the School of Modern Languages.Japan Foundation Center for Global Partnership (CGP

Alternative viewership practices in Kyoto, Japan

Cinema attendance and domestic production is once more on the rise in East Asia. At the same time, Japanese cinema is enjoying a domestic boom. This chapter takes as a case study alternative viewership practices in the city of Kyoto from 2014 to 2017, where Shōwa era (1926–1989) classics were screened twice a day at the Kyōto Bunka Hakubutsukan (City Culture Museum), while just streets away younger audiences viewed art house and independent films at the Rissei “squatter cinema.” Combining ethnographic materials including interviews, questionnaires, and participant observation with analysis of venue spaces and programming, this chapter analyzes the attractions of alternative cinema spaces for viewers in Kyoto