All quiet on the filmic front? Codeswitching and the representation of multilingual Europe in La Grande Illusion (Jean Renoir, 1937) and Joyeux Noël (Christian Carion, 2005)
Codeswitching, defined linguistically as ‘the use of more than one language in the course of a single communicative episode’, is usually studied in the context of real situations. This article contends that any study of codeswitching in film must take into account not merely realism but the context...
| Publicado en: | Journal of Romance Studies Vol. 10; no. 2; pp. 37 - 53 |
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| Formato: | Artículo |
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Berghahn Books
Summer 2010
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=511523255&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 511523255 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 14733536 RI3 jtl: Journal of Romance Studies issn: 14733536 maglogo: N pubinfo: dt: Summer 2010 vid: 10 iid: 2 pid: 1130 pub: Berghahn Books artinfo: ui: 511523255 10.3167/jrs.2010.100203 ppf: 37 ppct: 16 formats: fmt: @attributes: type: P size: 583KB tig: atl: All quiet on the filmic front? Codeswitching and the representation of multilingual Europe in La Grande Illusion (Jean Renoir, 1937) and Joyeux Noël (Christian Carion, 2005) aug: au: Smith, Alison su: Joyeux Noël (Film) La Grande Illusion (Film) Code switching (Linguistics) Language & languages in motion pictures sug: subj: Code switching (Linguistics) Language & languages in motion pictures Joyeux Noël (Film) La Grande Illusion (Film) ab: Codeswitching, defined linguistically as ‘the use of more than one language in the course of a single communicative episode’, is usually studied in the context of real situations. This article contends that any study of codeswitching in film must take into account not merely realism but the context in which the film is made. Multilingual films use codeswitching as a dynamic strategy both to advance the plot and to negotiate a position in relation to their audience and production context. The article will offer a detailed comparative analysis of two polyglot French films closely comparable in terms of narrative context and explicit agenda — Jean Renoir's La Grande Illusion (1937) and Christian Carion's Joyeux Noël (2005) — in order to suggest changing patterns of filmic perception and reception of the linguistic language of Europe. Reprinted by permission of the publisher. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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