A connected history of audiovisual translation

References

1. Anckarman, Tina K.
   2014 “Presentation Edderkoppene, Pan Si Dong.” InPan Si Dong 1927, edited byChina Film Archive. Beijing: Beijing World Publishing Cooperation.
   [Google Scholar]
2. Anonymous
   Anonymous 1897 “Tianhua chayuan guan waiyang xifa gui shu suojian [Review of foreign films I watched in Tianhua Tea Garden].” Youxi bao [Game Newspaper], August16 1897.
   [Google Scholar]
3. Anonymous
   Anonymous 1935 “Quanguo dianying shiye gai kuang [National Film Industry summary].” Mingxing [Star] (2): 17.
   [Google Scholar]
4. Anonymous
   Anonymous 1939 “Yiyifeng shiting ji [Account of watching a film while using an earphone].” Shenbao [Shanghai News], November5 1939.
   [Google Scholar]
5. Anonymous
   Anonymous 1947 “Ben shi jian xun [Brief news of Shanghai].” Shenbao [Shanghai News], October4 1947.
   [Google Scholar]
6. Barnier, Martin
   2002 En route vers le parlant. Histoire d’une évolution technologique, économique et esthétique (1926–1934). Doctoral dissertation defended in 1996. Liège: Editions du CEFAL.
7. Barnier, Martin
   2004 Des films français made in Hollywood. Les versions multiples 1919–1935. Paris: L’Harmattan.
   [Google Scholar]
8. Barnier, Martin
   2010 Bruits, cris, musiques de film : les projections avant 1914. Rennes: PU de Rennes. 10.4000/books.pur.1445
   https://doi.org/10.4000/books.pur.1445 [Google Scholar]
9. Barnier, Martin, and Raphaëlle Moine
   (eds) 2002 France/Hollywood. Echanges cinématographiques et identités nationales. Paris: L’Harmattan.
   [Google Scholar]
10. Ben-Ari, Nitsa
    2008 “Popular Mass Production and the Periphery: Socio-cultural Tendencies in Subversive Translation.” InBeyond Descriptive Translation Studies, edited byAnthony Pym, Miriam Shlesinger, and Daniel Simeoni, 1–18. Amsterdam and Philadelphia: John Benjamins Publishing. 10.1075/btl.75.02ben
    https://doi.org/10.1075/btl.75.02ben [Google Scholar]
11. Bilteryest, Daniel, and Philippe Meers
    2018 “Film, Cinema and Reception Studios. Revisiting Research on Audience’s Filmic and Cinematic Experiences.” InReceptions Studies and Audiovisual Translation, edited byElena Di Giovanni, and Yves Gambier, 21–41. 10.1075/btl.141.03bil
    https://doi.org/10.1075/btl.141.03bil [Google Scholar]
12. Boillat, Alain
    2007 Du bonimenteur à la voix-over. Voix-attraction et voix-narration au cinéma. Lausanne: Editions Antipode.
    [Google Scholar]
13. Bowser, Eileen
    1994 The Transformation of Cinema 1907–1915. Berkeley: University of California Press.
    [Google Scholar]
14. Bruti, Silvia
    2009 “Translating Compliments and Insults in the Pavia Corpus of Film Dialogue: Two Sides of the Same Coin?” InAnalysing Audiovisual Dialogue: Linguistic and Translational Insights, edited byMaria Freddi, and Maria Pavesi, 143–163. Bologna: CLUEB/Cooperativa Libraria Universitaria Editrice Bologna.
    [Google Scholar]
15. Castells, Manuel
    1996 The Rise of the Network Society. Vol. 1, The Information Age: Economy, Society and Culture. Cambridge: Blackwell.
    [Google Scholar]
16. Chomenstowski, Gabrielle
    2014 “Du cinéma muet au cinéma parlant. La politique des langues dans les films soviétiques.” Cahiers du monde russe55 (3): 295–320. 10.4000/monderusse.8008
    https://doi.org/10.4000/monderusse.8008 [Google Scholar]
17. Cornu, Jean-François
    2014 Le doublage et le sous-titrage. Histoire et esthétique. Rennes: PUR. 10.4000/books.pur.76511
    https://doi.org/10.4000/books.pur.76511 [Google Scholar]
18. Crafton, Donald
    1998 The Talkies: American Cinema’s Transition to Sound, 1926–1931. Vol. 4, History of American Cinema. New York: Charles Scribner’s Sons.
    [Google Scholar]
19. Cronin, Michael
    2003 Translation and Globalization. London: Routledge.
    [Google Scholar]
20. Cronin, Michael
    2008 Translation goes to Movies, London: Routledge.
    [Google Scholar]
21. Cronin, Michael
    2013 Translation in the Digital Age. London: Routledge.
    [Google Scholar]
22. Danan, Martine
    1991 “Dubbing as an Expression of Nationalism.” Meta36 (4): 606–614. 10.7202/002446ar
    https://doi.org/10.7202/002446ar [Google Scholar]
23. Danan, Martine
    1994 From Nationalism to Globalisation: France’s Challenges to Hollywood Hegemony. Unpublished Ph.D. Thesis, Michigan Technological University.
24. Danan, Martine
    1996 “A la recherche d’une stratégie internationale : Hollywood et le marché français des années 1930.” InLes transferts linguistiques dans les médias audiovisuels, edited byYves Gambier, 109–130. Lille: Presses universitaires du Septentrion.
    [Google Scholar]
25. D’hulst, Lieven
    2010 “Translation History.” InHandbook of Translation Studies, Vol. 1, edited byYves Gambier, and Luc Van Doorslaer, 397–405. Amsterdam and Philadelphia: John Benjamins Publishing. AccessedJuly 7, 2019. https://benjamins.com/online/hts. 10.1075/hts.1.tra5
    https://doi.org/10.1075/hts.1.tra5 [Google Scholar]
26. Doherty, Thomas
    1999 “This is Where We came in: The Audible Screen and the Voluble Audience of Early Sound Cinema.” InAmerican Movie Audiences: From the Turn of the Century to the Early Sound Era, edited byMelvyn Stokes, and Richard Maltby, 143–163. London: British Film Institute (BFI).
    [Google Scholar]
27. Doherty, Thomas
    2013 Hollywood and Hitler, 1933–1939. New York: Columbia University Press.
    [Google Scholar]
28. Dotoli, Giovanni
    1999 Riccioto Canudo ou le cinéma comme art. Fasano-Paris : Schena-Didier Erudition.
    [Google Scholar]
29. Ďurovičová, Nataša
    1992 “Translating America: The Hollywood Multilinguals 1929–1933.” InSound Theory, Sound Practice, edited byRick Altman, 138–153 (and notes on pp.261–266). London: Routledge.
    [Google Scholar]
30. Dym, Jeffrey
    2003 Benshi, Japanese Silent Film Narrators, and their Forgotten Narrative Art of Setsumei: A History of Japanese Silent Film Narration. Lewiston, N.Y.: Edwin Mellen Press.
    [Google Scholar]
31. Eyman, Scott
    1997 The Speed of Sound: Hollywood and the Talkie Revolution 1926–1930. New York: Simon & Schuster.
    [Google Scholar]
32. Freddi, Maria
    2009 “The Phraseology of Contemporary Filmic Speech: Formulaic Language and Translation.” InAnalysing Audiovisual Dialogue: Linguistic and Translational Insights, edited byMaria Freddi, and Maria Pavesi, 101–123. Bologna: CLUEB/Cooperativa Libraria Universitaria Editrice Bologna.
    [Google Scholar]
33. Freddi, Maria
    2013 “Constructing a Corpus of Translated Films: A Corpus View on Dubbing.” Perspectives21 (4): 491–503. 10.1080/0907676X.2013.831925
    https://doi.org/10.1080/0907676X.2013.831925 [Google Scholar]
34. Freddi, Maria, and Maria Pavesi
    2009 “The Pavia Corpus of Film Dialogue: Methodology and Research Rationale.” InAnalysing Audiovisual Dialogue: Linguistic and Translational Insights, edited byMaria Freddi, and Maria Pavesi, 95–100. Bologna: CLUEB/Cooperativa Libraria Universitaria Editrice Bologna.
    [Google Scholar]
35. Garreau, Laurent
    2009 Archives secrètes du cinéma français (1945–1975). Et Dieu…créa la censure. Paris: L’Harmattan. 10.3917/puf.garre.2009.01
    https://doi.org/10.3917/puf.garre.2009.01 [Google Scholar]
36. Geduld, Harry
    1975 The Birth of the Talkies, from Edison to Jolson. Bloomington: Indiana University Press.
    [Google Scholar]
37. Genette, Gérard
    1987 Seuils. Paris: Le Seuil.
    [Google Scholar]
38. Genette, Gérad
    1997 Paratexts: The Thresholds of Interpretation. Translated from French (1987) byJane Lewin, Cambridge: Cambridge University Press. 10.1017/CBO9780511549373
    https://doi.org/10.1017/CBO9780511549373 [Google Scholar]
39. Guan, Hongda
    1946 “Biu shi huaji ju” (Words that are not funny). Yingfei renjian te kan (A Special Issue of Songbird flies over the World). Shanghai: Zongdian Film Studio.
    [Google Scholar]
40. Guo, Youshou
    1937 Chinese Cinema in 1936 (廿五年国产电影), Special Issue ofChina Education Film Association, p.55.
    [Google Scholar]
41. Gutiérrez Lanza, Camino
    1999 Traducción y censura de textos cinematográficos en la España de Franco: doblaje y subtitulado inglés-español (1951–1975). Doctoral dissertation, University of León.
42. Gutiérrez Lanza, Camino
    2011a “Proteccionismo y censura durante la etapa franquista: cine nacional, cine traducido y control estatal.” InRabadán, Rosa (ed) 2000 Traducción y censura inglés-español: 1939–1985. Estudio preliminar, 23–60. León: Universidad de León, Secretariado de Publicaciones.
    [Google Scholar]
43. Gutiérrez Lanza, Camino
    2011b “Censors and Censorship Boards in Franco’s Spain (1950s–1960s): An Overview Based on the TRACE Cinema Catalogue.” InDimitris Asimakoulas and Margaret Rogers (eds). Translation and Opposition, 305–320. Clevedon: Multilingual Matters. 10.21832/9781847694324‑018
    https://doi.org/10.21832/9781847694324-018 [Google Scholar]
44. Hansen, Miriam
    1991 Babel and Babylon. Spectatorship and American Silent Film. Cambridge: Harvard University Press.
    [Google Scholar]
45. Heiss, Christine, and Marcello Soffritti
    2008 “Forlixt 1. The Forlì Corpus of Screen Translation: Exploring microstructures.” InDelia Chiaro, Christine Heiss, and Chiaria Bucaria (eds). Between Text and Image. Updating Research in Screen Translation, 51–62. Amsterdam and Philadelphia: John Benjamins Publishing. 10.1075/btl.78.07hei
    https://doi.org/10.1075/btl.78.07hei [Google Scholar]
46. Hervé, Frédéric
    2015 Censure et cinéma dans la France des Trente Glorieuses. Paris: L’Harmattan.
    [Google Scholar]
47. Higson, Andrew, and Richard Maltby
    (eds) 1999 ‘Film Europe’ and ‘Film America’: Cinema, Commerce and Cultural Exchange 1920–1939. Exeter: University of Exeter Press.
    [Google Scholar]
48. Hill, Annette
    2018 “Media Audiences and Reception Studies.” InDi Giovanni, Elena, and Yves Gambier (eds). Reception Studies and Audiovisual Translation, 3–19. Amsterdam and Philadelphia: John Benjamins. 10.1075/btl.141.02hil
    https://doi.org/10.1075/btl.141.02hil [Google Scholar]
49. Icart, Roger
    1988 La révolution du parlant vue par la presse française. Perpignan : Institut Jean Vigo.
    [Google Scholar]
50. Jin, Haina
    (ed) 2018 “The Translation Dissemination of Chinese cinemas.” Special issue ofJournal of Chinese Cinemas12 (3): 197–307. 10.1080/17508061.2018.1522805
    https://doi.org/10.1080/17508061.2018.1522805 [Google Scholar]
51. Kagansky, Nina
    1995 Titra Film, une chronique cinématographique et familiale. Self-publication.
    [Google Scholar]
52. Khoo, Olivia, and Sean Metzger
    (eds) 2009 Futures of Chinese Cinema: Technologies and Temporalities in Chinese Screen Cultures. Bristol: Intellect.
    [Google Scholar]
53. Kuo, Marie Claire
    2018 “Translation and Distribution of Chinese Films in France: A Personal Account.” Journal of Chinese Cinemas12 (3): 237–249. 10.1080/17508061.2018.1522804
    https://doi.org/10.1080/17508061.2018.1522804 [Google Scholar]
54. Lacasse, Germain
    1998 “Du cinéma oral au spectateur muet.” Cinémas9 (1): 43–62. 10.7202/024772ar
    https://doi.org/10.7202/024772ar [Google Scholar]
55. Lacasse, Germain
    2000 Le bonimenteur de vues animées. Le cinéma « muet » entre tradition et modernité. Québec/Paris: Nota Bene/Méridiens Klincksieck.
    [Google Scholar]
56. Lacasse, Germain
    2006 “The Lectures and the Attraction.” InThe Cinema of Attractions Reloaded, edited byWanda Strauven, 182–203. Amsterdam: Amsterdam University Press.
    [Google Scholar]
57. Lacasse, Germain
    2012 “The Film Lecturer.” InA Companion to Early Cinema, edited byAndré Gaudreault, Nicolas Dulac and Santiago Hidalgo, 487–497. Oxford: Wiley & Blackwell. 10.1002/9781118274453.ch25
    https://doi.org/10.1002/9781118274453.ch25 [Google Scholar]
58. Lanier, Jaron
    2013 Who owns the Future?New York: Simon & Schuster.
    [Google Scholar]
59. Laviosa, Sara
    2013 “Corpus Linguistics.” InThe Routledge Handbook in Translation Studies, edited byCarmen Millán and Francesca Bartrina, 228–240. London and New York: Routledge.
    [Google Scholar]
60. Law, Kar, Frank Bren and Sam Ho
    2004 Hong Kong Cinema: A Cross-cultural View. Lanham: Scarecrow Press.
    [Google Scholar]
61. Liang, Desuo
    1927 “ru, ba and ren” (The Differences Among Three Chinese Characters). The Movie Guide12, 45–46.
    [Google Scholar]
62. Littau, Karin
    2011 “First Steps Towards a Media History of Translation.” Translation Studies4 (3): 261–281. 10.1080/14781700.2011.589651
    https://doi.org/10.1080/14781700.2011.589651 [Google Scholar]
63. Liu, Dong
    2014 “‘Lost’ Films Return Home: Successful Cases of Repatriation.” Journal of Film Preservation91: 109–111.
    [Google Scholar]
64. Liu, Guangning
    2017 wo he yizhi peiyin de yishuyuan (My Artistic Connection with Dubbing). Beijing: Joint Publishing.
    [Google Scholar]
65. Maltby, Richard, and Melvyn Stokes
    (eds) 2004 Hollywood Abroad. Audiences and Cultural Exchange. London: British Film Institute.
    [Google Scholar]
66. Mazdon, Lucy
    2000 Encore Hollywood. Remaking French Cinema. London: British Film Institute.
    [Google Scholar]
67. McDonough Dolmaya, Julie
    2015 “A Place for Oral History within Translation Studies.” Target27 (2): 192–214. 10.1075/target.27.2.02mcd
    https://doi.org/10.1075/target.27.2.02mcd [Google Scholar]
68. Merkle, Denise
    2018 “History of Reception: Censorship.” InA History of Modern Translation Knowledge, edited byLieven D’hulst, and Yves Gambier, 225–230. Amsterdam and Philadelphia: John Benjamins Publishing. 10.1075/btl.142.28mer
    https://doi.org/10.1075/btl.142.28mer [Google Scholar]
69. Mereu Keating, Carla
    2016 The Politics of Dubbing. Film Censorship and State Intervention in the Translation of Foreign Cinema in Fascist Italy. Bern: Peter Lang.
    [Google Scholar]
70. Merino, Raquel, and Rosa Rabadán
    2002 “Censored Translations in Franco’s Spain. The TRACE project – Theatre and Fiction (English-Spanish).” TTR: traduction, terminologie, rédaction15 (2): 125–152. 10.7202/007481ar
    https://doi.org/10.7202/007481ar [Google Scholar]
71. Moine, Raphaëlle
    2007 Remakes. Les films français à Hollywood. Paris : Editions du CNRS. 10.4000/books.editionscnrs.683
    https://doi.org/10.4000/books.editionscnrs.683 [Google Scholar]
72. Montagne, Albert
    2007 Histoire juridique des interdits cinématographiques en France (1909–2001). Paris: L’Harmattan.
    [Google Scholar]
73. Munday, Jeremy
    2014 “Using Primary Sources to produce a Microhistory of Translation and Translators: Theoretical and Methodological Concerns.” The Translator20 (1): 64–80. 10.1080/13556509.2014.899094
    https://doi.org/10.1080/13556509.2014.899094 [Google Scholar]
74. Musser, Charles
    1994 The Emergence of Cinema. The American Screen to 1907. Berkeley: University of California Press.
    [Google Scholar]
75. Nornes, Abé Mark
    2007 Cinema Babel – Translating Global Cinema. Minneapolis: University of Minnesota Press.
    [Google Scholar]
76. Norwell-Smith, Geoffrey, and Stephen Ricci
    (eds) 1998 Hollywood and Europe. Economics, Culture and National Identity 1945–1995. Los Angeles and London: UCLA/British Film Institute.
    [Google Scholar]
77. O’Brien, Charles
    2005 Cinema’s Conversion to Sound: Technology and Film Style in France and the U.S. Bloomington: Indiana University Press.
    [Google Scholar]
78. O’Sullivan, Carol
    2011 Translating popular films. Basingstoke: Palgrave Macmillan. 10.1057/9780230317543
    https://doi.org/10.1057/9780230317543 [Google Scholar]
79. O’Sullivan, Carol
    2016 “Imagined spectators: The importance of policy for audiovisual translation research.” Target28 (2): 261–275. Reprinted inYves Gambier, and Sara Ramos Pinto (eds). Audiovisual Translation. Theoretical and Methodological Challenges, 79–93. Amsterdam and Philadelphia: John Benjamins Publishing.
    [Google Scholar]
80. O’Sullivan, Carol, and Jean-François Cornu
    2019a “History of audiovisual translation.” InLuis Pérez-González (ed) 2019 The Routledge Handbook of Audiovisual Translation, 15–30. London: Routledge.
    [Google Scholar]
81. O’Sullivan, Carol, and Jean-François Cornu
    (eds) 2019b The Translation of Films, 1900–1950. Oxford: Oxford University Press. 10.5871/bacad/9780197266434.001.0001
    https://doi.org/10.5871/bacad/9780197266434.001.0001 [Google Scholar]
82. Patterson, Richard C., Jr.
    1927 “The Cinema in China.” China Weekly Review. March12 1927.
    [Google Scholar]
83. Pavesi, Maria
    2005 La traduzione filmica. Aspetti del parlato doppiato dall’inglese all’italiano. Rome: Carocci.
    [Google Scholar]
84. Pavesi, Maria
    2009a “Dubbing English into Italian: A Closer Look at the Translation of Spoken Language.” InNew Trends in Audiovisual Translation, edited byJorge Diáz-Cintas, 197–209. Bristol: Multilingual Matters. 10.21832/9781847691552‑016
    https://doi.org/10.21832/9781847691552-016 [Google Scholar]
85. Pavesi, Maria
    2009b “Referring to Third Persons in Dubbing: Is There a Role for Source Language Transfer?” InAnalysing Audiovisual Dialogue: Linguistic and Translational Insights, edited byMaria Freddi, and Maria Pavesi, 125–141. Bologna: CLUEB/Cooperativa Libraria Universitaria Editrice Bologna.
    [Google Scholar]
86. Pozner, Valérie
    2004 “Le bonimenteur ‘rouge’. Retour sur la question de l’oralité à propos du cas soviétique.” Cinémas14 (2–3): 143–178. 10.7202/026007ar
    https://doi.org/10.7202/026007ar [Google Scholar]
87. Pym, Anthony
    2016 “Translation Scholars.” Available on YouTube as a playlist. Accessed onJuly 7, 2019. www.youtube.com/playlist?list=PL5DB4C984336E8BE7
    [Google Scholar]
88. Rabadán, Rosa
    (ed) 2000 Traducción y censura inglés-español: 1939–1985. Estudio preliminar. León: Universidad de León, Secretariado de Publicaciones.
    [Google Scholar]
89. Razlogova, Elena
    2014 “Listening to the Inaudible Foreign: Simultaneous Translators and Soviet Experience of Foreign Cinema.” InSound, Music, Speech in Soviet and Post-Soviet Cinema, edited byLilya Kaganovsky, and Masha Slazkina, 162–178. Bloomington: Indiana University Press.
    [Google Scholar]
90. Rittaud-Hutinet, Jacques
    1985 Le cinéma des origines. Les frères Lumière et leurs opérateurs. Seyssel: Champ Vallon.
    [Google Scholar]
91. Romero-Fresco, Pablo
    2006 “The Spanish Dubbese: A Case of (Un)idiomatic Friends.” The Journal of Specialised Translation6: 134–152. Accessed onJuly 7, 2019. https://www.jostrans.org/issue06/art_romero_fresco.pdf
    [Google Scholar]
92. Romero-Fresco, Pablo
    2009 “Naturalness in the Spanish Dubbing Language: A Case of Not-so Close Friends.” Meta54 (1): 49–72. 10.7202/029793ar
    https://doi.org/10.7202/029793ar [Google Scholar]
93. Rossholm, Anna Sofia
    2006 “Reproducing Languages, Translating Bodies. Approaches to Speech, Translation and Cultural Identity in Early European Sound Film.” Ph.D. dissertation based on a selection of French, German and Swedish fiction films and press material from the 1929–1933 approximately. Stockholm University. Accessed onJuly 7, 2019. https://pdfs.semanticscholar.org/ed86/a543679aa3e9204327a605a01ac22d481436.pdf
94. Salway, Andrew
    2007 “A Corpus-based Analysis of Audio-description.” InMedia for All. Subtitling for the Deaf, Audio-description and Sign Language, edited byJorge Diáz Cintas, Pilar Orero, and Aline Remael, 151–174. Amsterdam: Rodopi.
    [Google Scholar]
95. Slide, Anthony
    1978 Aspects of American film industry prior to 1920. Metuchen, N.J.: Scarecrow Press.
    [Google Scholar]
96. Su, Xiu
    2014 wo de peiyin shengya (My Life As a Dubbing Actress). Shanghai: Shanghai Translation Publishing House.
    [Google Scholar]
97. Takeda, Kayoto
    2010 Interpreting the Tokyo War Crimes Tribunal: A Socio-political Analysis. Ottawa: University of Ottawa Press. Based on her Ph.D. thesis submitted in 2007 in Tarragona. 10.1075/bct.26.03tak
    https://doi.org/10.1075/bct.26.03tak
98. Thomson, Kristin
    1985 Exporting Entertainment: America in the World Film Market, 1907–1934. London: British Film Institute.
    [Google Scholar]
99. Torikai, Kumiko
    2009 Voices of the Invisible Presence. Diplomatic Interpreters in post-World War II Japan. Amsterdam and Philadelphia: John Benjamins Publishing. 10.1075/btl.83
    https://doi.org/10.1075/btl.83 [Google Scholar]
100. Treveri Gennari, Daniela, and John Sedgwick
     2015 “Memories in Context: The Social and Economic Function of Cinema in 1950s Rome.” Film History: An International Journal27 (2): 76–104. 10.2979/filmhistory.27.2.76
     https://doi.org/10.2979/filmhistory.27.2.76 [Google Scholar]
101. Trumpbour, John
     2002 Selling Hollywood to the World: US and European Struggles for Mastery of the Global Film Industry 1920–1950. Cambridge: Cambridge University Press.
     [Google Scholar]
102. Valdeón, Roberto
     2018 “Comparative History.” InA History of Modern Translation Knowledge, edited byLieven D’hulst, and Yves Gambier, 255–260. Amsterdam and Philadelphia: John Benjamins Publishing. 10.1075/btl.142.33val
     https://doi.org/10.1075/btl.142.33val [Google Scholar]
103. Valentini, Cristina
     2008 “Forlixt 1. The Forlì Corpus of Screen Translation: Exploring Macrostructures.” InBetween Text and Image. Updating Research in Screen Translation, edited byDelia Chiaro, Christine Heiss and Chiara Bucaria, 37–50. Amsterdam and Philadelphia: John Benjamins Publishing. 10.1075/btl.78.06val
     https://doi.org/10.1075/btl.78.06val [Google Scholar]
104. Vasey, Ruth
     1997 The World according to Hollywood, 1918–1939. Wisconsin: University of Wisconsin Press.
     [Google Scholar]
105. Verevis, Constantine
     2005 Film Remakes. Edinburgh: Edinburgh University Press. 10.1007/978‑1‑137‑08168‑1
     https://doi.org/10.1007/978-1-137-08168-1 [Google Scholar]
106. Vezyroglou, Dimitri
     (ed) 2014 Le cinéma, une affaire d’Etat, 1945–1970. Paris: L’Harmattan.
     [Google Scholar]
107. Wakabayashi, Judy
     2018a “Microhistory.” InA History of Modern Translation Knowledge, edited byLieven D’hulst, and Yves Gambier, 251–254. Amsterdam and Philadelphia: John Benjamins Publishing. 10.1075/btl.142.32wak
     https://doi.org/10.1075/btl.142.32wak [Google Scholar]
108. Wakabayashi, Judy
     2018b “Connected History and histoire croisée.” InA History of Modern Translation Knowledge, edited byLieven D’hulst, and Yves Gambier, 261–265. Amsterdam and Philadelphia: John Benjamins Publishing. 10.1075/btl.142.34wak
     https://doi.org/10.1075/btl.142.34wak [Google Scholar]
109. Wahl, Chris
     2009 Sprachversionsfilm aus Babelsberg. Die internationale Strategie der Ufa 1929–1939. Munich: Edition Text + Kritik im Richard Boorberg Verlag.
     [Google Scholar]
110. Wahl, Chris
     2016 Multiple Language Versions made in Babelsberg: UFA’s International. Strategy 1929–1939. Amsterdam: Amsterdam University Press. Shortened and revised edition of the German original (2009), translated bySteve Wilder.
     [Google Scholar]
111. Walker, Alexander
     (1978) 1986 The Shattered Silents: How the Talkies came to stay. London/Paris: Harrap.
     [Google Scholar]
112. Youngblood, Denise
     1980 Soviet Cinema in the Silent Era, 1918–1935. Ann Arbor, Michigan: UMI Press.
     [Google Scholar]
113. Yow, Valerie Raleigh
     2015 Recording Oral History: A Guide for the Humanities and Social Sciences. 3rd edition. Lanham, Maryland: Rowman & Littlefield.
     [Google Scholar]
114. Zanotti, Serenella
     2018 “Historical Approaches to AVT reception.” InReception Studies and Audiovisual Translation, edited byElena Di Giovanni, and Yves Gambier, 133–156. Amsterdam and Philadelphia: John Benjamins. 10.1075/btl.141.08zan
     https://doi.org/10.1075/btl.141.08zan [Google Scholar]
115. Zhirafar, Ahmad
     2014a A Comprehensive History of Dubbing into Persian in Iran, 1941–1971 (vol.1). Tehran: Kule Poshti Press.
     [Google Scholar]
116. Zhirafar, Ahmad
     2014b A Comprehensive History of Dubbing into Persian in Iran, 1971–2013 (vol.2). Tehran: Kule Poshti Press.
     [Google Scholar]
117. Zuckerman, Ethan
     2013 Rewire. Digital Cosmopolitans in the Age of Connection. New York/London: Norton & Company.
     [Google Scholar]