Film Remakes

“The first film series
shot as a continuation in the history of cinema is the Sherlock Holmes
films shot shortly after the invention of cinema. This series, which
started with Sherlock Holmes I (Viggo Larsen, 1908), continued until
1910 with a total of 6 films produced by the same director. “Making a
sequel wasn’t something Hollywood used very often until the late 1970s.
With the development of popular culture, the number of applications for
sequels has gradually increased; With the Oscar for The Godfather, a
1972 Francis Ford Coppola movie, the sequel of this movie was also
encouraged” (Göral, 2003, p.105-106). There are many elements in the
concept of visual continuity and they are all interrelated. In films or
film series that are described as sequels, establishing a visual
integrity relationship between films comes to the fore. The concept of
the sequel appears in two ways. Sometimes, while the ideas are scripted,
the story is divided into more than one part. Sometimes the story is
planned as a single movie, and after a certain time, it can be realized
as a follow-up movie/films for different reasons. In both systems of
expression, it is necessary to seek harmony between all elements of
visual design. This research aims to include analyzes that examine
sequels, serials and trilogy on the axis of cinematography and
narration.

“The first film series
shot as a continuation in the history of cinema is the Sherlock Holmes
films shot shortly after the invention of cinema. This series, which
started with Sherlock Holmes I (Viggo Larsen, 1908), continued until
1910 with a total of 6 films produced by the same director. “Making a
sequel wasn’t something Hollywood used very often until the late 1970s.
With the development of popular culture, the number of applications for
sequels has gradually increased; With the Oscar for The Godfather, a
1972 Francis Ford Coppola movie, the sequel of this movie was also
encouraged” (Göral, 2003, p.105-106). There are many elements in the
concept of visual continuity and they are all interrelated. In films or
film series that are described as sequels, establishing a visual
integrity relationship between films comes to the fore. The concept of
the sequel appears in two ways. Sometimes, while the ideas are scripted,
the story is divided into more than one part. Sometimes the story is
planned as a single movie, and after a certain time, it can be realized
as a follow-up movie/films for different reasons. In both systems of
expression, it is necessary to seek harmony between all elements of
visual design. This research aims to include analyzes that examine
sequels, serials and trilogy on the axis of cinematography and
narration.

Chapter 4 by under title “Ecotranslation in Moroccan Ecodocumentary Interlingual and Intralingual Pitfalls” is written by Mohamed Mliless, Lamiae Azzouzi, Saif Aqachmar, and Driss Cherkaoui. According to the authors of this chapter, Environmental protection has become a central issue among scholars as they reflect on the sustainability of human societies, species, cultures, and languages. To assure the transfer, transmission, and interpretation of knowledge among cultures and communities, the role of translation is vital and primordial to make sure that every sign reveals its meaning when it is interpreted or further translated into another sign. Ecotranslation is a new paradigm in translation studies that takes an ecological approach to translation. Within this framework, the present chapter examines the eco-documentary entitled “الزرقاء المرجة انين : Whining of the Blue Lagoon” by Faouzi (2012) from the interlingual and the intralingual levels. Alternatively, the voiceover narrator interlingually translates scientists’ reports from French into standard Arabic, and he intralingually transfers laymen’s narratives from Moroccan Arabic into standard Arabic. The purpose is to study whether the double translation process has faithfully accounted for the transposition of French and Moroccan Arabic texts into Standard Arabic, the exclusive language of the documentary. For this aim, we examined the faithful representation of linguistic structures using Stibbe's (2021) notion of “erasure,” a process by which something important is completely excluded from a text, replaced by a distorted version of itself, or partially erased but a trace of it is still present. The results show that the translation process suffers from many pitfalls and inaccuracies. For instance, many deficiencies were detected as a set of scientific terms were erased, either totally or partially. Similarly, the findings revealed that the voiceover fails on many occasions to provide the linguistic counterparts of some of the items and structures that the laymen witnesses communicated in Moroccan Arabic. To cope with the translation pitfalls in both discourses, the study observed that the producer of the ecodocumentary, either intentionally or not, resorted to a technique we call “the articulation of narration and image on screen” to fill in the gap of translation. Finally, the study has many implications for ecodocumentary producers, governmental and non-governmental organizations, and future research to investigate other types of translation in eco-documentaries to demonstrate how man has harmed environmental resources.