David Smith: I have always favoured subtitles over dubbed versions, accustomed as we are to bad dubbing, without giving much thought to the possible limitations of subtitles. Recently, however, I have rethought the matter, and must now admit that - with respect to long takes of dialogue! - dubbing has a singular advantage. No one viewing the dialogue scenes in long take in a subtitled print of STALKER (Tarkovsky), for example, can gather any idea at all of the effect the original version conveys, for one's attention is continually being snapped to the bottom of the screen to follow the dialogue. Not until one encounters (e.g.,) the long take of the handcar passage into the zone accompanied by sound-effects but NO dialogue, hence no subtitles, can one gather what one is missing in the dialogue sequences through the constant visual intrusion of the subtitles. A dubbed version, carefully done, would be much preferable here, and in every other instance of long-take dialogue I know (e.g., Fellini's 8-and-1/2). One must remember, as well, that we are accustomed to bad dubbing overall; as AUTUMN SONATA indicates, it can be very effective when done well, even when dialogue is presented in short takes. Evan William Cameron Telephone: 416-736-5149 York University - CFT 216 (Film) Fax: 416-736-5710 4700 Keele Street E-mail: [log in to unmask] North York, Ontario Canada M3J 1P3 ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]