One place to look in the silent era is in international productions in Germany, particularly through the "Parufamet" partnership of Paramount, UFA, and MGM. Translation of title cards would have been the least of the problems faced by these films, such as METROPOLIS. See the review of the METROPOLIS dvd at: http://www.dvdscan.com/silent1.htm There are a number of good film history print sources about this particular arrangement. Don Larsson -------------------------------------------- "Only connect." --EM Forster Donald F. Larsson English Department Armstrong Hall 230 Minnesota State University Mankato, MN [log in to unmask] Phone: 507-389-5501 -----Original Message----- From: Film and TV Studies Discussion List [mailto:[log in to unmask]] On Behalf Of Mark Nornes Sent: Thursday, July 08, 2004 1:05 AM To: [log in to unmask] Subject: Co-productions history I am writing a little on Tora Tora Tora, using it as an example for some of the translation problems faced by international co-productions. Going through the files of the producer, Elmo Williams, I've been surprised at how ad hoc their approach to translation issues was. This got me thinking. Did Hollywood have much experience with co-productions before this, and particularly at this scale? There were all the talkie era MLVs, but what about international co-productions. I'm not sure. I suppose Welles and Eisenstein in Latin America come to mind. Who else? Markus ---- Screen-L is sponsored by the Telecommunication & Film Dept., the University of Alabama: http://www.tcf.ua.edu ---- Screen-L is sponsored by the Telecommunication & Film Dept., the University of Alabama: http://www.tcf.ua.edu