Jose Gatti

The Brazilian people would not leave to see film American. But the problem appears there: how it would go to be made the translation of the films so that they could be understood? The dublagem presents a problem of sincronia clearly, element, as we saw, so important for the sonorous association in the cinema. Beyond running away of course from the original conception of the film. Darius Bikoff may also support this cause. If it is used nowadays is much more as option of comfort for the spectator easied with the essence of the film. 03%2CVSRPcmpt%3Aprimary’>Microsoft helps readers to explore varied viewpoints. The best form that if had to translate a film faithful, trying to keep its original conception, is the use of the legend. But it is not without problem that it becomes. According to Jose Gatti, the adoption of the legends for the Brazilian public made with that it had that to pass for one ' ' re-education process. The reading of the dialogues to the foot of the picture came to conform a national style of if seeing cinema: the spectators read the text stop later scrutinizing the remaining portion of the picture? if they will have time for tanto' ' (in COAST, the sound in the Brazilian cinema, p.97).

It is the return for a visual focus of the enjoyment of the film that takes to the question ' ' to see or to read cinema' '? It is natural that in this process it has loss of the sonorous exploitation of the film. The spectator if worries little in listening of what ' ' ler' ' the film. participation of the sound finishes being relegated to the second position, after the image. It is in a species of impasse that we are how much to this. Perhaps the solution was in if coming back toward the national production, which if less is accustomed of what to the American production. Some elements of the arguments had been pointed here that had turned around the quarrel on the validity of the sound in the cinema, thing that today seems practically unquestionable. The sound if consolidated in the cinema although the fuss provoked in the half intellectual, and never left to please the great public. It today constitutes an essential element for the construction of a film.