Heterolingüismo en las versiones multilingües del cine clásico: el caso de <em>Der blaue Engel</em>

Carmen Gómez Pérez

doi:10.24310/TRANS.2022.v26i1.12557

Authors

Carmen Gómez Pérez Universidad Complutense de Madrid Spain https://orcid.org/0000-0002-0136-8312

DOI:

https://doi.org/10.24310/TRANS.2022.v26i1.12557

Keywords:

heterolingualism, history of dubbing, multilingual versions, audiovisual translation

Abstract

The aim of this article is to study the audiovisual translation of the first sound film in German cinematography, Der blaue Engel (von Sternberg, 1930), in its English version, The Blue Angel, from a specific perspective in translation studies: heterolingualism. In this article, we are interested in observing Josef von Sternberg’s ability to adapt to the expansion of the modes of communication in the transition from silent films to talkies and also to fulfill the role of a translator of his own work. This is a privileged moment in film history, rich in creativity, in which we can see the great challenge of this project: to simultaneously shoot two versions of the same film, one in German and the other one in English, with the very same actors. In the process, and to be able to succeed in his creative vision for this film, Josef von Sternberg had to overcome the artistic, linguistic, and cultural problems inherent in the switching of languages and mode of communication.

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