Abstract
Using concepts from critical theory and critical psychology, this article investigates various methods involved in the film subtitling process. Concentrating on a particularly complex Iranian film, the article attempts to demonstrate the limitations of both structuralist and post-structuralist methods of translation. The ideological ramifications of nationalism in relation to film translation are critiqued from the perspective of discourse analysis. Finally, some subtitling concepts are proposed as a preliminary step towards a new approach to visual investigation.
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