Subtitle Nineteen Eighty-Four
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subtitle Nineteen Eighty-Four
I'm a Brazilian graphic/motion designer and I made this video for college in 2005 with friend: a short movie about 1984 with sock puppets. I took some time to translate and making the subtitles it but finally is done. At the last months on a Media class in college, Felipe Kaizer and I, like the other students, were asked to do a small video. When we were discussing the subject, I was at that time enthusiastic about puppets, suggested, as a joke, a puppet film based on George Orwell's 1984. Kaizer took the idea very seriously, because somehow the mean to show that history sounded appropriate; as puppets were associated to children's play they could turn into a disguised and powerful way to present terror, becoming a 'bait' for those who thought they were just going to laugh and have fun. Puppets may remind us about that immemorial time when inanimated objects became sacred and alive, as gods in ancient cultures, inspiring us terror as they reveal a distorted human behavior (a caricature, owner of a magic and almost inhuman voice), or remind us someone who refuses to die. Curiously some televisions ads at that time were also using puppets to sell a variety of products.
The original title was Animal Farm: A Fairy Story, but US publishers dropped the subtitle when it was published in 1946, and only one of the translations during Orwell's lifetime, the Telugu version, kept it. Other titular variations include subtitles like "A Satire" and "A Contemporary Satire". Orwell suggested the title Union des républiques socialistes animales for the French translation, which abbreviates to URSA, the Latin word for "bear", a symbol of Russia. It also played on the French name of the Soviet Union, Union des républiques socialistes soviétiques.
Winston kept his back turned to the telescreen. It was safer, though, as he well knew, even a back can be revealing. A kilometre away the Ministry of Truth, his place of work, towered vast and white above the grimy landscape. This, he thought with a sort of vague distaste -- this was London, chief city of Airstrip One, itself the third most populous of the provinces of Oceania. He tried to squeeze out some childhood memory that should tell him whether London had always been quite like this. Were there always these vistas of rotting nineteenth-century houses, their sides shored up with baulks of timber, their windows patched with cardboard and their roofs with corrugated iron, their crazy garden walls sagging in all directions? And the bombed sites where the plaster dust swirled in the air and the willow-herb straggled over the heaps of rubble; and the places where the bombs had cleared a larger patch and there had sprung up sordid colonies of wooden dwellings like chicken-houses? But it was no use, he could not remember: nothing remained of his childhood except a series of bright-lit tableaux occurring against no background and mostly unintelligible.
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Capitalize each word in the titles of articles, books, etc, but do not capitalize articles (the, an), prepositions, or conjunctions--unless it is the first word of the title or subtitle: Gone with the Wind, The Art of War, There Is Nothing Left to Lose.
humanities 545`others.' Latvians, Germans, Russians, Jews, landowners, and peasants, fleeing and pursuing, all are in turn lifted up and crushed by the waves of violent events, in those tortured borderlands which `throughout history ... had provided fertile soil for extremes ... where your brother could be your foe, where anxiety and hysteria had become the norm.' Here and there shades of irony challenge the reader in the `Canadian' part of the text: for example, the (not obviously) self-righteous stance of the powerful Anglo-Saxon tradition that sailed under the (obviously) admirable flag of `connectedness and continuity. ... understanding, a form of conquest.' The author's own experience (he speaks here as a teenage student in Toronto) `contradicted this tradition fundamentally, but who ... [was he] to argue at that stage in life?' Three critical points: engaged in an all-absorbing task, the author did not seem able to cast even a glance at surrounding countries. Awareness of the neighbours is lacking: the other two Baltic nations, Lithuania and Estonia, not to speak of Poland, shared the fate of the Latvians, being mauled by two giants, one on each side. A note of comparison might have added a valuable dimension. Also, what might have been pruned are some details of the see-saw wars on Latvian soil; they weigh perhaps too heavily in a work of this length. And I must quarrel with the title: it gives conflicting signals. The main title, Walking since Daybreak, suggests a linear emigrant story. This is not what it is. The subtitles pull in different directions: the first subtitle takes on too much geographically: the book is about Latvia (although a Latvia prey to occupations when other nations moved through its plains and woods). The second subtitle invites the thought: `Another description of the war?' Yes, but a description that takes on the essence of war as a feverish state, chasing and being chased by people under perennial pressure. The third subtitle, a poetic image, does not carry much meaning. All in all, however, this network woven from the opposite vantage points of two countries B Latvia and Canada B that have both been regarded as on the periphery of this century's main historical events (one small, poor, and torn by wars; the other large, prosperous, and peaceful) is truly an astonishing work from which the twentieth century arises in all its tragedies and hopefulness. It is bound to appeal to anyone interested in our world, its blinding struggles as well as the resilience of its humans. (MARKETA GOETZ-STANKIEWICZ) Kees Boterbloem. Life and Death under Stalin: Kalinin Province, 1945B1953 McGill Queen's University Press. xxvi, 436. $49.95 One of the most striking images in Nineteen Eighty-Four was the memory hole, which served to dispose of facts inconvenient to Big Brother's 546 letters in canada 1999 totalitarian regime. The novel's dystopic excesses found real-life expression in the Soviet Union, where some of the bloodiest and most discreditable pages of the country's history were obscured by so-called`blank spots' B officially imposed boundaries to historical exploration. The spots, of course, were never truly blank. Even inside the USSR the history of collectivization, famine, purges, and repressions was known if not acknowledged. Outside the country these topics were the subject of an extensive literature. What was lacking in both places, however, was a solid documentary base. Archives B especially those pertaining to such sensitive topics as famine, purges, or repression B were off-limits to most researchers, foreign and domestic. Only at the very end of the Communist era did the barriers begin to come down. The documentary record, it turned out, had been concealed but not obliterated. Researchers now have the opportunity of rewriting the Soviet past, using evidence unavailable to their predecessors. They can, moreover, look not just at the centre but at the country's vast and diverse regions. Kees Boterbloem began his dissertation research in Russia just as those doors opened. He chose to focus on Kalinin province (known today by its prerevolutionary name of Tver+ B a mainly rural district midway between Moscow and St Petersburg), where he gained access to two regional archives and commissioned...
''A Fairy Story'' is Orwell's subtitle for the book, and it is made to order for a certain kind of illustration in which pigs can be shown as ridiculous, taking on more and more human attributes; and as evil, since they can, with a few wicked touches, serve as caricatures of various easily represented figures in Soviet history, which Orwell in part meant as the target of his allegory. The proportion that Orwell quite clearly had in mind -- Soviet dictators are to human beings as human beings are to animals -- makes ''Animal Farm'' a pessimistic book only if dictatorship is the inevitable result of political revolution, and if, again, revolutions are inevitably, as the word implies, circular. Orwell's message was not to beware of revolution but to watch out for the pigs, who may try to take it over. Even then, had the animals' revolution fallen into the hands of Snowball rather than Napoleon -- the Trotsky rather than the Stalin character in the book -- life might have been as rosy as its promise in the speech of old Major, which ignited the misanthropy and the discontent of the proletarian beasts who made the revolution and endured its bitter consequences. 041b061a72