FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1505980442> ?p ?o ?g. }

• W1505980442 endingPage "390" @default.
• W1505980442 startingPage "359" @default.
• W1505980442 abstract "From Wuxia to Xena:Translation and the Body Spectacle of Zoë Bell Lauren Steimer (bio) This essay addresses the manner in which genre affects labor, changing a nation's televisual and cinematic reservoir of technique. In particular, this piece considers how the spectacles commonly associated with the action genre in general and the wuxia genre more specifically have been consumed and repurposed by fanboy1 media producers. This series of actions caused the historical practices associated with one film industry's national cinema effect (that of Hong Kong)2 to become congealed in the body/person of performers trained in another national media context (New Zealand). Generic translation across national frameworks affects the laboring bodies of media producers, and in the case of action genres, it has distinct and identifiable effects on stunt doubles. The adoption of Hong Kong wuxia (武俠) aesthetics in contemporary action films has forced shifts in shooting style, shoot duration, costuming, set design, editing and rig3 construction, all of which alter the stunt performers' embodied experiences of work. The prolonged association of these cinematic and televisual techniques and body spectacles with individual performers contributes to the star image of stunting stars. This is decidedly the case for Kiwi stuntwoman Zoë Bell. Bell's star image is greatly informed by a series of body spectacles made possible by her training in tae kwon do, gymnastics, and early spectacular embodiments evident in her Kiwi-style wire-fu work on the set of the television series Xena: Warrior Princess [End Page 359] (Renaissance Pictures and Universal Television, 15 September 1995–18 June 2001). There is very little work in film and media studies on many of the topics considered in this essay: stunt actors, genre, and labor. These three elements coalesce in the transnational production context of Xena: Warrior Princess, a show funded by U.S. production companies, scripted by American screenwriters, acted/directed by U.S. and New Zealand talent, and distributed internationally as a first-run syndicated program.4 The production context of Xena: Warrior Princess is worthy of further examination as a site of what Peter Newmark has termed communicative translation, a model of translation theory concerned more with the symmetry of reception contexts between translated texts than with semiotic mimicry. Peter Newmark's translation theory distinguishes between semantic and communicative translation, explaining that communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original, as opposed to semantic translation, which attempts to render, as closely as the semantic and syntactic structure of the second language allow, the exact contextual meaning of the original.5 For Newmark, semantic translation holds to the authorial intent of the source text while allowing for slight variability in cultural adaptation. In contrast, communicative translation is concerned with the needs of the reader, less with preserving the language of the source and more with relaying the context or reader effect of the source.6 I contend that this theory of translation can be extended to film and television viewers as readers in that such spectators may also act as media producers, re-creating previously viewed material in an attempt to regenerate the effects of the original (awe, shock, jerk reactions,7 etc.) on a new group of spectators. Xena provides an interesting case study for communicative translation in that the spectatorial effects elicited by the bodily spectacles of Hong Kong wuxia films were reconstituted three times in acts of communicative translation: in the use of Hong Kong action-sequence mix tapes as a template to sell the series; in the remediation of film to television and the shift in production context from Hong Kong to New Zealand; and in the congealing of corporeal practices and cinematic/televisual techniques in the body spectacle of stunting star8 Zoë Bell. In this essay, I analyze the communicative translation of Hong Kong wuxia body spectacles into analogous sequences in Xena, where superhuman bodies fly, flip, or move through the air in flames. What I am calling body spectacle is a unique form of visual display common to a set of film and television genres (i.e., the musical, the martial arts film..." @default.
• W1505980442 created "2016-06-24" @default.
• W1505980442 creator A5060606126 @default.
• W1505980442 date "2009-09-01" @default.
• W1505980442 modified "2023-10-14" @default.
• W1505980442 title "From Wuxia to Xena : Translation and the Body Spectacle of Zoë Bell" @default.
• W1505980442 cites W105720030 @default.
• W1505980442 cites W1492318462 @default.
• W1505980442 cites W1527052695 @default.
• W1505980442 cites W1533200881 @default.
• W1505980442 cites W1552406324 @default.
• W1505980442 cites W1573317522 @default.
• W1505980442 cites W1721430338 @default.
• W1505980442 cites W1773808605 @default.
• W1505980442 cites W1976408938 @default.
• W1505980442 cites W2016244604 @default.
• W1505980442 cites W2063692070 @default.
• W1505980442 cites W2094955013 @default.
• W1505980442 cites W2105313080 @default.
• W1505980442 cites W2154024989 @default.
• W1505980442 cites W2155560774 @default.
• W1505980442 cites W2156173282 @default.
• W1505980442 cites W2334423338 @default.
• W1505980442 cites W2588537061 @default.
• W1505980442 cites W2607439460 @default.
• W1505980442 cites W288835616 @default.
• W1505980442 cites W426490962 @default.
• W1505980442 cites W573050806 @default.
• W1505980442 cites W575218119 @default.
• W1505980442 cites W585243250 @default.
• W1505980442 cites W624801476 @default.
• W1505980442 doi "https://doi.org/10.1353/dis.2009.a402311" @default.
• W1505980442 hasPublicationYear "2009" @default.
• W1505980442 type Work @default.
• W1505980442 sameAs 1505980442 @default.
• W1505980442 citedByCount "3" @default.
• W1505980442 countsByYear W15059804422015 @default.
• W1505980442 countsByYear W15059804422019 @default.
• W1505980442 crossrefType "journal-article" @default.
• W1505980442 hasAuthorship W1505980442A5060606126 @default.
• W1505980442 hasConcept C100609095 @default.
• W1505980442 hasConcept C107038049 @default.
• W1505980442 hasConcept C121332964 @default.
• W1505980442 hasConcept C124952713 @default.
• W1505980442 hasConcept C142362112 @default.
• W1505980442 hasConcept C144024400 @default.
• W1505980442 hasConcept C153349607 @default.
• W1505980442 hasConcept C154945302 @default.
• W1505980442 hasConcept C166957645 @default.
• W1505980442 hasConcept C17744445 @default.
• W1505980442 hasConcept C199539241 @default.
• W1505980442 hasConcept C2776445246 @default.
• W1505980442 hasConcept C2779343474 @default.
• W1505980442 hasConcept C2779742141 @default.
• W1505980442 hasConcept C2780791683 @default.
• W1505980442 hasConcept C29595303 @default.
• W1505980442 hasConcept C41008148 @default.
• W1505980442 hasConcept C519580073 @default.
• W1505980442 hasConcept C62520636 @default.
• W1505980442 hasConcept C95457728 @default.
• W1505980442 hasConceptScore W1505980442C100609095 @default.
• W1505980442 hasConceptScore W1505980442C107038049 @default.
• W1505980442 hasConceptScore W1505980442C121332964 @default.
• W1505980442 hasConceptScore W1505980442C124952713 @default.
• W1505980442 hasConceptScore W1505980442C142362112 @default.
• W1505980442 hasConceptScore W1505980442C144024400 @default.
• W1505980442 hasConceptScore W1505980442C153349607 @default.
• W1505980442 hasConceptScore W1505980442C154945302 @default.
• W1505980442 hasConceptScore W1505980442C166957645 @default.
• W1505980442 hasConceptScore W1505980442C17744445 @default.
• W1505980442 hasConceptScore W1505980442C199539241 @default.
• W1505980442 hasConceptScore W1505980442C2776445246 @default.
• W1505980442 hasConceptScore W1505980442C2779343474 @default.
• W1505980442 hasConceptScore W1505980442C2779742141 @default.
• W1505980442 hasConceptScore W1505980442C2780791683 @default.
• W1505980442 hasConceptScore W1505980442C29595303 @default.
• W1505980442 hasConceptScore W1505980442C41008148 @default.
• W1505980442 hasConceptScore W1505980442C519580073 @default.
• W1505980442 hasConceptScore W1505980442C62520636 @default.
• W1505980442 hasConceptScore W1505980442C95457728 @default.
• W1505980442 hasIssue "3" @default.
• W1505980442 hasLocation W15059804421 @default.
• W1505980442 hasOpenAccess W1505980442 @default.
• W1505980442 hasPrimaryLocation W15059804421 @default.
• W1505980442 hasRelatedWork W114610868 @default.
• W1505980442 hasRelatedWork W1572818350 @default.
• W1505980442 hasRelatedWork W2066498518 @default.
• W1505980442 hasRelatedWork W2147199928 @default.
• W1505980442 hasRelatedWork W2320036610 @default.
• W1505980442 hasRelatedWork W2391618205 @default.
• W1505980442 hasRelatedWork W2567547623 @default.
• W1505980442 hasRelatedWork W4233070878 @default.
• W1505980442 hasRelatedWork W4247569779 @default.
• W1505980442 hasRelatedWork W588599043 @default.
• W1505980442 hasVolume "31" @default.
• W1505980442 isParatext "false" @default.
• W1505980442 isRetracted "false" @default.
• W1505980442 magId "1505980442" @default.

• next