{"id":27460,"date":"2024-04-02T01:50:42","date_gmt":"2024-04-02T06:50:42","guid":{"rendered":"https:\/\/uwm.edu\/letters-science\/?p=27460"},"modified":"2024-04-22T09:09:43","modified_gmt":"2024-04-22T14:09:43","slug":"alum-brings-his-subtitling-work-to-uwms-silver-screen","status":"publish","type":"post","link":"https:\/\/uwm.edu\/letters-science\/in-focus\/alumni-student-news\/alum-brings-his-subtitling-work-to-uwms-silver-screen\/","title":{"rendered":"Alum brings his subtitling work to 51ÁÔÆæ\u2019s silver screen"},"content":{"rendered":"\n

\u201cSong of a Dying Summer\u201d is a coming-of-age tale by Japanese independent filmmaker Kohei Sengen, and his first feature-length film. After playing theaters in Japan, Germany, and France and being nominated for the Nippon Visions Jury Award, the film made its Milwaukee debut on Wednesday, March 13, at the 51ÁÔÆæ Union Cinema.<\/p>\n\n\n\n

There to discuss his work was the film\u2019s translator, Brandon Crisp, a 2019 51ÁÔÆæ alum who majored in Japanese and film studies. His two majors are the perfect marriage to allow him to pursue his passion.<\/p>\n\n\n\n

Crisp sat down to talk about the film and how to translate a full-length feature movie.<\/p>\n\n\n\n

\u201c<\/strong>Song of a Dying Summer\u201d<\/strong><\/a> just made its debut in Milwaukee, thanks to you. What can you tell us about the film?<\/strong><\/p>\n\n\n\n

It\u2019s about four friends growing up. They\u2019re in the stage where they\u2019re right out of high school and looking to go their separate ways. Some have jobs; others are working on it. The way film feels and how the story is told, it\u2019s not very \u201cHollywood.\u201d It\u2019s not about how the scenes interact with each other narratively, but more symbolically, juxtaposing death and life. There are scenes where someone is expecting a child close to scenes where someone is visiting the gravesite of their mother. It\u2019s more about figuring out what everything means scene-to-scene rather than particularly following these characters or what they\u2019re going through.<\/p>\n\n\n\n

How did the screening go? What did the American audience think of the film?<\/strong><\/p>\n\n\n\n

I was very pleased with the turnout and the Q&A was even more engaging than I had hoped for! I think most of the people that were there already had an interest in Japan and seemed to receive the film very well.<\/p>\n\n\n\n

How did you get the movie to play here in Milwaukee?<\/strong><\/p>\n\n\n\n

I reached out to my old professor, Aragorn Quinn. I was like, hey, here\u2019s a trailer for a movie<\/a> that I subtitled. I thought he would be interested because he has a Japanese subtitling course at 51ÁÔÆæ. I thought we could maybe screen it at the cinema. He was like, great! Let me get you in contact with Jocelyn (Szczepaniak-Gillece, director of the Film Studies program).<\/p>\n\n\n\n

That was another professor I had, and these two were my favorite professors. One of them got me so excited for Japanese and the other one got me really excited for film. It was cool that I got to talk to both of them again, and everything just came together.<\/p>\n\n\n\n

How did you come to write the subtitles for this film?<\/strong><\/p>\n\n\n\n

After I graduated, I went straight into an internship in Tokyo at a study abroad research facility. I was both their receptionist\/translator and worked with students to have English seminars with them and teach them English. Usually, the program helps connect you to another company or program so that you can continue your work in Japan. Unfortunately, my internship was cut short by about a month because of COVID, and I had to go back home.<\/p>\n\n\n\n

I later found out I had been chosen for the internship specifically because I mentioned in my interview that I liked the films of Yasujir\u014d Ozu<\/a>. One of the employees at the company also really liked that director, so the fact that I mentioned that in my interview gave me a huge leg up and he really wanted to meet me. We became friends, and he\u2019s directed many films of his own. That was (director) Kohei Sengen. He has an independent art community that he works with and makes films with, and I offered to subtitle films for him. I\u2019ve subtitled four films for him already.<\/p>\n\n\n\n

How does one \u201cdo\u201d subtitling? What do you need to keep in mind as you add subtitles?<\/strong><\/p>\n\n\n\n

When you\u2019re subtitling, the first thing that they tell you is that even just subtitling in your native language is going to take at least five to 10 times as long as the actual run length of the movie. (When subtitling a foreign language), you can\u2019t just look at the script, translate it, and then throw it in there. You want to watch the film over and over and over again as you\u2019re writing to make sure it matches up as well as you\u2019d want any movie that you\u2019re watching to flow. That made it take even more time; probably another five to 10 times the amount of time it would take to do beyond just adding subtitling. I\u2019d say it probably took me three months to complete, when I was working on it on the side.<\/p>\n\n\n\n

It’s important that you think about the end viewer and how they\u2019re going to perceive it. You have to make sure that it all makes sense and it\u2019s true to what the characters are saying and the flow of conversation they\u2019re having.<\/p>\n\n\n\n

I\u2019ve heard from other translators and <\/strong>localization experts<\/strong><\/a> that many nuances in Japanese don\u2019t translate cleanly to English. How do you handle idioms and other idiosyncracies?<\/strong><\/p>\n\n\n\n

My general philosophy is that I try to be as true to the Japanese sensibilities as possible when I\u2019m translating. I know it\u2019s not always the best for localization purposes, but for independent films, I expect the audience to be a bit more educated or willing to be knowledgeable on the different cultural aspects that have meaning in Japan but might go completely over the heads of western audiences.<\/p>\n\n\n\n

For example, the four main characters \u2013 Aki, Fuyu, Haru, and Natsu \u2013 are just the four different seasons -summer, winter, spring and fall. That might go over someone\u2019s head if they don\u2019t speak Japanese, but I didn\u2019t want to take you out of the movie to quickly explain that.<\/p>\n\n\n\n

What was your reaction when you saw the finished film with subtitles?<\/strong><\/p>\n\n\n\n

I think the cool thing was seeing my name in the credits. I have my name in the credits of a movie! That\u2019s a really fun experience. It makes you feel validated. Most people will never read it, but I know it\u2019s there and that I had a hand to play in it.<\/p>\n\n\n\n

Do you have advice for people who are considering subtitling or a similar career path?<\/strong><\/p>\n\n\n\n

I know the conventional wisdom is that you shouldn\u2019t do work for free, but I\u2019d say when you\u2019re contributing to the arts, pro bono work is fine and you\u2019ll be rewarded in many ways that don\u2019t necessarily involve instant monetary gains.<\/p>\n\n\n\n

For example, I just came back from Tokyo. My friend (Sengen) let me stay with the whole time, fed me lunch and drinks \u2013 way too much. He sends me care packages and lets me meet all of these cool people. And now I get to screen this movie at my alma mater, and I did this as a favor to him because I wanted to help out. So never be afraid to start by volunteering your time, because it\u2019s going to be worth more than you think it is.<\/p>\n\n\n\n

By Sarah Vickery, College of Letters & Science<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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