Annie Hall Subtitles English
Programs such as news bulletins, current affairs programs, sports, some talk shows, and political and special events utilize real time or online captioning. Live captioning is increasingly common, especially in the United Kingdom and the United States, as a result of regulations that stipulate that virtually all TV eventually must be accessible for people who are deaf and hard-of-hearing. In practice, however, these "real time" subtitles will typically lag the audio by several seconds due to the inherent delay in transcribing, encoding, and transmitting the subtitles. Real time subtitles are also challenged by typographic errors or mishearing of the spoken words, with no time available to correct before transmission.
Annie Hall subtitles English
Same language subtitling (SLS) is the use of synchronized captioning of musical lyrics (or any text with an audio/video source) as a repeated reading activity. The basic reading activity involves students viewing a short subtitled presentation projected onscreen, while completing a response worksheet. To be really effective, the subtitling should have high quality synchronization of audio and text, and better yet, subtitling should change color in syllabic synchronization to audio model, and the text should be at a level to challenge students' language abilities. Studies (including those by the University of Nottingham and the What Works Clearinghouse of the United States Department of Education) have found that use of subtitles can help promote reading comprehension in school-aged children. Same-language captioning can improve literacy and reading growth across a broad range of reading abilities. It is used for this purpose by national television broadcasters in China and in India such as Doordarshan.
Still riding high and somehow undeterred by the challenges of Apocalypse Now, Coppola poured himself into his next film, 1982's One from the Heart. This musical romance boasts much more ambition than commercial savvy. It cost $27 million then, the equivalent of over $60 million today, and featured no major movie stars or real hook. Losing money was inevitable, but opening on Valentine's Day Weekend in just 41 theaters, the results had to be more costly than Coppola could have imagined. Coppola would pull the film after earning just $636,796, making it one of the biggest flops of its time. The film's artistic reputation is far more respectable than that reception suggests.The movie opens on the Third of July, the eve of the fifth anniversary of the day that Hank (Frederic Forrest) and Frannie (Teri Garr) first met. The unmarried two give each other presents: mechanic Hank offers the deed to the home they share, while travel agent Frannie gives them tickets to Bora Bora. The Las Vegas couple's bliss proves to be short-lived, though, as barbs about his egg physique and her unshaven legs as well as bidirectional accusations of infidelity fly, causing the two to "bust up." They each leave home to stay with their respective friends: Hank with skeevy, permed ladies' man Moe (a memorable Harry Dean Stanton) and Frannie with her co-worker Maggie (Lainie Kazan). The parallels continue, with each swiftly picking up a sultry new love interest. Frannie finds the suave Ray (Raul Julia), who is more of a waiter than the singer/pianist he claims to be. Hank connects with Leila (Nastassja Kinski), an exotic circus tightrope walker. As things heat up between the new two couples, a remorseful Hank still pines for Frannie and wants to give them another shot. The film plays out with prominent non-diegetic original songs written by Tom Waits and performed by Waits and Crystal Gayle advancing the story.It's easy to see where all that money went. For one thing, rather than the hassle of trying to shoot on location in Sin City, Coppola and his crew built their own Las Vegas, a glitzy setting that sometimes serves as mere backdrop and other times is pushed to the foreground. Though the film's first end credit proudly proclaims "Filmed entirely on Zoetrope Studios" as if revealing you to be the victim of an elaborate hoax, you needn't be a Nevadan native or frequenter to spot the unreality of the setting. That seems deliberate, as these artificial sets are designed to free the filmmaker in ways that the real tourist attraction would not. Coppola makes impressive use of space, utilizing lights and reflections, nimbly weaving in and out of places, and relying on in-camera effects and spatial transitions instead of easy and logical cuts. The film resembles theatre in some ways and there are even credited understudies (including Rebecca De Mornay, in her film debut just prior to her Risky Business breakthrough). At the same time, Coppola clearly knows his medium and seizes every opportunity to find challenging new ways of expression. The technique elevates a love story that is sturdy if not all that original.A quick study of box office trends could have spared Coppola having to sell his 23-acre studio the following year and, after years of trying to pay off debts with commercially-minded movies, declaring bankruptcy in 1990. But it was Coppola's decision to trust his proven instincts and make this movie this way. It's unfortunate that, with the possible exception of The Godfather Part III, he's never been able to be both as ambitious and personal again, his subsequent movies either being adaptations of well-known works or those little "student films" that no one much seems to notice.The movie was apparently re-edited from its original 107-minute runtime to 99 minutes in 2003 and that, which both gains new scenes and abbreviates existing ones, is the only cut presented on this Blu-ray.Continue to Page 2 >>Video & Audio, Bonus Features, Menus & Packaging, and Closing ThoughtsBuy Francis Ford Coppola: 5-Film Collection on Blu-ray at Amazon.com 041b061a72