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1950 FOREIGN VERSIONS 543
Though Dutch and Flemish are now spelled alike, the terminology varies in the two countries. Therefore separate subtitled versions are usually made, especially since Flemish always appears together with French subtitles since Belgium is a bilingual country. The pronunciation of Dutch differs considerably from that of Flemish, so that separate dubbed versions would have to be made for Holland and Belgium.
A similar situation exists for Denmark and Norway, where the written languages are about the same but the pronunciation varies greatly.
Swiss and Austrian audiences may resent it when subtitles and dubbing are done by Germans, as the terminology and the accent in pronunciation differ slightly.
Now a new problem has arisen in Indonesia, and at least one company is making versions subtitled in Dutch and Indonesian Malay, which is generally understood throughout all the islands, though each has its own language. Malay titles happen to be long, especially since the language forms plurals by repeating the nouns, i.e., orang is man and orang orang, men, so that the art of the translator will be to cut them down.
A few words may be added on the selection of foreign titles. These may be close translations of the original English titles, free translations, or altogether different. In many cases they have to be altogether different. A title like "Hellzapoppin," of course, could never be translated literally.
All foreign titles are accepted and registered by the Motion Picture Association, provided there is no conflict with the same or a similar title ; or if there is, that an agreement has been reached with the conflicting company, so that, as a rule, no two pictures by American companies will be sent into the same territory with the same title. But there is no control over other than American pictures, and any title duplications with other than American pictures have to be adjusted locally.
It is not amiss also to point out that spotters, who are in a sense the foreign editors of a picture, and translators be men of general culture who, besides knowing at least two languages, should also have some artistic sense. A general or commercial translator or even a journalist usually cannot translate subtitles satisfactorily, at least not without some practice. It is desirable that the translator keep in constant touch with the intellectual life of the country or countries of his language, as he must be familiar with the latest developments in the Ian