How To Get Subtitles For Non-English Parts Of The Movie The Use Of Indigenous Language Vs English In Nollywood Movies

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The Use Of Indigenous Language Vs English In Nollywood Movies

No wonder English is our Khmer language in Nigeria at a time when about 250 diverse ethnic groups choose to communicate in their native language. The film has been a part of our lives since its inception in August 1903 at the Glover Memorial Hall. Over the years, foreign films have dominated the Nigerian film market and flooded our television screens. In the 70s and 80s, Indian and Chinese films had a strong grip on the film market, especially with the fact that even though the actors spoke their native languages, we were still able to follow the rationally exposed trends of Good subtitle technique. The British with James Bond 007 struggled against those films. However, from the 90s to the present, I have seen a dramatic change in preference for Hollywood movies, based not only on the use of English as a means of communication, but also on a wide range of genres. Go through all the representations of impact with the most advanced technology at their disposal.

Nollywood generally accepts films made in English, Yoruba and Hausa, regardless of the differences, with some perceiving that only the English language produces films to come under Nollywood’s ambitions. Even Hausa-made films are made under the auspices of Kannywood (which they refer to as their film industry), which, of course, is a misconception. Nollywood represents the entire film industry within the jurisdiction of Nigeria, and it does not make sense when people create unique platforms for Yoruba / Hausa production.

Films made in English are selling fast, based on what has been stated before, on the fact that they are made in our French, which most Nigerians can understand. They are also exported to other English-speaking African countries, North America and parts of Europe. As a result, the audience base is huge, unlike what is produced in indigenous languages. Yoruba movies date back to the 70s / 80s, but their films are restricted to those who are Yoruba or non-Yorubas who understand the language. Imagine that making a film for a single tribe, compared to more than 200, surely only linguists would buy it, moreover, the bad subtitles in the film make it difficult to follow the story.

Yoruba films have the highest output compared to other indigenous languages ​​and are closely watched. On English speakers. Their stories are so reflective of their culture, beliefs, traditions and heritage that messages will not be effectively distributed if produced in English. The only way they can recoup their investment and enjoy a wider audience base while maintaining their native language flow is to ensure good subtitles like Seen in Bollywood and Chinese movies. Troubled subtitles have become an integral part of most Yoruba movies (as they are called). There is a high level of problematic subtitle placement, including incomplete subtitle conversations. This easily shuts down Indigenous people watching movies that do not understand the language.

A good subtitle is a hallmark of a Bollywood movie. It is rare to watch a Bollywood movie in pure English. They believe in using their native language to send messages home effectively. The Ardent Believer of the Indigenous School of Thought for Film Production in Nigeria is a Nollywood legend, Tunde Kelani, the pioneer of Main Frame production. For many years he used his rich experience in filmmaking to produce outstanding films using the Yoruba language. His insistence on adhering to the use of indigenous languages ​​stems from his cultural background, which influenced his childhood and upbringing.

He believed that Yoruba culture would soon be extinct, especially with the use of English and the way of life adopted by this generation, leaving Yoruba language and culture behind. He believes you can not speak English better than English / American, so why bother in making an English film? However, he adopts a good subtitle technique for non-Yoruba natives to understand. Next-generation filmmakers also follow in the footsteps of Kunle Afolayan (Irapada, The Figurine, araromire (a mix of Yoruba and English), Daniel Ademinokan (Omo Iya Kan) as Original.

Despite the subtitles, most viewers do not want to see movies made in the native language as much as in English. It should be noted that indigenous language films began to gain traction in the United States, Europe, and at the Oscars. Slum dog billionaire confirms this. Bollywood does not facilitate the deployment of indigenous languages ​​that have become its trademark. It is not a language that actually counts, but a combination of all the relevant elements needed in Production of mind-blowing films. At the end of the day, it really is a matter of open options for filmmakers to decide which language attracts the audience and convey the theme of the film to them.

Through language, messages are effectively communicated to the recipient. Whatever the filmmaker decides to use, whatever the language, the most important thing is to ask yourself if the plot, the plot, the content of the production will eventually be understood and appreciated by the audience. Where he enjoys doing what he does, he should produce the same language he chooses, regardless of what others may think or say. After all, it’s a return on investment, the popularity of the film and the recorded achievements that count at the end of the day!

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