Beating words to life: subtitles,assemblage(s)capes,expression

Ostensibly, subtitles in films serve as linguistic approximations of meaning. Expectedly then, much of the debate surrounding subtitling has been concerned with representational accuracy, fidelity and authenticity. In this article I argue that by encountering subtitles as affective bodily expressions, as opposed to approximate representations of pre-existent meanings or intentions, filmic experiences may be(come) transformed and differently transformational. As a result, meaning and accuracy in subtitles as superimposed signifiers or static representations become secondary to subtitles as spatially affective- and expressive-movements intimately part of filmic scapes. The creative use of subtitling in Bekmambetov’s Russian language film Night Watch (Nochnoy dozor; 2006 [2004]) is discussed.