Apprendre le français VI: Appât Page 5

PAGE 5 (Four panels)

(Note : Still in sepia)

Panel 1: A long Polynesian outrigger canoe, being rowed through the surf by muscular young men. Standing implausibly in the middle of the canoe is Enzo, his movie camera rigged on a tripod somehow, cranking away and filming some scene he can see from the canoe.

CAPTION – PSEUDO-NARRATION (1): The Scelleratini brothers were even invited along to film the “wedding.”

Translation (1): Les frères Scelleratini furent même invités à filmer le « mariage ».

Panel 2: View of another outrigger canoe, also rowed by strong young men. The Bride sits in the bow of the canoe, gazing out to sea.

CAPTION – PSEUDO-NARRATION (2): The people rowed out to a spot of ocean known to be over a deep oceanic trench.

Translation (2): Les habitants pagayaient vers l’océan en un lieu connu pour surplomber une fosse océanique profonde.

Panel 3: The Bride now stands in the bow of the canoe. She has removed her muumuu and is naked, holding her muumuu over her head so that it trails behind her in the wind. She is wearing a beatific expression.

CAPTION – PSEUDO-NARRATION (3): Those involved seemed to regard the entire proceeding as a blessed occasion.

Translation (3): Ceux impliqués semblaient considérer la cérémonie comme une occasion bénie.

Panel 4: The Bride in mid-dive off the bow of the canoe into the ocean.

CAPTION – PSEUDO-NARRATION (4): The “bride” seemed to be acting of her own free will.

Translation (4): L’« épouse » semblait agir de son plein gré.

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Apprendre le français V: Appât Page 4

PAGE 4 (Four panels)

(Note : The panels on this page should be sepia-toned, a visual indicator of the age of the photographic and cinematic material they are meant to represent.)

Panel 1: Two Italian men, ENZO SCELLERATINI (“Enzo”) and GUIDO SCELLERATINI (“Guido”) absurdly overdressed for their environment stand in coats, bow-ties, and bowler hats, posed on a beach with an old-fashioned, crank-operated movie camera. (Note : Both men have somewhat silly handlebar mustaches.)

CAPTION – PSEUDO-NARRATION (1): In 1905, Italian brothers Enzo and Guido Scelleratini, following up on sailors’ rumors of a strange native cult on the South Seas island of Motofupo, went there with a movie camera in hopes of finding something unusual.

Translation (1): En 1905, les frères italiens Enzo et Guido Scelleratini, suite à des rumeurs recueillies auprès de marins au sujet d’un culte indigène étrange à Motofupo, une île des Mers du Sud, s’y rendirent armés d’une caméra dans l’espoir de filmer quelque chose d’inhabituel.

Panel 2: A group of attractive young Polynesian-looking women dressed in muumuuu-like garments reaching into a sack together to draw something out.

CAPTION – PSEUDO-NARRATION (2): In spite of the fact that their rituals were rumored to include human sacrifice, the indigenous people proved friendly and allowed the Scelleratini brothers to film them and one of those very rituals.

Translation (2): Malgré les soupçons que leurs rituels impliquaient des sacrifices humains, la population autochtone a bien pris le fait que les frères Scelleratini les filment ainsi que l’un de leurs rituels.

Panel 3: Close up of two hands of different young women in the panel. One holds a white stone, another a black stone.

CAPTION – PSEUDO-NARRATION (3): The first part of the ritual was a selection process to pick specific young women to be given to a “God of the Deeps” in marriage.

Translation (3): La première partie du rituel était un processus de sélection pour choisir de jeunes femmes destinées à être offertes en mariage à un « Dieu des profondeurs ».

Panel 4: One young woman of the Motofupo people (“the Bride”), cradling a stone, wearing a beatific expression.

CAPTION – PSEUDO-NARRATION (4): According to observers and apparent on the film was that the young women so selected did not seem distressed. They instead seemed pleased and honored.

Translation (4): Selon des observateurs, les jeunes femmes choisies ne semblaient pas être inquiètes, ce que confirme également le visionnage du film. Au lieu de cela, elles semblaient heureuses et honorées.

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Apprendre le français IV: Appât Page 3

PAGE 3 (Four panels)

Panel 1: ELIZA FANSHAW (“Eliza”) sits in a big wicker chair in a kind of hippie-ish apartment. She’s a bubbly-sexy blond girl. She wears thin cotton tie-dyed shirt that stretches a bit over her breasts (she’s obviously braless) and a floral skirt and sandals. Her posture indicates she’s being interviewed.

Eliza (1): People ask me, “What on earth do you think you’re doing, Eliza?” and “Don’t you know you have your whole life ahead of you?”

Comment (1): The material in quotation marks are things that Eliza has been hearing about her plans and which she is quoting back to the interviewer. The expression “what on earth” is a figurative expression meant to express incredulity or surprise. It shouldn’t be translated literally – substitute an equivalent expression if one exists in the target language.

Translation (1): Les gens me demandent souvent « Que diable faites-vous, Eliza ? » et « Ne savez-vous pas que vous avez toute la vie devant vous ? »

Eliza (2): And I see their point but, the thing is, about me…

Translation (2): Je comprends leur point de vue, mais… ce que je pense…

SUBTITLE (3): Eliza Fanshaw, prospective subject.

Translation (3): Eliza Fanshaw, sujet potentiel.

Panel 2: Close-up on Eliza’s smiling face, which should emphasize that she has a cute little snub nose.

Eliza (4): …is that I think thing that the most amazing about being alive…

Translation (4): c’est que l’aspect le plus étonnant de l’existence est…

Elize (5): … is sex!

Translation (5): le sexe !

Panel 3: View of Eliza (in very soft focus, to the point that we can scarcely identify her as Eliza) naked, seen from behind on top of a guy).

CAPTION – ELIZA NARRATING (6): I’m not supposed to say things like this, but ever since I was fifteen, I have been seeking out sexual adventure.

Comment (6): “Ever since I was fifteen” is short for “ever since I was fifteen years old.”

Translation (6): Je ne suis pas censée dire des choses comme cela, mais depuis mes quinze ans, je cherche à vivre des aventures sexuelles.

CAPTION – ELIZA NARRATING (7): I’ve even acted in some experimental adult films, just to see what it would be like.

Comment (7): “Adult films” here is a semi-euphemism for pornographic films, or at least films with explicit sexual content.

Translation (7): J’ai même joué dans certains films expérimentaux pour adultes, juste pour voir ce que ça fait.

Panel 4: Eliza, back in the same pose as in Panel 1.

Unseen interviewer (out-of-panel balloon) (8): And what was it like?

Translation (8): Et c’était comment ?

Eliza (9): It was awesome!

Translation (9): C’était génial !

Eliza (10): But I don’t think anything could compare with those movies I saw in Anthro.

Comment (10): “Anthro.” This is a colloquial way for Eliza to say that she saw the movies in a college-level class in Anthropology.

Translation (10): Mais je pense que c’est que j’ai vu lors de mes cours d’anthropologie ne ressemble à rien d’autre.

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