Abstract In a market dominated by Hollywood, it is easy to overlook that the number of films (and televised productions) which are not in English is actually by far greater than those in English. However, although some non-English language film industries are vast, only a comparatively small number of productions are screened outside of their country of origin. Therefore, before being translated and brought to screens for us to watch, already a filter applies, as the films are chosen by curators of film festivals or the industry. For that reason, films that are perhaps less representative but more interesting, or by a well-known director may be chosen over others that may have been more successful in their country of origin, but are made by a less-well know director or perceived to be less interesting for ‘foreign audiences’. The choice of what we watch is thus never entirely ours. Using Japan, Germany and the UK as example, I will offer some thoughts on what impact such a filter might have on the consumption, and therefore the perception, of a film outside of its country of origin and what challenges this poses for audiences and researchers.

中文翻译：

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电影研究的后记：谁的选择？在英国观看非英语电影

摘要在好莱坞主导的市场中，很容易忽略的是，非英语电影（和电视节目）的数量实际上要比英语电影大得多。但是，尽管一些非英语电影产业非常庞大，但在原籍国以外放映的影片数量相对较少。因此，由于电影节是由电影节或行业的策展人选择的，因此在翻译并带给我们观看之前，已经应用了过滤器。因此，可能会选择代表性较低但更有趣的电影，或由知名导演导演的电影，而不是可能在其原籍国较为成功但由知名度较低的导演或知名导演制作的电影。对“外国受众”来说不太有趣。因此，我们观看的节目的选择永远不会完全是我们的。我将以日本，德国和英国为例，对这种滤镜可能会对其原产国以外的电影的消费量以及由此产生的印象产生什么影响，以及这会对观众和研究人员构成什么挑战的思考。 。