Back To The Future Part III Subtitles English
Although the direct follow-up doesn't quite live up to the original, it is nonetheless an entertaining continuation that can be enjoyed as a quirky homage to the science fiction genre with a comical twist on the consequences of time travel. I recall as a kid watching the VHS of the first movie with the bold letters "To Be Continued" right before the closing credits and imagining where the two friends would travel next. It was fun envisioning 30 years into the future, plunging into an alternate reality and then forced back to 1955. Part II is a delightful and amusing joyride while avoiding a time paradox. Logically, the fact that Marty and Doc accidentally interact with people of the past should be enough to leave an unpredictable impact on the future. But with endless gags, setups and payoffs to divert us from pondering such conundrums, we simply sit back and enjoy the silliness. (Movie Rating: 3.5/5)
Back to the Future Part III subtitles English
Marty McFly, stuck in 1955, receives a word from his friend Dr. Emmett Brown about where the DeLorean time machine is. However, an unfortunate discovery led Marty to help his friend. Using a time machine, Marty travels to the old west where his friend rebelled against a thug gang and fell in love with a local school teacher. Marty and Emmet used the technology of the time to devise a last chance to send them back into the future.
Godzilla vs. King Ghidorah (Japanese: ゴジラvsキングギドラ, Hepburn: Gojira tai Kingu Gidora) is a 1991 Japanese kaiju film written and directed by Kazuki Ōmori and produced by Shōgo Tomiyama. The film, produced and distributed by Toho Studios, is the 18th film in the Godzilla franchise, and is the third film in the franchise's Heisei period. The film features the fictional monster characters Godzilla and King Ghidorah, and stars Kōsuke Toyohara, Anna Nakagawa, Megumi Odaka, Katsuhiko Sasaki, Akiji Kobayashi, Yoshio Tsuchiya, and Robert Scott Field. The plot revolves around time-travelers from the future who convince Japan to travel back in time to prevent Godzilla's mutation, only to reveal their true motives by unleashing King Ghidorah onto the nation.
Feeling sympathy for the Japanese people, Emmy reveals to Terasawa the truth behind the Futurians' mission: in the future, Japan is an economic superpower that has surpassed the United States, Russia, and China, and even bought out the entirety of South America and Africa. The Futurians traveled back in time in order to change history and prevent Japan's future economic dominance by creating King Ghidorah and using it to destroy present-day Japan. At the same time, they also planned to erase Godzilla from history so that it would not pose a threat to their plans. After M-11 brings Emmy back to the UFO, she reprograms the android so it will help her.
A mere day after the 10th anniversary of the discovery of the Higgs boson celebrations at CERN, the LHC will make the promise of a bright future for particle physics a reality, breaking a new energy world record of 13.6 trillion electron volts (13.6 TeV) in its first stable-beam collisions. These collisions will mark the start of data taking for the new physics season, called Run 3.
For all the attacking talent United now had on the pitch, the irony was that centre-back Harry Maguire scored the winning goal two minutes before the end, a victory secured not through any particular skill or craft, but by the sheer volume of better-quality players Solskjaer had at his disposal.
Marty McFly has only just gotten back from the past, when he is once again picked up by Dr. Emmett Brown and sent through time to the future. Marty's job in the future is to pose as his own son to prevent him from being thrown in prison. Unfortunately, things get worse when the future changes the present.
Understanding foreign speech is difficult, in part because of unusual mappings between sounds and words. It is known that listeners in their native language can use lexical knowledge (about how words ought to sound) to learn how to interpret unusual speech-sounds. We therefore investigated whether subtitles, which provide lexical information, support perceptual learning about foreign speech. Dutch participants, unfamiliar with Scottish and Australian regional accents of English, watched Scottish or Australian English videos with Dutch, English or no subtitles, and then repeated audio fragments of both accents. Repetition of novel fragments was worse after Dutch-subtitle exposure but better after English-subtitle exposure. Native-language subtitles appear to create lexical interference, but foreign-language subtitles assist speech learning by indicating which words (and hence sounds) are being spoken.
Listeners have difficulty understanding unfamiliar regional accents of their native language . This is in part because the speech sounds of the accent mismatch those of the language standard (and/or with the listener's own accent). Listening difficulty is magnified when the unfamiliar regional accent is in a foreign language: The unusual foreign vowels and consonants may mismatch more with native sound categories, and may even fail to match any native category . This situation arises, for example, when we watch a film in a second language. Imagine a American listener, fluent in Mexican Spanish, watching El Laberinto del fauno [Pan's Labyrinth, 3]. She may have considerable difficulty understanding the European Spanish if she is unfamiliar with that language variety. How might she be able to cope better? We argue here that subtitles can help. Critically, the subtitles should be in Spanish, not English. This is because subtitles in the language of the film indicate which words are being spoken, and so can boost speech learning about foreign speech sounds.
We thus tested whether subtitles help or hinder adaptation to an unfamiliar regional accent in a second language. Dutch participants, fluent in English, watched 25 minutes of video material with either strongly-accented Australian English [an episode of the Australian sitcom Kath & Kim, 20] or strongly-accented Scottish English [excerpts from the British movie Trainspotting, 21]. In each case, separate groups had either English, Dutch, or no subtitles. After this exposure, all six groups were asked to repeat back excerpts from both the Australian and the Scottish material. The groups exposed to Scottish English thus provide no-exposure control data for the Australian English excerpts, and vice versa. Because the focus was on adaptation in listening, the excerpts were audio only. There were 160 excerpts in total. Eighty excerpts (spoken by the main characters in each video) were taken from the exposure material (forty from each source). Eighty excerpts were completely new, but from the same speakers (again, forty Scottish and forty Australian excerpts). The latter material in particular allowed us to assess how well listeners adapted to the accent during exposure.
Although the Australian English proved overall more difficult to repeat than the Scottish English (in the control conditions, 71% of the Australian and 78% of the Scottish words were repeated correctly), accent type did not modulate any other effects. Neither the interaction of Exposure Materials with Subtitles Condition and Old/New (pmin>0.2) nor the interaction of Exposure Materials with Subtitles Condition (pmin>0.3) produced significant regression weights. The raw values in Table 1 may appear to suggest that performance was especially bad when participants who had been exposed to Dutch subtitles with the Australian material had to repeat new materials. The comparisons to the control conditions, however, show that the pattern of learning effects is similar for both material sets, if somewhat more pronounced for the Australian materials.
The most dramatic aspect of our results was how different the effects of the English and Dutch subtitles were. English subtitles were associated with the best performance on both old and new items. But although Dutch subtitles also enhanced performance on the old items, they led to worse performance on the new materials. The participants apparently used the semantic information in the Dutch subtitles when listening to the English [cf. 18], and did not ignore the English speech. Indeed, the Dutch subtitles appear to have helped the participants to decipher which English words had been uttered, as seen in the benefit on recognition of previously heard materials. But this did not allow participants to retune their phonetic categories so as to improve their understanding of new utterances from the same speaker. Why was this the case? Phonological knowledge is automatically retrieved during print exposure , so the Dutch subtitles provided phonological information that was inconsistent with the spoken English word forms. This would weaken the influence of English lexical-phonological knowledge on perceptual learning. The account based on the mechanism of lexically-guided retuning thus explains both the positive effect of subtitles in the language of the film and the negative effect of subtitles in the perceiver's native language. According to this account, the orthographic information in subtitles can influence learning in speech perception either in a facilitatory manner (as when the English subtitles indicated which words, and hence phonemes, were being spoken) or in an inhibitory manner (as when the Dutch subtitles specified the wrong phonological information).
After this exposure, participants were asked to repeat back 80 audio excerpts from each source, spoken by the main characters (Kath from Kath & Kim; Renton from Trainspotting). Excerpts were phrases from the movies that were bounded by pauses. Half came from the exposure material (old items), and half were completely new items, taken either from unused parts of Trainspotting or from another Kath & Kim episode (Season 1, Episode 2). Every participant had to repeat back all 160 utterances, so that all participants exposed to Australian (i.e., collapsed across subtitle conditions) acted as a no-exposure control for the Scottish participants, and vice versa. Accent was blocked, such that participants heard either the Scottish and then the Australian excerpts, or the reverse. Old and new items were randomly mixed within these blocks. 041b061a72