Subtitles, intertitles, etc., were not much used in early Japanese silent films because

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Here is the question and all answer options restated for clarity. Subtitles, intertitles, etc., were not much used in early Japanese silent films because
Options:
- the Japanese audience preferred the traditional commingled art forms of a narrator or chorus narrating a series of actions and dialogue on stage or onscreen.
- the Japanese were largely illiterate.
- the audiences were so small that it did not pay to insert subtitles.
- the audience reacted only to images and not the storyline.

Now, let’s evaluate each option step by step.

Option 1: the Japanese audience preferred the traditional commingled art forms of a narrator or chorus narrating a series of actions and dialogue on stage or onscreen.
This option points to the benshi tradition, where a live narrator would provide narration and dialogue as the film played. In early Japan, benshi indeed played a crucial role, often accompanying films with spoken narration and even acting as a kind of interpretive guide. However, the claim that subtitles or intertitles were not used primarily because audiences preferred these narrations is not the whole story, because subtitles/intertitles served to convey text and dialogue that benshi could not fully cover. The presence of benshi actually reduced the need for intertitles, but the historical tendency reflects reliance on narration rather than a blanket conclusion that audiences “preferred” a narrative chorus for all purposes. The statement is partially accurate regarding benshi, but it overstates a blanket preference as the sole reason for limited use of subtitles.

Option 2: the Japanese audience preferred the traditional commingled art forms of a narrator or chorus narrating a series of actions and dialogue on stage or onscreen.
This option explicitly mentions the benshi practice—the living narrator who would narrate actions and dialogue, effectively providing a continuous narrative layer. In the context of early Japanese silent cinema, this coexistence with ukiyo-e style storytelling and theater traditions meant intertitles were less essential because benshi filled the narrative function live. Therefore, this explanation aligns with historical understanding: text on film was deemphasized because a performer could convey dialogue and exposition in real time, consistent with audience expectations and cultural storytelling norms. The reasoning here is coherent and supported by the cultural role of benshi.

Option 3: the audiences were so small that it did not pay to insert subtitles.
This rationale focuses on economic scale rather than cultural practice. While audience size and cost considerations can influence production choices, the primary widespread practice in early Japanese silent cinema was not dictated by small audiences alone. Moreover, the use of subtitles (intertitles) for textual dialogue served cross-linguistic clarity and narrative pacing that benshi could supplement or replace; the argument about payoffs does not capture the central cultural mechanism at work. Therefore, this answer is inaccurate as the main reason.

Option 4: the audience reacted only to images and not the storyline.
This claim asserts a belief that audiences were indifferent to narrative content and only cared about visuals. This is not accurate for silent cinema in Japan or elsewhere; audiences generally valued story and exposition conveyed through dialogue, narration, and textual elements. While images carry weight, suggesting audiences ignored the storyline undermines the purpose of text and narration altogether. Hence this option mischaracterizes audience engagement with silent films.

In summary, Option 2 correctly identifies the cultural-practical reason: the benshi tradition provided live narration that conveyed action and dialogue, reducing the reliance on subtitles and intertitles in early Japanese silent cinema. Options 1, 3, and 4 each contain elements of misunderstanding—whether about the role of benshi, economic considerations, or audience engagement with narrative—leading to inaccuracies when explaining the limited use of intertitles. The analysis above shows how each choice aligns or conflicts with the historical context of Japanese silent film practices.

EALL 3405 SP2025 (28796) Quiz 1 on Anderson, Lorge-First, and Teo-Intro

Subtitles, intertitles, etc., were not much used in early Japanese silent films because

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