Basic methods and strategies for translating movie titles. Weird movie title translations

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Currently, foreign films are in great demand in Russia. Their original titles are in a foreign language and must be translated.

Movie title plays big role in understanding the film as a whole and the main idea contained in it. Therefore, the translator must be very careful when translating the title of the film in order to make it as resonant and meaningful as the original.

Target of this research work - to analyze the titles of films and the ways of their translation in order to establish a connection between the title and the content of the film. object studies of this research paper are titles of English and American films, subject research is their translation into Russian.

To achieve the goal, we have to solve the following tasks:

1) to study the features of the titles of English and American films of various genres; 2) to classify the translation of titles in terms of their compliance with their content; 3) Analyze the audience's opinion on literal and literary translations and draw a conclusion about its productivity.

The selection of examples was carried out by random sampling.

The work consists of an introduction, two chapters, a conclusion and a list of references. In this work, the works of leading linguists and translators of Russia were used. In conclusion, the conclusions of the study are presented.

The topic of the research work is relevant Since film production has now grown into a film industry, new films appear very quickly, and translators need to put in enough effort and imagination to make each film stand out against the background of numerous films and attract movie fans. We also tried to identify the productivity of using not literal, but literary translations used by translators.

Chapter I. Interpretation of film titles as a special kind of art of translation.

1. The role of film title translation in the modern world.

Movie(from English film - film), set photographic images(frames) sequentially located on the film, connected by a single plot and intended for reproduction on the screen; film work. This definition is given by Wikipedia. The film is considered by many to be an important art form; films entertain, educate, enlighten and inspire audiences.

Translation is an activity that consists in transferring the content of a text in one language by means of another language. The purpose of the translation is to establish an equivalence relationship between the original and final texts.

Film translation plays a unique role in the development of both national stereotypes. Films can be an extremely influential and extremely powerful vehicle for conveying values, ideas and information. Different cultures are presented not only orally, but also visually and verbally, as the film conveys meaning through multiple channels such as painting, dialogue and music. Items that used to be specific to a culture tend to spread and invade other cultures. The choice of how the film is translated contributes greatly to the reception of the source language film in the target culture. The methods depend on various factors, such as the history, tradition or translation of films in a given country.

Any form of translation ultimately plays a unique role in the development of both national specifics and national stereotypes. The choice of how the film is translated contributes greatly to the reception of the source language film in the target culture. The methods depend on various factors, such as the history, tradition or translation of films in a given country.

The translation of films has its own specifics, due to several factors at once. First of all, it has both signs of written and oral translation.

Traditionally, the major share of imported films in Russian film distribution is made up of Hollywood productions. Accordingly, the translation of films is most often a translation from English.

A feature film is not only a cultural phenomenon that reflects the socio-cultural priorities of society, but also a way of forming a worldview, as individual and society as a whole. After all, it is often films (regardless of artistic merits or shortcomings) that are the main source and at the same time a means of creating the image of a “foreign” culture. A vivid example of this is American films, with the help of which we create a picture of the American way of life, features of interpersonal relations, value systems, etc. Translation of the title of films is also one of the ways of expressing moral norms and perception of the world by this society.

1. Trends in translation of film titles from English into Russian.

In connection with many years of experience in translating film titles, translators have developed certain approaches or translation trends, which we will consider in this paragraph.

Lexical translation - the titles are translated into Russian word for word. For example, Usual Suspects - Ordinary Suspects; Waterboy - Water apprentice, Water carrier; Pirates of the Caribbean: The Curse of the Black Pearl - Pirates of the Caribbean, caribbean pirates: Curse of the Black Pearl; Crazy Bus - Crazy Bus, Crazy Bus; 28 Days Later - 28 days later, After 28 days;

The next trend is pragmatic translation. A. D. Lishansky expressively writes about this: “The communicative ability of those who speak a language includes, in addition to linguistic knowledge, the ability to interpret the linguistic content of an utterance and derive contextual meaning from it.” Such skills are necessary for the translator of films, the titles of which can be both the key phrase of the film and a metaphor. Therefore, taking into account the pragmatics of the original name involves the use of various adaptation strategies that help the reader (potential viewer) to derive the most appropriate meaning for the content of the film, which is impossible with a literal translation. For this type of translation, it is necessary to take into account the so-called socio-cultural influence, which, in some cases, forces the translator to reduce or completely omit everything that is considered unacceptable in the receiving culture for ideological, moral or aesthetic reasons.

Comparative analysis shows that when translating names, adaptations are observed, which often differ in Russian translations. For example, the title of the comedy Shallow Hal (lit. Superficial Hal) is translated into Russian as Love of Evil.

3) Among the trends in translation, it is increasingly common genre adaptation, in which language units are involved in the translation, correlating the name of the film with a certain genre, so to speak, explicating the genre. For example, Gun Shy - Super Spy (literally in subtitles - Fear of weapons). The name of the detective City by the Sea in Russian translation is adapted to the genre - Lamarck's Last Case; and the name of the horror film She Creature in Russian translation is more in line with the "terrible" genre: Horror from the Abyss.

4) Another trend called semantic, means conveying the main idea. That is, the name in Russian may be far from the original source, but is connected with the main theme of the story.

Translations of film adaptation titles are a special object of analysis, since in this case it is necessary to trace the adequacy of several titles. For example, Sleep Hallow - Sleepy Hollow; Russian subtitles suggest a return to the most famous variant of the title literary work M. Rida: Uncovered - Flemish board (screen version of the novel by P. Reverte); Brem Stocker's Dracula - in Russian in the traditional Dracula design for film adaptations (based on the novel by B. Stoker). These names belong to the group " return to the original source.

5) Another trend is the title of the movie based on the main character's name. The single personal name of the protagonist of a feature film is most often passed on unchanged, for example, Oscar - Oscar; Constsantine - Constantine. The name of the film based on cartoon, well known to the American audience, is The Grinch. For the Russian viewer, such a character is not familiar, therefore, in the Russian translation, this gap is filled with an explanation: The Grinch is the thief of Christmas.

Thus, the analysis of the titles of films translated into Russian showed a rather mixed picture, however, some patterns and trends can be identified.

Recent material testifies to the desire to find a pragmatic rather than a lexical equivalent for the title of the film. In addition, the analysis shows that title translations follow certain adaptation strategies that are necessary for successful translation.

Chapter 2

2.1 Matching translations of film titles with their originals.

Not every title of a foreign film can be translated into Russian without semantic loss. Not every translation that is successful in terms of language is suitable for promoting a film on the Russian market. Now we are going to look at the titles of the films in the original and translate them verbatim.

Flirt with a beast (Someone like you).

The original title, which translates into Russian as "Someone like you" or "Someone like you", has been changed to a more catchy one.

Mysterious forest(The village).

In America, this film was called Night Shyamalan's Village. We have a "Mystic Forest". The distributors gave a comment: that the village is not associated in Russia with mysticism. And the director Shyamalan in Russia is not known at all as a poet of the Russian village. However, initially Shyamalan wanted to name the film "Forests". He was hindered by the fact that another film crew had already adapted this name for their project. So, without pursuing such a goal at all, the Russian distributors kept the director's idea in its purest form.

Little man.

The Russian name "Naughty" sounds more interesting than "Little Man" or "Little Man".

Attack spiders (Eight legged freaks).

"Eight Legged Freaks" sounds more intriguing than "Attack of the Spiders".

Swindlers: Dick and Jane have fun (Fun with Dick and Jane).

In the original title, unlike the Russian one, the heroes are not characterized. "Fun with Dick and Jane" is an accurate translation.

Illusion of flight (Flightplan).

"Flight plan" in Russian interpretation does not sound the best. In this case, the semantic approach is used in translation.

Crazy Races (Herbie: fullyloaded).

Herbie is the name of one of the car models. "Herbie: full tank" - this is how the title of this film could be translated, but for the Russian audience this title is less attractive than the literary translation.

In English-speaking countries, there are fixed expressions, the meaning of which is extremely difficult to convey to a person who does not speak the language. Next, we would like to present the paintings that we considered the most difficult to translate:

Movie title: "I Spy"

The Lingvo12 dictionary gives the following translations of words:

Spy: spy, Secret agent, tracker, espionage, secret surveillance, spyware, espionage, spy, follow, peep, peep, poke your nose into other people's business.

If we take into account that the phrase does not contain the verb to be and the article, then spy is a verb.

If we combine these translations, we get 6 translation options for this movie title: 1. I am a spy; 2. I spy; 3. I follow; 4. I peep; 5. I'm peeping; 6. I poke my nose into other people's business.

The 7th version of the translation of this movie title is the official Russian version: "Deceive everyone."

It has been completely changed, and has a distant connection with the meaning of the original movie title, but it fits the genre of comedy. The type of movie title translation used in this case is called genre translation because the original version has the purpose that people, by this title, could identify this film as a comedy but not confuse it with a detective story or an action movie.

Next movie title: Dracula's Curs.

If we take the Lingvo12 dictionary, this will give us the following translations of these words:

Dracula: Count Dracula

Curse: curse, revenge, swear word, scolding, curse, trouble, attack, calamity, great torment, torment, excommunication.

With the official Russian version of this movie title, we have 12 translation options: 1. The Curse of Count Dracula; 2.Revenge of Count Dracula; 3. The swear word of Count Dracula; 4. Scolding Count Dracula; 5. Curse of Count Dracula; 6. The trouble of Count Dracula; 7. Attack Count Dracula; 8. Calamity of Count Dracula; 9. Great torment of Count Dracula; 10. Torment of Count Dracula; 11. Excommunication from the church of Count Dracula.

Official Russian translation: "The Return of Dracula".

The first difficulty with this translation of the film's title is that we had to choose the right one between many synonymous translations. But the second difficulty is that it is only after watching this horror movie that we realize that the only one version that can be accepted is The Curse of Count Dracula, which fits the movie's script.

Next movie/series name: Lost.

The Lingvo12 dictionary translates this word this way:

Lost: destroyed, broken, weakened, lost, lost, unsaved, wasted, vain, wrecked, failed, barren, forgotten, unknown, corrupted, shameless, lost.

Here are the possible translations of this movie title: 1.Crashed;2.Missing;3.Lost;4.Forgotten;5.Lost;6.Unknown;7.Corrupted;8.Vast;9.Unsaved; 10. Barren; 11. Failed; 12. Lost shame; 13. Wasted; 14. Exhausted; 15. Broken; 16.Destroyed; 17. Dead.

In general, we have 17 variants of this movie title.

But the official Russian translation is: "To stay alive."

The difficulty in translating this film title lies in its history. The idea for this film was taken from a famous American reality show where ordinary citizens lived on a deserted island. This is a reality show called " Last Hero”, showed on Russian television shortly before this film. Only by analogy with the show "The Last Hero", in Russia the famous film was called "Lost", the title of the main musical theme of the reality show. Despite this, some of the possible translations may also exist, for example: "Crashed", "Missing" or "Lost".

Next movie title: "Into the blue".

Into: in, in, on, before.

Blue: blue color, sky, sea, ocean, blueberry, blue paint, blue clothes.

If we combine them, we get the following versions of this movie title: 1. In blue; 2. To the sky; 3. At sea; 4.Into the ocean; 5.In blueberries; 6.In blue paint; 7. In blue clothes.

We have 7 options for this movie title.

Official Russian translation: "Welcome to Paradise".

The difficulty of translating the title of this film lies in the fact that the possible translations are not entirely convenient. First of all, we learned from the plot of the film that the main characters loved scuba diving and they would dive into the ocean (which is synonymous with "blue"). That's why the 4th option "Into the Ocean" might be appropriate if it would be changed slightly to "Dive into the Ocean". But the main difficulty appears when comparing possible translations with the official one - "Welcome to Paradise". This variant was adopted due to semantic adaptation. The film tells us that the main characters found a sunken treasure in the ocean and began a truly heavenly life. That is why this option is convenient.

The next movie title is The Cutting Edge: Going for the Gold.

The Lingvo12 dictionary gives us the following translations of words:

Cutting: pointed, spiky, stabbing, cutting, penetrating, chilling, sharp, sharp.

Edge: edge, edge, edge, border, blade, point, sharpness.

Going: departure, departure, departure, walking, movement towards the goal.

Gold: gold.

If we combine them, we get the following versions of this movie title: 1. Sharp edge: the path to gold; 2. Blade: chasing gold; 3. Pointed edge: fight for gold; 4. Stab blade: go for gold; 5.Cutting edge: go for gold; 6. Penetrating sharpness of the blade: walking for gold; 7. Chilling point: departure for gold; 8. Sharp blade: movement towards gold; 9. Sharp border: go for gold; 10. Pointed blade: waste for gold.

We have 10 options for this movie title.

The official title of the film is Golden Ice.

The difficulty in translating this movie title is that all the variations are very long and don't sound good like movie titles. The official Russian version has been shortened, but has not changed its meaning. The type of film title translation used in this case is a pragmatic translation because the movie is about two figure skaters who wanted to win gold in the Olympics. So, after watching this movie, we understand that official version more convenient in this case.

2.2. Analysis of the productivity of the translation of movie titles from English into Russian.

In the next step of our research, we created two questionnaires. The first questionnaire was given to test-takers as potential viewers to determine their perception of various title translations. We interviewed 90 people age groups: the first group is 12-13 years old, the second group is 17-18 years old and the third group is 35-40 years old. Each group has 30 people. The testers chose the most interesting, euphonious title of the film. After processing the answer forms, we found that 46% of group I of the tested preferred literary translation and 54% verbatim and 42% -58%, 43% -57% the result of testing groups II and III, respectively. The results are clearly presented in the table (Appendix 1).

Summing up the test result, we found out that 42% of respondents chose literary translation and 58% literal translation. (Appendix 1)

Then a test was conducted to recognize the genre of each film presented in the questionnaire. The test was presented with the same movie titles and 6 variants of different genres. From this survey, it was found that thanks to literary translation, the test-takers identified the genres of the film by 41% correctly and by 59% incorrectly, and based on literal translation, only 25% of the answers were correct and 75% incorrect (Appendix 2).

As a result of this study, we can conclude that the literal translation may be more interesting and intriguing for the Russian audience. The preferences of films of different groups when choosing did not differ significantly, even despite the age aspect. At the same time, it should be noted that literary translation provides more information to the viewer, reveals the genre and plot of the film, attracting a certain category of viewers.

Literary translations are not the most interesting for moviegoers and do not always convey the main idea, but the adaptation work of translators can be considered productive, as they make the film more visible against the general background, helping to define the genre.

Conclusion

The title of the film should be related directly to the idea of ​​the film. The worst translation of the title can be considered the one that remains incomprehensible even after watching the movie. This is where difficulties arise. Therefore, the translator, translating the title of the film, must be very careful and attentive. He must know all the methods of this kind of translation and must use all his imagination to convey the meaning of the film's title as close to the original as possible. In the first chapter we introduced some theory about this subject. We have presented a brief description of the film title translation theory and its main trends.

However, the theoretical part of the work was not as interesting as the practical one. With the help of the theory about the types of translation of foreign movie titles in the second chapter, we made a detailed analysis of several examples. We chose the most interesting ones from the many names and carried out research based on them. It was curious to know that the titles of famous films could be examples of translator's mistakes or, conversely, could be real works of translator's art. We have presented some possible variations of all movie titles and compared them with their originals. But, despite this, they can all exist, and even sometimes one of them is more suitable than the official Russian translation. Then we conducted a test based on our developments and found that the majority of respondents preferred a literal translation, but it was easier for them to understand the genre of films from a literary translation.

At the end, we made some conclusions about the difficulties we encountered during our work:

1) the difficulty of choosing a convenient translation between many synonymous options;

2) the official translation is not suitable as one of the possible translation options;

3) the Russian translation must be adapted to the Russian audience.

4) sometimes the translation of the movie title does not match the genre of the original movie title.

Therefore, we have reached the goal of the study - we analyzed the titles of the films and determined that the interpretation of the titles of the films is quite adequate, as the translators are trying to convey the main features of the film.

We can draw the following conclusion. Literary translations are not the most interesting for moviegoers compared to literal translations and do not always convey the main idea. At the same time, the adaptation work of translators can be considered productive, as they make the film more visible, among numerous other films, help the audience determine the genre of the film in order to attract a certain category of viewer.

List of used literature

Arnold, I. V. Lexicology of modern English. / I. V. Arnold. - 2nd ed., - M .: Higher School, 1973. - 303 p.

Arnold, I.V. Stylistics. Modern English: a textbook for universities / IV Arnold. - 4th ed., Rev. and additional - M. : Flinta: Nauka, 2002. - 384 p.

Barkhudarov, L.S. Language and translation (Issues of general and particular theory of translation): textbook. allowance for students / L.S. Barkhudarov. - M.: International relations, 1975. -S. 116 - 119.

Budagov, R. A. Introduction to the science of language: textbook / R. A. Budagov. - M. : Dobrosvet - 2000, 2003. - 332 p.

Kazakova, T.A. Theory of translation (linguistic aspects) translation studies: textbook. allowance for students / Kazakova T.V. - M.: International relations, 2000.

Kulinich M.A. Once again about the translation of names // Linguistic fundamentals intercultural communication. Nizhny Novgorod, 2005.

Mezentseva T.D. Terminological adaptation in translation // Languages ​​of professional communication. Chelyabinsk, 2003.

Vlakhov S.I. Untranslatable in translation / S.I. Vlakhov, S.I. Florin//International relations. M., 1980.- C 56-60.

Milevich, I.G. Film title translation strategy//Russian Language Abroad.2007.-№5.С.65-71.

Lvov, M. R. Dictionary of antonyms of the Russian language / M. R. Lvov. - M. : Rus.yazyk, 1984. - S. 9 - 12.

http://arctogaia.krasu.ru/laboratory/vasiljev/esseys.shtm

www.worlddvd.ru/filmrussianalfavit

Annex 1

The results of testing aimed at identifying the most popular film titles.

General results of testing aimed at identifying the most popular film titles.

Annex 2

The results of testing aimed at recognizing film genres by their name

Appendix 3

List of film titles with literary and literal translations.

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When translating any text, the translator uses certain techniques that violate the formal similarity of the translation to the original, but ensure the achievement of more high level equivalence. Komissarov V.N. highlights the most common and widespread techniques: moving, adding and omitting lexical units in the translation process.

The technique of moving lexical units in a statement allows using the closest match of the words of the original in another place of the statement, if for some reason it cannot be used where it is in the original. The movement of a word in a sentence can often be accompanied by various kinds of grammatical substitutions. An example of a movement technique is the title of the film “It's a Wonderful Life” (Frank Capra, 1946), which was translated into Russian as “life is beautiful.” In this case, we observe the movement of the word “life”, “life”, which in the original is last place. There is also an accompanying grammatical replacement on the face: the adjective “wonderful”, “beautiful”, is replaced by the short adjective “beautiful”.

The reception of lexical additions finds wide application in the process of translation. Many elements of meaning that remain unexpressed, implied in the original, must be expressed in translation with the help of additional lexical units. The translation receptor does not have such knowledge of the semantic features of texts in a foreign language, and for it the implied meaning must be revealed by the translator. When choosing an additional element in each specific case, the translator is guided by both the rules of word compatibility in the target language and extralinguistic factors:

Brave ( Brave) (Mark Andrews, 2012). When translating the name this movie into Russian, the translator made a clarification with the help of a lexical addition: Brave in heart. In the English version of the name there is only the word "brave", "brave". Using a lexical addition, the translators made some clarifications: the viewer understands that the main character of the picture is female, and also that it is she who is brave, and not anyone else. Obviously, the English version of “brave” is much less informative.

The technique of omission is directly opposite to addition and involves the refusal to transfer semantically redundant words in the translation, the meanings of which turn out to be irrelevant or are easily restored in the context. An example of semantic redundancy is the use in English of the so-called "paired synonyms" - words used in parallel with a similar meaning. This phenomenon is unusual for the Russian language, and when translating one of the synonyms, as a rule, is omitted. However, redundant elements in the text are not reduced to paired synonyms. Other parts of the statement may also be omitted in translation: This Means War (Means war) (McG, 2012). In this example, in the English version, we observe the demonstrative pronoun “this”, while in the Russian translation of the title of this film, the demonstrative pronoun is absent: So, war. The English version of the name is definitely more specific: by using a demonstrative pronoun, the author of the name seeks to specify the cause of the war. Although the reason is not indicated in the title itself, it is clear that it will be revealed in the plot of the picture. The Russian version sounds more like a threat or an acceptance of a challenge, while the English name is more like a statement of fact. It is easy to note that by using the technique of omission when translating the title of this film into Russian, the translators achieved a greater emphatic coloring, emotionality and even mystery of the title, which increased the impact of the promotional function of the title. In addition, by shortening the name, the translators made it more memorable: the shorter the name, the easier it is to remember.

Reception of omission may not be associated with the desire to eliminate redundant elements of the original. One of the reasons for its use may be excessive specificity. English text, expressed in the use of numerals, names of measures and weights, etc. where it is not sufficiently motivated by the content.

Another consideration in favor of deletion is the need to compress the text as much as possible during translation, given that during the translation process, various additions, explanations and descriptions used by the translator can significantly increase the volume of the translation compared to the original. Therefore, the translator, in order to balance this trend, seeks to reduce the total volume of the translated text, omitting redundant elements, where possible within the limits of the linguistic and stylistic norms of the target language.

Since the translation of movie titles belongs to the group of translation of literary texts, it makes sense to refer to the main translation transformations used by translators when translating texts and when translating movie titles.

Transformations, with the help of which it is possible to carry out the transition from original units to translation units, are called translation (interlingual) transformations. Since translation transformations are carried out with language units that have both a content plan and an expression plan, they are of a formal semantic nature, transforming both the form and the meaning of the original units.

As part of the description of the translation process, translation transformations are considered not in a static sense as a means of analyzing the relationship between foreign language units and their dictionary counterparts, but in a dynamic sense as a means of translation. Which can be used by the translator when translating various originals in cases where there is no dictionary match or cannot be used due to the conditions of the context. Depending on the nature of the foreign language units, which are considered as initial in the transformation operation, translation transformations are divided into lexical and grammatical. In addition, there are also complex lexico-grammatical transformations, where transformations either affect simultaneously the lexical and grammatical units of the original, or are interlevel, i.e. carry out the transition from lexical units to grammatical ones and vice versa. But, since in our work we are dealing with the translation of film titles, which usually consist of two or three words, we will consider only the types of transformations that are most common in the translation of film titles.

The main types of lexical transformations used in the process of translation include the following translation techniques: translation transcription and transliteration, tracing and lexico-semantic substitutions (concretization, generalization, modulation).

Transcription and transliteration are ways of translating the lexical unit of the original by recreating its form using the letters PY. During transcription, the sound form of a foreign word is reproduced, and during transliteration, its graphic form (letter composition). The leading method in modern translation practice is transcription with the preservation of some elements of transliteration. Since the phonetic and graphic systems of languages ​​differ significantly from each other, the transmission of the form of the word FL in the target language is always somewhat arbitrary and approximate: absurdist - an absurdist (author of a work of absurdity), kleptocracy - kleptocracy (thieves' elite), skateboarding - skateboarding (skating on a skateboard ).

Tracing is a way of translating a lexical unit of the original by replacing its constituent parts - morphemes or words (in the case of stable phrases) with their lexical counterparts in the TL. The essence of tracing is the creation of a new word or a stable combination of TL that copies the structure of the original lexical unit. This is exactly what the translator does when translating superpower as “superpower”, mass culture as “ Mass culture”, green revolution as “green revolution”. In some cases, the use of the tracing method is accompanied by a change in the order of the tracing elements: first-strike weapon - first strike weapon, land-based missile - ground-based missile, Rapid Deployment Force - rapid deployment forces. Often, in the translation process, transcription and tracing are used simultaneously: transnational - transnational, petrodollar - petrodollar, miniskirt - miniskirt.

Lexico-semantic substitutions are a way of translating lexical units of the original by using TL units in the translation, the meaning of which does not coincide with the values ​​of the original units, but can be derived from them using a certain type of logical transformations. The main types of such substitutions are concretization, generalization and modulation (semantic development) of the meaning of the original unit.

Concretization is the replacement of a word or phrase FL with a broader subject-logical meaning, a word and phrase TL with a narrower meaning. As a result of applying this transformation, the created correspondence and the original lexical unit find themselves in a logical inclusion relationship: the FL unit expresses the generic concept, and the TL unit expresses the species concept included in it: Dinny waited in a corridor which smelled of disinfectant. Dinny was waiting in the corridor, which smelled of carbolic acid. Was not at the ceremony. He attended the ceremony.

Generalization is the replacement of an IL unit, which has a narrower meaning, with a TL unit with a broader meaning, i.e. transformation inverse of instantiation. The created correspondence expresses a generic concept, including the original specific one: Not visits me practically every week-end. He visits me almost every week. The use of a word with a more general meaning relieves the translator of the need to specify whether the author means Saturday or Sunday when speaking of "weekend". Modulation or semantic development is the replacement of a word or phrase FL with a TL unit, the meaning of which is logically derived from the value of the original unit. Most often, the meanings of the correlated words in the original and the translation turn out to be connected by causal relationships: I don "t blame them. - I understand them. (The reason is replaced by the consequence: I don't blame them because I understand them). He" s dead now. - He died. (He died, so he is now dead.) Not always made you say everything twice. - He always asked again. (You were forced to repeat what was said because he asked you to repeat it).

Syntactic assimilation (literal translation) is a method of translation in which the syntactic structure of the original is transformed into a similar structure of the TL. This type of "zero" transformation is used in cases where there are parallel syntactic structures in FL and TL. Syntactic assimilation can lead to a complete correspondence between the number of language units and the order of their location in the original and translation: I always remember his words - I always remember his words. As a rule, however, the use of syntactic similitude is accompanied by some changes in structural components. When translating from English into Russian, for example, articles, linking verbs, and other service elements may be omitted, as well as changes in morphological forms and some lexical units.

We have already said more than once that the title is a guideline when choosing a film. Coming up with a bright and correct headline is a certain art. But no less art is to correctly translate the title of the film so that it is equivalent to the original title. This requires not only an excellent command of a foreign and native language, but also certain extralinguistic knowledge and creative abilities.

Appeal to the analysis of translations of film titles is dictated by the current situation in the film market related to the quality of translations. Kulinich M.A. notes that "the study of film catalogs, where English titles and their translation are given, leads to disappointing conclusions," therefore, "an English-Russian reference book of the most common titles and titles, which provides linguistic and cultural information, is needed."

New films appear very quickly, as a result of which translators do not always pay enough attention and effort to ensure that their translation is of high quality. As researcher Balzhinimaeva E.Zh. notes, a comprehensive analysis of the translations of the titles of English-language films shows that changes are often due to the influence of the cultural and linguistic specifics of the country where the foreign film is released.

Ivanova P.V. identifies three main blocks of translation difficulties when working with feature films:

• 1. Problems of intercultural communication;
• 2. Problems due to technical requirements;
• 3. Linguistic problems.

The researcher argues that in order to develop a strategy for solving these problems, it is necessary to analyze the audience's perception of the means of expression of the work. In the film, these means are verbal and non-verbal signs. Information transmitted by non-verbal signs is considered as a situational context of a speech work. But given that only the verbal component is subject to translation, the question arises of the adequacy of the perception of the film, which includes non-verbal components that have national and cultural specifics. The video sequence also prevents the use of many methods of intercultural adaptation of statements containing allusions to the realities of another culture.

The second block of problems imposes restrictions on the form of translation. These conditions should ideally not affect the content. The translator is greatly assisted by the redundancy of the means of expression of a feature film. When translating, some of the significant elements of the original are lost, some are compensated by others, additional information appears, the ratio of implicit and explicitly expressed changes, compression is used.

The third block of problems is related to the language design of the original and its reflection in the translation. Regularities are dictated by the functional load on a single unit. The video plays a significant role here too. When the norm coincides in the original and translated cultures, the situational conditionality of communication facilitates the work of the translator, but, in some cases, can cause poor-quality translations.

Undoubtedly, all these factors interact with each other, affecting the translation, which has great importance for the perception of a foreign film, which is a tool for mastering another culture.

Balzhinimaeva E.Zh. identifies three strategies used by translators when working with film titles:

• 1. Direct translation of English film titles into Russian. Basically, such a strategy is subjected to film titles, where there are no untranslatable culturally specific components. This strategy also includes such translation techniques as transliteration and transcription of proper names that do not have an internal form;
• 2. Transformation of the name. The author writes that it is recognized in translation studies that transformations in translations are caused by various factors: lexical, stylistic, functional, pragmatic. Using the same strategy, many film titles are translated by expanding cognitive information by replacing or adding lexical elements, and entering the key words of the film compensates for the semantic or genre insufficiency of the literal translation in the title. It also reflects the promotional function of movie titles. Along with the addition, the omission technique can also be used;
• 3. Replacing movie titles. Despite the main requirements that the translator faces - the preservation of semantic-structural equality and equal communicative and functional properties - there are quite a lot of cases of changing the titles of films during translation.

Milevich I. also notes all of the above strategies and highlights one of the translation tactics, which can be attributed to both the title transformation strategy and the title replacement strategy. This is a genre adaptation, in which linguistic units are involved in the translation, correlating the title of the film with a certain genre. We can say that they explicate the genre.

Nagovitsyna I.A. also speaks of such tactics. She considers the humorous nomination in the aspect of translation of English-language comedy films. The author argues that the main function of nominations in a comedy film is the realization of a comic effect, and identifies the following groups of humorous nominations: real proper names Fun with Dick and Jane (Dean Parisot, 2005); fictional talking names, surnames; appeals; treatment-characteristics; situational nicknames, for example, Liar, liar (Tom Shadyac, 1997); astronyms, toponyms; metaphorically reinterpreted names of a certain group of people, their place of work and residence Meet the Fockers (Jay Roach, 2004); brand names. Nagovitsyna I.A. notes that the translation solutions are most interesting when the comic of the original is based on a game with real names own, non-fictional trademarks, or when a proper name with a pronounced characterizing function is included in the title of the film.

The purpose of my graduation thesis will be to identify the features of the translation of film titles from English and German into Russian and the strategy for their adaptation in this process. The object of the study will be directly the titles of American and German films released in recent years in the world distribution, the subject of the analysis will be the options for their translation in the Russian version.


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X regional scientific and practical conference of young researchers

"Step into the Future - 2014"

the specifics of the translation of film titles from English into Russian

Russia, Tyumen region, Ishim district, Novovolokti village

With. Mizonovo, Branch of the Municipal Autonomous

educational institution

Novovoloktinsky secondary school

Mizonovskaya comprehensive school, Grade 9

Scientific adviser: Sibirskikh

Irina Mikhailovna, teacher

in English,

municipal autonomous

educational institution

Novovoloktinskaya average

comprehensive school

Sergeeva Tatyana Sergeevna

Grade 9

Brief annotation

This research work is devoted to the specifics of the translation of foreign film titles into Russian. To this end, on the example of films selected at random, an analysis was carried out on the frequency of strategies used in translation, which determined that the most common translation strategy at the moment is replacement. In addition, after analyzing the titles of some films, it was revealed that this type of translation (replacement strategy) does not always reflect the plot of the film and the director's idea.

As a result of a survey among adolescents aged 15-16, it was found that Russian schoolchildren prefer commercial translation.

"The specifics of the translation of film titles from English into Russian"

Sergeeva Tatyana Sergeevna

Russia, Tyumen region, Ishim district, s. Mizonovo,

Branch of the municipal autonomous educational institution

Novovoloktinsky secondary school Mizonovskaya secondary school,

Grade 9

annotation

In the modern world, the film industry is in great demand, therefore it is developing at a rapid pace. But why do we love movies? People watch films for different reasons: for some it is a way to relax and take a break from everyday problems, while others use films for the purpose of education. A large number of foreign films are currently imported into Russia. Their original titles are in a foreign language, most often in English, and must be translated.

Target work- to determine the features of the translation of film titles from English into Russian and to establish a relationship with the level of English proficiency. To achieve this goal, it was necessary to solve several tasks:

Pick up a certain amount of film titles and translate them into Russian;

Analyze the frequency of applied translation strategies;

Analyze the translation of movie titles by comparing real name and translation;

To identify, with the help of a questionnaire, the most popular type of translation of movie titles among teenagers;

Summarize the data obtained and come to a certain conclusion.

object studies are the titles of English and American films.

Subject research is the translation of English and American films into Russian.

The following were used in the study methods:

Theoretical: study of literature, search for material, generalization.

Practical: questioning, analysis, synthesis.

Research results. While working on this project, we came to the conclusion that the replacement strategy makes it possible to translate the title of the film more attractively for the audience, but often the resulting title does not reflect the plot of the film and the idea of ​​the author of this picture. The study also showed inseparable bond linguistic level with the culture of the person himself.

"The specifics of the translation of film titles from English into Russian"

Sergeeva Tatyana Sergeevna

Russia, Tyumen region, Ishim district, s. Mizonovo,

Branch of the municipal autonomous educational institution

Novovoloktinsky secondary school Mizonovskaya secondary school,

Grade 9

Research Article.

Definition of basic concepts.

Movie - a piece of cinematic art. In technological terms, this is a sequence of photographic images (frames) connected by a single plot. Films are created by recording moving images of the world around them with motion picture cameras or digital cinema cameras, and also produced from individual images using animation or special effects. Among filmmakers, the word "film" is almost never used; instead, the word "picture" is used in relation to the film.

Feature Film is not only a cultural phenomenon that reflects the socio-cultural priorities of society, but also a way of forming a picture of the world, both for an individual and for a linguo-cultural society as a whole. After all, it is often films that are the main source and at the same time a means of creating the image of a “foreign” culture. A vivid example of this is American films, with the help of which we create a picture of the American way of life, features of interpersonal relations, value systems, etc.

header - verbal designation of a thing or phenomenon, in this case a film.

Translation - a type of linguistic / verbal human activity, during which, due to special processing of the source text that exists in one language, a text is created that represents it in the target language.

It should be noted that, speaking of translation, we must distinguish between the actual activity, i.e. process of action and its result.

Linguistics has no clear definition translation strategy . Well-known specialists in the field of translation theory, such as V.N. Komissarov, I.S. Alekseeva, A.D. Schweitzer, H. Krings, N.K. Garbovsky and many others.

Almost each of them gave his own definition of translation strategy. For example, Komissarov V.N. in his work “Modern Translation Studies” called the translation strategy “a kind of translation thinking that underlies the translator’s action”, and H. Krings said that “translation strategy is the translator’s potentially conscious plans aimed at solving a specific translation problem within a specific translation tasks".

But we believe that the most complete and precise definition translation strategy was given by I.S. Alekseeva. She proposes to understand a translation strategy as “a consciously chosen algorithm of translation actions when translating one specific text (or a group of texts), where translation actions are understood as the whole set of possible actions for the implementation of the translation”.

The history of translation.

Translations originated in Ancient Rome, they were used in diplomatic negotiations and when escorting troops on foreign campaigns. Despite some theoretical diversity, the practice of translation has hardly changed since antiquity. With the exception of some extreme literal translations of the early Christian period and the Middle Ages, translators used a detailed retelling of what they heard or read. In general, the translators tried to preserve the original word order and, if necessary, actually interpreted the grammatical structure.

When the language lacked terms that are found in the original language, translators borrowed these terms, thereby enriching it. Due in large part to tracing and borrowing between languages, as well as imports from other languages, there are several concepts that are "untranslatable" in modern European languages.

Maxim Grek is considered one of the first translators in Russia. Translation technology improved significantly under Peter I, as many scientific and technical books were in foreign languages.

For the first time simultaneous translation was widely used at the Nuremberg Trials in Germany in 1945-1946.

With the advent of the computer, first electronic dictionaries began to appear, and then automatic translation programs. However, the quality of their translation is limited by the lack of analysis of the semantics of the text, and the problems are similar to the construction of artificial intelligence.

Classification of translations.

When translating movie titles, a wide variety of adaptation strategies can be applied. The simplest translation strategy is the direct or literal translation of film titles into Russian, which is used in the absence of untranslatable socio-cultural realities and conflicts between form and content, such as the film Domino, which was released under the name Domino. This strategy is called tracing. There are two types of this translation: transliteration (reproduction by letters) and transcription (reproduction by sounds).

The second strategy, called transformation, is a slight change in the name, which is due to various factors: lexical, stylistic, functional, pragmatic. For example, the translation of the title may be accompanied by a semantic adaptation, in which the semantic or genre insufficiency of the literal translation is compensated by the replacement, addition or omission of lexical elements that are associated with the plot of the film. An example of such a strategy is the film "Last Night", released in Russia under the title "Last Night in New York". In semantic adaptation, it is important not to deviate from the original name and “not go too far” in the creative adaptation of the name.

Third strategy , used by translators is the replacement of movie titles due to the inability to convey the pragmatic meaning of the source text. Pragmatic adaptation is caused by certain layers of vocabulary that carry a certain semantic load, which becomes incomprehensible in literal translation. A prime example a film called "Thunderpants" can serve, which does not have a direct translation as such and was released under the name "Thunderpants".

Analysis of the frequency of strategies used in the translation of film titles.

Let's analyze the titles of ten randomly selected films in order to determine the strategy for their translation. The results of the work are presented in the following table:

p/n

Original movie title

Literal translation; approximate translation options

Official translation

Translation Method

"Some Like It Hot"

"Some like it hot"

"Only Girls in Jazz"

Replacement

Identity

"Identity"

"Vicious circle"

Replacement

"13 going 30"

"From 13 to 30

"From 13 to 30"

Verbatim

« funny faces »

"Happy Face"

"Funny Face"

"Funny face"

Transformation

"100 girls"

"100 girls"

"100 Girls and One in an Elevator"

Transformation

Dan in real life

"Dan in real life"

"Fall in love with brother's bride"

Replacement

« Alexander »

"Alexander"

"Alexander"

Verbatim

"It's a boy girl thing"

"Boy and Girl Thing"

"Boy in a Girl"

transformation

« Avatar »

"Avatar"

"Avatar"

Verbatim

10.

fair game

"Fair game"

"Game without rules"

Replacement

As a result of the analysis, we found that 40% of films have titles that do not carry a literal translation (Appendix 2). Based on these data, we came to the conclusion that distributors use more intriguing titles in order to attract an audience.

Comparison of translations of film titles with their originals.

Not every title of a foreign film can be translated into Russian without semantic loss. Not every translation that is successful in terms of language is suitable for promoting a film on the Russian market. There are examples in the Russian film distribution when the distortion of the meaning of the title is difficult to explain. In order to analyze such cases, we selected films in the translation of which the translators used the substitution strategy.

1. The commercial translation of the film "My Daughter's Secret" - "Two-faced killer", is more attractive to the audience, but is fundamentally different from the literal translation of "My daughter's secret" proposed by the filmmakers.

2. The film "American beauty", released in Russia under the name "American Beauty", disappointed a large number of viewers with a discrepancy between the title and the content of the picture, since the plot of this picture is played not with physical beauty, but with a kind of rose.

3. Based on the plot of the film "Big Miracle", the pronoun "everyone" in the name "Everyone loves whales" used by the distributors is not quite appropriate, since the released whales fell into a trap set up by a human hand. Based on this, we believe that a literal translation that sounds like "Great Miracle" would be more appropriate.

4. In the translation of the film "The Poet", which sounded like "Love on the Front Line", the distributors revealed all the intrigue encoded in the proposed title "Poet", but managed to attract the attention of a larger audience.

5. The name of the film “Public enemies”, translated as “Public Enemies”, probably did not imply such specificity as it received in the Russian box office, coming out under the name “Johnny D.”

6. Film " She creature ”, suggesting the name “She is a monster”, was given the more frightening name “Horror from the Abyss”, which will interest people who prefer the horror genre.

7. The extraordinary translation of the title of the film “ Seeking justice" - "The hungry rabbit attacks" is ambiguous, since some people will be interested in this name, while others will be bewildered.

8. Released film, with original name"Love by the rules ... and without", the audience was interested in its title, but viewing this picture showed that it is simply meaningless, since the true title "Something's gotta give" is a line from the song and translates as "Something has to be sacrificed" , which is quite consistent with the content of the film.

9. The film “A history of violence” was released in Russia under the name “Justified Cruelty”, but who justified it remains unclear, since the literal translation of the film is “The Story of One Violence”.

1 0. Commercial translation of the film "The Other Guys" - " Cops in deep reserve is less comprehensible than the equally intriguing literal translation of The Other Guys.

In the course of the analysis, we found that commercial translation is more interesting and intriguing than literal translation, but does not always reflect the essence of the film and the author's idea.

Identification of the most popular type of translation of English-language films.

In order to identify which title of the film would be preferred by the largest audience - teenagers, a survey was conducted among 9th grade students of the Mizonovsky and Novoloktinsky schools. A total of 30 people took part in the survey.

The students were offered a table (Appendix 1) containing ten randomly selected films, the translation of the titles of which is not literal. The table provided the names in the original, commercial and literal translation. The purpose of this survey was to find out what kind of translations of names teenagers prefer.

Thus , according to our study, the majority of teenagers 77% preferred commercial translation, i.е. a translation made using the substitution strategy, the respondents felt that such a translation is ideally suited to the titles of certain films. The literal translation was preferred by only 23% of the participants (Appendix 3).

Consequently, Russian teenagers prefer more familiar, commercial translations of film titles, which are the most vivid and interesting, rather than titles translated literally.

Our research has brought to the surface this problem and invite teenagers to think before buying CDs with foreign films.

The study also showed the inextricable link between the language level and the culture of the person himself.

Conclusion

The research work done, related to the specifics of the translation of film titles from English into Russian, showed the inextricable link between the language level and the culture of the person himself.

After analyzing the films whose titles were translated using the replacement strategy, we came to the conclusion that this strategy makes it possible to translate the title of the film more attractively for the audience, but often the resulting title does not reflect the plot of the film and the idea of ​​the author of this picture.

It should be noted that the hypothesis put forward by us at the beginning of the work was not confirmed, since when translating the titles of most films, not a literal translation is used, but a replacement strategy, which is necessary to attract the attention of the audience, as well as for euphony and compliance with the target language.

Bibliography.

Modern explanatory dictionary. "Great Soviet Encyclopedia", 1997. - 6110s.

Dal V.I. Dictionary Russian language. Modern version. - M .: ZAO Publishing House EKSMO - Press, 2002. - 736 p.

Komissarov V.N. General theory translation. M., 2000. - 527 p.

Alekseeva I.S. Fundamentals of the theory of translation. St. Petersburg, 1998 - 356 p.

Chukovsky K.I. high art. M., 1968. - 402 p.

Garbovsky N.K. Translation theory. M.: Publishing House of Moscow State University, 2004

Semenets O.E., Panasiev A.N. "History of translation. medieval Asia, Eastern Europe XV-XVIII centuries”, publishing house at Kiev University, 1991. - 365 p.

Galperin I. R. On the term "slang", "Issues of Linguistics", 1956, No. 6

Krupnov V.N. IN creative laboratory translator. M., 1976

Komissarov V.N. Modern translation studies. M., 2002

Apollova M.A. Grammatical difficulties of translation. M., 1980

Borisova L.I. Lexical difficulties of translation. English-Russian dictionary-reference book. M., 1999

Aristov N.B. Fundamentals of translation. M., 1959

Kazakova T.A. Literary translation. SPb., 2002

Levitskaya T.R., Fiterman A.M. Translation problems. M., 1976

Minyar-Beloruchev R.K. Theory and methods of translation. M., 1996

"The specifics of the translation of film titles from English into Russian"

Sergeeva Tatyana Sergeevna

Russia, Tyumen region, Ishim district, s. Mizonovo,

Branch of the municipal autonomous educational institution

Novovoloktinsky secondary school Mizonovskaya secondary school,

Grade 9

Research plan.

English is of particular interest to me, I enjoy translating phrases and words from English into Russian that occur in my daily life. And more and more often I began to pay attention to English-language films that are watched by teenagers in our country. Their headlines caught my attention. The idea of ​​studying such names arose as a result of personal experience and communication with peers. I wanted to know what method translators use when translating names from English into Russian and do modern teenagers pay attention to the correspondence of a foreign name and its translation? To this end, I turned to my supervisor, Irina Mikhailovna Sibirskikh, for joint work. On initial stage our creative activity has been put forward hypothesis: we assume that films, both in English and in Russian, have the same name, since regardless of the country in which they are shown, their plot is unchanged.

Research on the topic took place step by step:

At the preparatory stage, the main information work was compiled.

At the next second stage, we analyzed the translation of film titles by comparing the real title and translation.

At the third stage, a survey was conducted to identify the most popular type of movie title translation among teenagers.

On final stage conclusions were formulated, the results of the work were presented.

Relevance of this work is that at present the world of cinema is growing at a high speed and a large number of people, especially teenagers, spend free time at the TV, watching a movie, including American ones.

Novelty work is that this topic has not been considered earlier in a similar perspective.

Results and conclusions we recommend using our work in English lessons on the topic "Cinematography", extracurricular activities and hours of fellowship to build a culture of youth.

"The specifics of the translation of film titles from English into Russian"

Sergeeva Tatyana Sergeevna

Russia, Tyumen region, Ishim district, s. Mizonovo,

Branch of the municipal autonomous educational institution

Novovoloktinsky secondary school Mizonovskaya secondary school,

Grade 9

Annex I

Questionnaire "Preferences of Russian viewers"

Tick ​​in the second or third column the title of the film that you think is the most appropriate:

p/n

Original movie title

Commercial translation

Literal translation

fair game

"Game without rules"

"Fair game"

Dan in real life

"Fall in love with brother's bride"

"Dan in real life"

"Some Like It Hot"

"Only Girls in Jazz"

"Some like it hot"

"confidence"

"Scam"

"Confidence"

« Seeking Justice »

"Hungry rabbit attacks"

"Looking for Justice"

« Awake »

"Anesthesia"

"Woken up"

Identity

"Vicious circle"

"Identity"

« Lost »

"Stay Alive"

"Lost"

"The longest yard"

"All or nothing"

"The Longest Yard"

10.

"I Love Your Work"

"The Two Lives of Gray Evans"

"I love your work"

"The specifics of the translation of film titles from English into Russian"

Sergeeva Tatyana Sergeevna

Russia, Tyumen region, Ishim district, s. Mizonovo,

Branch of the municipal autonomous educational institution

Novovoloktinsky secondary school Mizonovskaya secondary school,

Grade 9

Appendix II

Analysis of the strategies used in the translation of film titles

"The specifics of the translation of film titles from English into Russian"

Sergeeva Tatyana Sergeevna

Russia, Tyumen region, Ishim district, s. Mizonovo,

Branch of the municipal autonomous educational institution

Novovoloktinsky secondary school Mizonovskaya secondary school,

Grade 9

Appendix III

What translations of movie titles do 9th grade students prefer?