ON FILM TITLES: TRANSLATION OR RETITLING?

Abstract

The purpose of the article is to show the translation of film titles into English and their retitling to develop in parallel, and both processes involve transformations.Methodology and Approach to analyze the Internet sources materials are based on comparative and descriptive method of their linguistic and lexicographic constituents. The results. Differences of film titles in the source and target languages are resolved in course of the realization of translational strategies, based on transformations and modulations. The presence of variations in translation into one and the same language is caused by the practice to demonstrate films in various countries.Theoretical and Practical Implication. General approach to film titles translation once again proves transformation to be the principle means to reach understanding of the target audience along with strategies of modulation and retitling. The analysis of the material is useful for theoretical and applied translation studies, including compilation of special dictionaries and manuals and teaching wide profile translators.

Full text

1
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

УДК 81’25
E.Krasina, A.Moctar
Peoples’ Friendship University of Russia
6, Miklukho-Maklayul., Moscow, 117198, Russian Federation
ON FILM TITLES: TRANSLATION OR RETITLING?
ABSTRACT
The purpose of the article is to show the translation of lm titles into
English and their retitling to develop in parallel, and both processes involve
transformations.
Methodology and Approach to analyze the Internet sources materials
are based on comparative and descriptive method of their linguistic and
lexicographic constituents.
The results. Dierences of lm titles in the source and target languages are
resolved in course of the realization of translational strategies, based on
transformations and modulations. The presence of variations in translation into
one and the same language is caused by the practice to demonstrate lms in
various countries.
Theoretical and Practical Implication. General approach to lm titles
translation once again proves transformation to be the principle means to reach
understanding of the target audience along with strategies of modulation
and retitling. The analysis of the material is useful for theoretical and applied
translation studies, including compilation of special dictionaries and manuals
and teaching wide prole translators.
KEYWORDS
lm title, tagline, retitling, transformation, modulation, source language, target
language
STRUCTURE
Introduction
Translation process and discrepanciesinthelm titles interpretation
Translation techniques
Main results
Conclusion

2
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

КрасинаЕ.А., МоктарА.
Российский университет дружбы народов
117198, г.Москва, ул.Миклухо-Маклая, д.6, Российская Федерация
НАЗВАНИЕ ФИЛЬМА: ПЕРЕВОД ИЛИ ПЕРЕИМЕНОВАНИЕ?

Цель работы – показать, что перевод названий фильмов на английский
язык и их замена-переименование развиваются параллельно, и оба про-
цесса включают трансформации.
Процедура и методы исследования. Анализ материала из интернет-ис-
точников основан на сравнительно-описательном методе их лингвистиче-
ской и лексикографической составляющих.
Результаты исследования. Различия названий фильмов на языке ори-
гинала и языке перевода преодолеваются за счёт реализации переводче-
ских стратегий, основанных на трансформациях и модуляциях. Наличие
вариантов перевода на один и тот же язык обусловлено практикой показа
фильма в разных странах.
Теоретическая и практическая значимость. Общий подход к переводу
названий фильмов подтверждает, что трансформация – основной способ
достижения понимания в целевой аудитории наряду с приёмами модуля-
ции и замены. Анализ материала полезен для теоретического и приклад-
ного переводоведения, включая составление специальных словарей и
справочников, подготовку переводчиков широкого профиля.
 
название фильма, замысел, переименование фильма, трансформация, мо-
дуляция, язык оригинала, язык перевода

A lm title is actually a concise statement that is to provide insights into
the subject matter of the lm storyline. In addition, a lm title sets the mood
and captures the audience before any other movie feature. It can be viewed as
a potential key to a lm success on the market. This is the obvious reason why
lmmakers literally spend years trying to come up with a lm title that would
be both striking and marketable. Most lms are produced under a “working title”
because the ocial title has not yet been decided upon [9, p.14]. It is useful to
highlight the pivotal role of a similar feature that sets a given movie for global
success: the title under which it is released overseas and worldwide.
The translator has to capture the semantic multidimensionality of the original
title in order to transmit accurately the same vision, sense and tonality embodied
in the original title. A lm title should thus be studied as a complex linguistic unit
based on its structural-semantic and functional-pragmatic characteristics. Title
translation plays an instrumental role in intercultural communication as it reects

3
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

the cultural and sociopolitical situation or shifts in the world. Film title translation
could be quite problematic to achieve, given the fact that the translation could
face numerous intra- and extra-lingual challenges (e.g. trademark infringement
and lawsuits). There might also be linguistic limitations related to the form and
content of both – source and target languages.
Film title translation and re-titling is an art that is practiced by dierent
distributors from all around the world. If after translation the new title is not
accepted by the original distributor, for certain lms, there might be given
guidelines so that to stick to the original title as much as possible.
The title is at the heart of a lm’s marketing strategy, analogously to the
poster, the trailer and the advertising campaign. It is necessary to bear in mind
the target audience for which the product is intended, if it is for younger children,
students or elderly people; cinephiles or regular movie-goers, or others. And thus
the image is created, the one to be given and perceived as well. Then its position-
ing comes in: a lm is often found on the borderline between two genres; so the
question is if to sell it as a comedy or drama or horror movie or fantasy action [10].
And one more thing: if the lm title is accepted by each and every of parties –
producers and consumers.

The practice of nding a title has turned into an art form on its own.
Analogously to a person’s name, it marks the lm forever and sets the rst
impression. The title translated is equally as important as the original one.
Translating a lm title is challenging given the fact that language and culture
interweave. Therefore, the practice of lm title translation is chiey built on a
number of semantic and pragmatic dichotomies – foreignization/domestica-
tion as translation strategies, literal/free translation, faithfulness to the source
text/intention to capture the global audience’s aection as a priority, prescrip-
tive/descriptive approaches, etc. The translation process demands eort to avoid
omission of information and thus convey the wrong information.
Although the English language is really global being the most commonly
spoken language in the world, some English lm titles are being translated as if
re-titled into English, e.g., in France: He’s Watching  A focus to kill; Ready or Not 
Wedding Nightmare, etc. [11].
Words or expressions with no direct equivalent in the target language, e.g.,
culturally specic terms, sayings and idioms are common reasons for translation
discrepancies. Other extra linguistic reasons may include ethical or legal matters
such as already registered trademarks in order to avoid any possible confusion
with some well-known objects or concepts bearing the same name in the target
language culture, or Briticisms and Americanisms that need to be introduced or
removed as domestication and foreignization approaches [14].
On a few samples, let’s see how it works:

4
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

Sourcestreaming gratuity

“Winter’s Tale” (US) (Weed Road Pictures & Marc Platt Production; director A.
Goldsman, distributor Warner Bros. Pictures, 2014) – “A New York Winter’s tale”
(UK and Ireland) – “Любовь сквозь время” (RU) – “Un amour d’hiver” (FR) – “Con-
te d’hiver” (QC) is the example of retitling within foreignization.
To highlight the American origin of the lm, New York was added to the origi-
nal title upon release in the UK and Ireland. The practice of retitling marks growing
trend in other EU countries, e.g., France that released the lm as “Un amour d’hiver”
[8]. In Russia, the original title was completely replaced with an outline of the syn-
opsis, literally translated and retitled “Love across time”. The protagonist travels in
time to nd his signicant other who was once deceased, whereas, in France, the
title was only partially changed; the word tale was replaced by love literally “Win-
ter’s Love”. Adding “catchy” words to lm titles is a commonly used advertising
technique [7]. Only in Quebec, the French-speaking part of Canada, the original lm
title was translated word-for-word into French, literally “Conte d’hiver”.
Another example is the US movie “The Proposal” (Touchstone Pictures, K/O
Paper Products Mandeville Films, director A. Fletcher, distributors Walt Disney Stu-
dios Motion Pictures, 2009) – “Предложение” (RU) – “La Proposition” (FR). The title
could be properly interpreted through the tagline: due to her expired visa, the edi-
tor-in-chief of a huge New York publishing house may undergo deportation. Deter-
mined to retain her position, she convinces her assistant to temporarily act as her
ancé to escape the unwanted consequence. Her assistant accepts the proposal
but demands a promotion. Compare the posters which bear similar visual impact:

5
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

Sourcestreaming gratuit

The original title perfectly suits the plot of the lm as it conveys both mean-
ings – a marriage proposal as well as a business proposal. This title was translated
into French as “La proposition” which actually means “oer” (as a business oer).
In French, a marriage proposal is une demande (en mariage) which highlights
only one aspect of the lm plot and doesn’t concern the tagline at all. In Russian,
the translated title conveys both meanings as the original one, but as opposed to
the French title, the Russian variant is more associated with a marriage proposal
when used on its own.
 Деловое предложение: business proposal.
 Предложение руки и сердца: a marriage proposal.
Nonetheless, “Предложение” on its own is rather associated with the mar-
riage proposal.
As is known, a lm tagline is a short text which serves to clarify an idea for,
or is designed with a form of, dramatic eect. Many tagline slogans are reiterated
phrases associated with the lm itself1. Let’s now compare some taglines render-
ing the idea of a lm title “The Proposal”:
 Here comes the bride – typically English/British tagline.
 Горько?... – typically Russian tagline: there is no direct equivalent for this
expression in English. It means ‘Bridegroom, come on, kiss the bride!’, usually
shouted by guests at the wedding. The question mark at the end implies that this
expression is used guratively.
 French tagline: Et si votre contrat de travail se transformait en contrat
de mariage? (literally ‘What if your employment contract turned into a marriage
1 75 Best Movie Tagline Examples, and Why they work [Electronic source]. Available at: https://
www.studiobinder.com/blog/best-movie-taglines (accessed: 01.10.2019).

6
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

contract?’ in English). A more detailed outline of the synopsis is given, complying
both intended meanings.
Above all, we can clearly see that both Russian and French lm taglines
denote the lack of dual meaning.
Thus lm distributors faced a dicult decision. They are mainly believed to
opt for reference reasons. In Russian, the translated title conveys both meanings,
compare:
1) предложение руки и сердца – a marriage proposal;
2) деловое предложение: a business proposal. Nonetheless, in Russian,
“Предложение” on its own is rather associated with the marriage proposal.
Next example clearly speaks of some linguistic limitations to convey the
proper meaning and sense. “Hitch” (US) (Overbrook Entertainment, director A.
Tennant, distributor Columbia Pictures, 2005,) – “ Hitch, expert en séduction ” (FR)
– “Правила съёма: Метод Хитча” (RU).
Sourcesstreaming gratuit

There is no direct equivalent for the word “Hitch” either in Russian or in
French. Dictionaries state the meaning of HITCH as follows:
hitch, v. 1. informal: to travel by asking other people to take you in their car
by standing at the side of the road and holding out your thumb or a sign (see: coll.
hitchhike); 2. to move a part of your body or something that you are carrying to
a high position;
to get hitched – informal: to get married [12, p.680].
“Hitch” (as in expression get hitched) is taken for the nickname of the protago-
nist who coaches other men in wooing the women of their dreams. Therefore, a
tagline was added to the lm title for more clarity. In Russian, the original title has

7
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

been transcribed in Cyrillic letters followed by an outline of the plot and formed a
simulation of literal translation: Pick up Rules: Hitch Method – Правила съема: Ме-
тод Хитча. Such a variation of lm title translations once again presents Hitch as
a person, who invented and applied a certain method as if representing the main
character of the lm story. In French, the lm title bears a description of the main
character’s job as a hooker seducing women (literal translation: Hitch, seduction
expert). This method of translation is viewed as “spoiler” because it reveals the plot
of the lm and happens to change the original English title. Compare the posters,
and see to the similarity of visual representation of the main character by Will Smith.
To sum up the analysis, one can clearly see that translation and retitling
are applied in parallel to make lm titles adapted and acquisited better for the
audience of some other language and cultural tradition.

The practice of nding a title has turned into an art form on its own, rstly,
pragmatically to promote a motion picture. Analogously to a person’s name, it
marks the lm forever and sets the rst impression. According to the viewpoint
of A. Veleva-Borissova, the title carries out a nominative, identifying function, in-
formative function and anticipatory function, “predicting the events”, and last but
not least, an advertising function inciting the prospective audience to watch the
movie in question [13, p.609]. Even a lm’s synopsis and genre can be predicted
based on its title, e.g., “Taken” (The lm was produced by Luc Besson’s Europa
Corp.) is a thriller by all means.
In fact, lm titles – both original and translated are a kind of precedential
texts [1], though they originate as ambivalent entities existing as a ‘working title’
in course of lming and upon nalizing, it could be changed due to any reason,
primarily, considering lm tagline and story. Nevertheless, the title translated is
equally as important as the original one. The translation process demands eort
to avoid omission of information and thus convey the wrong information as well
as to preserve the lm tagline if literally translation doesn’t comply.
In case there is no equivalent in the target language, genre and plot
compressed to a tagline are relied on for choosing a new title. The title translated
must meet certain imperative criteria. It is indispensable for a lm title to be
intelligible by the target language audience, it must have a logical connection
with the storyline of the lm and, the last but not the least, the title has to be
marketable. The titles translated, included in this article, can be considered
adequate as they correspond to the content, the idea and genre of movies.
Besides a perfect understanding of both – languages and cultures, a gift of words,
a feel for the language are of crucial importance [2; 5].
A lm title can be studied separately from the lm as the title of a given lm
might be highly publicized prior to a movie premiere. According to V.E.Gorshkova
[3], the title might trigger some associations on the recipient’s behalf, and thus, inu-

8
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

ence his/her willingness to watch a lm or total rejection based on his/her prefer-
ences and background. The graph below shows the development of the audience/
recipient perception, starting from the author’s background and determining the di-
rection to stimulate viewer’s perception to create recipient’s background (gure1):
Figure1. 
Source:
The transformation of the perception above is a result of involving a third
doer – translator creating the interpretation while involving source and target
languages, thus there are already three roles: author, translator and viewer
(recipient). The graph itself reects a more complicated situation, which presents
an overlapping picture of two languages, two lm titles – original and translated
ones, three backgrounds, whereas translator’s background involves interpretation
and translation version of the original lm title. Translator occupies the intermediate
position and is a mediator between the author and recipient (gure2):
Figure2. 
Source:


Philologicheskiye nauki


9
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

On the other hand, the theory that a lm title can be studied separately from
the lm on the whole, is quite debatable. According to O.I.Aleksandrova “…stag-
es of new title selection are as follows: watching the lm and getting familiar with
extra materials (slogan, press release, abstract, synopsis, description of characters,
trailer, etc.)  translation of the lm text  literal translation of the original title 
study of all the meanings included in the lexical unites  building bonds between
the original name and the lm content  correction with visuals and the slogan (if
any) accompanying the primary representation of the title  selection of criteria
that are the most signicant for this lm title (bonds with the plot, expressiveness
in terms of ideological-and-philosophical content, clarify, attractiveness, genre
correlation, recognition, etc.)  new name” [6, p.107–112]. Once again, it implies
that in case there is no equivalent in the target language, the genre and plot are
primarily relied on to choose a new title. Nonetheless, the translated title must
meet certain imperative criteria. It is essential for the title to be intelligible for the
targeted audience, it must have a logical connection with the storyline of the lm
and, last but not least, the title has to be marketable [7].
The following example proves this idea:
“WΔZ” (UK) – “The Killing Gene” (US) (Vertigo Films, directed by Tom
Shankland, released in 2007). The title itself startles the audience and is symbolic.
Even the way to pronounce WΔZ as [double-u delta zed], naming the
Sourcestreaming gratuit

mixed set of German and Latin letters of the acronym creates the feeling of some-
thing mysterious and horrible, though the equation of wΔz = Cov (w,z) = βwzVz,
well-known as Price’s equation or Price’s theorem, in the theory of evolution and
natural selection concerns gene changes in frequency over time.

10
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

So the abstract theoretical approach makes it possible to decipher the
mystery but add some challenge or menace to the lm title translation for an
American audience. This kind of retitling correlates with modulation (Lat.
modulatio as ‘equality, propotionality, etc.) as a term of translation theory and
practice which actually means a translation technique to develop word meaning
and senses through the adequate change or transformation of the original word
with the translated one so that the meaning be derived on the basis of the original
word [4, p.256; 15].
So WΔZ example vividly demonstrates the necessity of transformations so
that to combine lm tagline, story and genre. Besides, non-verbal components of
the poster and advertising help specify the essence of the transformation and the
informational and communicative functions of the lm title.
A new growing trend in American lm distribution in France shows that
the titles remain in English but they are modulations of the original titles. So
modulation seems to be on the borderline of retitling [11]. The Table 1 below
includes some lms released in 2019 in France under an English title2, while the
exact numbers out of 30 lms released are:
 adapted title: 12 (40%)
 original title: 18 (60%), and 5 of them are proper names.
Table1
Films distributed in France under an English title in 2019
(* – the bug marks proper names that stay unchanged)
Original title French title
Happy Death Day 2U Happy Birthdead 2 You
Fast & Furious : Hobbs & Shaw Fast & Furious : Hobbs & Shaw
Hustlers Queens
Men in Black International Men in Black International
Poms Pom- poms Ladies
Scary Stories to Tell in the Dark Scary Stories
Alladin* Alladin*
The Vanishing Keepers
Gemini Man* Gemini Man*
He’s Watching A focus to kill
Share Share
Instant Family Apprentis Parents
2 Top Film Streaming 2019 [Electronic source]. Available at: https://wvw.lmstreaming1.pro
(accessed: 06.10.2019).
Continued table on next page

11
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

Original title French title
Tall Girl Tall Girl
Breakthrough Breakthrough
Escape Room Escape Game
Hellboy* Hellboy*
Killer Body The Wrong Patient
Beats Beats
The Red Sea Diving Resort Operation Brothers
Mid90s 90’s
Ready or Not Wedding Nightmare
Booksmart Booksmart
Point Blank Point Blank
Alita* : Battle Angel Alita* : Battle Angel
Crawl Crawl
Little Little
American Hangman American Hangman
The Wind The Wind
A Score to Settle A Score to Settle
The Kid* The Kid*
Sources: Top Film Streaming 2019 [Electronic source]. Available at: https://wvw.lmstreaming1.pro
(accessed: 06.10.2019); DehesdinC. Comment retire-t-on un lm américain pour sa sortie française
[Electronic source]. Available at: http://www.slate.fr/story/26243/comment-retitrer-lm-americain-
pour-sortie-francaise-cinema (accessed: 05.10.2019).
In our opinion, the new trend is demonstrating the evidence of observing a ratio
in translating and retitling lm titles either in original or target languages.

The study of lm title translation has revealed a number of key factors
which help motivate perception of a motion picture by the target audience
and make it marketable. Linguistic semantic, pragmatic and communicative
means are crucial in the eld of translation, and they help create a technique of
retitling based on the transformation and modulation techniques in translation.
So, both translation techniques and retitling go in parallel as to the art of lm
promotion and marketing.
The materials included in this study can further serve as foundation for
future analysis of lm title translation and retitling as well as contribute in other
promising areas such as: the practice of lm title translation, in theoretical and
applied translation studies, for compiling special dictionaries and reference
books, and in the preparation of specialist translators of a wide prole.
Continued table

12
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020


The process of nding a lm title has turned into an art form of its own.
Analogously to a personal name, it marks the lm permanently and sets the rst
and last impressions. Translating a lm title is quite challenging given the fact
that language and cultural tradition are interweaved. The translation process
demands eort – to transform or modulate the senses and simultaneously
preserve the information and, thus, in consequence, convey the right sense and
idea supported by a tagline: one should study the entire work in depth to fully
understand it and always keep in mind intra- as well as extra-linguistic factors.
The lm title translated is equally as important, if not more so, as the
original one. In case there is no direct equivalent in the target language, the
genre and plot are relied on for choosing a new title. The lack of linguistic
means in the target language can be made up for with a new tagline. The title
translated must meet certain indispensable semantic and pragmatic criteria
and observe translation techniques to reach adequacy to the original lm title.
It is imperative for any lm title to have a strong connection with the storyline of
the lm and, last but not least, the title has to be marketable. In this article, lm
titles translated are considered adequate as they correspond to the content, the
ideology and the genre of the motion pictures under review. Besides, a perfect
understanding of both languages and cultures, translator’s gift of words and
a feel for language are key elements of a perfect translation. Due to cultural
dierences and linguistic limitations of the source and target languages, lm
title translation is correlated with retitling, primarily on the basis of modula-
tion translation technique, as both ‒ translation and retitling correlate as they
are based on transformations. The process studied also involves a new trend
to translate from English into English, so that to promote a motion picture
and make the target audience perceive and appreciate the lm, its tagline and
genre in full.
 
1. АлександроваО.И., КрасинаЕ.А., РыбинокЕ.С. Прецедентные феноме-
ны кинотекста: название художественного фильма в аспекте перевода //
Филологические науки. 2019. №5. С.22–33.
2. АнисимовВ.Е., Борисова А. С., КонсонГ. Р. Лингвокультурная локали-
зация кинозаголовков // Вестник Российского университета дружбы наро-
дов. Серия: Лингвистика. 2019. Т.23. №2. С.435–459.
3. ГоршковаВ.Е. Название фильма как единица перевода и составляющая
образа-смысла // Вестник Пермского национального исследовательско-
го политехнического университета. Проблемы языкознания и перевода.
2014. №10. С.26–37.
4. Словарь терминов межкультурной коммуникации / И.Н.Жукова идр.
М.: ФЛИНТА: Наука, 2013. 632с.

13
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

5. Тер-МинасоваС.Г. Язык и межкультурная коммуникация: учебное посо-
бие. М.: Слово/Slovo, 2008. 264с.
6. AleksandrovaO.I. Foreign Film Title: Translation or a New Naming Unit?
// Naming in Dierent Areas of Communication Field: Collective monograph.
Ottawa: Carleton University, 2018. P.107‒136.
7. Aubertot J. La traduction des titres de lms [Электронный ресурс].
[2016]. URL: https://www.sites.univ-rennes2.fr/lea/cfttr/veille/2016/02/05/la-
traduction-des-titres-de-lms (дата обращения: 22.03.2019).
8. Cinema: Quand les Français retirent de l’anglais à l’anglais [Электронный
ресурс]. URL: https://ici.radio-canada.ca/nouvelle/647656/traduction-lm-
france (дата обращения: 22.03.2019).
9. Davis R. Creating Compelling Characters for Film, TV, Theatre and Radio.
2nded. London, Oxford: Bloomsbury Academic, 2016.149p.
10. DehesdinC. Comment retire-t-on un lm américain pour sa sortie française
[Электронный ресурс]. URL: http://www.slate.fr/story/26243/comment-
retitrer-lm-americain-pour-sortie-francaise-cinema (дата обращения:
05.10.2019).
11. Guillén Martinez M. Translation of Film Titles… Anything but accurate!
[Электронный ресурс]. URL: https://termcoord.eu/2018/12/translations-of-
lm-titles-anything-but-accurate (дата обращения: 05.10.2019).
12. McMillan English Dictionary for advanced learners. Oxford: Bloomsbury
Publishers, 2002. 1692p.
13. Veleva-BorissovaA. La théorie interpretative de la traduction et les titres:
these de doctorat. Paris, 1993. 609p.
14. VenutiL. Translator’s Invisibility. London, NewYork: Routledge, 2008. 285 p.
15. Vinay J.-P., Darbelnet J. Comparative stylistics of French and English:
a Methodology for Translation / transl., ed. J.-C. Sager, M.-J. Hamel //
Translation Library. Vol. 11. Amsterdam, Philadelphia: John Benjamins,
1995. X+385p.
REFERENCES
1. AleksandrovaO. I., Krasina E.A., RybinokEu.S. [Precedential phenomena
of a lm text: lm title in the aspect of translation]. In: Philologicheskiye nauki
[Philological studies], 2019, no.5, pp.22–33.
2. AnissimovV. R., Borissova A.S., KonsonG.R. [Linguocultural Localization
of Movie Titles]. In: Vestnik Rossiiskogo universiteta druzhby narodov. Seriya:
Lingvistika [Bulletin of the Peoples’ Friendship University of Russia. Linguistics
Series], 2019, vol.23, no2, pp.435–459.
3. Gorshkova V. E. [Film title as a translation unit and constituent of
image-sense]. In: Vestnik Permskogo natsional’nogo issledovatel’skogo
politekhnicheskogo universiteta. Problemy yazykoznaniya i perevoda [Bulletin
of Perm National Research Polytechnic University. Problems of Linguistics and
Translation], 2014, no.10, pp.26–37.
4. Zhukova I. N. et al. Slovar’ terminov mezhkul’turnoi kommunikatsii [Termi-
nological dictionary of cross-cultural communication]. Moscow, FLINTA Publ.,
Nauka Publ., 2013. 632p.

14
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

5. Ter-MinasovaS.G. Yazyk i mezhkul’turnaya kommunikatsiya [Language and
Cross-Cultural Communication]. Moscow, Слово/Slovo Publ., 2008. 264p.
6. AleksandrovaO.I. Foreign Film Title: Translation or a New Naming Unit? In:
Naming in Dierent Areas of Communication Field. Ottawa: Carleton University,
2018, pp.107–136.
7. AubertotJ. La traduction des titres de lms, 2016. Available at: https://www.
sites.univ-rennes2.fr/lea/cfttr/veille/2016/02/05/la-traduction-des-titres-de-
lms (accessed: 22.03.2019).
8. Cinema: Quand les Français retirent de l’anglais à l’anglais. Available at:
https://ici.radio-canada.ca/nouvelle/647656/traduction-lm-france (accessed:
22.03.2019).
9. Davis R. Creating Compelling Characters for Film, TV, Theatre and Radio.
London, Oxford, Bloomsbury Academic, 2016. 149p.
10. DehesdinC. Comment retire-t-on un lm américain pour sa sortie française.
Available at: http://www.slate.fr/story/26243/comment-retitrer-lm-americ-
ain-pour-sortie-francaise-cinema (accessed: 05.10.2019).
11. GuillénMartinezM. Translation of Film Titles… Anything but accurate! Avail-
able at: https://termcoord.eu/2018/12/translations-of-lm-titles-anything-but-
accurate (accessed: 05.10.2019).
12. McMillan English Dictionary for advanced learners. Oxford, Bloomsbury
Publishers, 2002. 1692p.
13. Veleva-BorissovaA. La théorie interpretative de la traduction et les titres:
these de doctorat. Paris, 1993. 609p.
14. VenutiL. Translator’s Invisibility. London, NewYork, Routledge, 2008. 285p.
15. VinayJ.-P., DarbelnetJ. Comparative stylistics of French and English: a Meth-
odology for Translation. In: Translation Library. Vol.11. Amsterdam, Philadelphia,
John Benjamins, 1995. X+385p.
 
Статья поступила в редакцию: 20.01.2020
Статья размещена на сайте: 30.06.2020
   / INFORMATION ABOUT THE AUTHORS
Красина Елена Александровна – доктор филологических наук, профессор, профессор
кафедры общего и русского языкознания Российского университета дружбы народов;
e-mail: elena_krassina@mail.ru
Моктар Алия – аспирант кафедры общего и русского языкознания филологического
факультета Российского университета дружбы народов; e-mail: moctar.alia@hotmail.com
ElenaA. Krasina – Doctor of Philological Sciences, Professor at the Department of the General
and Russian Linguistics, Peoples’ Friendship University of Russia; e -mail: elena_krassina@mail.ru
Alia Moctar – Postgraduate student at the Department of the General and Russian Linguistics,
Peoples’ Friendship University of Russia; e-mail: moctar.alia@hotmail.com

15
филологические науки
© CC BY КрасинаЕ.А., МоктарА., 2020

    / FOR CITATION
КрасинаЕ.А., МоктарА. Название фильма: перевод или переименование? // Вестник Мо-
сковского государственного областного университета (электронный журнал). 2020. №2.
URL: www.evestnik-mgou.ru
KrasinaE. A., MoctarA. On Film Titles: Translation or Retitling? In: Bulletin of Moscow Region
State University (e-journal), 2020, no.2. Available at: www.evestnik-mgou.ru