Abstract
The article traces theoretical outlines of the four components of film as a text type: acoustics, visuals, verbal and non-verbal components. An exhaustive account of theories of translation is followed by analysis of Spanish television texts and their translation into Bulgarian with a view of how each code is interpreted and which compensatory mechanisms are employed to make the translation as rich as the original. The article discusses both subtitles and voice-over techniques by developing a taxonomy of the adaptations in the respective translation which should match the original technologically, temporally, spatially and linguistically.
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