“Hola, Señorita. Do You Like Gazpacho?” Challenges and Trends in the Audiovisual Translation of Linguacultural Otherness in American Multilingual Animated Films and Their Italian Dubbed Version

The increase in demand for the localisation of audiovisual media content has led to increased incorporation of audiovisual translation and accessibility modules into university curricula in many regions (Bolaños-García-Escribano et al., 2021). This study aims to map part of the audiovisual translation (AVT) and media accessibility (MA) training landscape in Europe, presenting the findings of the 2020 Audiovisual Translation and Media Accessibility Training Survey conducted among the European Master’s in Translation network. It reflects on the results obtained from 55 European Master’s programmes focused on the training of future translators and shows that the majority provide AVT and some MA training, mainly within broad AVT modules and, to a much lesser extent, in dedicated compulsory modules. The insights gained from this study are relevant to establishing a benchmark that will make it possible to track any developments in the teaching of AVT and MA in the EMT network and beyond. Lay summary In recent years, the need to translate audiovisual content for speakers of other languages and to make it accessible to those with disabilities has increased. This has led to growth in courses in audiovisual translation and accessibility in university programs in many parts of the world. Because of this, we wanted to understand the current situation with regards to audiovisual translation and media accessibility training in Europe. To do so, we conducted a survey focusing on European Master's programs in translation. We focused on programs that belong to the European Master's in Translation network. This network is a partnership between the European Commission's Translation Department and universities. It's a quality stamp for Master's translation programs that meet the high standards of the European Commission's Translation Department. We used a survey to collect data from 55 European Master's programs. We discovered that most of these programs offered some level of training in audiovisual translation, and some of them also trained students in media accessibility (for people with disabilities). Audiovisual translation was mostly taught in more general modules, and media accessibility was less common and was often part of optional modules. We now also understand better what is taught, the extent to which practical and theoretical training in this field is offered, the main working languages, the tools used, and to what extent the programs cooperate with industry professionals. So, why is this study important? It helps us better understand the current status of audiovisual translation and media accessibility education in Europe. By studying these Master's programs, we have created a starting point for tracking future changes in audiovisual translation and media accessibility training in the European Master's in Translation network and beyond. This information is important for educators and policymakers who want to improve existing opportunities and offer more training in audiovisual translation and accessibility. In summary, this research sheds light on how audiovisual translation and media accessibility are taught in European Master's programs. It highlights the need for more structured and comprehensive training in these areas to meet the growing demand for accessible audiovisual content.

Current research focuses on an observational investigation of dysphemistic words and phrases in contemporary animated films. The language of animated films varies from other genres and styles, and this divergence from conventional language presents an important sociolinguistic problem. The main reason for the study is an assumption that authors and script writers of animated films use dysphemisms in this specific language style, despite the fact that they should be avoided. The study's methodological foundation is a corpus analysis which deals with three different corpora: the primary corpus – selected contemporary animated films (dating from 2017 to 2020) and the secondary – a) the native language corpus (Corpus of Contemporary American English - COCA), and b) Google search engine. The following goals were pursued in this dysphemism investigation: (1) the selection of animated films for the primary corpus, (2) identification of dysphemisms in the primary corpus, (3) sociolinguistic analysis and explanation of some of the most appealing expressions from the primary corpus, and (4) to cross-check some of the dysphemisms identified in the primary corpus against the secondary corpus. The authors believe that certain number of them are exclusive to animated films and cannot be found in the native discourse. The analysis has confirmed that the language of animated films contains dysphemisms, and that their number and nature vary from film to film. The most common dysphemisms can be found in all animated films, but those containing the most profane language are characteristic only for South Park. Further investigation revealed that certain number of dysphemistic expressions identified in the primary corpus can only be found in animated films and not in the natural discourse.

Audiovisual texts are usually built according to the conventions of film language, a complex language that overcomes linguistic communication and has its own rules and conventions. In film language it is possible to distinguish several signifying codes which complement and frame words and linguistic meaning. This paper will focus on the interplay of non-linguistic codes in film language and audiovisual translation. In the first place, I will argue that for the analysis of audiovisual texts from a translational perspective at least the theoretical contributions of Translation Studies and those of Film Studies are necessary. Then, I will review the different models of analysis of audiovisual texts offered from the perspective of Translation Studies. Finally, I will introduce a new paradigm based on Film Studies, and present the signifying codes that primarily affect translation operations in the transfer. I will also illustrate these codes with a number of non-linguistic signs and their representation in the text, and will finally discuss the influence of such signs on translation operations.

The multilingual discourse practices distinctive of contemporary multicultural societies have assumed an increasingly prominent position in contemporary European and American multicultural films (cf. Bleichenbacher, 2008; Berghahn & Sternberg, 2010; Jacobsson, 2017), where code-switching (cf. Myers-Scotton, 1993; Auer, 1998; Gardner-Chloros, 2009; Bathia & Ritchie, 2014) stands out as a key conversational strategy when interethnic encounters are at stake. This ties issues of on-screen multilingualism to the field of audiovisual translation (cf. Corrius & Zabalbeascoa, 2011, 2019; Şerban, 2012; Zabalbeascoa & Voellmer, 2014; de Higes Andino, 2014), intended as a key vehicle of intercultural/interlinguistic mediation. This paper aims at looking contrastively and diachronically at how code-switching, implying the recurrent on-screen presence of L3s, has been dealt with in the original version and in the Italian dubbed versions of twenty European and American multicultural/multilingual films, belonging to different genres and released within a time span covering three decades, where interracial relationships are at centre stage; the main objective of this study is to verify whether specific translation, or non-translation, strategies are applied to the instances of language alternation either to faithfully re-create the original linguistic interplay for the Italian audience or to manipulate it in dubbing. Lay summary The multilingual discourse practices distinctive of contemporary multicultural societies have assumed an increasingly prominent position also in contemporary European and American multicultural films, where the alternation of different languages by bilingual/multilingual characters stands out as a key conversational strategy when interethnic encounters and cross-cultural romance are at stake. On-screen multilingualism thus results to be strictly tied to the field of audiovisual translation, nowadays intended as a crucial vehicle of intercultural/interlinguistic mediation worldwide. This paper aims at analyzing how different language alternation practices have been dealt with in the original version and in the Italian dubbed versions of twenty European and American multicultural/multilingual films, belonging to different genres and released within a time span of thirty years, where interracial relationships and love-stories are at centre stage. The main objective of this study is indeed to verify whether specific translation, or non-translation, strategies are applied to the instances of language alternation enacted throughout the film dialogues, either to faithfully re-create the original linguistic interplay for the Italian audience or to manipulate it through dubbing. All this primarily aims at pointing out what can be achieved by screen translation in terms of transcultural and translingual transmission, mediation and re-mediation when cross-cultural relations are at stake and at highlighting a series of translation (or non-translation) trends that increasingly favour affective bonds between Self and Other, liable to overcome cultural clashes as well as to cross linguistic bridges both on and off the screen.

Animated films are contemporary popular cultural products recreating the ‘real’ world and engaging massive worldwide audiences of adults and children. Children as the ostensible viewers of animated films may acquire their cultural and ideological knowledge and beliefs about the world from the representations in animated films. Although during the past decade animated films have increasingly been the focus of attention of researchers across different disciplines, including education, gender, sexuality and literacy, studies tackling the discourse and language of animated films are still in their early stages. More specifically, very few studies have investigated the use of euphemism as a major micro-level linguistic device reflecting macro-level discourse and extending to sociocultural structures. To this end, this thesis examines euphemism constructed through the discourse of animated films by employing the strategies of Critical Discourse Studies (CDS). Moreover, Multimodal Discourse Analysis (MDA) is employed to examine discursive strategies involving visual representations accompanying euphemism and what underpins those strategies, and to shed light on the multimodal relations between the representation of both. Euphemism is frequently associated with the notion of taboo. Consequently, new words or phrases are designated to refer to linguistic taboos as alternatives used by speakers to minimise the threat to the audience’s face as well as to their own. In addition, euphemistic occurrences represent a self-interested version of reality by pushing a topic into the background and highlighting instead a particular view of a topic. Therefore, euphemism is a speaker-oriented tool implying the reaction the speaker intends to prompt in the audience. This study shows that euphemism as a discursive linguistic tool has been used extensively in animated films as a manifestation of the discursive role anthropomorphised characters play to transmit certain ideological and social representations. A data set comprising 176 euphemisms found in four full-length anthropomorphised animated featured films, AAFF, extracted from film scripts and online channels was collected. The study identifies the main types of euphemism used in films, drawing on a framework of types based on Warren (1992), Allan and Burridge (1991) and Crespo (2006). After the main types of euphemism have been identified, the data set is approached from the perspective of taboo and culturally repressed topics, such as sexuality, gender and race. Moreover, discursive strategies adapted from Reisigl and Wodak (2016) are applied in order to identify important categories for the analysis of euphemistic discourse. This approach forms the basis for an in-depth, qualitative analysis of several representative scenes extracted from the films under investigation. First, the analysis focuses on racial euphemisms targeting different races. Then, I analyse sexual euphemisms related to nudity and sexual body parts, as well as conceptual metaphoric representations of sexual euphemisms. Finally, I focus on gendered euphemisms targeting the representation of four female characters in the films. The analysis shows that animated films tend to use euphemism to camouflage various taboo areas and manipulate the viewers’ perceptions, such as those relating to sexuality, gender and race. Nomination strategies are used more frequently with euphemisms referring to race, sex and gender. Metaphors and conceptual metaphors are used more frequently with sexual euphemisms. Visual empowerment strategies of female characters to highlight their sexuality are used more frequently with gendered euphemisms. I argue that while the linguistic element attenuates an ideology by virtue of euphemism’s manipulative nature, the visual element, in turn, highlights and confirms the same ideology, values or stereotypes. Hence, animated films can articulate the ideological and social legitimation or normalisation of a particular view of race, sex or gender through the use of euphemism and visual discursive strategies.

The proposed investigation is devoted to the translation transformations used in the course of translating the modern English-language animated film “Hotel Transylvania” into Ukrainian. The problem of translation transformations, despite its sufficient development, remains one of the most relevant in modern translation studies, because in order to reproduce a foreign language text, the translator resorts to a number of transformations that completely or partially change sentences. Translation of animated films refers to audiovisual translation. The peculiarity of this type of translation is the synchronization of non-verbal and verbal components, which complicates the work of the translator. Audiovisual translation combines different types of translation: written, simultaneous, sequential, etc., because the translator’s work on audiovisual translation involves working not only with the text (script), but also with comments/dialogues, sound accompaniment and video. The relevance of our article lies in the need for research in the field of translation studies and the study of the peculiarities of lexical and grammatical transformations in audiovisual translation. Despite the fact that English is one of the most widely used and popular languages in the world and it is the official language in most of the world’s leading countries, and the fact that its study is definitely necessary, there is still an urgent need for the translation of English-language audiovisual products (movies, animation films, series, etc.) in Ukrainian. The culture underlying the language enriches it with a high emotional value. Thus, there is a need for high-quality translation of audiovisual productions in order for the Ukrainian audience to be able to join the English-speaking culture. Translation of audiovisual productions is necessary in order to fully and correctly convey the message, main idea and meaning laid down by the author to each viewer.

This study examines how the emotion of fear is characterized and constructed through cinematic language in animation cinema, focusing on the animated film adapted from Francesca Sanna's book "My Friend Fear." Building upon Gilles Deleuze's concepts of time-image and sensory-motor narrative, alongside David Bordwell's theories of classical narrative structure, this research analyzes the role of animation's unique modes of expression in visualizing fear and anxiety. Through Paul Wells and Maureen Furniss's framework of animation ontology, the study discusses how fear is materialized through movement, rhythm, mise-en-scène, and visual abstraction techniques. The article problematizes how psychological transformations and internal conflicts experienced by a migrant child are represented within animation's plastic language, evaluating the treatment of fear not merely as a negative emotion but as a transformable and integrable experience. Through detailed analysis of 28 scenes from the animated film, the research reveals how animation's capacity for abstraction translates psychological concepts into visual language and how this process transforms traditional codes of cinematic language. The study also addresses the role of animation techniques produced with Adobe After Effects, including Puppet Position Pin Tool, Wave effect, masking, and keyframe animation, in conveying emotions. Keywords: Animation narrative, time-image, fear representation, cinematic language, emotional characterization, childhood fears, migration psychology

Background. Subtitling as a type of audiovisual translation has gained great popularity in recent decades. Compared to other types of audiovisual translation, the production of subtitles for films, TV series, and animated films takes less time and requires fewer financial costs. Purpose. The purpose of this article is to identify the difficulties faced by a translator in the subtitled translation of animated films. To do this, it is necessary to identify the essence and features of subtitling; identify the difficulties that translators may face in the process of subtitled translation; determine strategies for subtitled translation of animated films. Materials and Methods. To solve the tasks set, both theoretical and practical research methods were used: analysis of literature on translation theory and audiovisual translation as a special aspect of translation studies; analysis and interpretation of strategies for subtitled translation of the Strange Planet animated series. Results. The results of the study showed that audiovisual translation is a special type of translation, which includes the adaptation of texts with a complex structure combining elements coming through different channels of perception. Animated films also belong to such texts. The paper lists the features of their subtitling using the example of translating the Strange Planet cartoon series from English to Russian. Practical implications. The results of the research can be used in the practical activities of the translator, when compiling subtitles for animated films.

Demonstrating their idiosyncrasies in a culture-specific way, cultural aspects are one of the most demanding tasks in cultural transfer, especially in rendering audiovisual materials. This study investigated the applied strategies in rendering taboos from English to Persian in 10 dubbed action Hollywood movies by Islamic Republic of Iran Broadcasting (IRIB). To this aim, the original and dubbed versions of the movies were collected from Soroush Sima Company, which is a highly official audiovisual translation (AVT) company in Iran. Afterwards, the original and dubbed versions of the movies were compared seeking for the culture-specific items (CSIs), especially taboos. Then, the taboo expressions were extracted from the original versions and compared with their translations in the dubbed versions. Finally, the results were interpreted through SPSS, considering Venuti's (1995) strategies in translation studies (i.e., domestication and foreignization). Analysis of the chi-square results indicated χ2 (27, N = 10) = 83.49, considering **p < 0.05. Besides, analysis of the data revealed that deletion, with the frequency of 60.26%, was the topmost applied strategy in the rendition of the taboo expressions. Moreover, reduction of the dubbed run-time of the movies indicated that scene omission was another strategy to censor and prevent injection of harmful thoughts into the Islamic society of Iran. Thus, Iranian audiovisual translators mainly tend to localize, or domesticate, translation of taboo expressions while dubbing. Findings contribute to a proper translation of CSIs, especially taboos in AVT, mainly in the dubbing field.

The article is devoted to Azerbaijani toponyms in the language of cinema. According to research, place names as a linguistic fact have their own characteristics. One of the important issues of linguistics is the emergence, development and refinement of their features.From the analysis carried out in the article, it can be seen that the main background of toponyms in the territory of Azerbaijan is made up of onomastic units related to our native language. There is no territory without toponyms of the Azerbaijani language.It is noted that the Azerbaijani toponyms are based on different groups of words in the lexicon of our language. Genetic and ethnolinguistic analysis of these toponyms shows that at different times there were certain trends in the naming of geographical objects.The article provides information about the groups of toponyms: anthroponyms, ethnotoponyms, hydrotoponyms, zootoponyms, phyto-toponyms, socio-political toponyms, memoir-memorable toponyms, cosmotoponyms, descriptive toponyms.The article also provides information about the types of toponyms. They consist of oikonyms, urbanonyms, horonyms, oponyms and dromonims.The article also provides information about the toponyms of the area. Studies show that in the language of cinema there are toponyms denoting only the name of an object. The article uses relevant literature, feature films and documentaries.

At the 10th Media for All conference, the meagre representation of minoritized languages (including sign language) in audiovisual media on streaming platforms was tackled. In this way, the very ideal of media for all was challenged. Global streaming platforms tend to adopt a ‘one size fits all’ approach in limiting their language settings to a minimum. While the users of minoritized languages often are proficient in the dominant language of their country, it is absolutely crucial that content is available in their smaller — and often endangered — languages as well. Some streaming platforms of local public service broadcasters try to accommodate this need. Still, the questions remain: to what extent do not only minoritized languages users, but also the speakers of the majority languages encounter these minoritized languages in audiovisual content, how linguistically diverse and inclusive is this content, but also: what role can audiovisual translation play here? In this article, the importance of audiovisual translation in and out of minoritized languages, with a special focus on revoicing, is discussed. The children’s content broadcast by Swedish public service broadcaster in the national minority languages and sign language is used as a case study. Lay summary People who speak less common languages or use sign language cannot always access audiovisual media in these languages. The reason for this is that the content, but also the language settings offered by streaming platforms often tend to be rather limited in this regard. For minoritised language communities, however, it is important that audiovisual media is available in their languages, as it can help safeguard these often endangered languages. Likewise, it is important that majority language users become more aware of these languages through audiovisual media. This article explores how streaming platforms can become more inclusive and also provide content in such minoritized languages for both the minoritised and majority language communities. The children’s programmes of Swedish public broadcasters that offer content in minoritised languages for both the majority language, Swedish speaking community, and the minoritised language communities are analysed and discussed as a case study. Yet, it looks at the agency of individuals who try to make a difference. The focus is on (partial) revoicing, yet (partial) subtitling and sign language interpreting are also discussed.

توظيف فن الرسوم المتحرکة کوسيلة للتثقيف الملبسي للاطفال في المرحلة العمرية (من6 الي 12 سنة) اصبحت افلام الرسوم المتحرکة تخاطب عقول المشاهدين بمختلف اعمارهم وتحرک مشاعرهم في اتجاهات معينة ليندمجوا مع العمل الدرامي وذلک للوصول الي تحقيق الاهداف المرجوة من تصميمها داخل العمل الفني ( القصة) واحداث الاثر المطلوب علي المشاهد وخاصة ان افلام الرسوم المتحرکة لم تعد مقصورة علي الصغار فقط . فتطور التکنولوجيا المستخدمة في صناعة الافلام بالاضافة الي تطور اساليب الکتابة واعداد السيناريو والابداع فيه جعل منها اثر هائل وکبير تترکة ورائها مما ادي الي ان يتعلق بها کثيرا من الافراد علي اختلاف اعمارهم بهذة النوعية من الافلام . لذا قامت الباحثة بدراسة تاثير الرسوم المتحرکة علي الثقافة الملبسية للطفل من خلال اعداد فيلم خاص ببعض المفاهيم والمعارف الملبسية تحت مسمي عالم قماش ونشرة علي شبکة الانترنت. حيث تکمن مشکلة البحث في الاجابة علي بعض التساؤلات ومنها : کيف يمکن ان يتم جذب انتباه الاطفال وربط الثقافة الملبسية في اذهانهم کاحد الاساليب التعبيرية بالادوات الفنية المتاحة في مجال الرسوم المتحرکة ؟- کيفية توجيه الرسوم المتحرکة بالشخصيات المؤثرة لبث الثقافة الملبسية وصياغتها صياغة فنية مبتکرة تتماشي مع احتياجات الطفل .وهدف البحث الي القاء الضوء حول اهمية لغة السينما وافلام الرسوم المتحرکة ودورها الهام في توصيل ثقافة معينة کالثقافة الملبسية - الاستفاده من التعبير الفني لصورة حرکية بصرية لخدمة الفکرة بالشخصيات ثنائية الابعاد وترجع اهمية البحث الي تسليط الضوء علي الرسوم المتحرکة کوسيلة جذب لدي الاطفال وربطها بثقافة الملبس- معالجة اوجة القصور في الثقافة الملبسية لدي الاطفال من خلال رؤية ابداعية مبتکرة . واتبع البحث المنهج الوصفي من خلال الاطلاع علي الدراسات السابقة وصياغة الاطار النظري وکذلک المنهج شبة التجريبي من خلال انتاج فيلم للرسوم المتحرکة وربطه بمجال الملابس لتثقيف الاطفال وتحقيق اهداف البحث وجاءت تحقيق فروض البحث من خلال تحکيم الفيلم من متخصصين في مجال الحاسب الالي لمعرفة ارائهم التحصصية المستخدمة في التقنيات المستخدمة في تنفيذ الفيلم -و متحصصين في مجال الملابس لدراسة المفاهيم والمعارف الملبسية المستخدمة والمحتوي العملمي للفيلم المقترح . وتوصلت النتائج الي ان الفيلم المقترح له دور وفاعلية في تکوين الثقافة الملبسية لدي الطفل في المراحل العمرية المتقدمة ( 12:16 سنة ) –ايضا تم توظيف فن الرسوم المتحرکة في تثقيف الاطفال ملبسيا بشکل فني جذاب في الفيلم المقترح Abstract Employment of Animation Art as a means of culture clothes for children (age from 6 to 12 year) Animation films have become addressing the minds of viewers of all ages and moving their feelings in certain directions to integrate with the dramatic work in order to achieve the desired goals of their design within the artwork (the story) and effect the desired effect on the viewer, especially since the animation films are no longer limited to young people only The development of technology used in the manufacture of films, in addition to the development of methods of writing, script preparation and creativity in it, made it a tremendous and large impact, leaving behind many people of all ages with this type of film. Therefore, the researcher studied the effect of animation on the child's clothing culture by preparing a movie on some clothing concepts and knowledge under the name Canvas World and a publication on the Internet. And where the research problem lies in answering some of the questions, including: How can the attention of children be attracted and the clothing culture is linked in their minds as one of the expressive methods with the artistic tools available in the field of animation? Child needs. The research aimed to shed light on the importance of the language of cinema and animation films and its important role in communicating a specific culture such as clothing culture - to benefit from artistic expression of a visual kinetic image to serve the idea with two-dimensional characters and the importance is due Search to Highlighting animation as a means of attracting children and linking them to the culture of clothing - addressing deficiencies in the clothing culture of children through an innovative creative vision. The research followed the descriptive approach, through reviewing previous studies and formulating the theoretical framework, as well as the experimental approach through conducting an experience of producing animated films and linking them to the field of clothing to educate children and achieve the goals of the research. The fulfillment of the research hypotheses came through the arbitration of the film from specialists in the field of computers to know their quotas used in the implementation of the film - specialized in the field of clothing to study the concepts and knowledge of clothing used in the film. The results concluded that the proposed film has an effective role in forming the clothing culture of the child in the advanced ages (12: 16 years) - also the art of animation was used to educate children in clothing in an attractive artistic manner in the proposed movie

Recent research in audiovisual translation has focussed on the language of both original and translated dialogue, revealing different degrees of alignment between fictional dialogue and spontaneous conversation. In this context, demonstratives deserve special attention as they are major means to highlight segments of the current discourse and extra-linguistic reality in speech and may play a significant role in cinematic language as well. Furthermore, demonstratives are an area of dissimilarity between languages, with their translation being potentially subject to interference from the source to the target text. Through a quantitative corpus-based approach, this study explores to what extent demonstratives occur in the language of Italian dubbing, how similar in this respect dubbed dialogue is to Italian spoken language and what translation operations may account for the observed translation outcomes. Drawing on a small English-Italian parallel corpus of film dialogue, all English demonstrative pronouns have been coded for syntactic role, pragmatic function and translation operation. Results show that demonstratives occur to a lesser extent in dubbed film language vis-à-vis both Italian conversation and the source English dialogues. These findings are discussed in terms of the cross-linguistic contrast between Italian and English as well as the convergence of dubbed dialogue towards the model of original Italian film language.

This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century. This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological, and industrial contexts. The Translation of Films, 1900–1950 draws extensively on archival sources and expertise, and revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film. The Translation of Films, 1900–1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.

The paper presents a comparative textual analysis of Polish audiovisual translations of songs from Walt Disney Animation Studios’ animated films: Surface Pressure from Encanto (2021), You’re Welcome from Moana (2016), and Everything Is Honey from Winnie the Pooh (2011). The study aims to identify the translation methods and procedures applied in the translation process, based on Newmark’s (1988) classifications, and to examine the relationships between the English and Polish lyrics of the songs and their accompanying pictures. Conclusions from the analysis allow us to determine how the polysemy of the visual layer of a film can be utilised in the process of audiovisual translation.