Variation of translation reception of Q. Tarantino’s film discourse

Abstract

Within the framework of the article, the phenomenon of variability of translation reception of Q. Tarantino’s film discourse is considered. The authors conduct a comparative analysis of translation solutions used by the Russian-speaking translators as part of their work on Q. Tarantino’s films when transmitting significant elements of the author’s idiostyle. The focus is on the analysis of variability and evaluation of the advantages and disadvantages of the Russian-language translations of the film discourse of this director, which together make up the translation reception of his film works. The research methods include the continuous selection method, the method of contextual analysis, the method of functional semantic analysis, descriptive method, the method of contextual analysis, the method of interpretation of the film text, as well as methods of quantitative calculation. The original film texts of Q. Tarantino’s English-language films “Pulp Fiction”, “Inglourious Basterds”, “The Hateful Eight” and “Once Upon a Time in ... Hollywood” and their translations into the Russian language have served as the material for the study. The authors analyze the film dialogues and films by Q. Tarantino as the main means of nonverbal and verbal representation of his idiostyle. It is argued that the films by Q. Tarantino are a significant example for the study of some aspects of translation reception into the Russian language due to the presence of a large layer of intertextual component in these works. It is emphasized that the interpretation of a literary text involves projecting the translator’s worldview onto the conceptual sphere of the translated work, as a result of which the latter becomes a co-author of the script. After analyzing the empirical material, the authors conclude that, regardless of the time of the release of the film, translators most often resort to such translation methods, as direct translation, modulation and addition, broadcasting numerous lexical, stylistic and pragmatic-semantic features of Q. Tarantino’s film discourse. Thanks to the development of information and telecommunication technologies and as translators gain more access to information, there are opportunities for improving the quality of translations due to the expansion of background knowledge in the field of pop-cultural and historical realia of the original linguaculture, actualized in the original film discourse.