Titles Of Films Research Articles

Can We Call the Speech Acts of Heroes who Bounce Back from Defeat Ultimatives?

In animated films and video games, there is always a scene where the heroes bounce back from defeat and charge the villains with a final strike. I argue that this particular scene has a specific speech act – ultimative. To prove this claim, I employed apostrophe as a dramatic device by Wagener (1931), speech act markers by Zeevat (2003), speech act formula by Pawley (2009), and invocation by Frankfurter (2019) on twenty titles of animated films and video games to indicate the presence of ultimatives. The findings indicate that ultimatives have distinctive traits. Speech act markers of sudden changes of speech and narratives, pathic speech act markers, and speech act markers of invocation construct them. The combination of these three elements constructs the speech act of ultimatives. I also found that ultimatives in animated films and video games have different functions due to different characteristics and features of the media. In animated films, ultimatives function as a narrative marker indicating that ultimatives signify the plot progression and rationalization. In video games, ultimatives function not only as a narrative marker but also as mechanical marker. Functioning as a mechanical marker indicates that ultimatives require the players to perform certain mechanical interactions through button configuration to bounce back from possible game over. Narrative designers of both animated films and video games could employ the results of this study as a consideration in designing dramatic battle scenes that contain apostrophes to evoke narrative engagement from the audiences and gamers.

Film discourse: the semantic interpretation of film titles

This article discusses the problems of semantic interpretation of the titles of feature films, as films turned into influential means of mass communication in the modern life. Filmonyms as one of the types of small-format texts has become the object of linguistic research. The significance of the film discourse as an audiovisual discourse is determined by the possibilities of its impact on the addressee. Author comprehensively analyzed the works of foreign and Kazakhstani linguists who studied the film discourse from various aspects. The purpose of the article is to identify linguistic and pragmalinguistic interpretation of Kazakhstani film titles. To achieve the goal, the following tasks were set: to consider semantic interpretation of the titles of feature films, to identify aesthetic function of film discourse, to group films into semantic categories, to offer the definition of the concept of “film discourse”. The scientific significance of the research work expands the research scope of film-discourse as a type of institutional discourse. Practical significance is due to the fact that research results can be used as materials for preparing lectures and cases on audiovisual discourse and pragmalinguistic features applied to the names of Kazakhstani films should undoubtedly become the object of further research by linguists.

Features of translation of English-language horror filmonyms into Russian and German

The subject of the research of the article is the general features and specific features of the translation of horror discourse filmonyms from English into Russian and German. The object of the study is the original English-language and translated Russian- and German-language filmonyms of horror discourse. In our work, we will be interested in strategies and techniques for translating English-language horror discourse filmonyms, since the horror film genre is one of the most popular at the moment, and a large number of films are being released in English. When translating movie titles, a translator faces a number of difficulties and must solve them by choosing a translation technique and strategy. Often, the translation of a filmonym is accompanied by a shift in its leading function, or a change in the type of filmonym according to the peculiarities of its perception by the viewer. The work uses the continuous sampling method, comparative linguistic analysis of parallel filmonyms, as well as quantitative data processing methods. The research material was a sample including 150 original English-language horror-discourse filmonyms and their translation options into Russian and German. The scientific novelty of the study lies in the fact that the features of the translation of film names are studied in a comparative aspect using the example of Russian- and German-language horror discourse based on the material of the titles of films released over the past two decades. A methodology is being developed for a comparative study of the features of translating film names into different languages. As a result of the analysis, it was concluded that the domestication strategy of filmonyms is high-frequency; for German-language translated filmonyms, the use of a forenization strategy is much more typical. A feature of the German film distribution is the high frequency of combining two translation strategies, when the first forenized part of the filmonym is combined with domestication in the second part of the movie title after the dash sign. Due to the fact that German translated film names undergo less transformations, they are less characterized by a functional shift compared to translated film names in the Russian film distribution. When translated into Russian, preference is given to tonal-type filmonyms, which corresponds to the peculiarities of the horror genre.

Танцевальное искусство в художественном проектировании титров иранского кино

Iranian dance is distinguished by a number of specific features, one of which is the graceful movements of the hands, wrists, and legs, combined with lively facial expressions and body positions. The refined, intricate, and flirtatious gestures and symbols of Persian courtiers, solo, improvisational dances, and the spiritual dance of Sufis reflect the richness of Persian culture. After the 1979 revolution, in accordance with the new revolutionary realities, dance in Iran came under restrictions. However, dance art as a pillar of Persian culture remains an important social phenomenon for the nation, transforming and flowing into other types of art. Using the titles of Iranian films created after the 1979 revolution as examples, this paper traces the designers’ appeal to the dance heritage of Iran and reveals the similarity of the design of film credits with the basic elements of choreography, in particular, ballet, theater, and folk dance. The title is considered as a product of complex design (sound design, kinetic typography, animated graphics), whose fundamental elements (composition, color, visual forms of communication) are similar to the basis of choreographic / ballet art (dance movements, costumes, background). When designing film credits, Iranian designers use references to dance movements (circular, spiral, improvisational), movements of hands, legs (arabesque, petit allegro, folk dances of Khorasani, Bakhtiari, Keshmeh kermanji), fingers, hips, neck, and shoulders (urban dance of jakheli). It is revealed that such borrowings simplify for Iranian designers the task of preparing the viewer for the perception of a movie

Design Specifics of Opening Titles for "Drama-comedy" Genre Films

The purpose of the study is to find out the peculiarities of the design of opening titles for films belonging to the drama-comedy genre. The study is aimed at determining the impact of visual and textual elements of titles on the audience’s perception of films, revealing their role in creating the key mood of the film and expressing the main emotions of the genre, as well as identifying common and distinctive features of title design in this specific cinematic genre. The research methodology is based on the analysis of visual elements, empirical method and comparative analysis. The scientific novelty lies in highlighting a special aspect of the film industry, namely, in determining the ways and possibilities of influencing the visual and textual elements of titles on the perception of films by viewers. In particular, the article offers a comprehensive analysis of title design, including the use of colours, fonts, images, symbols, animation and text. Conclusions. As a result of the study, we conclude that visual and textual elements of opening credits influence the creation of mood and the transmission of emotions to viewers. Through a combination of visual elements: colours, fonts, images and symbols, titles can reinforce the genre of a film: rich and bright colours help to create a comedic atmosphere, while more restrained colours indicate the dramatic aspect of a film. Empirical research has shown that this aspect directly affects the audience’s perception of the film. A comparative analysis of the titles of different films in the drama-comedy genre has shown common trends and differences in their approach to design, in particular, it has revealed how different films use title design to express their unique style and genre. Modern drama-comedy film titles successfully reflect the synergy of this genre. They use creative approaches to convey the versatility of the film.

PECULIARITIES OF PROPER NAMES OF MODERN CINEMA FILMS FUNCTIONING

The article is devoted to the study of the proper titles of feature films, through the prism of functioning. The topic under study has been updated by a number of factors, among which is the interest of linguists in the processes of nomination of films, in particular, the activation of typological studies of the proper titles of films as peculiar in terms of functions, structure, derivation, semantic and motivational basis of titles and the development of the Ukrainian film industry. We consider the proper names of feature films to be special, little-studied denotations. We recorded 364 titles of feature films that have been released since 2014.
 In the work, the main tendencies of the functioning of the proper titles of the feature film as a component of ideonymy have been traced. We studied proper names of this type from the point of view of the genre specificity of the researched material. In accordance with this, the following were established: the place and role of the concept of ‘film’ in Ukrainian onomastics, productive types of such names, their structural organization, word-forming potential and semantics of the creative basis of such names.
 Having analyzed such proper names, it is worth noting that, today, drama, in particular – comedy, is one of the most popular genres of Ukrainian cinema. In accordance with the structural organization of films, it is worth noting the high productivity of compound names. Such results, in our opinion, are undoubtedly related to the peculiarities of the functional load of the title-heading as a component of a complete work. Word formation is quite connected with the structure of the name, which is why productivity also gravitates towards lexical-semantic word formation due to the syntactic way of word formation. The semantics of the creative basis of proper names of this type are characterized by the productivity of appellative derivatives, in particular multi-component ones.
 In the future, we see the need to study other classes of filmonyms, as special structural elements of the onymic space of the modern Ukrainian literary language.

Provocative euphemism in pornographic film titles

AbstractFollowing a critical discourse-analytic approach, this study explores the role of euphemistic language in a corpus of titles of pornographic films designed for heterosexual male consumption that were nominated and awarded in the different categories of the AVN (Adult Video News) Awards, also known as “Oscars of Porn”, from 2015 to 2020. The analysis demonstrates that provocative euphemism contributes to the discursive representation of gender and sexual stereotypes that fall under a dominant heteronormative discourse in which female characters are represented both as victims of male dominance and as perverted, sex-crazed animals. This study also reveals that in the context of male supremacy that straight pornography seems to exalt, the sexist and misogynistic connotations that euphemistic references carry are used with a strategic purpose intended to attract the interest of pornography consumers, stimulate their curiosity, and ultimately make them buy, rent or stream the film.

Особенности перевода названий военных фильмов с английского на русский язык

Importance. The features of the translation of war film titles from English into Russian are considered. Today there is a problem of adequate translation of film titles from English into Russian. Due to the different characteristics of the source language and the target language, as well as the cultural characteristics of all ethnic groups, the translation of a military-themed film from one language to another is not just a translation, but a recreation of the military reality of foreign armed forces. To do this, the translator must have the necessary background knowledge that will allow him to correctly recreate this reality. Special attention should be paid to the translation of titles that not only reflect the content of the film in a succinct form, but are also one of the first factors that potential viewers pay attention to. The purpose of the study is to identify the features of the translation of the names of war films and to determine how the translator can most adequately convey the meaning of the original title. Materials and methods. The war film titles in English and their translations into Russian are analyzed. A selection of the most interesting and problematic of war film titles was taken. Based on this sample, a classification of the types of translation of war films was compiled, as well as an analysis regarding this classification was carried out. The most frequent errors in the translation of war films were also identified. Results and Discussion. It is revealed that the translator, in addition to understanding the context of the film, must have the necessary background knowledge to adequately translate the title taking into account military realities. It was also revealed that some titles of military films cannot be translated literally, and require a creative approach of the translator. Conclusion. A number of recommendations are proposed for translators that can help more accurately convey the meaning of the original title. The described features of translating the war film titles in English into Russian can be useful not only for translators, but also for a wide range of readers and viewers. The recommendations formulated on the basis of the research results can help translators and localizers to more accurately convey the meaning of the war film titles into Russian.

PRECEDENT TITLES FROM MASS CULTURE TEXTS IN UKRAINIAN MEDIA DISCOURSE

The article analyzes the precedent units that are most fully realized in the Ukrainian media discourse, in particular in the headline complexes of the newspaper text, which are distinguished from mass culture texts by origin. Such headings are easily perceived and recognized by recipients. They don’t require in-depth interpretation. It has been proven that mass communication demonstrates such an interdiscursive level of interaction. On the one hand, newspaper discourse, on the other – a complete mass-media space. The main forms of representation of which are cinema, television, pop music, as well as directly newspaper and magazine discourse. The common information space enables the wide application and penetration of various elements of other types of discourses in the mass media space into the newspaper discourse and their large-scale nature. It is noted that the main group of titles is represented by the names of films and animated films and television series. First of all, they use altered titles of foreign films and quotes from well-known animated films for Ukrainian audience. Quotations have acquired a precedent status and a certain aphorism, so their use in newspaper discourse is justified. The second group of precedent headings is advertising discourse on political topics. Numerous political slogans and slogans of presidential, parliamentary and regional elections which were replicated through outdoor advertising that is widely used in newspaper articles, mostly in a transformed form. In such headlines the main component slogan is presented almost unchanged. Secondary component is a comment on the slogan. They mainly have a two-part structure: they consist of a nuclear component, which has a precedential character and an auxiliary one. The third group of precedent units of mass culture, which constitutes pop or show discourse including the names of television projects, programs, quotes from original songs and from films. Most of such quotes are presented in a transformed form exclusively at the lexical level, so the recipient easily establishes the pretext.

Those Good Guys who Turn Bad and Stronger Have a Morphological Marker on Their Names?

It has been a formula in films, comics, animations, and games to narrate a protagonist who turns into an antagonist to offer an alternate narrative to enjoy. This good-to-evil and weak-to-strong transformation is followed by changes in the names of the characters. We argue that the name changes are marked by what we called as umbralatives, an augmentative marker to indicate that a character has undergone a nuance shift from light to dark and an increase in power. This study attempts to address this phenomenon by proving the existence of umbralatives, their typology, and functions. Applying Zwicky and Pullum’s expressive morphology, Dressler and Barbaresi’s morphopragmatics, and Reinhart’s gestalt perception of narrative texts, we attempt to prove the existence of umbralatives. Implementing Spradleyan analysis on a corpus of characters from seventy one titles of animations, comics, films, and games, it was revealed that umbralatives are classified into colorative, stative, referentive, inventive, and elliptive. These five umbralatives function as a narrative marker in animations, comics, and films and a ludic marker in games. This study discloses a new field of study on morphology with special emphasis over the combination of morphopragmatics and onomastics – umbralatives. The results of the study might also disclose further investigations over good-to-evil narratives which we call umbral narratives.

PECULIARITIES OF TRANSLATING FOREIGN FILMS INTO RUSSIAN

Nowadays, film production is gaining more and more popularity among people of all ages, film production has grown into a film industry, and therefore, there is a great necessity to develop rational strategies for translating foreign films. This work is aimed at studying the issues that arise when translating the original titles of English-language films into Russian, identifying the lexical and semantic features of achieving the adequacy of literary translation. The article emphasizes the translator’s complex and important role, since in most cases the literal translation is not completely understandable to the audience and it is necessary to choose the most appropriate translation from several options. The article discusses the definition of translation, presents three types of written translation, namely word-based or interlinear, literal translation and artistic translation, its distinctive features, the difficulties of translating a literary text, analyzes the titles and phrases from the original films and presents their translation into Russian.

Srovnání vybraných typů jazykových prostředků v překladech ideonym

The text focuses on selected types of intensifying adjectives used in the titles of foreign films in the Czech-, Slovak- and Polish-language environment. It compares approaches of the translators, which consist either in translations of foreign-language intensifiers, or in addition of target-language intensifiers to the original neutral titles. The author monitors semantic changes of titles that occur in the process of translation, and the new expressive features that the titles acquire with intensifiers. In this sense, the text focuses on positive and negative connotations and in the case of some emotional means it distinguishes their shades of meaning. One of the partial goals is also to compare generally the approach of Czech, Slovak and Polish film distribution to the use or substitution of intensifying language means in foreign film titles.

중국 본토, 홍콩, 대만지역의 한국 영화 제목 번역 비교

Because the title of a movie is a summary of the content of the movie, it can show the theme and style of the movie that the movie is trying to show, and the movie title alone can attract the attention of the audience, it is necessary and valuable to study the title of the movie. Mainland China, Taiwan, and Hong Kong each have their own characteristics for translating Korean movie titles. In this paper, the top 50 box office by 2021 in these three regions. The purpose of this study is to analyze the titles translated into Chinese for the titles of Korean films in , and to examine the similarities and differences in the translation methods and vocabulary used when translating Korean films in mainland China, Hong Kong, and Taiwan. In addition, we would like to explore the reasons for this difference.

Formation of new phraseologisms as word creation

This article is devoted to the review of the main ways of increasing the phraseological units of the language in the context of word creation. The purpose of this article is to study phraseological neologisms as one of the forms of word creation in the lexical system of English, Spanish, French and Russian languages, as well as to identify the main trends in the formation and functioning of new phraseological units. The research is based on lexicographic, descriptive, comparative methods, as well as lexico-semantic analysis and the continuous sampling method. The peculiarities of the formation of phraseological neologisms are illustrated by numerous examples in English, Spanish, French and Russian from modern media, blogs and social networks. The scientific novelty of the research lies in an integrated approach to the study of linguistic and extralinguistic factors influencing the emergence of new phraseologisms in different languages. Phraseological neologisms can either be an integral part of the vocabulary of a particular language, or have only a temporary, momentary, occasional character. The conducted research has shown that in the creation of new phraseologisms, certain samples are most often used, and the most productive ways are borrowing phraseological units, the formation of new phraseologisms by analogy and the creation of author's phraseological neologisms. Of particular interest are cases when the source of new phraseologisms are the titles of books and films, as well as the lyrics of songs.

ІНТЕРТЕКСТУАЛЬНІСТЬ ЗАГОЛОВКОВИХ КОМПЛЕКСІВ У МЕДІАТЕКСТАХ

The article deals with the functional-stylistic and communicative-pragmatic features of intertextuality in headline complexes and their compositional role in the modern mediatexts (based on the publications of the information-analytical weekly "Dzerkalo tyzhnya"). Intertext is a cognitive-communicative category and a text-forming element, which implements the author's idea. The intertextual techniques are used in the main headings, subheadings, inner headings, epigraphs, leads. They serve to pay attention to the problem, to express the attitude and leading opinion of the publication, to draw parallels, comparisons, analogies between the intertext and mediadiscourse. These components concisely set the topic, reveal the idea, concept or create a subtext, adjust the reader to the appropriate perception of the publication. The main intertextual means in the headline complexes are proverbs and sayings, winged expressions, quotes, titles of literary works and films, their characters, etc. Analysis of mediatexts has shown that they are included in the headlines in a transformed form more often, the structure and semantics of the original intertext are changed. Allusions as the intertextual methods of imagery and expressiveness in the media evoke metaphorical associations with hinting at well-known social-historical or literary facts, events, phrases, characters of other texts. The elements of the mediatext (epigraph, lead, summary etc) complement and reveal intertextual headings. The epigraph is an optional element of the headline complex of mediatexts and a laconic intertextual technique. Before the text an accurate quotation helps to understand the concept and problem-thematic parameters of the mediatext. The intertextuality in the headline complex provokes emotional and semantic associations, they facilitate the perception of the text, but do not reveal the topic and content of the article, attract the interest of the reader only pragmatically. The intertextual means contribute to language economy and at the same time expand the semantic perspective of media headline, successfully implement their advertising function – to interest, to intrigue, to influence the subconscious referring to well-known texts and images. The language game expresses the headline complex aesthetically, attracts the reader to a productive knowing the publication, analytical understanding of reality.

Intertextual interaction in the titles of detective films

Intertextual interaction in the titles of detective films

Features of translation transformations in film titles as a linguoculturological specificity of the language

The article offers a classification of translation techniques based on the analysis of Russian-language titles of foreign films. The choice of film titles as the research material is due to the greatest complexity of their translation in comparison with other texts. this opens up wide opportunities for studying translation transformations as a reflection of the linguistic and cultural specifics of the language. In the name of any film, linguistic and cultural features are understandable only to a native speaker play an important role. However, some must necessarily be translated into another language, while preserving the originality, attractiveness and capacity. All this forces the interpreter to search for and use translation transformations more actively than when working with other texts. The article deals with various types of transformations associated with the need for linguistic and cultural reinterpretation of the text in the cultural space of the recipient country. The use of linguistic and cultural studies allows us to more fully and accurately convey to the consciousness of perceiver the semantic content of the film, starting with its name, taking into account the inclusion of the translation in the cultural archetypes and codes of the native language.

Tytuły jako skrzydlate słowa

The article discusses the issue of the “second life” of titles which, separated from the original text, start to function in the texts of other authors as winged words. The author has described the works that have been written on this topic based on the materials from magazines, belles-lettres and books discussing the titles of films. Twelve titles were presented which have been taken over by the authors of at least two new texts. The research material included ten Polish novels from the years 1969–2013. Twelve titles come from two poetic works, one song, five novels and two filmed stories, one light opera and one film. Six of them are the works of Polish authors, and the remaining six were made by foreign authors. A half of them were described in the volume Skrzydlate słowa [Winged Words] of 1990.

Mapping Film Programming across Post-War Europe (1952)

Abstract This data paper and the data collection from which it emerges aim to present a fully harmonized data set originating in several research projects on post-war cinema programming. The paper will reflect on the collection and structure of this aggregated data set, that consists of titles of feature films screened for public viewing in cinemas in the cities Bari (Italy), Antwerp and Ghent (Belgium), Gothenburg (Sweden), Leicester (United Kingdom) and Rotterdam (Netherlands) for the year 1952. As comparisons of movie-going patterns between European countries are still rare, this paper offers a model for constructing a data set which can be replicated, scaled up and used to compare, contextualize, and eventually theorize practices of cinema-going across countries at a global level.

POTRET MEDIA ISLAM DALAM FILM BERTEMA TERORISME

The media can shape and influence public opinion and the means of disseminating certain issues, through messages and news on television, radio, newspapers as well as films can construct public perceptions, films are like two sides of a knife that have both good and bad effects. Referring to films with a background of violence or acts of terrorism which use Islamic attributes or symbols can certainly be analyzed from the side of the image shown as well as the sound by using visual semiotic theory referring to Barthes' theory parsing the meaning contained in objects both denotation and connotation. take lexia-lexia or text unit which is an instrument of refusal in three titles of films with the theme of terrorism simultaneously. The film which is the object of this research consists of; Valley of The Wolves, Iraq. 2006, Act of Valor. 2012, Sector 4. 2014. This research is a qualitative research that is descriptive and comparatively defined as a research procedure that produces data in the form of words or words from people and observable behavior.