Page 34 - Translation Journal July 2015
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s study focuses on the comparative analysis of the titles of feature films produced in the USA and their translation into Latvian
and Russian languages, and served as the main method of comparative study was the cognitive discourse analysis, which includes
elements of the component analysis, stylistic and other calculations, and, of course, introspection. The main objective of the study is
to analyse the titles of feature films (produced in the USA in 1991-2010) and their translation into Latvian and Russian languages to
establish implementation of adaptation communication strategy – the systems of communication strategies and communication moves
implementing them. Results of the analysis reflected in the monographic study “Cinematic Text and Translation” (published by Lambert,
2014). In this paper, we will present the results of one of the most important groups of titles.
Let us consider follow-ups (mainly prequels and sequels) and their translations into Latvian and Russian languages. In general, a
comparative analysis involved 127 sequel nests (382 titles and their translations), consisting of a different number of component
films. Film nests formed on the necessary connection, and, unlike the remakes, creates strict adherence in translation. Thus, this
group belongs to the most homogeneous in terms of both titles and translation in two languages. Nevertheless, certain trends we will
consider closer are traced.
The most complex structures observed in intersecting nests (crossovers) that is not an obstacle for serial title rendering in translation.
E.g., franchise Alien: Alien (Ridley Scott, 1979) – Svešais (лтш. Чужой), Чужой; Aliens (James Cameron, 1986) – Svešais 2, Чужие;
Alien 3 (David Fincher, 1992) – Svešais 3, Чужой 3; Alien Resurrection (Jean-Pierre Jeunet, 1997) – Svešais: Atdzimšana, Чужой 4:
Воскрешение; AVP: Alien vs. Predator (Paul W. S. Anderson, 2004) – Svešais pret plēsoņu, Чужой против Хищника; AVPR: Aliens
vs. Predator: Requiem (Colin Strause, Greg Strause, 2007) – Svešie pret plēsoņu: Rekviēms, Чужие против Хищника: Реквием;
Prometheus (Ridley Scott, 2012) – Prometejs, Прометей; crossovers of this franchise: Predator: Predator (John McTiernan, 1987)
– Plēsoņa, Хищник; Predator 2 (Stephen Hopkins, 1990) – Plēsoņa 2, Хищние 2; movies: Alien vs. Predator (Paul W. S. Anderson,
2004) – Svešais pret plēsoņu, Чужой против Хищника; Aliens vs. Predator: Requiem (Colin Strause, Greg Strause, 2007) – Svešie pret
plēsoņu: Rekviēms, Чужие против Хищника: Реквием; Predators (Nimród Antal, 2010) – Plēsoņas, Хищники.
The majority of translations mark the next part of the nest after the original, which usually serve as digital markers – the most typical
implementation, which can support the explaining part after the colon. Usually, these methods remain unchanged throughout the
nest of original titles and their translations. E.g., Lethal Weapon (Richard Donner, 1987) – Nāvējošais ierocis, Смертельное оружие;
Lethal Weapon 2 (Richard Donner, 1989) – Nāvējošais ierocis 2, Смертельное оружие 2; Lethal Weapon 3 (Richard Donner, 1992) –
Nāvējošais ierocis 3, Смертельное оружие 3; Lethal Weapon 4 (Richard Donner, 1998) – Nāvējošais ierocis 4, Смертельное оружие 4;
small deviation in the category number observed in the Latvian translation of the last example: Paranormal Activity (Oren Peli, 2007)
– Paranormālās parādības (Ltv. Paranormal Activities), Паранормальное явление (Rus. Paranormal Activity); Paranormal Activity 2 (Tod
Williams, 2010) – Paranornālā parādība 2 (Ltv. Paranormal Activity 2), Паранормальное явление 2 (Rus. Paranormal Activity 2).
Sometimes they hedge sequel translations and use an additional follow-up numeric designation. E.g., Epoch (Matt Codd, 2001) –
Laikmets, Эпоха (Ltv. and Rus. Epoch); Underworld (Len Wiseman, 2003) – Tumsas pasaule (Ltv. The World of Darkness), Другой мир
(Rus. Another World) and siquel Epoch: Evolution (Ian Watson, 2003) – Laikmets: Evolūcija (Ltv. Epoch: Evolution), Эпоха 2: Эволюция
(Rus. Epoch: Evolution); Underworld: Evolution (Len Wiseman, 2006) – Tumsas pasaule 2: Evolūcija (Ltv.: The World of Darkness 2:
Evolution), Другой мир 2: Эволюция (Rus. Another World 2: Evolution). The remaining part of this franchise show some inconsistency
in Latvian translation (use of different structures – substantive and adjective), e.g., Underworld: Rise of the Lycans (Patrick Tatopoulos,
2009) – Tumsas pasaule: Vilkašu sacelšanās (Ltv. The World of Darkness: Insurrection of Werewolf), Другой мир: Восстание ликанов
(Rus. Another World: Insurrection of Lycans) and Underworld: Awakening (Måns Mårlind, Björn Stein, 2012) – siquel for second movie
of the franchise – Tumšā pasaule 4 (Ltv. The Dark World 4), Другой мир: Пробуждение (Rus. Another World: Awakening).
Follow-up marking uses specific lexical or sometimes word-formation means (with the meaning of recurring or regular action) that is
easily maintained in the translation, e.g., When a Stranger Calls (Fred Walton, 1979) – Kad zvana svešinieks (Ltv. When a Stranger
Calls), Когда незнакомец звонит (Rus. When a Stranger Calls); When a Stranger Calls (2006) – Kad zvana svešinieks (Ltv. When a
Stranger Calls), Когда звонит незнакомец (Rus. When a Stranger Calls) and When a Stranger Calls Back (Fred Walton, 1993) – Kad
svešinieks atzvana ((Ltv. When a Stranger Calls Back), Когда незнакоменц снова звонит (Rus. (Ltv. When a Stranger Calls Again). The
following example shows the differences in designing the follow-up in all three languages: derivational means in the original, lexical
means in the Russian and numeric means in the Latvian translation with a total meaning of quality / action increase: Grumpy Old Men
(Donald Petrie, 1993) – Vecie īgņas (Ltv. Grumpy Old Men), Старые ворчуны (Rus. Grumpy Old Men) and the siquel Grumpier Old Men
(Howard Deutch, 1995) – Vecie īgņas 2 (Grumpy Old Men 2), Старые ворчуны разбушевались (Rus. Grumpy Old Men have raged).
The classic way to design a sequel using lexical means – lexical elements ‘return’ (in Russian – возвращение, in Latvian – atgriešanās
/ atgriezties) in Russian and Latvian languages, e.g., The Mummy (Stephen Sommers, 1999) –Mūmija, Мумия (Ltv. and Rus. The
Mummy), which is a distant remake of The Mummy by Boris Karloff in the title role (Karl Freund, 1932), the translation of which –
Mūmija, Мумия (Ltv. and Rus. The Mummy). Designing its sequel involved lexical means, easily transmitted in translation: The Mummy
Returns (Stephen Sommers, 2001) – Mūmija atgriežas, Мумия возвращается (Ltv. and Rus. The Mummy Returns). A classic way to
design a prequel –a lexeme “beginning / raise” (in Russian начало / восхождение, in Latvian sākums / nākšana) does not constitute
a communicative risks in translation as well, e.g., Romy and Michele’s High School Reunion (David Mirkin, 1997) – Romija un Mišela
vidusskolas salidojumā (Ltv. Romy and Michele at High School Reunion), Роми и Мишель на встрече выпускников (Rus. Romy and
Michele at High School Reunion) and priquel Romy and Michele: In the Beginning (Robin Schiff, 2005) – Romija un Mišela. Sākums
(Ltv. Romy and Michele: the Beginning), Роми и Мишель. В начале пути (Rus. Romy and Michele: In the Beginning of the Way); priquel
Carlito’s Way: Rise to Power (Michael Bregman, 2005) – Karlito ceļš: Nākšana pie varas (Ltv. Carlito’s Way: Access to Power), Путь
Карлито 2: Восхождение к власти (Rus. Carlito’s Way 2: Rise to Power) and the movie Carlito’s Way (Brian De Palma, 1993) – Karlito
34 | Translation Journal - July 2015
and Russian languages, and served as the main method of comparative study was the cognitive discourse analysis, which includes
elements of the component analysis, stylistic and other calculations, and, of course, introspection. The main objective of the study is
to analyse the titles of feature films (produced in the USA in 1991-2010) and their translation into Latvian and Russian languages to
establish implementation of adaptation communication strategy – the systems of communication strategies and communication moves
implementing them. Results of the analysis reflected in the monographic study “Cinematic Text and Translation” (published by Lambert,
2014). In this paper, we will present the results of one of the most important groups of titles.
Let us consider follow-ups (mainly prequels and sequels) and their translations into Latvian and Russian languages. In general, a
comparative analysis involved 127 sequel nests (382 titles and their translations), consisting of a different number of component
films. Film nests formed on the necessary connection, and, unlike the remakes, creates strict adherence in translation. Thus, this
group belongs to the most homogeneous in terms of both titles and translation in two languages. Nevertheless, certain trends we will
consider closer are traced.
The most complex structures observed in intersecting nests (crossovers) that is not an obstacle for serial title rendering in translation.
E.g., franchise Alien: Alien (Ridley Scott, 1979) – Svešais (лтш. Чужой), Чужой; Aliens (James Cameron, 1986) – Svešais 2, Чужие;
Alien 3 (David Fincher, 1992) – Svešais 3, Чужой 3; Alien Resurrection (Jean-Pierre Jeunet, 1997) – Svešais: Atdzimšana, Чужой 4:
Воскрешение; AVP: Alien vs. Predator (Paul W. S. Anderson, 2004) – Svešais pret plēsoņu, Чужой против Хищника; AVPR: Aliens
vs. Predator: Requiem (Colin Strause, Greg Strause, 2007) – Svešie pret plēsoņu: Rekviēms, Чужие против Хищника: Реквием;
Prometheus (Ridley Scott, 2012) – Prometejs, Прометей; crossovers of this franchise: Predator: Predator (John McTiernan, 1987)
– Plēsoņa, Хищник; Predator 2 (Stephen Hopkins, 1990) – Plēsoņa 2, Хищние 2; movies: Alien vs. Predator (Paul W. S. Anderson,
2004) – Svešais pret plēsoņu, Чужой против Хищника; Aliens vs. Predator: Requiem (Colin Strause, Greg Strause, 2007) – Svešie pret
plēsoņu: Rekviēms, Чужие против Хищника: Реквием; Predators (Nimród Antal, 2010) – Plēsoņas, Хищники.
The majority of translations mark the next part of the nest after the original, which usually serve as digital markers – the most typical
implementation, which can support the explaining part after the colon. Usually, these methods remain unchanged throughout the
nest of original titles and their translations. E.g., Lethal Weapon (Richard Donner, 1987) – Nāvējošais ierocis, Смертельное оружие;
Lethal Weapon 2 (Richard Donner, 1989) – Nāvējošais ierocis 2, Смертельное оружие 2; Lethal Weapon 3 (Richard Donner, 1992) –
Nāvējošais ierocis 3, Смертельное оружие 3; Lethal Weapon 4 (Richard Donner, 1998) – Nāvējošais ierocis 4, Смертельное оружие 4;
small deviation in the category number observed in the Latvian translation of the last example: Paranormal Activity (Oren Peli, 2007)
– Paranormālās parādības (Ltv. Paranormal Activities), Паранормальное явление (Rus. Paranormal Activity); Paranormal Activity 2 (Tod
Williams, 2010) – Paranornālā parādība 2 (Ltv. Paranormal Activity 2), Паранормальное явление 2 (Rus. Paranormal Activity 2).
Sometimes they hedge sequel translations and use an additional follow-up numeric designation. E.g., Epoch (Matt Codd, 2001) –
Laikmets, Эпоха (Ltv. and Rus. Epoch); Underworld (Len Wiseman, 2003) – Tumsas pasaule (Ltv. The World of Darkness), Другой мир
(Rus. Another World) and siquel Epoch: Evolution (Ian Watson, 2003) – Laikmets: Evolūcija (Ltv. Epoch: Evolution), Эпоха 2: Эволюция
(Rus. Epoch: Evolution); Underworld: Evolution (Len Wiseman, 2006) – Tumsas pasaule 2: Evolūcija (Ltv.: The World of Darkness 2:
Evolution), Другой мир 2: Эволюция (Rus. Another World 2: Evolution). The remaining part of this franchise show some inconsistency
in Latvian translation (use of different structures – substantive and adjective), e.g., Underworld: Rise of the Lycans (Patrick Tatopoulos,
2009) – Tumsas pasaule: Vilkašu sacelšanās (Ltv. The World of Darkness: Insurrection of Werewolf), Другой мир: Восстание ликанов
(Rus. Another World: Insurrection of Lycans) and Underworld: Awakening (Måns Mårlind, Björn Stein, 2012) – siquel for second movie
of the franchise – Tumšā pasaule 4 (Ltv. The Dark World 4), Другой мир: Пробуждение (Rus. Another World: Awakening).
Follow-up marking uses specific lexical or sometimes word-formation means (with the meaning of recurring or regular action) that is
easily maintained in the translation, e.g., When a Stranger Calls (Fred Walton, 1979) – Kad zvana svešinieks (Ltv. When a Stranger
Calls), Когда незнакомец звонит (Rus. When a Stranger Calls); When a Stranger Calls (2006) – Kad zvana svešinieks (Ltv. When a
Stranger Calls), Когда звонит незнакомец (Rus. When a Stranger Calls) and When a Stranger Calls Back (Fred Walton, 1993) – Kad
svešinieks atzvana ((Ltv. When a Stranger Calls Back), Когда незнакоменц снова звонит (Rus. (Ltv. When a Stranger Calls Again). The
following example shows the differences in designing the follow-up in all three languages: derivational means in the original, lexical
means in the Russian and numeric means in the Latvian translation with a total meaning of quality / action increase: Grumpy Old Men
(Donald Petrie, 1993) – Vecie īgņas (Ltv. Grumpy Old Men), Старые ворчуны (Rus. Grumpy Old Men) and the siquel Grumpier Old Men
(Howard Deutch, 1995) – Vecie īgņas 2 (Grumpy Old Men 2), Старые ворчуны разбушевались (Rus. Grumpy Old Men have raged).
The classic way to design a sequel using lexical means – lexical elements ‘return’ (in Russian – возвращение, in Latvian – atgriešanās
/ atgriezties) in Russian and Latvian languages, e.g., The Mummy (Stephen Sommers, 1999) –Mūmija, Мумия (Ltv. and Rus. The
Mummy), which is a distant remake of The Mummy by Boris Karloff in the title role (Karl Freund, 1932), the translation of which –
Mūmija, Мумия (Ltv. and Rus. The Mummy). Designing its sequel involved lexical means, easily transmitted in translation: The Mummy
Returns (Stephen Sommers, 2001) – Mūmija atgriežas, Мумия возвращается (Ltv. and Rus. The Mummy Returns). A classic way to
design a prequel –a lexeme “beginning / raise” (in Russian начало / восхождение, in Latvian sākums / nākšana) does not constitute
a communicative risks in translation as well, e.g., Romy and Michele’s High School Reunion (David Mirkin, 1997) – Romija un Mišela
vidusskolas salidojumā (Ltv. Romy and Michele at High School Reunion), Роми и Мишель на встрече выпускников (Rus. Romy and
Michele at High School Reunion) and priquel Romy and Michele: In the Beginning (Robin Schiff, 2005) – Romija un Mišela. Sākums
(Ltv. Romy and Michele: the Beginning), Роми и Мишель. В начале пути (Rus. Romy and Michele: In the Beginning of the Way); priquel
Carlito’s Way: Rise to Power (Michael Bregman, 2005) – Karlito ceļš: Nākšana pie varas (Ltv. Carlito’s Way: Access to Power), Путь
Карлито 2: Восхождение к власти (Rus. Carlito’s Way 2: Rise to Power) and the movie Carlito’s Way (Brian De Palma, 1993) – Karlito
34 | Translation Journal - July 2015
