English Film Titles and Their Czech Equivalents

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Masaryk University Faculty of Education Department of English Language and Literature

English film titles and their Czech equivalents

Bachelor thesis

Supervisor: Author:

Mgr. Radek Vogel, Ph.d. Vratislav Berdis

Brno 2013

Declaration:

I hereby declare that I have worked on this thesis on my own and that the information I used has been fully acknowledged in the text and included in the list of reference.

Brno, December 2013 ...... Vratislav Berdis

Acknowledgement

I would like to express my gratitude to the supervisor of my bachelor thesis, Mgr. Radek Vogel, Ph.D., for his guidance, help and professional advice during the development of this bachelor thesis.

Annotation The thesis analyses a corpus consisting of several hundreds of English film titles and compares them with their equivalents used by distributors in Czech cinemas and television. The titles are examined from the point of view of their form, meaning, associations which they arouse, relation to the topics and plots of films, etc. Special attention is paid to the types of correspondence between English titles and their Czech equivalents.

Keywords

Film, title, Czech, translation, methods, theory, film industry, marketing

Content

Content ...... 5

Introduction ...... 7

THEORETICAL PART ...... 8

1 Title of a film ...... 8

1.1 Title origin ...... 8 1.2 Title relation ...... 8 1.3 Types of titles ...... 9 2 Film marketing ...... 11

2.1 The process of filmmaking ...... 11 2.2 Title marketing ...... 12 2.2.1 Original title ...... 13 2.2.2 Process of creating title ...... 13 2.2.3 Czech equivalents ...... 14 2.2.4 Sequel ...... 16 2.2.5 Film adaptation ...... 17 3 Theory of translation ...... 17

3.1 Definition of translation ...... 17 3.2 Process of translation ...... 17 3.3. Translating methods ...... 19 3.3.1 Vinay and Darbelnet’s theory ...... 19 3.3.2 Munday’s theory ...... 19 3.3.3 Newmark’s theory ...... 20 3.4 Translation of titles...... 21 PRACTICAL PART ...... 23

4 Corpus ...... 23

5 Analysis ...... 24

5.1. 1) TT is an accurate translation of OT ...... 24 5.2 2) TT slightly modifies grammatical features of OT ...... 26 5.3 3) The whole TT or its part is replaced with an element with more or less similar meaning ...... 27

5.4. 4) The whole TT or its part is replaced with element with substantially different meaning but the relation with OT is noticeable ...... 28 5.5 5) A part of OT is omitted in TT ...... 29 5.6 6) TT has an extra element ...... 30 5.7 7) TT has no coherence with OT ...... 32 5.8 8) TT remains the same as OT ...... 32 6 Conclusion ...... 33

List of references ...... 35

Literary sources ...... 35 Other sources ...... 35 Appendices ...... 37

Appendix 1 ...... 37 Appendix 2 ...... 40 Appendix 3 ...... 41 Appendix 4 ...... 41 Appendix 5 ...... 42 Appendix 6 ...... 43 Appendix 7 ...... 43 Appendix 8 ...... 44

Introduction

This bachelor thesis deals with Czech equivalents of English film titles used on the Czech market. I chose this topic to analyse a well known issue which has been discussed at many websites and also among my friends. Some of these complainers suggest keeping majority of titles in the original language (English) or translate them literally to preserve the author’s original intention. Sometimes they are right but very often they do not realize what is the real purpose of a title and that there are cultural differences which also have to be considered.

This topic is connecting a theory of two different fields. Title of a film is not only a word or a phrase which can be discussed from a linguistic point of view but it is also a product of many people specializing in film marketing and the whole film industry. Since it is such a complicated process, we cannot always identify one person or a group responsible for the concrete title. Films created in Hollywood have budgets ranging from tens to hundreds of millions dollars and there are usually hundreds of people involved in the process of making. Therefore, there is a massive pressure on producers who invested their money to earn them back and rather make a profit.

The theoretical part of my bachelor thesis begins with describing the term “title” and its function. Furthermore, information about filmmaking and marketing are presented. It portrays the role of a title in the whole film industry. The last section describes translating in general along with several translating theories which are related to title translation.

In the practical part, the corpus is analyzed using the described methods. They are chosen in connection with the corpus to cover different types of sorting titles.

The objective of this thesis is to determine whether it can be said that Czech equivalents to English film titles are generally created correctly. To achieve this, problematic examples are discussed in detail to show what led Czech distributors to use the exact title. The thesis attempts to find the most suitable and the most common method. The main purpose of this work is to help people to understand why some titles are so confusing.

THEORETICAL PART 1 Title of a film

1.1 Title origin

“The word title comes from an Old English titul, reinforced by Old French title, both from Latin titulus (inscription, title). The word originally denoted a placard or inscription placed on an object, giving information about it, hence a descriptive heading in a book or other composition” (Oxford).

Title of a film has a very similar role as a title of a book. Therefore, as most of the theory deals with titles of written works, the thesis is based on this theory which is adapted for defining the term “title of a film”. We perceive a title as a word or a phrase which presents some information about the rest of the work. Its function is to establish the first contact between the work and a recipient and arouse his interest.

1.2 Title relation

According to Petr Mareš, a title is involved in three types of relation:

Relation of a title to:

the rest of the work

In this aspect, title is telling something about the idea of the whole work. It has its meaning which might develop as we progress through the work. The title can have several forms. It can present the whole topic, set the mood and it can be also intentionally misleading.

participants of communication

In a secondary communication about the work (metacommunication), the title is used alone as a representative of the whole work. Apart from drawing attention of possible perceivers to its existence, it functions for the work as an advertisement.

other titles

This relation influences meaning of the whole work as it establishes connections between other works. It is reflected between participants of the communication who approach the work being aware of its relation to other works.

It is possible to describe every above mentioned relation with a concrete relation to a film title and a film industry. In the first example, the author actually describes how the title can affect possible viewer. If it is the only thing the viewer has faced so far (no poster or a trailer), he should be still able to identify a genre and a possible plot of the film. It is based on the fact, that film producers are using time-tested techniques characteristic for each genre. There are certain words which are associated with different genres. For example a word love definitely belongs to romance films. These films have usually very similar plots and character types and therefore, we can assume that there will be a man and a woman and their relationship will be either developing or/and facing some obstacles. As an example, we have a film Love Actually (Láska nebeská) from our corpus. This film meets all the conventions of romance film and can be easily identified. We cannot say this about a film called Killers (Vrahouni). One would hardly guess it is just another romantic comedy and not a horror. However, it is an attractive title which promises some action.

The second type of a relation is closely connected with aforementioned information. The title functions as an advertisement. Films are, in fact, only products which are created in order to make a profit. Marketing aspects of a title are discussed in following chapters.

In the third type of a relation, we can speak about the facts which a viewer is familiar with and which are connected with the film. In the film industry, we can divide relation with other works into two categories. The first one is a film adaptation and the second one is a sequel. These kinds of films usually belong to both categories. In the last few years, making films which are based on something (book or another film) has become a trend. However, it does not mean that Czech distributors have no difficulties with creating Czech equivalents in these cases.

1.3 Types of titles

Josef Hrabák (235) describes several types of titles. Titles can be classified from various points of view but the most important is the form and content of the title. On a one hand,

9 there are name titles (e.g. Harvey, Ray and Annie Hall). On the other hand, there are titles which have a form of a sentence (e.g. The Best Years of Our Lives, Somebody Up There Likes Me and There Will Be Blood).

Content of the title expresses either a relation between words in the title (Love and Death is a connection of two opposites and Mary and Max put both words on the same level) or a relation of the title to the whole work.

The title might be in a relation to the work in several ways. It might indicate author’s attitude to the work or simply provide a piece of information – about the main character (Forrest Gump), about the place (Leaving Las Vegas), etc.

Levý (140), with regard to form, historical development and in correspondence with function, presents two types of titles:

Descriptive title

It states a topic of the book, usually by naming its main character. In the past, literary genre was often included and titles were describing the whole plot in detail. The descriptive function was preferred over aesthetic function. Currently, the trend is opposite.

Symbolizing title

It states a topic, issues or atmosphere of the work by compression - symbol – which is not a description but a figurative transposition of topic. This kind of title should have an easily memorable form. Therefore, majority of current titles consist of one word or two connected words. Regarding the content, expressiveness is essential. Strong words characteristic for the particular genre are used and they often balance at the border between art and kitsch.

Another author who presents his division of titles is Peter Newmark (57). He distinguishes between descriptive titles and allusive titles.

Descriptive title

describes the topic of the work

Allusive title

have a referential or figurative relationship to the topic.

According to Newmark (57) descriptive titles should be always preserved and translated literally (Forrest Gump could only be Forrest Gump). Allusive title should be also translated literally or imaginatively preserved. Idiomatic and culturally bound titles are very often replaced by descriptive titles.

2 Film marketing

Generally, all manufacturers of any goods or services use, more or less, marketing for two-way communication with their regular or potential customers in order to satisfy those who are part of the supply group as well as those who are part the demand group. The same principle is true also for a film industry. We can use here the famous Neil Borden’s term “marketing mix” defined by 4 Ps: price, product, promotion and place (Jakubíková 146).

2.1 The process of filmmaking

Before a marketing campaign begins, the product, in our case film, has to be created. The process of filmmaking is very long and complicated, especially when speaking about Hollywood films. This process can be divided into five phases: development, pre- production, production, post-production and distribution (Steiff 26):

1) Development

In the first stage, the producer of the film has to choose a story. The story might be based on a book (it is called a film adaptation), another film (sequel) and there are also many scripts offering an original idea. Producers offer their idea to films studios or other investors who provide funding. When all the contracts are signed, filming is officially launched and the film has its working title (Steiff 27).

2) Pre-production

All actors and members of film crew are hired. Produces draw up estimated costing and create a storyboard which is “an outline or a draft line of a production made up of consequential pictures” (Cristiano 7).

3) Production

Everything has been prepared and the filming starts. Every element for the film is recorded during the film shoot which takes place at different locations according to the shooting plan.

4) Post-production

“When production is finished and the film is shot the post-production phase begins. This is when the editor puts all of the footage that has been filmed out of sequence back into the correct order so that it makes narrative sense. During this period the sound effects, music and titles are also included” (Barnwell 169). Meanwhile, marketing team starts to work on the final film title.

5) Distribution

“Distribution is the final stage of the filmmaking process, and it is definitely the most important one. Distribution is getting the film into theatres and into stores on DVD, as well as airing on TV screens all across the globe” (Stoller 297). It is very common that the film is presented at different markets under a completely different title. Sometimes, the title is changed even for a TV screening.

Making a film is a long process. It can take several months for an average film; however, the biggest films can take even a few years from the first idea to the final release. The whole process involves many people and technical equipment. This makes the entire process a very expensive thing with a lot of financial risk. Nothing should be underestimated and everything must be very carefully planned.

Due to these large investments, film is a very valuable product. All people involved in its financing are expecting certain revenue. Therefore, a coherent marketing communication is essential. Anything from official website, posters and trailers to programs of public relations has to be planned in advance. All of these components have one thing in common – the film title. On the other hand, even the best marketing campaign cannot save a bad film.

2.2 Title marketing

An old saying says “Never judge a book by its cover”. Intentionally or not, majority of people do it and film producers are very well aware of this fact. For that reason, a huge attention is drawn to a good title.

Mareš claims that the importance of a film title is higher than the importance of a book title. The size of possible target audience is much bigger and therefore more emphasis is put on a marketing attribute of titles. It is also related with a very specific characterization of authorship in a field of film industry. Mareš explains that while the author of a book

12 has similar or even higher weight, the authorship of a film is very problematic due to the amount of people who are involved. He admits that some members of the film crew play a significant role in a relation to viewers (director, script writer, actor, etc.) but it is not common case. A research done by Nielsen Analytics in 2007 supports this fact. An in- depth analysis showed that 37.5% of moviegoers consider a film title a critical factor in determining whether to see a new release or not (Reports).

2.2.1 Original title

When a producer makes a final selection of a script for his film, the script has also its title. It is called a working title and sometimes even serves to disguise the real film title and to avoid undesirable attention during a production. It is very rare for a working title to be the same at the time of film release. In Hollywood, there are companies which specialize in providing film producers with the best possible titles. One of them is called Title Doctors and it has been helping major studios with film titles since 2007.

These companies base their suggestions on various market researches and studies. The goal is simple. Persuade as many viewers as possible to see the film during the opening weekend to maximize profits. “As a general rule, an average movie makes 25% of its total money on the Friday through Sunday portion of just its opening weekend. For instance, analysts can expect a movie that opened with $25 million to gross at least $100 million if it displays average staying power” (Bowen 142).

2.2.2 Process of creating title

Matthew Cohen, the founder of Matthew Cohen Creative, spoke with Jaycob Sugarman for salon.com about the process of creating film titles in Hollywood. His company worked on marketing campaigns of such films as No Country for Old Men (2007) and The King’s Speech (2010), both winning the Oscar for Best Picture.

Cohen defines a great title as the one that immediately elicits viewers’ interest regardless of how much they actually know about the film. His team often waits until the film is produced; however, during this time, they hire writers to do title explorations. Afterwards, they present their idea to the filmmakers. Producing a great film title requires taking the movie apart and respecting its core message and emotional takeaway. Cohen reminds that the title has to also look good on a poster as well as on an online banner advertisement. The final decision about the title is done by the producer and director.

Nevertheless, Cohen adds that “if you have a powerful star, you want to make sure that they are not ashamed of the title.”

2.2.3 Czech equivalents

Majority of films have a different title when they are presented at a foreign market and there are several, mainly marketing, reasons for it. The Czech Republic is not an exception, especially, when there is such a long history of dubbing. Czech society is used to watching all content provided by TV stations in the Czech language. According to Media Group Consulting Research (7) in 2009, 75% of American and all European films released that year were in original language with subtitles and 25% of film offered to choose between dubbing and subtitles. However, due to a strong tradition of dubbing in television (not the only reason), the Czech Republic belongs to countries with the lowest level of English in Europe (European Commission 8). Therefore, English film titles have to be translated to be appealing to possible viewers.

“Incorrectly” translated titles have been a reason for creating forum threads and posting comments at film-oriented websites since the spread of the internet. The first film title which caused a bigger commotion was an American teen comedy American Pie (1999) translated as Prci, prci, prcičky. Another controversial title appeared in 2010. A big- budget film starring Leonardo DiCaprio Inception could be seen in Czech cinemas under the title Počátek which is a correct literal translation but with an incorrect meaning in relation to the plot (“vnuknutí” would be more accurate). Warner Bros, a distribution company responsible for creating the title, later apologized and justified their decision with having lack of information about the plot.

Nevertheless, this excuse was not accepted by the general public which claimed that the correct meaning could have been predicted and the possibility of leaving the title in English was also reminded. To determine, whether Warner Bros had a chance to use a better title, several major Czech distribution companies were asked via email to describe a process of creating titles for the Czech market.

Kateřina Bílková, Marketing and PR manager, Falcon a.s.

“It is almost a rule that a Czech title has to be created before we have an opportunity to see the film – we can use only the synopsis. Titles are created based on specific instructions from Hollywood headquarters (we represent two studios: Disney and Sony)

14 by our chosen employees in a cooperation with a translator. The approval process then takes place in the USA.”

Hana Antušová, Marketing manager, Bontonfilm a.s.

“Titles are created by the label, which is directly responsible for distribution of the film along with the whole marketing team. The title has to be then approved by a producer of the film. Definitely, we do not have much information about the film in advance, usually only a trailer and a short synopsis1.”

Even though only two companies responded, due to a high similarity between the answers, we can assume that this is a common set of rules for all Czech distribution companies.

It is obvious how difficult it is to create a title which satisfies everybody. Viewers can be divided according to their requirements for a title. The most orthodox would like to see all titles in English as it is the only correct way, since in Hollywood there are the biggest experts of film industry. On the other hand, there are people who simply want the title to indicate a genre and the main topic of the film. From the point of view of distributors, the only task of a title is to make a profit.

Distributors all over the world are dealing with the same issues. They have to think up a title which will attract viewers and afterwards persuade producers in the USA that it is the best title for their local market. For example, Simon Huang, marketing manager for United International Pictures in Taiwan, enforced a title The Sixth Sense, the Love with Life and Death (in Chinese) instead of a literal translation for a film Ghost. Huang claims that promotional campaigns are most successful when they convey a set of expectations about a film, and the best way to do that is to associate the film with familiar images, stories, or emotions. “When people go to the theatre, they have to have a feeling about the title. The title is even more important than the trailer” (Curtin 91).

Even though distributors still try to use attractive titles, approximately 15 year ago, it was a period when the more controversial and the more vulgar title was considered the better.

According to Lenka Picková who represents SPI International, a leading supplier of theatrical films to the international market, titles are sometimes modified to meet the needs of the Czech audience. She explains that in America the title can have a weaker

1 An outline of the plot of a play, film or book (Oxford)

15 form. But when the distributor thinks that a harsher title would be better for the Czech Republic, he has the right to change the title to attract more people. She also justifies using extra explaining words or titles. For example an American action film Nikita was changed into Brutal Nikita (Brutální Nikita) and Carmen into Carmen: Wild Passion (Carmen: Divoká vášeň). She says it is definitely more interesting because many original titles would not work for a Czech viewer. The task of the distributor is to choose a title which attracts a viewer at first sight (Štindl).

In the past, there were many films which were given exaggerated Czech title in comparison to the simple original. For example: The Postman, Soldier and Speed. Czech translations are much more expressive: Posel budoucnosti (Messenger of the Future), Žoldák: Legie zkázy (Mercenary: Legion of Doom) and Nebezpečná rychlost (Dangerous speed). František Fuka (fuxoft), a respected film translator, reveals other details about this trend. It is not always a creative Czech distributor who is responsible for it. A significant amount of films include a document “title suggestions” which presents further information about the title. It can point out that the original title might be hard to translate or the fact that it was not as successful in the USA as it was expected and therefore it is advisable to use a different one. A good example is a film Rundown which is an official title; however, in the United Kingdom it was released as Welcome to the Jungle and literal translations of this title were used at other markets including the Czech Republic (Vítejte v džungli).

2.2.4 Sequel

“A sequel (also called a follow-on or follow-up) is a narrative, documental, or other work of literature, film, theatre or music that continues the story of, or expands upon, some earlier work. In the common context of a narrative work of fiction, a sequel portrays events set in the same fictional universe as an earlier work, usually chronologically following the events of that work.” (“Sequel”)

The year 2011 brought a new record. During that year, twenty seven sequels were played in cinemas. Moreover, five films (Mission: Impossible Ghost Protocol, Pirates of the Caribbean: On Stranger Tides, Scream 4, Spy Kids 4: All the Time in the World and The Twilight Saga: Breaking Dawn (Part One)) were already the fourth sequel which was also a new record. Even the number five of part fives was record-breaking. There

16 were also two part sevens and one part eight which was the last part of the Harry Potter series – Harry Potter and the Deathly Hallows Part 2 (Gray).

2.2.5 Film adaptation

“A film adaptation is the transfer of a written work, in whole or in part, to a feature film. It is a type of derivative work. A common form of film adaptation is the use of a novel as the basis of a feature film. Other works adapted into films include non-fiction (including journalism), autobiography, comic books, scriptures, plays, historical sources, and even other films. From the earliest days of cinema, in nineteenth century Europe, adaptation from such diverse resources has been a ubiquitous practice of film-making” (“Film adaptation”).

3 Theory of translation

3.1 Definition of translation

“At the centre of any definition of any translation must be the intention to convey a written message from one language to another. The conveyance of the message consists essentially of converting the verbal expression of that message in one language into a corresponding verbal expression in the other language” (Darwish 21).

Levý (42) compares translation to a communication. “The translator deciphers a statement which is contained in the former author’s text and rephrase (encrypts) it into his language.” According to Levý (21), a good translator must be primarily a good reader. Moreover, he must know:

source language target language pragmatic content of a translated text (e.g. historical facts or the field in case of professional literature)

3.2 Process of translation

In the past, translations were studied and evaluated only as final products. It means that less attention was paid to comparing final translation with the source text. Recently, all Anglo-Saxon theories of translation put stress on the process itself. It is important to focus on cultural background, historical and local setting, literary allusions and objectives of the text (Knittlová 21). Objectives of the target text are usually predetermined;

17 especially texts intended to give instructions (course books, cookbooks, instruction manuals, etc) will have the same objective in all languages (Darwish 59).

Levý is also supporting the necessity of focusing on the process rather than the final product. The output of a translator’s work should not be the original but rather ideas and aesthetic values contained in it. He describes the process of working with the source text in three steps:

1. comprehension

In the first step, translator must understand the source text which requires special preparation and practice.

2. interpretation

In the second step, translator takes into consideration the fact, that the source and target language are incommensurable. Therefore, a literal translation is insufficient and translation must find appropriate way of interpreting the original message.

3. transfer

The last step provides the translator a place for showing his talent. He should stylize the text to completely disguise language system of the source language.

During the first stage of comprehension, the text should be read with two different attitudes. Newmark (11) defines them as general and close reading. The aim is to select a suitable translation method and identify particular problems.

General reading

Translator reads the whole text to familiarize with the topic. At this stage, he should go through encyclopaedias, textbooks or specialist papers to understand the subject. For a translator, it is important to know the function rather than the description of things.

Close reading

This is required in any challenging text. Translator has to be aware of multiple meanings even of common words to eliminate possible mistakes.

3.3. Translating methods

During the aforementioned translating process, a translator uses various methods to deal with all difficulties which might arise throughout translating.

3.3.1 Vinay and Darbelnet’s theory

Earlier translation theorists did not use any exact terms for distinguishing these methods. However, Canadian authors Vinay and Darbelnet created and named a list of methods, based on a comparison of French and English stylistics. The list contains seven methods which solve the problem of lack of equivalence with target language (Knittlová 14).

1. Transcription and transliteration It is a process of transferring a word from a source language to target language. Transliteration is a conversion of a word to different alphabet. 2. Calque Expression is transferred in a literal translation 3. Substitution Substituting one language element by another equivalent (noun for pronoun) 4. Transposition Necessary grammatical changes due to different language systems 5. Modulation A change of viewpoint (it is not bad / it is good) 6. Equivalence The same meaning is expressed by a different term 7. Adaptation Substitution of situation with equivalent term in target language (e.g. wordplays and proverbs)

3.3.2 Munday’s theory

Jeremy Munday (56) in his book “Introducing Translation Studies” presents Vinay and Darbelnet’s model slightly differently. He mentions their division of translation strategies

19 into two groups. The first group is called direct translation and consists of these methods:

Borrowing Calque Literal translation

The second group is called oblique translation and contains strategies which are used when the literal translation is not possible:

Transposition Modulation Equivalence Adaptation

3.3.3 Newmark’s theory

Munday provides better description of all methods than Knittlová. However, in another book written by Peter Newmark, we can find not only these methods but also several others. It can be seen that every linguist prefers different methods. Newmark’s methods (45) seem to be the most complex and they are very well explained.

Word-for-word translation

Every word from source text is translated singly out of context by their most common meaning and even the original word order is preserved.

Literal translation

All words are again translated out of context but they are ordered according to the nearest target language grammar structure.

Faithful translation

The translation focuses on reproducing contextual meaning along with transferring cultural words. Final translation faithfully represents intentions of the original author.

Semantic translation

It is very similar to faithful translation. However, it attempts to provide the same aesthetic value of the source text. Therefore, the translation is freer and allow translator to be more creative.

Adaptation

This type of translation preserves only the original plot. The rest of the text is rewritten in relation to target language culture. It is used for translating plays.

Free translation

There is only a global correspondence between sentences or even longer texts. Final translation is usually longer than the original.

Idiomatic translation

It reproduces the main idea but tends to distort nuances of meaning. Colloquialisms and idioms are used independent of the original text.

Communicative translation

Exact contextual meaning of the original is rendered and the content and language are comprehensible to readers.

Furthermore, Newmark (47) comments on these methods. He claims that only semantic and communicative translations fulfil the two main aims of translation – accuracy and economy. Using these two methods, expressive components are rendered closely or literally in expressive texts and toned down in informative and vocative texts. Cultural components are also treated according to the type of the text.

3.4 Translation of titles

Kufnerová (149) refers to research where titles of post-war works translated into Czech were analysed. The outcome is that 80% of titles were translated following principles of functional equivalence. Where there are no language obstacles, translation is also an accurate semantic translation of the original. Kuffnerová emphasizes that not all semantic translations are at the same time functional equivalents. It is caused by a different cultural background.

Levý (143) describes the differences between cultures as a social knowledge and it is very often the reason for recreating the title. The translator has to decide which facts are known by the general public in the target language country. Levý provides G. Eliot’s novel The Mill on the Floss as an example. Average inhabitant of the Czech Republic is not familiar with existence of a river called Floss. Therefore, this word was left out in the Czech title Červený mlýn (Red Mill). Hard-to-pronounce names in titles are sometimes

21 the reason for translator to use a different as well as more expressive title (e.g. R. Rolland’s Colas Breugnon is Dobrý člověk ještě žije in Czech).

Another element causing creation of completely different titles are different language systems. In case of Czech, it is primarily declension and gender inflection. Kuffnerová (151) gives several examples where a literal translation would not look natural. In the title The Brief Hour of Francois Villon, Villon’s name would be hard to pronounce even after declension due to its French origin. Therefore, the Czech title Nezbedný mistr balad (Naughty master of ballads) is more general and omits the proper name.

Mareš divides problems connected with translation of titles into two categories. The first are aforementioned different language systems and the second category describes issues with differences between source and target culture. Due to these problems, it is not possible to enforce literal translation. Mareš claims, that the translation of a title has to be translated at a level of text. The translation form of the title has to be therefore chosen with regard to the entire original and translated text. In general aspect, it is possible to formulate this principle: relations involving the translation of the title in its culture (relation to the rest of the text, to participants of communication and other titles) should be equal to relations of the original title.

Mareš acknowledges that this is only an ideal which cannot be in reality fully achieved. However, translator should always attempt to find the most equal title.

PRACTICAL PART 4 Corpus

For the analysis, a sample of more than 350 films was selected. Two major internet film databases were used as a source for film titles. Both websites offer to sort films according to their rating. There are specific conditions which limit the right for voting only to experienced and proven users. This feature guarantees that voting is not affected by anonymous users. Films in the corpus were chosen from these TOP charts and guarantees they are the most favourite or/and the best. The only requirement for titles which are listed in the corpus was an original English title. There are many films which were internationally co-produced. It means that there were at least two production companies from different countries which worked on the film together. Almost all films have an English title; however, sometimes it is already a translation from the original and for this reason, they were excluded from the corpus.

Chosen film databases:

IMDb.com

The Internet Movie Database was launched on October 17, 1990. It is the world’s most popular and authoritative source for movie, TV and celebrity content. The IMDb consumer site is the #1 movie website in the world with a combined web and mobile audience of more than 160 million unique monthly visitors. IMDb offers a searchable database of more than 130 million data items including more than two million movies, TV and entertainment programs and more than 4 million cast and crew members. (“Press Room”)

CSFD.cz

The Czech-Slovak Film Database was created in 2001 by Martin Pomothy (ČSFD.cz). It specializes in Czech scene and it is aimed exclusively at users from Czech and Slovakia The database offers many features. However, users can comment and rate films only after passing a test which contains ten questions and has a time limit of one hundred seconds. Profiles of films are, unlike at foreign sites, filled only with basic information about director and actors but the biggest benefit of CSFD is the possibility of discussing various topics in mother tongue.

5 Analysis

The corpus was analysed and inspected for various translating methods. As a result, sorting described by Petr Mareš was used. It perfectly covers all aspects of the corpus and therefore, all titles (apart from few exceptions) can fulfil characteristics of exactly one category. There are eight categories describing relation between the original title (OT) and translated title (TT) used on the Czech market:

1. TT is an accurate translation of OT 2. TT slightly modifies grammatical features of OT 3. The whole TT or its part is replaced with an element with more or less similar meaning 4. The whole TT or its part is replaced with an element with substantially different meaning but the connection with OT is noticeable 5. A part of OT is omitted in TT 6. TT has an extra element 7. TT has no coherence with OT 8. TT remains the same as OT

Every category contains a description of characteristics of the category, examples of relevant titles and then several titles are chosen for a deeper analysis.

5.1. 1) TT is an accurate translation of OT

The first category contains 166 titles which is nearly a half of the whole corpus (see Appedix 1). A majority of them are translated literally as they are usually consisting of only one or two words and their original meaning is preserved:

Jaws – Čelisti The Game – Hra The Rock – Skála Dead Man – Mrtvý muž

There are many proper names and their translation differs according to its type:

All About Eve – Vše o Evě Annie Hall – Annie Hallová Cindarella – Popelka Doctor Zhivago – Doktor Živago

Gandhi – Gándhí Hachiko: A Dog’s Story – Hačikó – příběh psa Snow White and the Seven Dwarfs – Sněhurka a sedm trpaslíků Who’s Afraid of Virginia Woolf? – Kdo se bojí Virginie Woolfové?

If the proper name has its equivalent in the target language, including fairy tales characters, they are used: Eve – Eva, Gandhi – Gándhí, Cindarella – Popelka, Snow White – Sněhurka. Names Zhivago - Ţivago and Hachiko – Hačikó are names of English films but originally they are transcribed from Russian and Japanese. Following the Czech grammar rules, a feminine suffix is added to female surnames and given have appropriate grammatical case when it is possible: genitive of Virginia Woolf – Virgini(e) Woolf(ové).

Titles where the title was not translated without losing its cultural background or other features:

American Beauty – the title refers to the most famous breed of rose in America which also appears in the film. Without knowing this fact, viewer probably cannot understand why roses play such a significant role in the film. Yet it is still possible to see the criticism of American life based on American dream – on the outside everything looks beautiful as the rose but in fact the roots of the society are rotten.

Good Will Hunting – Czech translation simply says that the main character is called Will Hunting and he is in some way good, which is correct. For an English speaker, there might be a second meaning in the title when it is read as “good-will hunting”. It symbolizes the main character’s (and a few other characters’) effort of looking for a good will in a life and becoming a good person.

Inglourious Basterds – both words are intentionally misspelled in the original which was not reflected in the Czech translation. The title is taken from Enzo Castellari’s film Quel Maledetto Treno Blindato (1979) presented in the USA as Inglorious Bastards. Quentin Tarantino, director of Inglourious Basterds, refused to comment on the spelling, however, later he explained it is just a way you say it: Basterds and the title is simply “Quentin Tarantino spelling” (Wise).

One Flew Over the Cuckoo's Nest – An adaption of Ken Kesey’s book directed by Miloš Forman. The title is from a scene (only in the book) where Chief Bromden receives electroshocs and while in pain, he says this part of a nursery rhyme:” ... one flew east,

25 one flew west and one flew over the cuckoo’s nest”. Furthermore, “cuckoo’s nest” is a slang term for asylum which is a place where the whole story takes place (The Internet Movie). The book was translated to Czech by Jaroslav Kořán who decided to use a method of adaptation and he found a Czech equivalent of the nursery rhyme: “Ten, ten nebo ten, vyhoďme ho z kola ven“.

Vintery, mintery, cutery, corn, Jeden, dva, tři, Apple seed and apple thorn, my jsme bratři. Wire, briar, limber lock Který je to mezi námi, Three geese in a flock co si zalez do tý slámy. Ten, ten nebo ten, One flew East vyhoďme ho z kola ven. One flew West And one flew over the cuckoo’s nest.

For this reason, the title of the book is Vyhoďme ho z kola ven. The question is, why it was not used also as a title of the film. It might have been due to the fact that the scene with the nursery rhyme is missing in the film and it would not have any connection.

5.2 2) TT slightly modifies grammatical features of OT

The second category contains 23 titles (see Appendix 2). Two translation methods can be identified – substitution and transposition. For this reason, differences in translated title are mainly present in case, number or prepositions.

Change in number (Czech equivalent in brackets):

City of God (City of Gods) Dances with Wolves (Dance with Wolves) Gaslight (Gaslights) Limelight (Limelights) Star Wars: Episode III - Revenge of the Sith (Star Wars: Episode III - Revenge of Siths) The Best Years of Our Lives (The Best Years of Our Live)

In fact, the translation of Dances with Wolves is not accurate. The word “dances” does not represent a plural noun. The whole title is a name given to the main character, played by Kevin Costner, by Indian and it can be translated as “The man who dances with wolves” (The Internet Movie). Therefore, the word “dances” is a verb and the title should be translated as “Tančí s vlky”

Changes in number are not probably necessary as it is an extra intervention from a translator. Changes in prepositions and use of transposition affect titles more and they can overcome differences in language systems and improve a naturalness of translation:

A Bronx Tale (A Tale from Bronx) High Noon (At High Noon) Life of Pi (Pi and his life) Roman Holiday (Holiday in Rome) Rosemary's Baby (Rosemary have a baby)

These changes are suitable. The language systems are different and the possessive case cannot be translated literally due to a very complicated pronunciation in the Czech language.

5.3 3) The whole TT or its part is replaced with an element with more or less similar meaning

The third category contains 15 titles (see Appendix 3). Translated titles are very close to a literal translation; however, a smaller or a bigger shift in the meaning is evident in the whole title or its part which is replaced by a synonym or a related word. The main two translating methods are equivalence and a semantic translation.

Examples:

As Good as It Gets (It will not be better)

The Czech equivalent of the phrase was used for the title. This phrase is used in both languages to comment on the fact that the current situation is probably the best it can be, and therefore we should accept it and stop hoping for something better.

Cool Hand Luke (Great guy Luke)

Cool hand is an idiom meaning fearless (Thesaurus). The word “frajer” in the Czech title can has either positive or negative sense. In the negative sense, it is used to describe a person who is showing off attract attention of other people. The opposite is a person who has courage and has achieved something in his life for which he is admired. This is exactly Luke who refuses to accept the common rules of society (and prison) and he is respected for fighting for his dream.

Once Upon a Time in America (Back then in America)

Once Upon a Time in the West (Back then in the West)

Idiom “once upon a time is” is mainly used at the beginning of a fairy tale. Into Czech, it is usually translated as “bylo nebylo”. Due to the fact that these films are not fairy tales, it was better to use a word “tenkrát” which function as an introduction to a past event.

Edward Scissorhands

It is a very similar calque to Dr. Strangelove in the first category. In this case, the literal translation would be possible (translated as “Nůţkoruký”), however, focussing more on the function of his hands (cutting) helped to create a title “Střihoruký” (Cuttinghands) which sounds and looks more natural.

Back to the Future (Return to the Future)

The fact that all three films of the trilogy appeared among top rated films just proves how good they are. Nevertheless, using a literal translation of the title would be more accurate. The title appears in the film as a quote (Wikia):

Doctor Brown: “Marty! You've gotta come back with me!”

Marty: “Where?”

Doctor Brown: “Back to the future.”

Title starting with noun is, as it can be seen in the corpus, very common. Unfortunately, after a substitution of adverb for noun it lost its connection with a concrete scene.

5.4. 4) The whole TT or its part is replaced with element with substantially different meaning but the relation with OT is noticeable

The fourth category contains 31 titles (see Appendix 4). Almost all original titles are connected with translated titles through a one word which is usually translated literally. The rest of the title has a different structure or contains completely unrelated words. The two examples below portray how big the difference could be between the original title and the translation while keeping its relation:

Double Indemnity (Insurance of death)

English definition of this term: “a section in a life insurance agreement that says the insurance company will pay double the amount of money if the person who bought the insurance dies in an accident rather than because of illness or old age” (Macmillan). A literal translation to Czech is possible (dvojité odškodnění), nevertheless, a Czech viewer would not be probably relating this term to a life insurance and thus mentioning the “death” in the Czech title helps him to imagine the main theme of the film.

Full Metal Jacket (Lead vest)

The word which connects both titles is “jacket”. Jacket can be translated as vest when speaking for example about a bulletproof or life jacket. Therefore, the title gives the impression of some kind of jacket made of metal. This fact might have confused the person who translated this title. It would be still acceptable if the title was “Celokovová vesta” but replacing “metal” with “lead” is a mystery. A little justification can be found in the description of this term: “A full metal jacket (or FMJ) is a bullet consisting of a soft core (usually made of lead) encased in a shell of harder metal, such as gilding metal, cupronickel or less commonly a steel alloy”.(Wikipedia) It is probably only a coincidence because if the person knew this definition, it would be logical to use a Czech name for this type of bullet – Celoplášťová střela.

5.5 5) A part of OT is omitted in TT

The fifth category contains 13 titles (see Appendix 5). The common characteristic is a missing element in the Czech title in comparison to the original title.

The first difference is in expressing the number of a sequel:

Hot Shots! Part Deux – Žhavé výstřely 2 Kill Bill: Vol. 1 – Kill Bill The Godfather: Part II – Kmotr II The Godfather: Part III – Kmotr III

It can be seen that in Czech, it is preferred to use only a number while in English the word “Part” or “Vol.” (Volume) is used along with the number. On the other hand, exceptions can be found. In the Czech translation of Harry Potter and the Deathly Hallows: Part 2, the word “Part” was preserved and translated literally (část) as well as the word “Episode” in Star Wars films (Star Wars: Epizoda III - Pomsta Sithů). In case of

29 the two-part finale of the Harry Potter series, the word “part” was used due to the division of the last book into two films (shot as a one long film). Therefore, the part two continues exactly where the first part ends. This also characterizes the use of a word “part” in Czech – it is usually used when a whole is divided into parts which are closely connected.

The second difference is in omitting one word from the title:

Apocalypse Now – Apokalypsa How to Train Your Dragon – Jak vycvičit draka Changeling – Výměna Mr. Smith Goes to Washington – Pan Smith přichází The Great Dictator – Diktátor

In Apocalypse Now the word “now” was inspired by “Nirvana Now” badge used by hippies during the sixties. Any kind of translation of the word “now” would not sound natural and for this reason it was probably left out. In the translation of How to Train Your Dragon, the pronoun “your” was not used which keeps the title shorter and it is also a common structure of “How to” titles. At first sight, the title Changeling seems to be translated literally as both, the original and translation, are expressed by just a one word. In fact, the Czech title provides us with only a half of the meaning of the original title. The definition of the word is: “a child surreptitiously or unintentionally substituted for another” (Dictionary). The theme of an exchanged child is a part of the plot, even though there is not an equivalent term in Czech, the Czech title gives a very similar impression and it was better not to make the title longer only to explain it is an exchange of a child.

The third difference is in omitting a whole phrase from the title:

Interstate 60: Episodes of the Road – Interstate 60 Koyaanisqatsi: Life Out of Balance – Koyaanisqatsi Sunrise: A Song of Two Humans – Sunrise

In all three titles, the descriptive part of the title was omitted. The main reason might be the fact that it does not help much to understand the main title and thus it was decided to make these titles shorter.

5.6 6) TT has an extra element

The sixth category contains 16 titles (see Appendix 6). The translated title is always extended with an explanatory word or a phrase.

The first type of extension is adding a literal translation of the original title:

Sin City – Sin City – město hříchů Toy Story – Toy Story: Příběh hraček Toy Story 2 – Toy Story 2: Příběh hraček Toy Story 2 – Toy Story 3: Příběh hraček

Placing an original and a translated title next to each other provides and immediate explanation of the original title while keeping its former effect. Especially in case of Toy Story it is a very good move. Toy Story is a series of computer-animated films (not only) for children. It is easy for Czech children to pronounce the original title; moreover, they know its meaning and they have both titles connected with the same thing. Almost all films for children are released along with a whole variety of official merchandise which is rarely localized. Therefore, a pencil case with a Toy Story logo does not have to have also “Příběh hraček” written on it on a Czech market since it has been established as a synonym.

The second type of extension is realized by adding more words in the translated title:

Awakenings – Čas probuzení (Time of awakening) Corpse bride – Mrtvá nevěsta Tima Burtona (Dead bride of Tim Burton) Into the Wild – Útěk do divočiny (Escape into the wild) North by Northwest – Na sever severozápadní linkou (To the north by northwest line) Notorious – Pověstný muž (Notorious man) The Shawshank Redemption – Vykoupení z věznice Shawshank (Redemption from the Shawshank prison) The Wizard of Oz – Čaroděj ze země Oz (The wizard of the land of Oz) Up – Vzhůru do oblak (Up to the clouds)

The third type of extension adds a descriptive phrase to the original title:

Baraka – Baraka – Odysea země (Odyssey of the Earth) Pulp Fiction – Pulp Fiction: Historky z podsvětí (Tales from gangland)

The second and the third types of extension serve to provide the possible viewer with more information about the plot of the film. At the same time, it does not change the message of the original title.

5.7 7) TT has no coherence with OT

The seventh category contains 26 titles (see Appendix 7). Due to zero coherence between original and Czech titles, no pattern or translating method was identified. Only a deeper analysis of each title (as seen below) could provide explanation for using a completely different title.

The Prestige

What might seem as another useless change of the original title is actually a very good move from the distributor. Without knowing anything about the film, the word prestige can be easily translated as “prestiţ”. And even if we know what the film is about many people would agree if the Czech title was this simple translation. It is a story about a rivalry between two magicians who are, as stated in the title, fighting to be more prestigious than the other. Even though this interpretation makes sense, it is not correct.

“The words’ origin is in the middle of the 17th century in a French word literally meaning illusion or conjuring trick. In Late Latin, praestigiae means illusion” (Oxford). This fact is confirmed at the beginning of the film when the character of Cutter describes three parts or acts of every magic trick. It consists of “The Pledge” when the magician shows you something ordinary. In the second part, called “The Turn”, the ordinary thing makes something extraordinary. It is not enough, because when you make something disappear you have to also bring it back. That is why every magic trick has a third act, the hardest part; the part is called “The Prestige”. (The Internet Movie)

Literal translation of the title would be a mistake which could be understood. However, Czech distributors were able to find the original meaning which is associated with magic tricks and possibly with a knowledge of the plot they created the title Dokonalý trik (Perfect trick).

5.8 8) TT remains the same as OT

The eighth category contains 70 titles (see Appendix 8). These titles preserved their form and meaning without any shifts. The only exception is removing definite article “the”.

It is possible to identify two main categories within these titles. The common characteristic of these titles is that they have the same meaning in the Czech language even without translating (especially proper names).

Proper names:

Amadeus – Amadeus Barry Lyndon – Barry Lyndon Donnie Darko – Donnie Darko Forrest Gump – Forrest Gump

Geographical names:

Casablanca – Casablanca Manhattan – Manhattan Philadelphia – Philadelphia Rio Bravo – Rio Bravo Sunset Blvd. – Sunset Blvd.

6 Conclusion

Category Title relation Films 1 TT is an accurate translation of OT 166 8 TT remains the same as OT 70 The whole TT or its part is replaced with an element with substantially 4 different meaning but the connection with OT is noticeable 31 7 TT has no coherence with OT 26 2 TT slightly modifies grammatical features of OT 23 6 TT has an extra element 16 The whole TT or its part is replaced with an element with more or less 3 similar meaning 15 5 A part of OT is omitted in TT 13

The biggest category is using a literal translation as a translating method. It was used for almost a half of all films. It contains mainly one or two-word titles which are easy to translate. Therefore, the accuracy of the translation is very high. The second biggest category is providing the most accurate titles as they preserve original form of the title and its meaning. The third biggest category consists of titles where the relation between original and translated titles is usually only in one word. Translating method used the

33 most, is free translation. Due to this fact the shift in meaning is sometimes very significant. The rest of the titles are divided almost equally among the rest of the remaining categories.

The main goal of the thesis was to answer the question whether it can be said that the Czech equivalents are generally created correctly or not. Firstly, it is essential to define a correctly created equivalent. If it mean the most accurate then the table above provides us clear division. According to the analysis, only categories one and eight provide the most accurate equivalents with no shift in meaning.

On the other hand, even if the title is not an accurate translation, it can be still perceived as a correct equivalent. Based on the knowledge of title creation and marketing, several characteristics of a good title can be listed: attracts a possible viewer, indicates a theme or a plot of the film (if it was also an intention of the original title) and arouse similar emotions. According to these characteristics, only sixteen titles (4,4%) were found to be “unacceptable”. This result has be to perceived as a very indicative due to the amount of subjectivity during assessing which title is “acceptable” and which is not.

However, it is enough to claim that titles in this corpus are generally created correctly. It also helps to determine the most suitable translating methods. As stated above, categories one and eight provide the most accurate translating methods for short titles. If changes are inevitable, due to a different language systems or a cultural background, methods from categories two or three should be used. In case of even more complicated title, a new and very creative title can be created as in category four. However, it requires a great feeling for the language. Finally, titles from category seven should be avoided as much as possible, as the most of “unacceptable titles” were found here.

The thesis provided a list of the best films based on viewers’ ratings, background information about title creating and marketing as well as deeper analysis of several titles. Altogether, it should help people to understand that there are several types of relation the Czech equivalent can has with the original and it is not easy to always choose the best option.

List of references

Literary sources

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Bowen, Jonathan L. Anticipation: The real life story of Star wars: Episode I - The phantom menace, New York: iUniverse, 2005. Print.

Cristiano, Giuseppe. Analyzing Storyboard – Second Edition, Raleigh: Lulu, 2005. Print.

Curtin, Michael. Playing to the world’s biggest audience: The globalization of Chinese film and TV, Berkeley: University of California press, 2007. Print.

Darwish, Ali. Elements of translation: A practical guide for translators, Melbourne: Writescope, 2010. Print.

Hrabák, Josef. Poetika, Praha: Československý spisovatel, 1977. Print.

Jakubíková, Dagmar. Strategický marketing:[strategie a trendy], Praha: Grada, 2008. Print.

Knittlová, Dagmar. K teorii i praxi překladu, Olomouc: Universita Palackého v Olomouci, 2000. Print.

Munday,Jeremy. Introducing Translation Studies: Theories and Applications, London: Routledge, 2001. Print.

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Stoller, Brian Michael. Filmmaking for dummies, Hoboken: Wiley, 2008. Print.

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Appendices

Appendix 1

...And Justice for All ...a spravedlnost pro všechny (1979) 12 Angry Men Dvanáct rozhněvaných mužů (1957) 2001: A Space Odyssey 2001: Vesmírná odysea (1968) 21 Grams 21 gramů (2003) A Clockwork Orange Mechanický pomeranč (1971) African Cats: Kingdom of Courage Africké kočky: Království odvahy (2011) Alien Vetřelec (1979) Aliens Vetřelci (1986) All About Eve Vše o Evě (1950) All Quiet on the Western Front Na západní frontě klid (1930) American Beauty Americká krása (1999) American Gangster Americký gangster (2007) Anatomy of a Murder Anatomie vraždy (1959) Annie Hall Annie Hallová (1977) Batman Begins Batman začíná (2005) Beauty and the Beast Kráska a zvíře (1991) Big Fish Velká ryba (2003) Black Hawk Down Černý jestřáb sestřelen (2001) Black Swan Černá labuť (2010) Blood Diamond Krvavý diamant (2006) Braveheart Statečné srdce (1995) Butch Cassidy and the Sundance Kid Butch Cassidy a Sundance Kid (1969) Cactus Flower Kaktusový květ (1969) Carlito's Way Carlitova cesta (1993) Cat on a Hot Tin Roof Kočka na rozpálené plechové střeše (1958) Catch Me If You Can Chyť mě, když to dokážeš (2002) Cinderella Popelka (1950) Citizen Kane Občan Kane (1941) City Lights Světla velkoměsta (1931) Cocaine Cowboys Kokainoví kovbojové (2006) Dead Man Mrtvý muž (1995) Dead Poets Society Společnost mrtvých básníků (1989) Django Unchained Nespoutaný Django (2012) Doctor Zhivago Doktor Živago (1965) Dr. Strangelove or: How I Learned to Stop Dr. Divnoláska aneb Jak jsem se naučil Worrying and Love the Bomb nedělat si starosti a mít rád bombu (1964) Enemy of the State Nepřítel státu (1998) Eternal Sunshine of the Spotless Mind Věčný svit neposkvrněné mysli (2004) Fiddler on the Roof Šumař na střeše (1971) Gandhi Gándhí (1982) Gladiator Gladiátor (2000)

Good Will Hunting Dobrý Will Hunting (1997) Goodfellas Mafiáni (1990) Guess Who's Coming to Dinner Hádej, kdo přijde na večeři (1967) Hachiko: A Dog's Story Hačikó - příběh psa (2009) Hair Vlasy (1979) Hannah and Her Sisters Hana a její sestry (1986) Harold and Maude Harold a Maude (1971) Home Alone Sám doma (1990) Hot Shots! Žhavé výstřely (1991) Charade Šaráda (1963) Chinatown Čínská čtvrť (1974) In Cold Blood Chladnokrevně (1967) In the Heat of the Night V žáru noci (1967) In the Name of the Father Ve jménu otce (1993) Inception Počátek (2010) Indiana Jones a Poslední křížová výprava Indiana Jones and the Last Crusade (1989) Inglourious Basterds Hanebný pancharti (2009) It Happened One Night Stalo se jedné noci (1934) Jaws Čelisti (1975) Jurassic Park Jurský park (1993) Kramer vs. Kramer Kramerová versus Kramer (1979) L.A. Confidential L. A. - Přísně tajné (1997) Lady and the Tramp Lady a Tramp (1955) Lawrence of Arabia Lawrence z Arábie (1962) Lethal Weapon Smrtonosná zbraň (1987) Lethal Weapon 2 Smrtonosná zbraň 2 (1989) Life of Brian Život Briana (1979) Little Big Man Malý velký muž (1970) Love and Death Láska a smrt (1975) Mary and Max Mary a Max (2009) Midnight Cowboy Půlnoční kovboj (1969) Midnight Express Půlnoční expres (1978) Mississippi Burning Hořící Mississippi (1988) Modern Times Moderní doba (1936) Monsters, Inc. Příšerky s.r.o. (2001) Monty Python and the Holy Grail Monty Python a Svatý Grál (1974) Mystic River Tajemná řeka (2003) Oceans Oceány (2009) On Golden Pond Na Zlatém jezeře (1981)

One Flew Over the Cuckoo's Nest Přelet nad kukaččím hnízdem (1975) One, Two, Three Raz, dva, tři (1961) Paths of Glory Stezky slávy (1957) Payback Odplata (1999) Phone Booth Telefonní budka (2002)

Pirates of the Caribbean: The Curse of the Black Pearl Piráti z Karibiku: Prokletí Černé perly (2003) Planet of the Apes Planeta opic (1968) Platoon Četa (1986) Play It Again, Sam Zahraj to znovu, Same (1972) Predator Predátor (1987) Raging Bull Zuřící býk (1980) Requiem for a Dream Requiem za sen (2000) Rope Provaz (1948) Rosencrantz & Guildenstern Are Dead Rosencrantz a Guildenstern jsou mrtvi (1990) Scarface Zjizvená tvář (1983) Seven Sedm (1995) Schindler's List Schindlerův seznam (1993) Singin' in the Rain Zpívání v dešti (1952) Sleepers Spáči (1996) Sleuth Slídil (1972) Snow White and the Seven Dwarfs Sněhurka a sedm trpaslíků (1937) Some Like It Hot Někdo to rád horké (1959) Somebody Up There Likes Me Někdo tam nahoře mě má rád (1956) Stand by Me Stůj při mně (1986) Stanley Kubrick: A Life in Pictures Stanley Kubrick: Život v obrazech (2001) Star Wars: Episode IV - A New Hope Star Wars: Epizoda IV - Nová naděje (1977) Star Wars: Epizoda V - Impérium vrací úder Star Wars: Episode V - The Empire Strikes Back (1980) Star Wars: Episode VI - Return of the Jedi Star Wars: Epizoda VI - Návrat Jediho (1983) Stardust Hvězdný prach (2007) Strangers on a Train Cizinci ve vlaku (1951) Taxi Driver Taxikář (1976) Terminator 2: Judgment Day Terminátor 2: Den zúčtování (1991) The Apartment Byt (1960) The Bear Medvěd (1988) The Big Country Velká země (1958) The Bourne Ultimatum Bourneovo ultimátum (2007) The Cider House Rules Pravidla moštárny (1999) The Circus Cirkus (1928) The Cove Zátoka (2009) The Dark Knight Temný rytíř (2008) The Deer Hunter Lovec jelenů (1978) The Devil's Advocate Ďáblův advokát (1997) The Elephant Man Sloní muž (1980) The Exorcist Vymítač ďábla (1973) The Fugitive Uprchlík (1993) The Game Hra (1997) The Godfather Kmotr (1972) The Graduate Absolvent (1967) The Grapes of Wrath Hrozny hněvu (1940)

The Great Escape Velký útěk (1963)

The Green Mile Zelená míle (1999) The Hobbit: An Unexpected Journey Hobit: Neočekávaná cesta (2012) The Iron Giant Železný obr (1999) The Killing Zabíjení (1956) The King's Speech Králova řeč (2010) The Last Boy Scout Poslední skaut (1991) The Last Temptation of Christ Poslední pokušení Krista (1988) The Lion King Lví král (1994) The Longest Day Nejdelší den (1962) The Lord of the Rings: The Fellowship of the Ring Pán prstenů: Společenstvo Prstenu (2001) The Lord of the Rings: The Return of the King Pán prstenů: Návrat krále (2003) The Lord of the Rings: The Two Towers Pán prstenů: Dvě věže (2002) The Maltese Falcon Maltézský sokol (1941) The Man Who Shot Liberty Valance Muž, který zastřelil Liberty Valance (1962) The Manchurian Candidate Mandžuský kandidát (1962) The Neverending Story Nekonečný příběh (1984) The Night of the Hunter Lovcova noc (1955) The Pianist Pianista (2002) The Pixar Story Příběh Pixaru (2007) The Princess Bride Princezna Nevěsta (1987) The Rock Skála (1996) The Silence of the Lambs Mlčení jehňátek (1991) The Sixth Sense Šestý smysl (1999) The Sting Podraz (1973) The Terminator Terminátor (1984) The Thing Věc (1982) The Third Man Třetí muž (1949) The Usual Suspects Obvyklí podezřelí (1995) The Wild Bunch Divoká banda (1969) Touch of Evil Dotek zla (1958) Tupac: Resurrection Tupac: Vzkříšení (2003) Twelve Monkeys 12 opic (1995) V for Vendetta V jako Vendeta (2005) Wait Until Dark Čekej do tmy (1967) What's Eating Gilbert Grape Co žere Gilberta Grapea (1993) Who's Afraid of Virginia Woolf? Kdo se bojí Virginie Woolfové? (1966) X-Men: First Class X-Men: První třída

Appendix 2

A Bronx Tale Příběh z Bronxu (1993)

City of God Město bohů (2002) Dances with Wolves Tanec s vlky (1990) Fight Club Klub rváčů (1999) Finding Nemo Hledá se Nemo (2003) Gaslight Plynové lampy (1944) Harry Potter and the Deathly Hallows: Part 2 Harry Potter a Relikvie smrti - část 2 (2011) High Noon V pravé poledne (1952) It's a Wonderful Life Život je krásný (1946) Life of Pi Pí a jeho život (2012) Limelight Světla ramp (1952) Of Mice and Men O myších a lidech (1992) Roman Holiday Prázdniny v Římě (1953) Rosemary's Baby Rosemary má děťátko (1968) Saving Private Ryan Zachraňte vojína Ryana (1998) Star Wars: Episode III - Revenge of the Sith Star Wars: Epizoda III - Pomsta Sithů (2005) The Best Years of Our Lives Nejlepší léta našeho života (1946) The Bridge on the River Kwai Most přes řeku Kwai (1957) The Dark Knight Rises Temný rytíř povstal (2012) The Last of the Mohicans Poslední Mohykán (1992) The Sound of Music Za zvuků hudby (1965) The Treasure of the Sierra Madre Poklad na Sierra Madre (1948) Witness for the Prosecution Svědek obžaloby (1957)

Appendix 3

A Beautiful Mind Čistá duše (2001) Ace in the Hole Eso v rukávu (1951) As Good as It Gets Lepší už to nebude (1997) Back to the Future Návrat do budoucnosti (1985) Back to the Future Part II Návrat do budoucnosti II (1989) Back to the Future Part III Návrat do budoucnosti III (1990) Coming Home Návrat domů (1978) Cool Hand Luke Frajer Luke (1967) Edward Scissorhands Střihoruký Edward (1990) Once Upon a Time in America Tenkrát v Americe (1984) Once Upon a Time in the West Tenkrát na Západě (1968) Raiders of the Lost Ark Dobyvatelé ztracené archy (1981) The King Lines Královské výstupy (2007) The Magnificent Seven Sedm statečných (1960) The Shining Osvícení (1980)

Appendix 4

A Streetcar Named Desire Tramvaj do stanice Touha (1951)

Dial M for Murder Vražda na objednávku (1954) Double Indemnity Pojistka smrti (1944) Falling Down Volný pád (1993) Finding Neverland Hledání Země - Nezemě (2004) Full Metal Jacket Olověná vesta (1987) Groundhog Day Na Hromnice o den více (1993) How to Steal a Million Jak ukrást Venuši (1966) Inherit the Wind Kdo seje vítr (1960) Love Actually Láska nebeská (2003) No Country for Old Men Tahle země není pro starý (2007) On the Waterfront V přístavu (1954) Pumping Iron Železný Schwarzenegger (1977) Rear Window Okno do dvora (1954) Shutter Island Prokletý ostrov (2010) Slumdog Millionaire Milionář z chatrče (2008) Snatch. Podfu(c)k (2000) Terms of Endearment Cena za něžnost (1983) The Big Sleep Hluboký spánek (1946) The Bourne Supremacy Bournův mýtus (2004) The Gold Rush Zlaté opojení (1925) The Nightmare Before Christmas Ukradené Vánoce (1993) The Remains of the Day Soumrak dne (1993) The Towering Inferno Skleněné peklo (1974) The Untouchables Neúplatní (1987) The World's Fastest Indian V zajetí rychlosti (2005) There Will Be Blood Až na krev (2007) To Kill a Mockingbird Jako zabít ptáčka (1962) Unforgiven Nesmiřitelní (1992) United 93 Let číslo 93 (2006) WALL-E VALL-I (2008)

Appendix 5

Apocalypse Now Apokalypsa (1979) Hot Shots! Part Deux Žhavé výstřely 2 (1993) How to Train Your Dragon Jak vycvičit draka (2010) Changeling Výměna (2008) Interstate 60: Episodes of the Road Interstate 60 (2002) Kill Bill: Vol. 1 Kill Bill (2003) Koyaanisqatsi: Life Out of Balance Koyaanisqatsi (1982) Laurel and Hardy's Laughing 20's Laurel a Hardy (1965) Mr. Smith Goes to Washington Pan Smith přichází (1939) Sunrise: A Song of Two Humans Východ slunce (1927) The Godfather: Part II Kmotr II (1974) The Godfather: Part III Kmotr III (1990)

The Great Dictator Diktátor (1940)

Appendix 6

Awakenings Čas probuzení (1990) Baraka Baraka - Odysea země (1992) Corpse Bride Mrtvá nevěsta Tima Burtona (2005) First Blood Rambo: První krev (1982) Into the Wild Útěk do divočiny (2007) North by Northwest Na sever severozápadní linkou (1959) Notorious Pověstný muž (1946) Pulp Fiction Pulp Fiction: Historky z podsvětí (1994) Sin City Sin City - město hříchu (2005) The Shawshank Redemption Vykoupení z věznice Shawshank (1994) The Wizard of Oz Čaroděj ze země Oz (1939) Toy Story Toy Story: Příběh hraček (1995) Toy Story 2 Toy Story 2: Příběh hraček (1999) Toy Story 3 Toy Story 3: Příběh hraček (2010) Up Vzhůru do oblak (2009) When You're Strange The Doors - When You're Strange (2009)

Appendix 7

American History X Kult hákového kříže (1998) Avanti! Nebožtíci přejí lásce (1972) Cinderella Man Těžká váha (2005) Die Hard Smrtonosná past (1988) Gone with the Wind Jih proti Severu (1939) Heat Nelítostný souboj (1995) K-PAX Svět podle Prota (2001) Lock, Stock and Two Smoking Barrels Sbal prachy a vypadni (1998) Lord of War Obchodník se smrtí (2005) Rebecca Mrtvá a živá (1940) Reign Over Me Volání o pomoc (2007) Reservoir Dogs Gauneři (1992) Safety Last! O patro výš (1923) Sling Blade Smrtící bumerang (1996) Taken 96 hodin (2008) The Agony and the Ecstasy Ve službách papeže (1965) The Bourne Identity Agent bez minulosti (2002) The Butterfly Effect Osudový dotek (2004) The Defiant Ones Útěk v řetězech (1958) The Departed Skrytá identita (2006) The General Frigo na mašině (1926)

The Help Černobílý svět (2011) The Hustler Biliárový král (1961) The Naked Gun: From the Files of Police Squad! Bláznivá střela (1988) The Perks of Being a Wallflower Charlieho malá tajemství (2012) The Prestige Dokonalý trik (2006)

Appendix 8

101 101 (1989) Amadeus Amadeus (1984) Barry Lyndon Barry Lyndon (1975) Ben-Hur Ben Hur (1959) Blade Runner Blade Runner (1982) Bowling for Columbine Bowling for Columbine (2002) Brubaker Brubaker (1980) Casablanca Casablanca (1942) Casino Casino (1995) Crash Crash (2004) District 9 District 9 (2009) Dogtown and Z-Boys Dogtown and Z-Boys (2001) Donnie Darko Donnie Darko (2001) Earthlings Earthlings (2005) Fargo Fargo (1996) Foo Fighters: Back and Forth Foo Fighters: Back and Forth (2011) Forrest Gump Forrest Gump (1994) Gran Torino Gran Torino (2008) Harvey Harvey (1950) Hombre Hombre (1967) Hotel Rwanda Hotel Rwanda (2004) Imagine: John Lennon Imagine: John Lennon (1988) Iron Maiden: Flight 666 Iron Maiden: Flight 666 (2009) Jeremiah Johnson Jeremiah Johnson (1972) Jesus Christ Superstar Jesus Christ Superstar (1973) JFK JFK (1991) Jimi Hendrix Jimi Hendrix (1973) Leaving Las Vegas Leaving Las Vegas (1995) Led Zeppelin: The Song Remains the Same Led Zeppelin: The Song Remains the Same (1976) Lemmy Lemmy (2010) Magnolia Magnolia (1999) Manhattan Manhattan (1979) Memento Memento (2000) Metallica: Some Kind of Monster Metallica: Some kind of monster (2004) Million Dollar Baby Million Dollar Baby (2004) Mother and Child Mother and Child (2009)

My Fair Lady My Fair Lady (1964) Network Network (1976) Pearl Jam Twenty Pearl Jam Twenty (2011) Persepolis Persepolis (2007) Philadelphia Philadelphia (1993) Psycho Psycho (1960) Rain Man Rain Man (1988) Ratatouille Ratatouille (2007) Ray Ray (2004) Rio Bravo Rio Bravo (1959) Rocky Rocky (1976) Serpico Serpico (1973) Shrek Shrek (2001) Smoke Smoke (1995) Stalag 17 Stalag 17 (1953) Star Trek Star Trek (2009) Sunset Blvd. Sunset Blvd. (1950) That's It, That's All That's It, That's All. (2008) The Art of Flight The Art of Flight (2011) The Artist The Artist (2011) The Avengers Avengers (2012) The Big Lebowski Big Lebowski (1998) The Doors The Doors (1991) The Kid Kid (1921) The Matrix Matrix (1999) The Stoning of Soraya M. The Stoning of Soraya M. (2008) The Truman Show Truman Show (1998) The White Stripes Under Great White Northern The White Stripes Under Great White Lights Northern Lights (2009) The Wrestler Wrestler (2008) Titanic Titanic (1997) Trainspotting Trainspotting (1996) Vertigo Vertigo (1958) Warrior Warrior (2011) Woodstock Woodstock (1970)