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We Do Translate Words, Because There Is Nothing Else To Translate. Peter Newmark
We Do Translate Words, Because There Is Nothing Else To Translate. Peter Newmark
Introduction
Peter Newmark
Translation is a kind of art. It must be admitted that it does not mean to create
something out of nothing, such as writers do; on the other hand it certainly is a way of
creating. The translator produces a new matter, a text that was not here before. They put into it
their personality, their individual understanding of things, their own words. The heart of the
text remains the same but the clothing is different. It could be said that the translator is a tailor
and depends only on their abilities whether the new dress will be shabby or of haute
couture.
In the case of specialised translation the necessity of a well-made dress is maybe not
such as with the literary translation. The translator of the former has to keep in mind the
informative function of the text, in the first place, and consequently transmit the main ideas
and arguments clearly and intelligibly. On the other hand, they have to attempt at preserving
the individual style of the writer, therefore, if we accede the idea of the tailor, the translator is
a kind of apprentice at the authors workshop, they should follow the given style (of course,
there are cases when the style is not worth following, the translators work is much more
difficult then as they have to refashion the original into a prettier shape).
The essay that was translated for this thesis is taken from the field of cinematography.
There are many works written in (or translated into) Czech concerning film but not so many
that would treat with the specific phenomenon of film noir. As a result, I had to deal with
many still unestablished technical terms or film titles and films that the Czech audience have
not had a chance to see. Consequently, this thesis is meant to be a kind of description of the
translational process with a deeper insight into the technical translation and again yet deeper
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into certain elements of culture. I would like to show how to treat such texts, from the first
meeting with them till the final polishing of the translation. The following pages should
communicate both the theoretical background of technical translation and its practical aspect.
I chose to proceed from the former to the latter, as it displays the factual translating procedure.
And although the thesis is based mainly on the given essay I hope it will contribute in a way
If not said otherwise, all the given examples are taken from the essay Film Noir and Women.
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2. About the Author and the Essay
The author of the essay Film Noir and Women is Elizabeth Cowie BA (Hons), PhD,
professor of film studies at the University of Kent in Canterbury, where she has been teaching
since 1982. Previously to that she worked for a film journal, Screen, from 1972 to 1976,
edited the 1978 catalogue of films for the British Film Institute Production Board and also
taught film at various institutions in London. Together with other experts, Parveen Adams,
Rosalind Coward and Beverley Brown, she founded a feminist theory journal, m/f, that
The central focus for my research and writing was to understand how representation
works to produce meanings and identities in relation to political and cultural questions
(http://www.kent.ac.uk/sdfva/film/stafflist/ecowie.html)
Her current research is based on the documetnary film and its spectator.
The essay Film Noir and Women was published in 1993 in a collection of film essays
3. Cultural Background
Translator can not translate a text without some knowledge of the subject matter that is
being discussed. Either they choose a text describing issues of their field or and this is
probably much more frequent they have to widen their knowledge by reading books and
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articles, basically anything related to the topic of the text. In other words, before they start
working on the translation, they have to acquire a deep insight in the subject otherwise they
could miss important details, data, terms or allusions to other works within the given field or
even outside it. If the translator has the slightest suspicion that what is written might have yet
additional or secret meaning, they are obliged to attempt at finding it out. If the translator
misses something in the process, the reader would be deprived of a possible important
background of film noir in this work, as it is the subject matter of the essay in question and,
furthermore, the Czech audience is not well familiarised with this topic.
As the classical period of the film noir are seen the 1940s and 1950s, for the boundary
years are defined by 1941, when The Maltese Falcon by John Huston, the first film noir
although usually described as atypical was released, and 1958 when the premiere of Orson
Welless Touch of Evil took place. In spite of the fact that this cultural phenomenon has its
origin in the United States of America, it has a French name. The reason for this was the
unawareness of the American film-makers and critics that there is a new style being born.
Only in 1946, when the new, strange thrillers or crime films arrived to France, they were
labelled as films noirs, i.e. black films. The name is due to certain darkness, both in the story
Film noir tends to revolve around flawed and desperate characters in an unforgiving
world. Crime, usually murder, is an element of most films noirs, often sparked by
jealousy, corruption, or greed. Most films noirs contain certain archetypal characters
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(such as hard-boiled detectives, femmes fatales, corrupt policemen, jealous husbands,
Angeles, New York, or San Francisco), and archetypal storylines (heist films, detective
Also the morality is subjective here, the characters that usually suffer from maltreatment and
logically would like to break free from it, very often use illegal or immoral means.
The visual style of films noirs is characterised by atypical lighting. The majority of
them are shot in black and white. The fill-light that usually balances the contrasts is
reduced and consequently there emerge sharp, dramatic changes form light to darkness. Low
key-lightning creates shadows where are hidden both villains and plot twists.
After the 1930s films that are full of social optimism, sentimental humanism and
patriotism as a remedy for economic and social crisis (Kuera 2002), films noirs bring
questions of current social issues, the after-the-war problems, as well as the threat of the
feminist movement.
Since the 1960s there have been appearing pictures that continue the idea of film noir.
As examples can be seen Roman Polanskis Chinatown (1974), Ridley Scotts Blade Runner
(1982), many a film by Joel and Ethan Cones (such as Fargo [1996], Big Lebowski[1998] and
Blood Simple[1984]), and David Lynch (Blue Velvet [1986], Mulholland Drive [2001]) or
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4. Type and Style of the Text
To be able to translate a text properly, the translator has to determine correctly the type
of the text and its character. This helps them to decide which translation method is best to
apply. When setting the type of the text we should proceed from the functions of language and
from the information which constituent i.e. sender, message or addressee is represented
the most.
According to Karl Bhler there are three functions of language: the expressive, where
the main role is ascribed to the sender or the author, the informative (also called the
representation) with the emphasis on the message or the information and finally the vocative
function with the text being openly directed at the addressee, the reader.
The linguist Peter Newmark made a set of various text types that are characteristic for
fiction
Other areas
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of knowledge
He classifies the form of essay as something between the expressive and informative text
because it includes both idiolect, personal elements and the facts of a certain topic, objective
information. By the prevailing components the essay is then classed into one of the categories.
As for Film Noir and Women, there seems to predominate the informative function for the
author does not use many personal features (it is social reality that produces crisis in my
masculine identity, I want to examine), she is not judging. We can find a great deal of data
there as well as quotations from various works of other authors both from the
cinematography and other fields everything written in a formal or neutral style with the
utilization of such grammatical features as passives or linguistic devices as Latin and Greek
However there are more linguists with various approaches to texts and therefore more
than just one way to classify them. For example Mona Baker distinguishes two types of
is based on the contexts in which texts occur and results in institutionalized labels such
The second type is less objective and is predominantly employed only to parts of a text.
argumentation, and instruction. The first classification abstracts across contexts, the
second abstracts across such factors as nature of the messages involved or the
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Mona Baker's classification may seem slightly more popularizing and therefore accessible for
normal people. If we apply this classification to Film Noir and Women, we would get labels of
As for the character of the text, there are according to Newmark three different
stylistic scales. The scale of formality that varies from officialese to neutral to taboo, the scale
of generality or difficulty where we can find levels such as simple, educated or opaquely
technical, and ultimately the scale of emotionality with degrees going from intense to
understatement. It is believed, however, that this last scale is not really applicable with formal
texts as they tend to be factual and deal with the given issues objectively. (Newmark 2003:
14-15)
If these scales are to be employed to Elizabeth Cowies essay, it will be found that
within the formality scale it dwells on the edge of formal and official (the definition of a
genre as an adherence to a fairly fixed set of conventions has given rise to a tendency to see
genre works as stereotyped and formulaic) with few hints of neutral language (genre studies
in films has many pitfalls). In the generality scale it would be described as educated or
technical, for the author uses many a technical term from the field of cinematography (film
noir is said to be identified by its visual style: low-key lightning; the use of chiaroscuro
effects; strongly marked camera angles, either low or high) and not only English but also
French (mise en scne) and Spanish ones (aficionados). As was said before, the
emotionality scale is in fact not very appropriate for formal works, nevertheless pro forma the
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factual or understatement levels would fit as in the essay there are safe for minor exceptions
Every author has his or her specific way of writing, certain typical, original and
individual elements with the help of which the reader may distinguish the given author from
What seems to be typical of Elizabeth Cowie is the use of syntactical devices such as
clefts, i.e. breaking up of a single clause into two with the use of a wh-word or the pronoun
it: Whether it is a genre, a cycle of films, a tendency or a movement, film noir has been
masculine scenario. or inversion: Though only ever realized in some incomplete form, the
true form is nevertheless discerned across a series of films. This device is bound to be
found in many essayistic texts in general, but it should be pointed out that this author applies
it abundantly. It is, together with the tool of italics (I would like to emphasize their psychical
Another typical feature for the author is the utilization of atypical or rare collocations:
categories which (...) had already been fundamentally undermined as discrete forms, the
violent retribution so often enacted upon the femme fatale by the plot. It is something that
enlivens or animates the formal text but on the other hand it is not always easy to translate
effectively.
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5. Intention of the text and its Readership
When writing a text, the author has in mind the presentation of a certain subject matter
to the audience. According to the purpose and the readership of the text, the writer has to
choose a proper style, that is to say they have to decide whether it will be humorous or
educational, descriptive or flowery. This is generally governed by the readership it is aimed at.
If literary texts are left out, the style and lexis chosen with non-literary works would be
probably different when you write a textbook for children and when you write an academic
As the title suggests, the essay Film Noir and Women is written on a specific kind of
phenomenon within the cinematography field. And the question is now, from which point of
view has the author decided to handle it (as the style is dealt with in other chapters). It is
definitely not meant for film laymen. The text assumes at the audience a certain level of
knowledge or insight into the film subject. The experience that the reader had already gained
should be the basis from which he or she should proceed to acquire even broader knowledge
of the given issue. In other words, the essay is intended to provide information; not for the
academic film-makers neither for people who go to the cinema once a year but for those who
Moreover, it is not concerned with film noir in general, it describes one particular issue and
that is the position and role of women characters in this genre. This thematic narrowing,
however, does not necessarily breed narrowing of the audience. For, among other reasons,
feministic issue is rather fashionable nowadays, which could attract the attention of more
people, on the other hand it is recognised that it is more than legitimate to deal with this topic
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Therefore the readership would likely consist of both men and women with the
the issue discussed interferes in these domains as well. Furthermore, the readers in question
would be doubtless rather young because apart from some exceptions among the cinema
audience and the film aficionados are counted mostly young people.
6. Translating Non-fiction
The approach to translating non-fiction is different from the way of translating fiction,
basically because there are dissimilar specific problems and difficulties rising from the two
unlike fields. As the author of majority of non-literary works is anonymous, it might seem
that it is not necessary for the translators to follow certain personal style of the author of the
original (which is, however, essential with literary texts). Notwithstanding, they should not
impose on the text a somewhat specific style of their own. The resulting product has to be
loyal to the model, which means that the wording can slightly differ in order to preserve the
The important thing is to set aside all the words of the [original] text and see the
picture clearly. Having seen the picture the translator must write down what he sees in
the simplest [target language]. It is the idea or the picture that has to be communicated,
On the other hand, the translator must preserve not only the picture but also the register and
character of the text. Otherwise it would be rather rephrasing or imitation but certainly not
translation.
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To some extent, the translators of non-fiction have to focus on other elements of the
text than those who translate fiction. They do not need to deal so much with metaphors or
with the divergence in the source and target culture. Doubtless the greatest difference lays in
the representation of imagination versus that of reality, non-literary translation may always be
put to the test in the real world. Nevertheless, translation of these two kinds of text has also
something in common: they both have to preserve the level of naturalness and loyalty. As
you have to ensure a) that your translation makes sense; b) that it reads naturally, that
it is not written in ordinary language, the common grammar, idioms and words that
For keeping the sense of a translation we have to maintain the style coherence as well as be
translation is a specific kind of transferring the information, there are specific ways of
translating the individual terms. And if it was said before that the translator has to be aware of
the context, with technical terms it is in a certain manner special. For these expressions are
autonomous, defined units, independent from the context. (Kufnerov 1994: 22)
Nevertheless, if the translated term does not work within the particular context, it was
probably chosen wrongly. There has to be found a word then that would render the same idea
as the original and moreover would fit into the given subject field. However, there is also
many a term nowadays that has an international character and is understood all over the
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Yet, as the subject of this thesis is a film essay, it should be pointed out that,
unfortunately, this is not always the case with the terms from the field of cinematography.
With the exception of a small number of words that are widely comprehended, to begin with
cinematography itself, and some others, such as film, western, thriller, and if we detach the
different spelling, also genre, the majority of terms from this field has to be translated. As an
example we can see words like close-up, night-for-night and screen. This issue, however, will
be dealt with later in a greater detail in the section of individual problems of translation.
ideas and arguments of the original as clearly and accurately as possible, it has to be loyal to
2003: 151). In other words, it is not bound to one specific culture, for various sorts of
technology are to be found all over the world. As a result of this, the specialised terms that are
included in it should be translated. This is not the case, however, with the latter kind of
translation, that is, the institutional one. This is seen as cultural and covers the area of
politics, commerce, finance, government etc.(ibid.) Here, in most cases, the terms should be
transferred because they refer to a certain cultural phenomenon, characteristic for a particular
society. Thus the question may arise of what type the translation of an essay that deals with
cinematography is. On one hand it copes with certain cultural especially American
characteristics but on the other hand the film industry is not confined to only one country. No
matter how much various national filmmaking differs, the essence is everywhere the same
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moving pictures with a story. Therefore the answer is rather easy: what we are dealing here
with, is a technical translation. Consequently, the specialised terms should be translated and
not transferred, although the terminology of film noir is not that well-established in the Czech
Moreover, this organization has to be chosen correctly for every individual language, as the
features that make the text a text are specific both for language and culture. In case of
translation this is mostly important for if the reader is to accept the translated work as a text
by itself and, although aware that it is not original, not to be cautioned to this fact (which is
basically the aim of the translator), the text has to sound natural in the target language.
Otherwise, even if it is grammatically and lexically correct, the reader will see it as foreign,
The features that persuade the readers that what they are reading is a text are
fundamentally connections within and among the sentences of the text. According to Mona
First, there are connections which are established through the arrangement of
information within each clause and the way this relates to the arrangement of
information in preceding and following clauses and sentences. (...) Second, there are
surface connections which establish interrelationships between persons and events. (...)
Finally, there are underlining semantic connections which allow us to make sense of
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In other words, these connections have much to do with thematic and information structures,
cohesion and coherence and as a whole thus help to better understanding of the given text and
its natural sound. Without the application of these, the translated text would not be a
translation of the original but a mere non-homogeneous clutter of words and sentences,
Every language has its specific word order, which is something the translator has to be
aware of. It is very important because it helps the readers to orientate themselves in the text.
In English the order is strictly given, in other languages, especially those that have the system
of case inflections (for example Slavic languages, such as Czech), this is not so. In the
inflectional languages the core of the information does not need to lie at some specific place.
Owing to the endings, the reader should be able to recognize what the predicative is and
where the subject is. We can thus translate the sentence Film noir as a genre is in a certain
sense a fantasy. both as Film noir je jako nr v jistm smyslu iluze and V jistm smyslu
je film noir jako nr iluze. In Czech language the point of the message depends principally
on the emphasis, that is, where the translator wants the emphasis to be. This concerns the
concept of Functional Sentence Perspective that is based on the opposition of theme and
rheme, where the sentence follows the pattern of going from the least new information to the
newest. Czech language can take advantage of this device, as there is as was said before
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In languages with elaborate case inflections, word order is largely a matter of
stylistic variation and is available as a resource to signal emphasis and contrast and to
translation because it plays a major role in maintaining a coherent point of view and in
What difference it would make if the sentence While he appeals to a social reality
which gives rise to these fantasies, I would like to emphasize their psychical reality was
odvolv na spoleenskou realitu, kter tmto iluzm dv vzniknout, j bych rda zdraznila
jejich realitu psychologickou. Here we can see how, within the sentence, Czech can shift
words together with the emphasis without fundamentally changing the sense. For this purpose
English usually uses the device of italics whith which the pointed word acquires an additional
accent (for further details see chapter 7.2 The Use of Italics). Therefore, in English it is only
the context what informs us about the old or new piece of information.
Technical texts usually tend to be impersonal, although individual works differ in the
level of impersonality. If a comparison should be drawn between English and Czech technical
texts, it would transpire that the Czech works incline to be more personal than the English. It
seems that the Czech authors are disposed to create a closer relationship with the reader,
especially with the assistance of more personal reference (particularly the first person plural
forms), whereas
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English texts contain more impersonal reference, especially passive forms and neuter
pronouns (the dummy-IT). Academic writers in English do not feel the need to
establish some kind of empathy between themselves and the readers, and the latter
accept that much empathy will not be overtly established, and they do not expect it
But the level of impersonality differs not only in compliance with a national tradition
but also according to the level of formality. Peter Newmark distinguishes three varieties of
technical style:
Latin words associated with academic papers, e.g. phlegmasia alba dolens
parotitis)
3) Popular, with layman vocabulary that may include familiar alternative terms
Following these hierarchies, Film Noir and Women should be located into the
professional variety of technical texts, for there are no highly formal words and despite the
fact that there can be found some latinised vocabulary, it is not something that a literate reader
would not understand. Nevertheless, on the other hand it is not written in a simple or popular
manner. The text includes many formal terms (e.g. milieux, voice-over or night-for-night
filming on location) and yet they are still comprehendible and accessible for an averagely
educated reader.
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Typically for English technical writing, the author takes advantage of the passive
genre or it is seen as portraying the masculine problem of the forties. As far as the
translation into Czech is concerned, the style of the author of the original should be preserved,
which means that, notwithstanding the product will be designated for the Czech audience, the
As virtually every language (Czech is no exception), also English utilises loan words
the use of loan words in the source text poses a special problem in translation. Quite
apart from their respective propositional meaning, loan words (...) are often used for
their prestige value, because they can add an air of sophistication to the text or its
subject matter. (...) Because it is not always possible to find a loan word with the same
meaning in the target language, its stylistic effect would almost certainly have to be
What is typical of English texts are loan words from French. They occur also in the
essay Film Noir and Women. The denomination of the genre itself is French, but this is a
specific case (as was explained in the chapter Cultural Background). English (educated)
readers are much more familiar with French than the Czech readers would be, therefore it is
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necessary for the translator to either find a word in Czech with the same or at least similar
meaning or explain the expression as closely as possible. Thus the greatest problem presented
the phrase mise en scne that is something like setting of the scene. There exists a Czech
word mizanscna which is, however, used in a more theatrical context. Finally I decided for
simple scna because I found it better not to complicate the sentences and, moreover, I
think that this word gives a true picture of the essence of the French phrase. Consequently
the mise en scne of these fantasies is provided by elements from the contingent social
reality was translated as Scna tchto fantazi je vybavena prvky z dan spoleensk
reality and Celia is not an innocent player in this mise en scne of murderous desire as
Other French words could be translated into Czech without much difficulty. Thus
amor fou became len lska (characters feel compelled by forces and passions beyond
their reason to act as they do in a form of amour fou as postavy maj pocit, e je takto nut
jednat sly a vn, nad ktermi nemaj moc, e je to jako druh len lsky), histoire
according to the context turned not into historie but pbh (there is no subsequent
marking of the whole film as flashback, so that the rest of the film appears as histoire as
dn dal nznaky, e by cel film byl flashback, u nejsou patrn, take jeho zbytek je
chpn jako pbh) and ultimately jouissance again following the context developed into
rozko (the fantasy that Celia must go through is that of enjoyment or jouissance that Rick
signifies as fantazie, kterou Celia mus prot je poten nebo rozko, je pro ni Rick
pedstavuje).
All the same, there are loan words from more languages than just French in the essay.
One of them is the term aficionado, taken from Spanish. It is already integrated in English
for it can be found as an entry in the Longman dictionary of Contemporary English with the
definition someone who is very interested in a particular activity or subject and knows a lot
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about it (Longman 1999), on the other hand it is still perceived as foreign, as the author uses
it written in italics. The closest word in Czech is fanouek, and although it does not
embrace the whole signification of the original there seems to be no better possibility. As a
Ultimately, there are Latin words, and not only in the form of latinised vocabulary that
is as was said before typical for technical texts, but also pure Latin forms, such as post
hoc. There is assumed certain knowledge of Latin at the Czech reader and therefore it seems
The words that the writer wants to emphasise in English are often marked by italics.
This is common both in fictional and non-fiction works. In Czech, however, there is no such
tradition because we have other means of expressing the emphasis. Therefore, when
translating an emphasised word from English, originally in italics, the translator should
attempt at finding alternative way of transferring it. This is usually done with the help of
Consequently, the sentence taken from a quotation of Sigmund Freud: neurosis (...) is
apt (...) to attach itself to a piece of reality (...) and lend to that piece a special importance and
a secret meaning which we (...) call a symbolic one should be translated without the
Nevertheless, the italics are used also in other cases. For instance, to show a loan word
(e.g. aficionados) or an expression that the author wants the readers to remember or even
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learn. As for the latter, in Czech texts it is either inserted into quotation marks or left in italics
as well. The former, although it was mentioned before that loan words in English are not
always translatable as loan words into Czech, most of the times preserves the original type of
font (we can see that for example at the Latin words). On the other hand, in the case of the
phrase film noir which is in the essay used remarkably often, it does not look very natural if
left in the original type. It may appear as an overuse in the Czech text and accordingly
unnecessarily distract the reader. As a result I have decided for using the unmarked typeface
here.
Specific case of italics employment is its usage with the titles of films and books. As it
is understood that these have to be highlighted in a way, distinguished from the surrounding
text, they, on the contrary, need distinct print. In Czech texts, there are no given rules what
There are different problems with proper names in literary and non-literary works. In
fiction you have to, apart form standard names, solve the translation of invented names that
may have a special meaning within the text (as it is for example at Terry Pratchetts or J.R.R.
Tolkiens books). Notwithstanding, the situation is usually different with non-fiction. There
appear mostly names of people who really exist(ed), so the translators do not need to trouble
to Peter Newmark the peoples names are transferred, not translated, thus preserving their
nationality, and assuming that their names have no connotations in the text. (Newmark 2003:
214)
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If the translator has any doubts of the familiarity of the person among the target
has to be glossed, inside or outside the translation, depending on its occasion. It should
not be left as it is simply because it is unglossed in the source text, this being
Consequently, for the Czech audience it is not necessary to explain who Sigmund Freud is but
in case of people like James Damico, Marc Vernet or Richard Maltby it should be clarified
that they are film critics and essayists. Moreover, as the Czech language unlike English
distinguishes the grammatical gender, for the translator it is a must to ascertain whether the
person mentioned is a man or women. And not only when the name is not familiar to them but
also with names that seem to clearly show the gender, for that matter remember the writer
Evelyne Waugh.
The terms are probably the most significant issue within the technical translation.
Without regard to their independence of the context, it is sometimes difficult to find the right
denomination of the described phenomenon, either because the concept is unknown in the
target culture or because the target language does not have a specific term for it. The notion
Furthermore, in Elizabeth Cowies essay, the terms are not only from the field of film
industry but also from psychology, as there are included quotations from the works of
Sigmund Freud.
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There is a long tradition of film-making in the Czech Republic and as a result the
terminology is quite well established, though on the other hand, the genre of film noir has not
been one of the most employed, so there may occur certain problematic points. Generally
dictionaries or even academic texts written in the target language as the fixed expressions
Thus, after consulting the available sources (including film experts), I reached the
following results. Owing to the infiltration of English into Czech there are a few terms that are
used in their original form (e.g. flashback). Most of the words, however, need translation.
Consequently, tough thriller became drsn thriller, marked camera angles turned into
zvraznn hly kamery and tight framing was translated as tsn rmovn. Nonetheless,
there were also expressions that had to be explained, rather than translated. This was the case
of the phrase night-for-night, that is shooting the night scenes at night, first, because it is
cheaper and second, for gaining a special light effects. Thus I incorporated it in the sentence
as non scny se tak to v noci pmo v exterirech. Still, this is only a short account of
There are also some culture-specific concepts to be found in the essay. One of them is
the expression Production Code. There is no Czech word for it and what is more, the Czech
reader is not familiar with this concept. The necessity to adumbrate it turns however veiled
to accommodate the Production Code into jakkoli zasten, aby vyhovla autocenzue
Hollywoodu, tak zvanmu Production Code. The reader is thus able to understand the basic
idea of it.
As was said before, another subject matter was the terms from the domain of
psychology. The best solution for determining them right is usually to find a Czech translation
of the texts mentioned in the essay and trace them there. Consequently, world of phantasy
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was translated as svt fantazie and rescue-phantasy as zchrann fantazie. Banal as it
may seem it is not because these terms are established within the psychological area and using
On the whole, the specialised terms form an important part of every specialised text.
Actually, if there are no technical terms, there is no technical text. For the sake of both the text
As the translated essay is written on the topic of film noir, there are bound to be some
film titles. Some of the films mentioned could have been seen in the Czech Republic, some
are unknown to the Czech audience. When dealing with the films titles I derived the Czech
ones from the internet page esko-Slovensk Filmov databze (www.csfd.cz), probably the
most reliable and certainly the most extensive source of internet information from the
cinematography field among the Czech websites (see the internet version of the film magazine
of which have not been translated yet. In that event I had to find a suitable title by myself.
Ideally, I would watch the picture first and than, according to the story, I would attempt at
detecting the right name for it. Unfortunately, the overwhelming majority of the pictures are
not accessible for a Czech viewer; therefore I was forced to be guided only by the descriptions
by film funs on the internet (apart from the already mentioned webpage also the International
The following list includes the titles that have not the Czech version so far:
Caught V pasti
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The Pitfall Skryt nebezpe
There were also cases where the English title was a collocating phrase and then I chose
rather the direct Czech equivalent of this collocation, as for instance in The Reign of Terror,
made into Hrzovlda. A special case was the title Murder, My Sweet which depicts one of
the stories of the famous detective Philip Marlowe, familiar also to the Czech readers. It is
based on Raymond Chandlers novel Farewell, My Lovely and the title of the film was
changed for the American market to prevent film-goers mistaking it for a musical. As there is
no such musical on the Czech stages, I thought it best to preserve the original title of the book
and thus make it easier for the audience to recognize one story of the Marlow series. As a
result, I called it according to the Czech title of the book Sbohem bu, lsko m.
Apart from the film titles, there appear also book and essay titles. The essays are by
Sigmund Freud, therefore it was necessary to search for the Czech translation which I found
in the book Sigmund Freud: Spisy z let 1909-1913 (Kocourek, 1997). As for the book title, it
is that of Foster Hirschs Film Noir: The Dark Side of the Screen (Hirsch: 1981). It has not
been translated into Czech yet so I decided for Film noir: temn strnka pltna.
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8. Conclusion
Technical translation brings about certain aspects that are excluded from the literary
translation. These are the special terms, the level of background knowledge that the translator
has to obtain or the preservation of the given information value of the original, to name a few.
The translator has to treat the text as a whole, howsoever it may induce them to deal with it in
separate segments.
The intention of this thesis was to elucidate the process of specialised translation. It
has exposed some of the particular stages of the translation of a technical essay, as well as it
demonstrated the practical aspects of it. During the process of translating, I came to the
conclusion that in the case of the translation concerned with cultural, namely cinematographic
issues, the translator will find also nearly "literary" matters, such as paraphrasing the film
titles, or that even with the language being not necessarily highly flowery it may arrange
many a pitfall for the translator. Another topic was the technical terms from the film noir field
for which there exist no equivalents in Czech. I attempted to translate them as loyally and
comprehensibly as possible. I believe that my work may be percieved as the initital impetus
for further research into the obscure and mysterious field of film noir and that it has also
In Appendix I it is possible to find the translated part of the essay Film Noir and
Women, called Film noir a eny, and in Appendix II the same part in original.
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Bibliography
Cowie, Elizabeth. Film Noir and Women. Shades of Noir: A Reader. Ed. Joan Copjec.
Film Noir. Wikipedia, the free encyclopedia. 3 April 2006. Wikimedia Foundation, Inc.
5.4.2006 <http://en.wikipedia.org/wiki/Film_noir>
<http://www.kent.ac.uk/sdfva/film/stafflist/ecowie.html>
Kocurek, Ji, ed. Sigmund Freud: Spisy z let 1909-1913. Praha: Psyhoanalytick
nakladatelstv, 1997.
<http://cinepur.cz/article.php?article=29>
Kuera, Otakar, ed. Ztrta reality u neurzy a psychzy. Sigmund Freud: Vybran spisy II-
Urbanov L. and Andrew Billingham. A Reader in English Stylistics. Preov: UPJ, 1986.
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