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Filmy Eldara Riazanowa w Polsce – z zagadnień recepcji

100%
Mocarz-Kleindienst M.
Acta Polono-Ruthenica
|
2017
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issue 22/4
57-68
EN
Eldar Ryazanov directed films including The Irony of Fate, Station for Two, Carnival Night, Beware of the Car, and Office Romance. These films, regarded as cult classics in Russia (the former Soviet Union), are also known to Polish fans of Russian films. This paper takes account of two periods of reception of Ryazanov’s films in Poland: primary reception (1960s – 1980s) and secondary reception (beginning of 2000s). The reception analysis was conducted based on the following materials: press articles, collective monographs, Polish Television archival material and internet forums. Consequently, several areas of interest of critics and viewers were identified, including the following: 1) the plot, 2) aesthetic and artistic impressions, 3) the reference of the director’s works to the works of the Polish film industry, 4) the director’s artistry, 5) the cast, 6) the quality of translation.
2
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O praktyce opuszczeń w polskiej wersji lektorskiej filmów rosyjskojęzycznych

100%
Mocarz-Kleindienst M.
Acta Polono-Ruthenica
|
2021
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vol. Tom 1 Nr XXVI
155-168
PL
Niniejszy artykuł poświęcony został analizie porównawczej klas leksyki, podlegających opuszczeniom w polskich wersjach lektorskich dwóch filmów rosyjskich: filmu katastroficznego Metro A. Miegierdziczewa oraz dramatu Niemiłość A. Zwiagincewa. Badania ilościowe i jakościowe dowiodły, że najczęściej redukcji podlegają par-tykuły i wykrzykniki nacechowane emocjonalnie i ekspresywnie, powtórzenia, rzadziej – wulgaryzmy. Zaobserwowano różnice w częstotliwości opuszczeń adresatywów oraz formuł grzecznościowych, także zdań z prymarną funkcją informacyjną. Wysnuto wnio-sek, że różnice te wynikają z cech gatunkowych filmów i podporządkowanej im strategii tłumaczy.
EN
This article is devoted to a comparative analysis of the lexis classes which are subject to omissions in the Polish language versions of two Russian films: Anton Megerdichev’s disaster film Metro Andrey Zvyagintsev’s drama Loveless of. Quantita-tive and qualitative research has shown that the most often reduced are the particles and exclamations characterized by emotion and expressiveness, repetitions, and, frequently, vulgarisms. Differences were observed in the frequency of omitting forms o address and courtesy as well as sentences with primary informational function. It was concluded that these differences result from the genre features of the analysed films and the translators’ strategies.
3
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Tytuły filmów „oskarowych” w wielojęzycznym przekładzie

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Mocarz-Kleindienst M.
Acta Polono-Ruthenica
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2018
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vol. Tom 2 Nr XXIII
75-84
XX
This article provides a comparative analysis of translation strategies for the English titles of Oscar-winning movies (Academy Award for Best Picture) into Polish, German and Russian. The titles analyzed show two strategies: adaptation and exotisation. However, they did not show a clear connection between the translation strategy and the degree of linguistic similarity since there was no clear dominance of exotisation in the German versions, considered to be the closest to the original. A significant use of explication of the meaning of the title in German versions was observed, which may indicate an attempt to more accurately convey basic information about a foreign movie to a German viewer.
4
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Inność kulturowa w reportażach Ryszarda Kapuścińskiegoi ich rosyjskich przekładach

100%
Mocarz-Kleindienst M.
Acta Polono-Ruthenica
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2016
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issue 21
217-224
EN
Cultural otherness is an inherent feature of the literary genre of reportage. It is perceived as a cognitive value due to the presence of culturally marked elements. Hence, a preferable term is “otherness” than “strangeness”. Frequently, cultural otherness is accompanied by linguistic otherness, thanks to direct borrowings used both in source and translated texts. The subjects of perceiving and consciously creating otherness are the author of the reportage and the target reader projected by him, expecting to gain interesting information about the part of reality which is the object of the reporter’s description. In the process of translation, the translator also becomes an additional subject as the recipient of the source text and the author of the translation. The positive approach towards reception of otherness in Kapuścinski’s reportages as well as the way of presentation of such phenonema in the studied texts (through the use of explication) makes translators use exotisation as a well-thought-out strategy
5
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Polsko-rosyjskie kontakty filmowe

100%
Mocarz-Kleindienst M.
Acta Neophilologica
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2016
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issue 18/2
223-233
EN
Polish-Russian film relations have a long history. However, they have strongly intensified for the last decade, largely due to political changes. This paper provides an overview of the most representative projects promoting the film industries of the two countries organised both in Poland and in Russia, such as the Sputnik Russian Film Festival in Poland and the Wisła Polish Film Festival in Russia. It also presents the most important joint cinema projects, including Polish-Russian co-productions, Polish films with Russian actors and Russian films with Polish actors.
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