title: ÐÑÐ°Ð³Ð¼Ð°Ð»Ð¸Ð½Ð³Ð²Ð¸ÑÑÐ¸ÑÐµÑÐºÐ¸Ðµ Ð¾ÑÐ½Ð¾Ð²Ñ Ð°ÑÐ´Ð¸Ð¾Ð²Ð¸Ð·ÑÐ°Ð»ÑÐ½Ð¾Ð³Ð¾ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° (Ð½Ð° Ð¿ÑÐ¸Ð¼ÐµÑÐµ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° ÐºÐ¸Ð½Ð¾ÑÐ¸Ð»ÑÐ¼Ð¾Ð²)
title: Ð¼Ð°Ð³Ð¸ÑÑÐµÑÑÐºÐ°Ñ Ð´Ð¸ÑÑÐµÑÑÐ°ÑÐ¸Ñ
titleType: Subtitle
Creators: name: Ð¤ÐµÑÑÐºÐ¾Ð²Ð°, ÐÐºÐ°ÑÐµÑÐ¸Ð½Ð°
Publisher: name: Ð¡Ð°Ð½ÐºÑ-ÐÐµÑÐµÑÐ±ÑÑÐ³ÑÐºÐ¸Ð¹ Ð¿Ð¾Ð»Ð¸ÑÐµÑÐ½Ð¸ÑÐµÑÐºÐ¸Ð¹ ÑÐ½Ð¸Ð²ÐµÑÑÐ¸ÑÐµÑ ÐÐµÑÑÐ° ÐÐµÐ»Ð¸ÐºÐ¾Ð³Ð¾
Year: 2016
Subjects: Ð°ÑÐ´Ð¸Ð¾Ð²Ð¸Ð·ÑÐ°Ð»ÑÐ½ÑÐ¹ Ð¿ÐµÑÐµÐ²Ð¾Ð´
ÑÐµÐ¾ÑÐ¸Ñ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð°
Ð¿ÐµÑÐµÐ²Ð¾Ð´ÑÐµÑÐºÐ¸Ðµ Ð¿ÑÐ¸ÐµÐ¼Ñ
Ð¸ÑÑÐ¾ÑÐ¸ÑÐµÑÐºÐ¸Ðµ ÑÐµÐ°Ð»Ð¸Ð¸
ÑÐ·ÑÑ
ÑÑÐ±ÑÐ¸ÑÑÐ¸ÑÐ¾Ð²Ð°Ð½Ð¸Ðµ
Ð´ÑÐ±Ð»ÑÐ¶
Ð·Ð°ÐºÐ°Ð´ÑÐ¾Ð²ÑÐ¹ Ð¿ÐµÑÐµÐ²Ð¾Ð´
audiovisual translation
translation theory
translation transformations
culture-bound item
usage
subtitling
dubbing
voice-over

description: Ð Ð°Ð±Ð¾ÑÐ° Ð¿Ð¾ÑÐ²ÑÑÐµÐ½Ð° Ð¸Ð·ÑÑÐµÐ½Ð¸Ñ Ð¾ÑÐ¾Ð±ÐµÐ½Ð½Ð¾ÑÑÐµÐ¹ Ð°ÑÐ´Ð¸Ð¾Ð²Ð¸Ð·ÑÐ°Ð»ÑÐ½Ð¾Ð³Ð¾ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð°. ÐÑÐ¸Ð²ÐµÐ´ÐµÐ½ ÐºÑÐ°ÑÐºÐ¸Ð¹ Ð¾Ð±Ð·Ð¾Ñ Ð¸ÑÑÐ¾ÑÐ¸Ð¸ Ð°ÑÐ´Ð¸Ð¾Ð²Ð¸Ð·ÑÐ°Ð»ÑÐ½Ð¾Ð³Ð¾ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð°, Ð¸Ð·ÑÑÐµÐ½Ñ Ð¸ÑÑÐ»ÐµÐ´Ð¾Ð²Ð°Ð½Ð¸Ñ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° Ð² ÐºÐ¸Ð½Ð¾ Ð² Ð¾ÑÐµÑÐµÑÑÐ²ÐµÐ½Ð½Ð¾Ð¼ Ð¸ Ð·Ð°ÑÑÐ±ÐµÐ¶Ð½Ð¾Ð¼ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð¾Ð²ÐµÐ´ÐµÐ½Ð¸Ð¸. Ð Ð´Ð°Ð½Ð½Ð¾Ð¹ ÑÐ°Ð±Ð¾ÑÐµ Ð°ÑÐ´Ð¸Ð¾Ð²Ð¸Ð·ÑÐ°Ð»ÑÐ½ÑÐ¹ Ð¿ÐµÑÐµÐ²Ð¾Ð´ ÑÐ°ÑÑÐ¼Ð¾ÑÑÐµÐ½ ÐºÐ°Ðº Ð¾ÑÐ¾Ð±ÑÐ¹ Ð²Ð¸Ð´ Ð¿ÐµÑÐµÐ²Ð¾Ð´ÑÐµÑÐºÐ¾Ð¹ Ð´ÐµÑÑÐµÐ»ÑÐ½Ð¾ÑÑÐ¸, Ð¿ÑÐ¾Ð°Ð½Ð°Ð»Ð¸Ð·Ð¸ÑÐ¾Ð²Ð°Ð½Ñ Ð¾ÑÐ½Ð¾Ð²Ð½ÑÐµ Ð²Ð¸Ð´Ñ Ð°ÑÐ´Ð¸Ð¾Ð²Ð¸Ð·ÑÐ°Ð»ÑÐ½Ð¾Ð³Ð¾ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð°, ÑÐ°ÑÐ°ÐºÑÐµÑÐ¸ÑÑÐ¸ÐºÐ¸ ÐºÐ°Ð¶Ð´Ð¾Ð³Ð¾ Ð¸Ð· Ð½Ð¸Ñ Ð¸ Ð¿ÑÐ¸Ð²ÐµÐ´ÐµÐ½ Ð¸Ñ ÑÑÐ°Ð²Ð½Ð¸ÑÐµÐ»ÑÐ½ÑÐ¹ Ð°Ð½Ð°Ð»Ð¸Ð·. ÐÑÐ¸Ð²ÐµÐ´ÐµÐ½Ð° ÐºÐ»Ð°ÑÑÐ¸ÑÐ¸ÐºÐ°ÑÐ¸Ñ ÑÑÑÐ°Ð½ Ð¿Ð¾ Ð¿ÑÐ¸Ð¼ÐµÐ½ÑÐµÐ¼ÑÐ¼ Ð² Ð½Ð¸Ñ Ð¼ÐµÑÐ¾Ð´Ð°Ð¼ Ð°ÑÐ´Ð¸Ð¾Ð²Ð¸Ð·ÑÐ°Ð»ÑÐ½Ð¾Ð³Ð¾ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð°. ÐÐ·ÑÑÐµÐ½Ñ Ð¾ÑÐ¾Ð±ÐµÐ½Ð½Ð¾ÑÑÐ¸ ÑÐ°Ð·Ð³Ð¾Ð²Ð¾ÑÐ½Ð¾Ð¹ ÑÐµÑÐ¸ Ð³ÐµÑÐ¾ÐµÐ² ÐºÐ¸Ð½Ð¾ÑÐ¸Ð»ÑÐ¼Ð¾Ð². ÐÐ°Ð½Ð¾ Ð¿Ð¾Ð½ÑÑÐ¸Ðµ ÑÐµÑÐ¼Ð¸Ð½Ð° Â«ÑÐµÐ°Ð»Ð¸ÑÂ» Ð¸ Ð¿ÑÐ¸Ð²ÐµÐ´ÐµÐ½Ñ Ð¾ÑÐ½Ð¾Ð²Ð½ÑÐµ Ð¸ÑÑÐ¾ÑÐ¸ÑÐµÑÐºÐ¸Ðµ ÑÐµÐ°Ð»Ð¸Ð¸ Ð¡Ð¨Ð XX Ð²ÐµÐºÐ°. ÐÐ¾ÐºÐ°Ð·Ð°Ð½Ð¾, Ð½Ð° Ð¿ÑÐ¸Ð¼ÐµÑÐµ Ð¿ÐµÑÐµÐ²Ð¾Ð´Ð° ÐºÐ¸Ð½Ð¾ÑÐ¸Ð»ÑÐ¼Ð° ÐºÐ°ÐºÐ¸Ðµ Ð¾ÑÐ¸Ð±ÐºÐ¸ ÑÐ°ÑÐµ Ð²ÑÐµÐ³Ð¾ Ð´Ð¾Ð¿ÑÑÐºÐ°ÑÑÑÑ: Ð¸ÑÐºÐ°Ð¶ÐµÐ½Ð¸Ñ Ð¸ÑÑÐ¾ÑÐ¸ÑÐµÑÐºÐ¸Ñ ÑÐµÐ°Ð»Ð¸Ð¹ Ð¸ Ð½Ð°ÑÑÑÐµÐ½Ð¸Ðµ Ð½Ð¾ÑÐ¼Ñ Ð¸ ÑÐ·ÑÑÐ° Ð¿ÐµÑÐµÐ²Ð¾Ð´ÑÑÐµÐ³Ð¾ ÑÐ·ÑÐºÐ°.
description: This thesis is dedicated to studying characteristic of audiovisual translation. There is a brief review of audiovisual translation history. We have studied translation movie research in national and foreigntheory of translation. In this thesisaudiovisual translation is considered as a special kind of translation practice. We have analyzed the main types of audiovisual translation, their characteristics and compered them with each other. We have put forwardcountries classification by using the types of audiovisual translation. We have done a research of characters spoken language in movies. We have given the term âculture-bound itemâ and put forward the USA historical culture-bound items of the 20th century. We have showed the most frequent mistakes in film-translating in terms of the translated film: these are misrepresenting historical culture-bound items and infringing the norms and usage of translating language.