The article discusses a problem of film naming and focuses on the film title as a specific naming unit, that is a visual-and-semantic center of a polycode text, connecting multiple codes presented by storylines, ideological and philosophical content, genre characteristics, visuals and sound. The main features of titles as headlines are characterized by integrity and connectivity, they are implement the author's intention. The titles usually comply with the story, idea, philosophy and style of the film, reflect the content and artistic conception. They should be comprehensible, succinct, intriguing, designing as soon as they should be attractive for the target audience. Besides the nominative (nomination and identification), communicative, informative and aesthetic functions, which are common for all headlines, film titles perform the functions of anticipation and attraction, as well as advertising and pragmatic functions. Film titles become important instrument for lfilm providers, since modern cinema overlaps with commercial discourse: the movie is created not only as a piece of art, but also as a market product. Dealing with a foreign movie, film providers face new challenges since the film title should be targeted at the audience of different background. Violating one of these conditions may cause infelicity or translation fails.

Oksana I Aleksandrova

Principal contact for editorial correspondence.
Peoples’ Friendship University of Russia (RUDN University) Miklukho-Maklaia str.,10-2 A, Moscow, Russia, 117198

Aleksandrova Oksana Ivanovna, PhD, Associated Professor, Associated Professor of the of General and Russian Linguistics Department of the Philological Faculty at Peoples’ Friendship University of Russia (RUDN University); scientific interests: naming, discourse analyse, lexicology, semantic

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