Н. Ю. Зуева (жауапты хатшы), О. Б. Алтынбекова, Г. Б. Мәдиева

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spite of speaking several languages. As a result, the 
current research indicates that the ratio between 
mistakes in false cognates and proficiency in the  
 
Russian language is direct. The better participants 
speak Russian, the more mistakes they are prone to 
commit.  
References 
 
1 Chomsky N. Review of B.F. Skinner Verbal Behavior // Language – 1959 –  №49, P. 26-58. 
2 Krashen S.D. Second language acquisiotion and second language learning. – Pergamon Press, 1981. – 154p. 
3 Newmark L. How to interfere with language learning: the individual and the process // International journal of American 
linguistics – 1966 – №40, P77-83. 
4 Cummns J. Iceberg theory. // Retrieved from http://books.google.com – 1981. 
5 Cummins J. Second language acquisition theory. // Retrieved from http://books.google.com – 1982. 
6 Williams N.E. Cross-language transfer of lexical knowledge: Bilingual students’ use of cognates. – 1992 // Retrieved from 
http://books.google.com  
7 Williams N.E. & Bhatt H.B. Spanish-English bilingual students use of cognates in English reading. // Journal of reading 
behavioor – №25, P.241-259. 
8 Schweers W. First language transfer in the writing of Hispanic ESL learners. - 1995 // Retrieved from 
http://www.uprb.edu/milenio/Milenio1999/19Schweers99.pdf
  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
A.Zh. Argynbayev 

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Вестник КазНУ. Серия филологическая. №1-2(141-142). 2013 
 
 
 
 
 
УДК 81´25 
 
D.M. Kabylbekova 
PhD student at Suleyman Demirel University, Kaskelen, Kazakhstan 
E-mail: kdana@sdu.edu.kz 
 
The translation of a film discourse as a special type of audiovisual translation 
 
This article is devoted to the discussion of a translation of film discourse in terms of polysemiotic concept. The 
special emphasis is made on lingua cultural components of a film discourse; due to the fact that in cinema translation 
two or more cultures meet and when translators translate any material they transfer not only linguistics features, but 
also cultural aspects of a source nation. The concept a film discourse might be defined through the concept film text. 
In comparison with a film discourse a film text might be considered as its fragment, whereas a film discourses as a 
whole text or a corpus of texts combined by some features. In our opinion a film discourse is the reflection of a 
specific type of culture; reflection of reality and modern understanding of traditional values and forming new values. 
That is why it is very important to pay attention to national and cultural aspects of a film discourse while transferring 
them from the source language to the target language.  
Keywords: film discourse, cinema, culture, language, translation, audiovisual translation. 
 
Д.М. Кабылбекова 
Перевод кинодискурса как особый вид aудиовизуального перевода 
 
Статья  посвящена  обсужденю  перевода  кинодискурса  врамках  полисемиотического  концепта.  Особое 
внимание  удиляется  лингвокультурным  составляющим  кинодискурса,  в  связи  с  тем,  что  в  кинопереводе 
встречаются  две  лили  более  культур  и  при  переводе  того  или  иного  материала  переводятся  не  только 
лингвистические  свойства,  но  и  передаются  культурные  аспекты  исходной  нации.  Концепт  кинодискурс 
может  быть  определён  с  помощью  концепта  кинотекст.  В  сравнении  с  кинодискурсом  кинотекст 
рассматривается  как  его  фрагмент,  в  то  время  как  кинодискурс  как  целый  текст  или  корпус  нескольких 
текстов  объединённых  общими  особенностями.  Кинодискурс  является  отражением  определенного  вида  
культуры, отражением действительности и современного понимания традиционных ценностей и формирует 
новые ценности. Именно поэтому очень важно обратить внимание на национальные и культурные аспекты 
кинодискурса при передаче их из исходного языка на язык перевода. 
Ключевые слова: кинодискурс, культура, язык, перевод, аудиовизуальный перевод. 
 
Д.М. Кабылбекова 
Кинодискурс аудармасы – аудиовизуалды аударманың ерекше көрінісі 
 
Мақала  кинодискурс  аудармасын  полисемиотикалық  концепт  шеңберінде  талқылауға  арналады.  Кино-
аудармада  бір  немесе  бірнеше  мәдениет  тоғысатындықтан,  кинодискурстың  лингвомәдени  ерекшеліктеріне 
көңіл  бөлінеді.  Қандай  да  бір  материалды  аудару  барысында    негізгі  ұлттың  тек  тілдік  тұрпаты  ғана  емес, 
сонымен  қатар  мәдени  аспектісі  де  ескеріледі.  Кинодискурс  концептін  кинотекст  концепті  арқылы 
айқындауға болады. Кинодискурспен салыстырғанда кинотекст оның тек бөлшегі ретінде көрініс алады, ал 
кинодискурс  болса  толық  текст  немесе  ортақ  ерекшеліктері  бар  бірнеше  текстін  жиынтығы  ретінде 
қарастырылады. Кинодискурс белгілі бір мәдениеттің көрінісі ғана емес, сонымен қатар ақиқат пен дәстүрлі 
құндылықтардың  заманауи  қабылдануын  айқын  бір  көрінісі  болып  табылады.  Сондықтан  кинодискурстың 
лингвомәдени аспектлеріне оларды бір тілден екінші тілге аударған кезде ерекше назар аудару керек 
Түйін сөздер: кинодискурс, мәдениет, тіл, аударма, аудиовизуалды аударма. 
____________________________
 
Language and culture have some features in 
common: they both formulate and represent the 
outlook of the man and nation; they are always in 
the constant interrelation, since the subject of 
communication is the subject of the definite 
culture; they have individual and public forms of 
existence; both elements have norms, history and 
often overlap. Language is the component of 
culture, the main element to attain it, the main tool 
with specific features of national mentality. On the 
other hand, the culture is included in the language, 
since the culture is modeled in the text. Neverthe- 
 
less there are distinct differences between them: 
the language is addressed to the wide public as a 
means of communication, whereas in culture elite 
is valued; unlike the language, culture is not 
capable to self organization. When speaking about 
culture we refer to two kinds of culture: material 
and spiritual. The spiritual culture is the basis of 
national mentality. 
The language and culture play an accumulative 
function, when they collect and reflect in them-
selves the socio-cultural experience of the nation. 
Tarlanov Z. K. says the following about this issue: 
The translation of a film discourse as a special type of audiovisual translation 

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“The language within the boundaries of its 
speakers is not only the means of communication, 
but also memory and history of the nation, culture 
and experience of cognitive activity; its world-
view and mentality; the luggage of knowledge that 
has been consolidated from generation to gene-
ration about nature and space, diseases and the 
ways of treatment, up-bringing and preparation of 
new generation of people to life with the interest of 
preserving and increasing its ethnic identity. 
Thereby the language represents the form of cul-
ture which embodies historically formed national 
type of life with all its diversity and dialectical 
contradiction”. [1] 
These days when globalization has become a 
widespread phenomenon the real danger to the 
language emerged; and in its turn it caused the 
danger to the culture as well, since we can con-
clude from the previously mentioned suggestions 
that the language is a culture itself.  
In the process of intercultural communication it 
is essential to take into account the cultural com-
ponent in the types of communication such as film. 
Prior to speaking about film and film discourse we 
should characterize the discourse itself. 
Ferdinand Saussure in the very beginning of 
“Course of General Linguistics” pointed on the 
fundamental feature of his approach to the lan-
guage with his phrase, that served as initial point 
for many generations of structuralists: “Language 
is a structure”, that is thoroughly organized system 
of expressive means. [2] 
The interpretation of discourse is based on this 
definition, which in its turn is understood as 
system of systems [3] that is system of the second 
order, based on the language system. Each definite 
discourse takes elements of language system 
necessary for him.   
The concept of discourse is a polysemantic 
concept. A.J. Greimas in “Semantique  Structu-
rale”, interprets discourse as a semiotic process, 
which exists in various types of discourse practi-
ces[4].  Despite some contradictions in the define-
tion of discourse, the majority of scholars when 
speaking about discourse, take it as a specific 
medium or specific rules of organizing speech 
activity (written or oral). 
The concept film discourse appeared due to the 
expansion of the subject of linguistics of film text. 
Extra linguistic factors dominate in a film dis-
course over linguistic ones. Not only have the 
factors of communicative situation belonged to the 
extra linguistic factors but also the factors of 
cultural and ideological environment in which the 
communication takes place. It is extra linguistic 
factors that A.N. Zaretskaya studies in her re-
search, claims that “film discourse is a coherent 
text, which is a verbal component of a film, in 
constellation of with non verbal components as 
audiovisual order of this film and other meaningful 
extra linguistic factors. As extra linguistics factors 
we might consider various cultural and historical 
background knowledge of addressee, extra-lin-
guistic context – surroundings, time and place, 
some non verbal devices: pictures, gestures and 
mime that are of great importance in the process of 
creating and perceiving film [5, 8]. 
According to A. N. Zaretskaya the main featu-
res of a film discourse are audio-visual aspects, 
intertextuality, integrity, modality, self-descriptive-
ness, prospection and retrospection, pragmatic 
trend. 
One more definition of film discourse belong to 
S. S. Nazmutdinova: “film discourse is a semiotic-
cally complex and dynamic process of interaction 
of an author and a recipient, which occurs in 
intercultural and interlanguage space with the help 
of cinema language, which possesses features of 
syntax, verbal and visual combination of elements, 
plurality of addressees, context of meaning, iconic 
accuracy and synthetic character” [6, 7]. 
Having analyzed a number of opinions about 
the nature of a film discourse we come to conclu-
sion that a film discourse is a wider concept, which 
includes a film text, a film itself, the interpretation 
of the film by the spectator and the meaning that 
was put by the creators of the film. In addition the 
film discourse includes various types of correlation 
with different kinds of arts, for instance, literature, 
theatre and interactive systems as television series, 
computer games. 
So the concept a film discourse might be defi-
ned through the concept film text. In comparison 
with a film discourse a film text might be con-
sidered as its fragment, whereas a film discourses 
as a whole text or a corpus of texts combined by 
some features. 
In our opinion as the components of a film text 
can be represented as only narrow extra linguistic 
factors (factors of communicative situation), 
whereas the structure of a film discourse copes 
with wide extra linguistic factors (factors of 
cultural and ideological environment, where the 
communication takes place). 
Thereby for a contemporary linguistics it turns 
out to be more productive to study a film discourse 
as a linguistic foundation which has broadened 
structure and characterized by a number of features 
D.M. Kabylbekova 

237 
 
Вестник КазНУ. Серия филологическая. №1-2(141-142). 2013 
 
 
such as relatedness, integrity,
 
 intertextuality, 
modality and so on and has a wider sphere of 
activity for contemporary researchers. 
For instance, Oscar Wilde’s very popular play, 
The Importance of Being Earnest, evokes a number 
of dramatic elements which fall under one of the 
major modes as a comedy. From the beginning to 
the end of the play there are many miscommuni-
cations, mistaken judgment, and failures by the 
characters which are represented in a humorous 
way. With this excellent play available as text or a 
film version, one may wonder whether a text or a 
film truly expresses Wilde’s witty characters and 
genuine comedic satire more precisely. By the 
means of thorough analysis and in depth research, 
it has become obvious that the film version 
surpasses the text by expressing the play more 
accurately and embracing the spectators from the 
very beginning till the end with its lively visual 
effects, powerful sound additions, and credible 
conversation. 
The plentiful similarities between the text and 
film present a complex decision in selecting one 
over the other. Both the text and film version give 
strong dialogue presented by multi-sided 
characters. Both versions a text and a film use 
cheerful personages to assist in transferring the 
general meaning of the play [7]. 
However the trump of a film over a text is 
arguable as the audience sees the film in the 
perspective of film creators, how they see the 
message given in a literary work or a screenplay, 
whereas a text gives an opportunity for a reader to 
create individual images in one’s mind which are 
unique only to him or her. And when we come to a 
translated version of the film, we must take into 
consideration the translator’s outlook as well. 
It should be stressed that non verbal compo-
nents of a film has a great importance, therefore 
they should be thoroughly studied, the actors’ play 
is closely connected with verbal components, the 
peculiarities of the filming, editing and sound 
effects, which concentrate the attention of the 
spectators on the film text and not observed while 
reading screenplay or subtitles.  
In our opinion a film discourse is the reflection 
of a specific type of culture; reflection of reality 
and modern understanding of traditional values and 
forming new values. That is why it is very impor-
tant to pay attention to national and cultural aspects 
of a film discourse while transferring them from 
the source language to the target language.  
Having understood a film discourse as a 
semiotic complex foundation in which the impact 
on an addressee is made by the means of verbal and 
iconic cohesion we refer to N. B. Meschkovskaya 
talking about the role of integrated character of 
signs which secure communication: “a success of 
communication depends on its semiotic framing – 
on to what extent it was possible to express the ne-
cessary information in concentrated sign appea-
rance – on ritual, symbol, formula, geographic 
map, scheme, terminology, slogan or aphorism, 
traffic sign, poster, symphony, poem, film….” [6, 
3]. From this statement we can conclude that as a 
film discourse represents concentration of two 
types of signs – verbal and iconic, it should be 
studied from the angle how this unity takes part in 
the process of successful realization in inter and 
cross cultural communication. Our interest in a 
film discourse is connected with a latter one.  
In correlation to the above mentioned issues we 
outline the aim of the work as the study of a film 
discourse in cross-cultural aspect, which first-hand 
objective is the study of harmonicity of national 
and cultural contents by verbal, non verbal and 
iconic means in the process of translation. 
S. S. Nazmutdinova outlines three layers of 
harmonicity. Each layer has its own fields. The 
first layer consists of content field, where a 
interlanguage translation takes place, the aim of 
which is to transfer the message from one language 
into another. The translator transfers only factual 
content, giving thematic and thematic sequence of 
events in a cinema phrase. 
The second layer represents both translations 
interlingual and intralingual. In this layer the fol-
lowing cinema scopes are translated: factual, irra-
diative, reflective, polymodal, individually figure-
ative. It is supposed that in translation space the 
activity is organized in such way, that a translator 
transfers not only content of communication but 
also emotions of personages, intention of an author 
and tonality of in the frame real communication. 
The third layer is the layer of harmonious trans-
lation. It should be considered as a cross cultural 
and proves synergy of translation. The translation 
of all units is impossible. On that level a phatic 
field becomes a priority, which forms a cultural 
cinema scope.  
The synergy of the following scopes such as 
factual, content, audio visual, cultural and iconic 
makes a harmonious translation.  
Translating from one culture to another is com-
plicated and demands great responsibility. In order 
to translate either a text or a film, a translator 
should know both cultures very well, otherwise it 
might cause misunderstanding through the trans-
The translation of a film discourse as a special type of audiovisual translation 

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ISSN 1563-0223                        Bulletin KazNU. Filology series. №1-2(141-142). 2013
 
lated work. Transferring culture from one language 
into another demands that translators make a 
choice between conservation and replacement of 
an item. 
After its national release a film should not only 
reach an international audience but also gain 
success. In this process of reaching a broader 
audience sociolinguistic differences play the main 
barrier, therefore audio-visual translation has taken 
important social and economic importance. 
Language and culture are deeply interconnected 
and when translators translate the material they do 
not translate only linguistic features but also trans-
fer cultural aspects, thus these moments might lead 
to some difficulties in translation. Since in cinema 
translation two or more cultures meet it might raise 
significant cross-cultural issues. If these issues are 
not treated properly it might end up with unin-
telligible translation for target audiences. 
These issues regarding cultural transfer of films 
are diverse ranging from the selection of films 
which should be distributed to the marketing 
strategies applied and techniques used to render 
culture-specific items. Rendering culture-specific 
items is considered to be one of the most difficult  
 
spheres of intercultural transfer, to the extent that 
culture-specific items are regarded to in the 
literature as being “untranslatable”. 
In present it has become very popular to broad-
cast Turkish television series on Kazakhstan tele-
vision channels both in Kazakh and Russian lan-
guages. The popularity of Turkish television series 
might be conditioned by the fact that Kazakh and 
Turkish nations belong to akin ethnic Turkic group 
and have some common traditions and rituals. The 
translator should be aware of the interpretation of 
Turkish traditions in order to convey their meaning 
in the target language; in addition he should take 
into consideration the mentality of the audience. In 
our case the audience is multinational; despite the 
fact that the majority of the Republic is Kazakhs, 
there are many other ethnic groups. 
Thanks to the films the audience has an 
opportunity not only to embrace the atmosphere of 
modern life of this or that country but also to get 
acquainted with its cultural features and traditions. 
The acquaintance with the discourse of another 
nation helps compare various social and cultural 
contexts in which communicators take part; and 
understand in deep their own discourse.  

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