Die empirische Arbeit untersucht den interlingualen Transfer von französischen und deutschen Filmtiteln im vergangenen Jahrhundert. Sie basiert auf einem Korpus von 3.200 französischen Originaltiteln und ihren deutschen Neutiteln und schließt eine Forschungslücke der Filmtitelübersetzung für das Sprachenpaar deutsch-französisch. Im theoretischen Teil werden die text- und übersetzungswissenschaftlichen Grundlagen dargelegt. Filmtitel bilden eine eigene Textsorte, die unter Zuhilfenahme der Textualitätskriterien von de Beaugrande/Dressler spezifiziert wird. Anhand ausgewählter Beispiele aus dem Korpus werden maßgebliche Funktionen von Filmtiteln, wie Werbung, Information, Identifikation, Kontakt und Interpretation erörtert. Auf E. Prunčs Translationstypologie basieren jene fünf Strategien, die bei der Übertragung von französischen Filmtiteln in den deutschen Sprach- und Kulturraum zum Einsatz kommen: Identität, Analogie, Variation, Innovation sowie hybride Formen. Ausführlich werden Übersetzungen von Umtitelungen abgegrenzt. Die Auswertung des Korpus ergibt, dass Titelinnovation die am häufigsten angewandte Strategie beim Titeltransfer im gesamten Untersuchungszeitraum darstellt, während Titelidentitäten am seltensten zum Einsatz kommen. Die Betrachtung kürzerer Zeitspannen zeigt gewisse Tendenzen auf, beispielsweise die deutliche Zunahme von Hybridtiteln in jüngster Zeit. Erstmals wird in dieser Arbeit das Phänomen der Mehrfachbetitelungen in verschiedenen deutschsprachigen Ländern aufgegriffen, indem nach Motiven für unterschiedliche Neutitel in Deutschland, der ehemaligen DDR und Österreich gesucht wird. Den Abschluss bildet eine Betrachtung der Filmtitel aus rechtlicher und ökonomischer Perspektive, denn zusammen mit ihren Filmen stellen Titel von hoher Kommerzialität geprägte Texte dar, und wie jedes Wirtschaftsgut erfahren auch sie eine präzise juristische Regulierung. / The empirical study is an analyse of the interlingual transfer of french and german movie titles of the past century. It is based on a corpus of 3,200 french original titles and their new german titles, closing a gap in the research of german and french movie title translation. The theoretical part introduces the basics of the linguistics of texts and translation. Movie titles are a specific kind of text, which is distinguished by the textual criteria of de Beaugrande/Dressler. By using choosen examples of the corpus the mainly functions of movie titles are displayed, as there are promotion, information, identification, contact and interpretation. There are five strategies, basing on the translation typology of Prunč, which are used whenever french movie titles were transferred into german language and culture: identity, analogy, variation, innovation and hybrid forms. The difference between translation and transtiteling is explained in detail. Results of the analytical part are that title innovations are the strategy most often applied when transferring titles, while title identities are used only rarely. The outcome of observing shorter periods is that there are different tendencies, like the significant increase of hybrid titles in the last decades. For the first time this study analyses multiple titles in different german speaking countries, searching for the motivation of alternative new titles in Germany, the former GDR and Austria. The final part is the juristical and economic consideration of movie titles, since motion pictures and their titles are a highly commercialised kind of text and therefore subjects of their corresponding laws.

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The main task of this master's dissertation is to create an outline of various translation strategies of French film titles into Czech language and to identify their statistic significance. It contains films distributed into the Czech republic from 1990 to 2006. It is divided into two main parts. The first part deals with typology and translation of titles, development of French cinematography from it`s beginning to the present day, institutions promoting French films in France and in the Czech republic as well as the appreciation of French cinematography by Czech audience. The second part contains classification of films from the above mentioned era according to their title translation followed by an analysis of every single category, which leads to nine strategies and their percentage analysis.

The presented diploma thesis deals with titles of films and TV serials made in anglophone countries or in their co-production, in which their titles were either translated from English to Czech, or possibly the original titles were presented to Czech viewers in original form. The thesis analyzes and classifies the structure of the original and translated titles, characterizes the linguistic means used in them and compares the two titles on the basis of the acquired knowledge. For the purpose of analyzing and comparing the titles, a corpus of titles obtained by an excerpt from the Czech-Slovak Film Database (ČSFD.cz), was created. Titles from the years 1990 to 2015 were placed into the corpus, and each year contains the same number of titles. In total, 625 titles of foreign films and TV serials which form the main corpus, and 200 titles of domestic films and TV serials which form the control corpus, were gathered. A short questionnaire illustrating title influence on viewers when choosing a film, is also part of this diploma thesis. Key words title, film, film title, film name, functions of title, translation, translation strategies, equivalency, recipient