Rad nagrađen Rektorovom nagradom Sveučilišta u Zagrebu u akademskoj godini 2016./2017.

Numerous authors have proposed that film titles have a notable role in understanding the film as a whole whereby they accentuate the appellative function of the title with the goal of convincing the addressee of the message to purchase the product. Since not only the text of the film but also the title is translated as a product for a targeted market, we have decided to conduct an analysis of the strategies on translating film titles into the Croatian and German languages. We have comprised two corpora consisting of original film titles (primarily in the English language) and their translations into the Croatian and German languages. In the first corpus, we analyse 935 translations of film titles which have been first screened in a time period from 1923 to 2015. The translations of the titles are categorized according to the applied translation strategies. The model of the strategies is formed by taking into consideration the manipulations through semantic and/or specific linguistic structures from the original. We also conduct a diachronic analysis of the first corpus in order to determine possible changes in the trends and we try to explain those changes. The second corpus is used for the analysis of the translations of horror and romantic comedy titles in order to determine if the genre influences the choice of the title translation strategy. We analyse the translations of approximately 80 original horror titles and approximately 60 romantic comedy titles according to the same principle as the translations from the first corpus. The results of our analysis suggest that there are differences in the selection of translation strategies for the Croatian and the German speaking markets. While the titles for the Croatian market are usually directly translated, the most common translation strategy for the German speaking market is the transcription of the original title, it is also common to add structures in German which are not present in the original. The analysis of horror and romantic comedy titles suggest that the genre also influences the selection of the translation strategy, with distinct differences between the two markets.