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Translation of English‑language movie titles and their functioning on the Polish market A title is a very important part of a work, not only functioning as a proper name, and informing about the content, but also attracting potential customers. Moreover, the titles are often deeply culture‑rooted, they refer to the specific events, places, or other texts popular in a given culture. This paper analyzes the selected sample of several dozens of movie titles translated from English into Polish with particular emphasis on transfer methods that are most commonly used. This paper investigates the various functions fulfilled by the titles rendered by each of the described methods. The article examines how the different methods are received by the viewers, and how they function in the target culture.

Artykuł analizuje problemy tłumacza i rolę różnych paratekstów (takich jak przypisy, komentarze, przedmowy, posłowia i teksty na okładce) w tłumaczeniu tekstów specjalistycznych (w szczególności naukowych). W tym typie tekstów informacja ma dla czytelnika pierwszorzędne znaczenie, a więc każda interwencja tłumacza wnosi więcej objaśnienia w tłumaczone dzieło. The article analyses translator’s problems and the role of different paratexts (such as footnotes, comments, forewords, afterwords and text on the cover of books) in the translation of specialized texts (scientific ones in particular). In this type of texts, the information is imperative to the reader, so every intervention of a translator makes the sense more clear in the translated work.

Fictional transmedia universes have been the objects of communication research throughout the last ten years. There has been such a proliferation of these universes that it can be argued that a ‘transmedia turn’ has occurred in research on the narratives of the early 21st century. This has generated interest in avant la lettre transmedia universes, i.e., not only those universes created after The Matrix and The Blair Witch Project, but even those created after The Wizard of Oz and The Lone Ranger. In parallel, the phenomenon has shed new light on the theoretical bases of transmediality. This article argues that this transmedia turn has been the cause of the revitalization of the Genettian concept of paratext, an intertextual modality found in the fuzzy threshold that exists between the diegetic and non-diegetic worlds, between products and by-products, between monomedia and transmedia, between ownership and creative freedom, and between content and promotional material. This article describes and compares the modulations suffered by paratextuality through the authors who have resumed and extended the reach of the Genettian term, and illustrates them with examples taken from official paratexts of recent transmedia fictional franchises.