N. examines pragmatic aspects of transcultural film translation. After a theoretical discussion on interpretation and communication in film semiotics (based mainly on the theories of Peirce and Morris), some basic requirements for a transcultural film translation are elaborated. Having summed up the results reached so far in a model of film synchronization in a semiotic framework, concrete examples taken from the American film `A streetcar named Desire', and its German synchronization `Endstation Sehnsucht' are analyzed.