Vol 3, No 2 (2025)

The proposed study is analytical in nature and is devoted to examining and describing the structure, composition, and functional capabilities of the Written Corpus of the Tatar language, which represents one of the largest digital resources for the Turkic languages of the Russian Federation. The study discusses the stages of corpus creation and the methodology of text collection and annotation, including metadata annotation and morphological annotation using the Apertium system. Special attention is paid to applied aspects, such as the integration of the corpus into speech synthesis and speech recognition systems, the development of various linguistic services and its use in educational and research projects. The principles of eliminating duplicate texts are analyzed and prospects for further development are proposed, including the expansion of genre diversity and the introduction of international annotation standards. The material for this study comprises the corpus itself and publications describing the stages of its creation and application. The methodology is presented as a set of empirical methods and techniques, including observation, analysis, description, and testing (of the functional capabilities of the corpus, etc.), as well as the graphical method for visualizing the material under study. The study highlights the scientific and cultural significance of the Written Corpus of the Tatar Language in the context of the digitalization of the languages of the peoples of Russia, which corresponds to the objectives of the International Decade of Indigenous Languages (2022-2032), initiated by the United Nations General Assembly and coordinated by the United Nations Educational, Scientific and Cultural Organization.

The creation of audiobooks in the languages of the peoples of Russia using speech synthesizers is a scientifically and socially significant task. The relevance of the research is driven by the development of speech technologies and state policies supporting linguistic diversity, including in the digital space. The stady examines a standard algorithm for audiobook creation, distinguishing between invariant and language-specific development stages. The study notes that the main difficulties are associated with the stages requiring linguistic adaptation of the text for speech synthesis: annotation and the expansion of abbreviations and acronyms. For low-resource languages, tasks such as segmentation, tokenization, and contextual annotation, including the processing of homographs and specific phonetic features, pose particular challenges. In conclusion, it is argued that full automation of audiobook creation for the languages of Russia’s peoples using current speech synthesis technology is currently unfeasible. Developing audiobooks in such languages requires the prior creation of specialized linguistic resources. A necessary condition is the formation of a parallel corpus of texts and audio recordings produced by native speakers. Therefore, the successful implementation of such projects demands significant preliminary work on compiling training datasets and adapting algorithms to the specific features of each language.

Numerous studies have been devoted to localising film titles. Most of them focus on adapting the film title to the target language environment from linguistic and cultural points of view. That said, the influence of extralinguistic factors on translating film titles seems to be under-investigated. Meanwhile, various translation forums and cinema websites publish reviews written both by professionals and laymen who discuss possible reasons behind the choice of a film title. Nowadays the issue is being further complicated by the widespread development of AI technologies that lead to questioning the very need for human translation in some fields of knowledge, especially when it comes to small format texts such as a film title. Nevertheless, while localisation of a film through translating its title pertains to the area of marketing expertise, not translation per se, marketing rules have to be observed as well. And current machine translation systems are not equipped to perform these functions now. In this light this study aims to investigate the strategies of adapting English film titles to the Russian market considering the social and cultural aspects of localisation. This study is based on reviews of Russian streaming platforms and translation companies, which share their observations on strategies for translating English-language titles in the context of localising British and American films to the Russian market. This study is analytical and based on reviews of Russian streaming platforms and translation companies, which share their observations on film translation strategies for English films in the context of localizing British and American films for the Russian market. The methodological core of the study consists of empirical methods. The study identified 7 key localisation strategies: expanding the title, using memes, developing the story, adding slang, lowering speech register, adding sexual subtext, minimising the risk of politicising the title, expanding a well-known franchise.

Globalization processes, among other things, aim to unify the semiotic space, leading to the transformation of the structures of language and culture as symbolic capital. One of the most effective instruments of soft power is cinema, whose multimodal semantics offers an effective set of diverse tools for influencing the viewer. Beyond entertainment, films can be used as a tool of «soft power». Existing research on this phenomenon focuses on plot and the complex presentation of events and characters, whose representation is the central element of the film. Studying such representational elements as spoken and written text, costumes, musical scores, framing, and color will help develop the most effective toolkit. The aim of this study is to trace the instrumentalization of color in the formation of the image of Russia in American cinema. American films, selected according to established criteria, served as the material. Conducting the study in two stages, 50 films were examined, with a subsequent, more detailed examination of 30 of them. A corpus analysis of film subtitles revealed instances of references to Russia, Russian people, or elements of Russian culture. Subsequently, it was decided that the visual component needed to be considered when the lines were being spoken, which led to a color study. This revealed that the most frequent use of red in the frame, referencing elements of national symbols, was the color. Functionally, color in most cases merely complements and enhances the meaning conveyed by other instruments, rather than shaping it independently. The results of this study show that color choice is not always determined by aesthetic requirements, but can be a consequence of social and linguistic macroprocesses, behind which lies linguistic and cultural dominance.

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