Due to intensive growth of film production and the expansion of the "market of film consumption", the need for high-quality translation of feature films into different languages is becoming more and more pressing. While a foreign language film is localized, text elements are not only translated, but also adapted to the culture of the target audience, i.e. we are witnessing transition from one language and cultural code to another. Taking into account their structural, semantic, and functional pragmatic features, film titles are vivid representative materials for the study of modern translation practices in the light of the cultural transference concept (. The purpose of the article is to identify the strategies of linguocultural localization of French film names for the modern Russian-speaking audience, as well as to determine the degree of its adequacy. Regardless of the choice of the translation strategy, the title should correspond to the plot, thematic focus and ideological and figurative content of the film, while remaining interesting and attractive to the audience. We analysed of eighty-seven French feature films of various genre affiliations (detectives, action films, dramas, melodramas, comedies, thrillers and fantasy), released in Russian from 2000 to 2018, and their translation equivalents. We used the methods of semantic, pragmatic, contextual and linguocultural analysis to identify a set of problems arising in the process of localization of film titles and to offer recommendations for their translation into Russian, considering the communicative specifics of the modern film discourse and the ethnic and cultural characteristics of the target audience.
In the present article the attempt is made for the first time to apply the methodologies of Sergei Eisenstein and Lev Vygostsky to analysis of the paintings of Ilya Glazunov and his contemporaries. The attention of the researcher is focused on the phenomenon of the character suite discovered by Einsenstein in drawings as "pure motion of the run of montage thought." The present phenomenon was focused on disclosing one and the same emotion in its various gradations. Its versatile discovery is also aided by analysis of the other principles of movie montage the manifestation of which is revealed by the author of the article in painting as well: the parallel, associative and intellectual. For the aim of revealing the essence of the examined works of pictorial art the article makes use of a method, correlating with Eisenstein's, formulated by Soviet scientist Lev Vygotsky, who researched in literature the psychology of inner conflict of images on the basis of the contrariety of the plot and the storyline. The convergence of the mentioned intellectual paths of learning about the paintings of Glazunov and his contemporaries creates the possibility of systematic perfection of "multiple-point entering" into the artistic image, which makes it possible to elucidate the meaning of the authorial conceptions in pictorial art, including those paintings by Glazunov which by their worldview content and image-related compositional solution arouse impassioned critical reactions.
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