СТРУКТУРНЫЕ КОМПОНЕНТЫ ОБРАЗА РОССИИ В АМЕРИКАНСКОМ КИНО И МЕТОДИКА ИХ ВЫЯВЛЕНИЯ

В статье описана методика разработки корпуса субтитров для выявления вербальных репрезентаций образа России в американском кино. Методика учитывает специфику эмпирического материала - сочетание визуального, вербального, аудиального и сюжетного кодов. С учётом этой специфики был создан пользовательский корпус на материале англоязычных субтитров к американским фильмам с сайта OpenSubtitles. Для создания корпуса был использован метод веб-скрайпинга. Разработанная методика позволила обнаружить 212 случаев вербальной репрезентации России в 50 кинокартинах и выявить тенденции в её представлении в американском кино. Эти тенденции формируют репрезентативную базу для комплексного анализа образа России в кинематографе США в плоскости геополитических отношений между странами в диахронии.

The article describes a methodology for developing a corpus of subtitles to identify verbal representations of the image of Russia in American cinema. This methodology takes into account the specifics of the empirical material, which means a combination of visual (video), verbal (speech), audial (music and songs) and narrative (content) codes. Considering these features and the purpose of the study, a corpus was created using English subtitles for American films and TV series from the OpenSubtitles website. To create the corpus, a web scraping method was applied using Python-based code. The developed methodology enabled to find 212 cases of verbal representation of Russia in 50 films TV series and to identify trends in its representation in American cinema. These trends include portraying Russia: - as a strong rival of the United States in various spheres - military, sports, scientific (Rocky V, 1990; Independence Day, 1996); - as a country that cannot solve its problems without the help of the United States (The Peacemaker, 1997); - as a country known for its criminal gangs and lawlessness (American Gigolo, 1980; In Hell, 2003); - as a country whose residents are eager to go to the US for a better life (Moscow on the Hudson, 1984); - as a country with a rich culture (Little Man Tate, 1991); - as a country whose upper class is extremely wealthy (The Emperor Waltz, 1948); - as a country associated with the French language due to its previous cultural ties with France (Maverick, 1994; Austin Powers: International Man of Mystery, 1997); - as a country associated with the royal family of the Romanov dynasty (Miracle on 34th Street, 1947; Titanic, 1997). These trends provide a representative base for a comprehensive analysis of the image of Russia in the US cinema in the plane of geopolitical relations between the countries diachronically.