LINGUISTICS OF CINEMA: STAGES OF INCIPIENCE AND TRENDS OF DEVELOPMENT
Abstract
The article presents the analysis of factors that allow to single out the linguistics of cinema as a separate trend of the philological research. The stages of the development in the linguistics of cinema as an independent structural formation include linguistic semiotics, narrative, cognitive, discursive and multimodal studies. Film is capable of constructing and transmitting meanings, acting as a mediator in the process of communication between the collective film author and viewers. The linguistics of cinema is rooted in its semiotic nature, due to the employment of three sign types – icons, indexes and symbols, their combination serves the formation of the film meaning. Investigations of film narrative aim at defining basic processes in the formation of film as a text, the analysis of the narrative film structure, the meaning-making process by the montage of shots. The cognitive trend focuses on the study of the logic of the interpretative process, considering the interpretation of both the construction of meaning in film and the role of film authors and viewers in this process. Understanding film as a text enables to take into account the role of linguistic and non-linguistic semiotic systems in creating the film narrative. Discursive studies of cinema examine film as a communicative event created for the viewer, taking into account the socio-cultural context of its actualization. Cinematic discourse contains a set of cinematic techniques involved in creating film, while the film discourse involves the communication of film characters considering film events. The meaning of film as a visual mediator can be transmitted through several information channels or modes, that outlines the multimodal vector of linguistic research of cinema. Modern trends in the development of linguistics of cinema outline an intersubjective vector, aimed at studying aspects of joint attention in the film making. The cognitive-discursive direction includes the study of the interaction of semiotic resources in the film meaning-making process.
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