TRAILER AS AN ECTOCOMPONENT OF CINEMA DISCOURSE: NEUROLINGVOSEMIOTIC QUALIFICATION OF A LANGUAGE ORGANIZATION

The article is devoted to the problem of neurolinguosemiotic qualification of the language organization of trailers as autonomous components of film discourse. The author of this article draws the following conclusions: 1) the trailer belongs to the external components of film discourse, which is due to the presence of semantic and functional correlations with the concept of «advertising»; 2) between the concepts of «trailer text» and «advertising text» the relationship of the so-called approximate identity, because they have identical structural elements, primarily of a reference nature; 3) the text of the trailer is more complex compared to the advertising text, because the linguosemiotic structure of the first introduced a larger number of typological types of signs; 4) the linguosemiotic structure of the advertising text, in which there are dialogic and monologue signs, has the form of meaningfully and formally interconnected remarks of actors who can perform different roles (average consumers of goods / services, professionals, celebrities, etc.), with the final thesis announcer (rarely – titrated on the screen graphically); 5) the linguosemiotic structure of the trailer text is a combination of autonomous multifunctional monologue signs, nonlinearly related to each other by subject (signs of actor, expert, witness and announcer); 6) the vectors of influence of linguosemiotic units of advertising texts and trailer texts do not coincide, because in the former the metaprograms of centrifugal / centripetal motivation, activity, desired modality, comparison focus are actualized, and in the latter – metaprograms of time orientation, breakdown size, way of thinking.

ALLUSIONS AS A TYPE OF INTERTEXTUAL LINKS IN THE FILM DISCOURSE OF “THE MATRIX”

The purpose of the article is to outline intertextual links in the English cinematic discourse by establishing the types of allusions functioning in the cinematic discourse of “The Matrix”.Methods. The research has been carried out by dint of descriptive method while surveying and outlining the scientific approaches to the category of intertextuality, the method of contextual analysis for singling out from the film text of the film discourse in question the relevant contexts with intertext, the method of intertextual analysis for determining types of allusions according to their relation with the source text.Results. It has been determined that a cinematic discourse as a semiotically complex dynamic process of interaction between a multiple addressor and a film recipient is characterized, alongside verbal-visual unity, coherence, completeness and contextual meaning, by intertextuality, the latter being revealed in the film text – an integral part of the cinematic discourse. It has been found out that the means of creating textual reminiscence which shapes the intertextuality of the film text of “The Matrix” is allusion. The philosophical meaning encased in the cinematic discourse of the film under analysis is connected with the ideas of the belief in being the chosen one, of one’s mission, the struggle of two worlds – the good and the evil, loyalty and betrayal. Those are ideas which permeate the Sacred Writ, so it is the Bible – the most recognizable and significant for the American culture precedent text – that serves as a source text providing ground for associative referential hints within the framework of the film in question. According to the form of presentation in the film text there have been picked semantic and structural allusions, according to the placing in the text relative allusions (allusions of local impact) have been identified. Semantic allusions preserve the initial semantic content of the source and impart occasional connotation to the objects of allusive evaluation. Structural allusions bring about associative links with certain qualities of allusive denotata. Relative allusions are realized in the film text through non-verbal indexical signs. The latter, in the vivid form of number plates, refer the viewer to definite Biblical lines, thus coming up with some additional characteristic of the objects of allusive reference.Conclusions. Textual Biblical allusions in the cinematic discourse of “The Matrix” semantically, structurally or as allusions of local impact create intertextual links, transferring the attributes of Biblical characters and events to those highlighted in the cinematic discourse analyzed. Allusions, being references to the source text as to the index of the situation, come forth as a means of identification of certain characteristics of film personages, places, actions.Key words: film text, the category of intertextuality, textual reminiscence, precedent text, semantic content of the source. Метою статті є визначення інтертекстуальних зв’язків в англомовному кінематографічному дискурсі через з’ясування типів алюзій у кінодискурсі фільму «Матриця».Методи. Дослідження здійснено за допомогою описового методу для осмислення та опису наукових підходів до кате-горії інтертекстуальності, методу контекстуального аналізу у разі виокремлення з кінотексту досліджуваного кінодискурсу релевантних контекстів з інтертекстом, методу інтертекстуального аналізу для визначення типу алюзій за їх зв’язком з тек-стом-джерелом.Результати. Виявлено, що кінодискурс як семіотично складний динамічний процес взаємодії множинного адресанта та кінореципієнта поряд з вербально-візуальною єдністю, зв’язністю, завершеністю та контекстуальністю значення харак-теризується інтертекстуальністю, причому остання проявляється в кінотексті – невід’ємній частині кінодискурсу. З’ясовано, що прийомом створення текстової ремінісценції, через який реалізується інтертекстуальність кінотексту фільму «Матриця», є алюзія. Філософський смисл, закладений у кінодискурсі аналізованого фільму, пов’язаний з ідеями віри в обраність, місій-ності, боротьби двох світів – добра і зла, відданості та зради – ідеями, якими пронизане Святе Письмо, а отже, Біблія як найбільш впізнаваний та ціннісно значимий прецедентний текст для американської культури і слугує текстом-джерелом для асоціативних натяків-відсилок – алюзій у такому кінотексті. За формою представленості в кінотексті було виявлено семан-тичні та структурні алюзії, за положенням у тексті ідентифіковано алюзії релятивні (алюзії локальної дії). Семантичні алюзії зберігають вихідну семантичну наповненість джерела та надають об’єктам алюзивної оцінки оказіональної конотації. Струк-турні алюзії викликають асоціативні зв’язки з певними якостями алюзивних денотатів. Релятивні алюзії реалізуються через невербальні індексальні знаки – в кінотексті фільму написи на транспортних засобах наочно відсилають глядача до конкрет-них рядків у Біблії, щоб надати додаткову характеристику об’єктам алюзивної відсилки.Висновки. Текстові біблійні алюзії у кінодискурсі фільму «Матриця» семантично, структурно чи релятивно (як алюзії локальної дії) створюють міжтекстові зв’язки, переносячи ознаки біблійних персонажів та подій на ті, про які йдеться в ана-лізованому кінодискурсі. Алюзії, слугуючи відсилками до тексту-джерела як знаку ситуації, функціонують як засоби для ототожнення певних характеристик персонажів, місць, дій, які відбуваються у кінотворі.Ключові слова: кінотекст, категорія інтертекстуальності, текстова ремінісценція, прецедентний текст, семантична напо-вненість джерела.

Parody film as a postmodernist deconstruction in cinematography

Lately, the research of Parody film as a part of film discourse have reached its peak in the history and philosophy of science. The polycode essence of the concept of film discourse prompts changes and modifications in the interpretation of Parody film. Therefore, the subject of this analysis is Parody film. The goal of this research consists in examination of the peculiarities, meaning, and role of the concept of “parody film”, which is a creative work intended to ridicule the plot through satirical or ironic imitation. Research methodology is based on the method of analytical study of sources for clarification of the logic and content of the concepts of “parody”, “parody film”, and “film discourse”, as well for revealing the essence of parody film as a postmodernist deconstruction in cinematography. The article also employs the methods of comparative analysis and the concept of local cultures. The scientific novelty of this research consists in systematization of the existing knowledge on parody film in the light of film discourse, which being the phenomenon at the intersection of multiple disciplines is in the epicenter of scientific inquiries in linguistics, literary studies, sociolinguistics, philosophy of semiotics and film semiotics, critical discourse analysis, and theory of cinematography. The theoretical importance lies in characterization of the concepts of “parody”, “parody film”, “comedy”, “comedy film” in the context of modern knowledge of moviemaking and cinematography. The acquired results give a better perspective on the role of parody film in art and life of the society. The Interpreters fight for cinema, on the one hand adoring it as the art with unlimited capabilities, while on the other – neglecting the fact that it should need the unpretentious demands of the audience. The author claims that in a broad context, the parody film of the XXI century is not aimed at parodying a literary text. The filmmakers rather consider and use parody film as a means for drawing attention of various life circumstances.

Kompleksnyy podkhod k issledovaniyu ekonomicheskogo kinodiskursa

The article is devoted to a comprehensive study of the economics film discourse. Eleven feature films and documentaries of the economic genre in the English and Russian languages (total duration – 1,221 minutes) served as the material for the research. The article provides an overview of linguistic studies of the economic discourse over the past 20 years, describing three forms of its existence and functioning: scientific economic discourse, official business economic discourse, and popular economic discourse. Further, the author substantiates the feasibility of using film texts as material for linguistic research into the economic discourse, as well as its advantage – the possibility of studying three modes: oral, written, and gestural. The paper presents the following typological aspects of the economics film discourse: target audience, participants in communication, communication code, topic and precedent texts as the main idea. Based on those, the author identifies and describes the target audience of economics films, three binary models of interaction between participants in economic communication and their features. Further, the paper presents typological variety of discourses in which economic communication unfolds. There are considered everyday discourse, mass information discourse, and business discourse. In the last one, the author identifies the following genres: business conversation, business negotiations, office meeting, public speech, presentation, business discussion, press conference, business correspondence. In addition, the author has compiled terminological maps for economics films with the identification of key terms that determine the subject matter and the main problem of each film. The results of the analysis can be used not only in further research in the field of discourse and textual analysis but also as a basis for the formation of lecture and practical materials to be used for the course of business English and in the training of translators in the field of economics.