Expressing the Author's Position in the English-Language Network Film Review

Introduction. The article presents the results of the analysis of the author’s position verbalization methods in the English online professional film review addressed to the mainstream audience. The authors proceed from the position that the methods of subject verbalization are determined by functional characteristics of discourse. The relevance of the study is due to the interest of modern linguistics in the study of the subject factor in “personal” types of discourse. The paper considers the factor of the subject in the discourse, defines the concepts of authorization and its nomination, analyzes the role of identifying categories of subjective modality and describing prevalent evaluation types in the study of the author's position in evaluative genres.Methodology and sources. Research methodology is based on the approaches to classification of modus and evaluation types developed by N.D. Arutyunova. The methodology of describing the author's position in evaluative genres is proposed, which boils down to the following steps: identifying the leading linguistic means of self-nomination; displaying main genre-typical patterns of subject modality (modus types); describing evaluation semantics specificity and linguistic means of dominant evaluative meanings verbalization. The study was conducted on the material of the corpus of texts selected on the English-language portal metacritic.com which includes 50 professional film reviews addressed to a wide audience (39,765 words in length).Results and discussion. Based on the methods of quantitative and contextual analysis the distribution of modus types verbalized by “subject-predicate” models with personal subject-representing pronouns was carried out; the distribution of personal and possessive pronouns as the main method of self-nomination in the discourse of the network English-language professional film review was revealed; on the basis of the analysis of the semantics of evaluative adjectives of the corpus, the types of evaluative meanings in the genre under study were identified. The leading methods of discourse subject nomination were shown to involve the 1-st person pl. inclusive pronoun, which indicates the author’s intention to establish a connection with the reader and to increase the manipulative potential of the text. The main types of evaluative meanings verbalized by the corpora adjectives were identified, which are emotional, intellectual, aesthetic and regulatory types.Conclusion. The conducted research allowed us to conclude that the specificity of the expression of the author's position in professional network film review is reduced to the following characteristics: the dominant nature of the perceptual mode and the mental mode of knowledge in the field of subjective modality of texts; the predominance of first-person plural pronouns in an inclusive meaning as a means of self-nomination of the subject discourse and the dominance of partial-evaluative meanings over general-evaluative ones. The predominance of emotional-psychological and intellectual-psychological types of evaluation indicates the author's intention to express an individualized subjective-emotional opinion about the evaluated object.

FUNCTIONAL POTENTIAL OF FILM REVIEW AS EPITEXT: LINGUOPRAGMATIC, AXIOLOGICAL, LINGUOCULTURAL ASPECTS

Постановка задачи. Статья посвящена изучению рецензий к кинофильмам, которые будучи многоплановым явлением, представляют актуальный объект исследования. Трактуемая как эпитекст, кинорецензия обнаруживает себя конститутивным элементом системы кинотекста, включающей фильм, трейлеры, афиши, комментарии кинокритиков, отзывы зрительской аудитории, рекламные буклеты и пр. Подобный подход обладает определенной релевантностью и новизной. Результаты. Эпитекст понимается как составной элемент паратекста (суммарно с перитекстом), нацеленный на комментирование основного текста - кинофильма. Именно эпитекстовые элементы позволяют считать образуемый кинотекст холистической системой. Лингвокультурный потенциал рецензии выражается в отражении принадлежности к определенной культуре, что обуславливает представление информации в форме культурных кодов, дешифруемых аудиторией как носителями той же культуры, что и автор рецензии. Невозможность распознать тот или иной культурный код или неверная его трактовка ведёт к невозможности достичь прагматической цели рецензии - не только информировать о выходе картины в прокат, но и воздействовать на читателя, формируя мнение относительно кинофильма. При этом реализуется рекламная и агитационная функции рецензии - автор стремится «переманить» аудиторию на свою сторону, призывая посмотреть фильм или не тратить на него своё время. Выводы. Реализация обозначенных функций, равно как и стремление убедить читателя в валидности представляемой информации требует от автора рецензии четкости и скрупулезного подбора способов самоидентификации. Авторская идентичность в тексте рецензии воплощается в форме оценочных суждений. Следовательно, именно последние, опираясь и отражая культурный пласт, к которому принадлежит автор, позволяют выстроить прагматику рецензии, создавая определенный когнитивный фон на основании имеющейся у аудитории когнитивной базы. В то же время функционал рецензии предполагает конструирование и демонстрацию авторского видения проблематики кинокартины, исходя из ценностных смыслов, транслируемых рецензентом как индивидуальным, так и социальным адресантом. Данная функция так же реализуется посредством маркеров оценки. Problem Statement. The article regards specific features of film reviews being a relevant subject of research. Seen as an epitext a review serves as a cinema text constituent. The latter includes the film itself, trailers, posters, advertisements, critical comments. Such an approach proves of principal importance and novelty. Results. Epitext is considered as a paratext constituent together with peritext and aims at commenting the main text meaning the film. It is the epitext that contributes to the cinema text designed functioning as a holistic system. Linguocultural potential of review is reflected in the latter belonging to certain culture, which determines the information presented in the form of cultural codes for the audience as representatives of the same cultural group to decode. The code that proves impossible to decode or triggers misunderstandings adds to inability to reach the pragmatic aim of a review which is not only to inform the reader about the film release but also to impact them, forming their opinion about the film. It is how the advertising and promotional functions are realized - the author tends to «lure» the audience, persuading to watch the film or, on the contrary, not to waste time on it. Conclusion. The functions enlisted to be realized along with an attempt to prove the information presented is relevant call for the reviewer to be clear and scrupulous in selecting self-identification options. The author’s identity takes the form of evaluative structures. The latter reflecting and relying on the author’s cultural background contribute to the pragmatic potential of the review structuring the cultural context taking into account the audience’s cultural background. Moreover, the review designs and demonstrates the author’s view of the film plot in concordance with the value system communicated by the reviewer as an individual as well as social addresser. The latter function is also realized due to evaluation markers.

Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s

This article examines the career of the Polish film producer Maria Hirszbein (1889–1939/1942) in relation to the development of interwar Polish cinema, including Yiddish films, and the modern idea of a “New Woman.” Investigating Hirszbein's activities as the successful manager of her company, Leo-Film, and as cofounder and member of the Polish film producers’ unions, the article explores her professional accomplishments and innovative work style, which was based on teamwork and promoting young, talented actors, creative directors, and screenwriters sensitive to social issues. In reconstructing Hirszbein's professional biography, the text combines different sources such as press reports, film reviews, photographs from the collection of the Polish National Film Archive (FINA), and data collected by the Institute of Jewish History in Warsaw.

Авторська кінорецензія: жанрово-структурні та мовні особливості (на прикладі текстів Олександра Ковальчука)

The article is devoted to understanding the modern processes of development of the film review – a journalistic analytics genre. The author raises the issue of the new film review quality in the Ukrainian media space. A variety of analytical texts from cinematophile journalists have been singled out as a separate genre, for which the term “author’s review” has been suggested. The peculiarities of the structural and content organization of the author’s review were highlighted. The article also shows the advantages of modern modification to the film review genre canons, both on structural and language levels, on the example of film reviews by critic Oleksandr Kovalchuk.

Through the looking glass: The Matrix franchise and interpretation

<p>This thesis analyses the reception of the Matrix trilogy by paying close attention to the work of film reviewers, and academic commentators who interpret the films from a religious perspective. The methodology of the project involves using a historical reception studies approach based on the work of Janet Staiger. The film reviews display an interest in the trilogy’s action sequences and its numerous cultural references. As the trilogy proceeds, the reviewers become increasingly concerned about the emphasis on spectacle. I argue that these interests can be understood in terms of debates in Film Studies around the 'cinema of attractions' and the tensions between narrative and spectacle in contemporary Hollywood cinema. The Christian, Buddhist and Gnostic religious academic commentaries all utilise an allegorical approach to the trilogy. As a result, they interpret the films through the prism of good versus evil. They also stress the importance of the acquisition of knowledge. In my opinion, the film reviews and religious interpretations share an interest in unity or singularity. This parallels the narrative of the trilogy, specifically the quest for 'the One'.</p>

Through the looking glass: The Matrix franchise and interpretation

<p>This thesis analyses the reception of the Matrix trilogy by paying close attention to the work of film reviewers, and academic commentators who interpret the films from a religious perspective. The methodology of the project involves using a historical reception studies approach based on the work of Janet Staiger. The film reviews display an interest in the trilogy’s action sequences and its numerous cultural references. As the trilogy proceeds, the reviewers become increasingly concerned about the emphasis on spectacle. I argue that these interests can be understood in terms of debates in Film Studies around the 'cinema of attractions' and the tensions between narrative and spectacle in contemporary Hollywood cinema. The Christian, Buddhist and Gnostic religious academic commentaries all utilise an allegorical approach to the trilogy. As a result, they interpret the films through the prism of good versus evil. They also stress the importance of the acquisition of knowledge. In my opinion, the film reviews and religious interpretations share an interest in unity or singularity. This parallels the narrative of the trilogy, specifically the quest for 'the One'.</p>

Magazines for Women

Women’s magazines had a dual aim in the period, providing fiction and other forms of entertainment reading and offering practical advice about childcare, cookery and household management. They also nurtured skills including knitting and dressmaking, offering designs for clothes for children and themselves. Pictorial covers presented both the twin aims, through precise wording of contents matched by images offering more attractive ways of living. Fiction combined image and text in advancing or delaying events, and often making moral points. Woman’s Life in the 1920s matched these aims with illustrated fiction mingling escape and guidance: it also included occasional comic strips for young children. The more expensive Woman and Home attracted readers from a slightly higher income bracket but covered similar material. Launched in 1932, Woman’s Own used the newer forms of printing and design, reflecting greater confidence of its readers and newer material including film reviews.

The Audience’s Perspective: Decline of Mythical Elements in Films

Myths have always been a source of inspiration for literary and artistic creation because of their surreal image and idealized vision. To inherit the national culture and the spirit, many films eastern and western take mythical elements as a medium of meaning. So, has the appearance of mythical elements in the films received a positive response from the audience? Based on the films ( n = 919) released in mainland China cinemas from September 2015 to September 2018, this article uses the method of regression analysis and Latent Dirichlet allocation topic model to verify the relationship between mythical elements and audience acceptance. The results show that (a) mythical elements have no significant impact on the box office revenues; (b) and have no positive impact on the film ratings; (c) there is no significant mythical topic in the film reviews of mythical films, which shows that the public in modern society does not show sensitivity to the mythical elements in films. Finally, we discuss the possible causes of the results and put forward corresponding suggestions for the producers of mythical films.

Sentiment Analysis of Film Reviews Based on BI-GRU +Attention+Capsule Fusion

In this paper, a sentiment analysis model based on the bi-directional GRU, Attention and Capusle fusion of BI-GRU+Attention+Capsule was designed and implemented based on the sentiment analysis task of the open film review data set IMDB, and combined with the bi-directional GRU, Attention and Capsule. It is compared with six deep learning models, such as LSTM, CNN, GRU, BI-GRU, CNN+GRU and GRU+CNN. The experimental results show that the accuracy of the BI-GRU model combined with Attention and Capusule is higher than the other six models, and the accuracy of the GRU+CNN model is higher than that of the CNN+GRU model, and the accuracy of the CNN+GRU model is higher than that of the CNN model. The accuracy of CNN model was successively higher than that of LSTM, BI-GRU and GRU model. The fusion model of BI-GRU +Attention+Capsule adopted in this paper has the highest accuracy among all the models. In conclusion, the fusion model of BI-GRU+Attention+Capsule effectively improves the accuracy of text sentiment classification.<br>

Sentiment Analysis of Film Reviews Based on BI-GRU +Attention+Capsule Fusion

In this paper, a sentiment analysis model based on the bi-directional GRU, Attention and Capusle fusion of BI-GRU+Attention+Capsule was designed and implemented based on the sentiment analysis task of the open film review data set IMDB, and combined with the bi-directional GRU, Attention and Capsule. It is compared with six deep learning models, such as LSTM, CNN, GRU, BI-GRU, CNN+GRU and GRU+CNN. The experimental results show that the accuracy of the BI-GRU model combined with Attention and Capusule is higher than the other six models, and the accuracy of the GRU+CNN model is higher than that of the CNN+GRU model, and the accuracy of the CNN+GRU model is higher than that of the CNN model. The accuracy of CNN model was successively higher than that of LSTM, BI-GRU and GRU model. The fusion model of BI-GRU +Attention+Capsule adopted in this paper has the highest accuracy among all the models. In conclusion, the fusion model of BI-GRU+Attention+Capsule effectively improves the accuracy of text sentiment classification.<br>