The study of film discourse in the framework of psychology, cultural studies, translation studies, sociology

^{The study of film discourse in the framework of psychology, cultural studies, translation studies, sociology}
An important feature of the film discourse is the question of its perception by the recipient of information, i.e. the viewer. Therefore, the psychological and sociological aspects of the film discourse often attract the attention of researchers. Accordingly, there is a problem of translating the film discourse into other languages.
The subject of research in the dissertation work of S.S. Nazmutdinova is the category of harmony in the translation space of the film discourse. The research material in This study is a film course in Russian, English and French, which includes the following films and their translations: "A beautiful mind", "Lost", "The Interpreter", "Pearl Harbor", "Saving Private Ryan", "The Princess Diaries", "Joan of Arc", etc.
In this dissertation research, the film discourse is defined as "a semiotically complicated, dynamic process of interaction between the author and the film recipient, taking place in the interlanguage and intercultural space using the means of the film language, which has the properties of syntacticism, verbal-visual coherence of elements, intertextuality, plurality of the addressee, contextuality of meaning, iconic accuracy, synthetics" [Nazmutdinova, 2008, 78-79]. As can be seen from this definition, S.S. Nazmutdinova strives to combine linguistic and extralinguistic aspects of film discourse.
In his article , E. Mozolev considers the "product placement" technique as a phenomenon of interference between advertising discourse and film discourse and analyzes examples of the use of this technique in the feature films "Yes Man" (2008), "Casino Royale" (2005), "Razzia sur la Chbouf" (2005).
E. Mozolev notes that currently product placement, which translates as "product placement" and is a "positive mention of brand names in films", is an effective way for the manufacturer of the product to present its products to the consumer. So, when advertising a product in a feature film, its logo is placed, the packaging of the product is shown, an oral mention of it, as well as emphasizing the special properties of this product that distinguish it from many others. In order to promote their products, the creators of advertising also use various advertising strategies. Thus, in feature films, the interference of advertising discourse and film discourse occurs, in which the advertising discourse becomes an included part of the film discourse (the "receiving" discourse), as a result of which their mutual influence and interaction occurs.
As for the definition of a film discourse, here it is considered as "a film text with extralinguistic factors inherent in it: factors of the communicative situation and the cultural and ideological environment in which communication takes place" [Mozolev, 2012, 17]. In among the extralinguistic factors are the cultural competence of the addressee, the extralinguistic context - the situation, time and place to which the film belongs, various non-verbal means: drawings, gestures, facial expressions. E.Mozolev emphasizes that "receiving information in the form of a video sequence, the addressee "through the prism of his worldview" perceives and reacts to the message transmitted by the "film language" [Ibid., 17].
Another feature of the film discourse - its intertextuality - is in the focus of Yu.V. Surgai, who considered the implementation of interdiscursive connections the film text in the conditions of native and foreign culture. The material of the study in the work of Yu.V. Russian Russian is a digital recording of the feature film "Society of Dead Poets", recordings of interviews of informants in Russian and English, as well as reviews and articles in Russian and English on the feature film under study.
In this dissertation research, the author considers the discourse in relation to the film text as "the film process, the process of reproduction and perception of the film text" [Surgai, 2008, 58]. At the same time, the author emphasizes that "the process of perception of the film text always takes place
in specific spatio-temporal conditions, has participants with a certain cultural baggage, experience and amount of knowledge. All this forms the context of this process" [Ibid., 17-18]. So, there are differences in the perception of the ideological and thematic content of the film text, in the interpretation of individual episodes of the film text and the film's locations are representatives of Russian and American cultures. For example, representatives of a culture native to the film text allocate a greater number of thematic lines in the film text than representatives of a culture foreign to the film text. In addition, there are differences in the assessment of the personal qualities of the characters in the film, as well as in the interpretation of the specific actions of these characters by representatives of Russian and American cultures [Surgai, 2008].
In this study, special attention is paid to the reaction to a movie or TV movie, which is formed by the beholder. The study of the peculiarities of the perception of film productions refers the study to the sphere of psychology or psycholinguistics, leaving out of sight such important linguistic issues as the principles of the choice of lexical and phraseological units in the film discourse, the ratio of dialogue and monologue, stylistic means of characterization of characters, etc.
Another work is devoted to the study of the specifics of translating cultural realities from English into Russian in the film discourse. In his article S.A. Baryshnikova emphasizes, that "film discourse is a verbal actualization of culturally specific information within the framework of a social institution and can serve as a means of categorization and ordering of linguistic and cultural knowledge" [Baryshnikova, 2015, 1]. S.A. Baryshnikova also notes that "based on the ontological properties of language, film discourse is considered as a product of national culture, which reflects the national mentality stereotypes and a system of values" [Ibid., 1]. Accordingly, this work indicates more one direction of consideration of the film discourse is the analysis of the phenomenon within the framework of cultural studies. In addition, all of the above aspects may present difficulties in translation.
The subject of the research in L.V. Tsybina's dissertation is lexico-grammatical, prosodic and kinesic means of expressing the emotion "anger" in the speech of the heroes of feature films, as well as ways of their interaction in cinematic discourse. The research material consists of a corpus of cinematic discourses in English, which contain samples of the dialogical interaction of the heroes of feature films. The following films are included in the research material: "The Whole nine Yards", "Perfect Murder", "Analyze This", "Green Card", "Titanic", "Face the Music", etc.
In her dissertation research, L.V. Tsybina defines cinematic discourse as "a complex semiotic formation, where the nuclear position is occupied by a sounding dialogical text in which the negative emotion "anger" is expressed. On the periphery of this emotional discourse there are non-linguistic components: facial expressions and kinesics, socio-cultural - gender characteristics of dialogue partners, the nature of the relationship between them, events, communication environment, i.e. it is a complex formation consisting of linguistic and non-linguistic phenomena that are in complex interaction with each other" [Tsybina 2005, 80]. Thus, the linguistic component of the dialogical text is represented by the interaction of lexico-grammatical and prosodic means of expressing the emotion "anger" in cinematic discourse.
L.V. Tsybina notes that non-linguistic means of expressing the emotion "anger" in cinematic discourse (mimicry and kinesics) clarify, complement, concretize the meaning of the speaker's dialogical replica, which gives new information about polymodal characteristics of the film discourse. L.V. Tsybina's dissertation research also considers extralinguistic characteristics of cinematic discourse, and the author refers to extralinguistic factors: plot events, communication environment, status-role characteristics, personal characteristics, as well as kinesics as an element of paralinguistics [Tsybina, 2005].
The subject of research in the work of A.I. Kazakova is the cognitive-discursive mechanisms of the formation of the semantics of a phraseological unit in the discursive field of a motion picture. The research material in the work of A.I. Kazakova consists of phraseological units of the Russian language selected from phraseographic sources, as well as from domestic films of the XX - XXI centuries and journalistic works of the last decade of the twentieth century and the beginning of the XXI century. As you know, idioms have always been difficult to translate.
In his dissertation research, the author claims that "a film discourse is a film text (including FE), as well as the film itself, the interpretation of the film by moviegoers and the meaning that the creators of the film, directors and screenwriters put into it" [Kazakova, 2014, 28]. The following elements are distinguished in the structure of the film discourse: the discursive space, the discursive field, as well as the idiom (FE), the genetic basis of which is the film discourse. In this dissertation research, the discursive space of a motion picture is considered as the whole set of films, and the discursive field of a motion picture is considered as a single feature film. The discursive field is the medium of the emergence and functioning of phraseological units. According to the researcher, the following components can be distinguished in the discursive field of a movie: episode, scene, characters, sound, image, intonation, light. These components interact with each other and influence the semantics of phraseological units functioning in the discursive field of the film. Observations on the research material show that many phraseological units move from one discursive field to another and at the same time their component composition and phraseological meaning are fully preserved. The study also recorded examples of phraseological units in which individual components undergo transformation or are replaced by synonyms. The author also notes that in the discursive field of the film, phraseological units are grouped into thematic groups depending on the episode, scene or the entire film [Kazakova, 2014].
Yu.G. Soroka emphasizes that the interest in modern cinema is largely due to the fact that film discourse is considered as a special form of objectification of a person's perception of the social reality surrounding him. So, such aspects as the theme, casting, special effects become dominant, while the search for an artistic language, the ideological content of the work of cinema fade into the background. The creators of films take into account the needs and perceptions of the audience, its age characteristics, as well as preference for certain genres of film discourse. Consequently, Yu.G. Soroka asserts that "modern cinema discourse (like any work of art, a film embodies the perception of reality by the author, school, epoch) can be considered as an actual (the speed of film production is very high) slice of perception of reality, a lasting social dialogue in which such categories of perception as time, space, the past are interpreted and reinterpreted, future, freedom, right, permissible, encouraged, masculine, feminine, power, love, duty, gratitude, etc." [Soroka, 2002, 48].