PUBLICISTIC FILM TEXTS STYLISTIC FROM THE LINGUOSEMIOTIC VIEWPOINT

O. Shcherbak
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Abstract

The article is devoted to the problem of identification and systematization of stylistic means of journalistic film texts according to their linguosemiotic status. With the help of a number of general scientific (observation, comparison, generalization, quantitative calculations) and special (descriptive, functional) methods, the Ukrainian-language journalistic films of A. Galimov, A. Romanidi, and H. Kovalenko were investigated. The author of the article explained the essence and indicated the problematic status of the concept of “journalistic film text” in linguistic science. It is argued that journalistic film text is a subspecies of documentary film text, which presents a purely author’s/journalistic view of real events of the past and present. The journalistic film text differs from the documentary one in the presence of selfdirected conclusions and a wider temporal marking of the plot. It is noticed that stylistics of different language levels function in the tectonics of journalistic film texts. Stylistics of the phonetic level are accents. Stylistics of the lexical level are professional-industrial, official-business, scientific-terminological, emotional vocabulary, tropes, foreign lexemes, obsolete vocabulary, synonyms, antonyms, colloquial words. Stylistics of the grammatical level are complex sentences, past tense forms of the verb, inflections. According to quantitative calculations, the stylistic level of the lexical level is the most recorded. It is proposed to determine the semiotic status of stylists according to the functional principle and to distinguish the following types of signs: subsign, suprasing, synsing. Subsigns are, first of all, stylistics of the grammatical level, which serve as a kind of “packaging” of the content, that is, its form. Suprasigns are lexical-level stylistics, because the word on television is the main source of information. Phonetic-level stylistics, which are used to detail the social portrait of those about whom the story is told, are synsings. 
从语言符号学的角度看宣传电影文本的风格
本文从新闻电影文本的语言符号学地位出发,探讨其文体手段的识别与系统化问题。在一些一般科学(观察、比较、概括、定量计算)和特殊(描述、功能)方法的帮助下,对a .加利莫夫、a .罗曼尼迪和H.科瓦连科的乌克兰语新闻电影进行了调查。本文阐述了“新闻电影文本”概念的本质,指出了“新闻电影文本”概念在语言学上存在的问题。文章认为,新闻电影文本是纪录片电影文本的一个亚种,它呈现的是一种纯粹的作者/新闻对过去和现在真实事件的看法。新闻电影文本与纪录片文本的不同之处在于存在自我导向的结论和更广泛的情节时间标记。不同语言层次的文体学在新闻电影文本的构造中起着重要的作用。语音层面的文体学是重音。词汇层面的文体学有专业-工业、官方-商业、科学-术语、情感词汇、比喻、外来词、废语词汇、同义词、反义词、俗语词汇。语法层面的文体学有复句、动词过去时形式、屈折变化。根据定量计算,词汇层面的文体层面记录最多。建议根据功能原则确定造型师的符号学地位,并区分以下类型的符号:次符号、超符号、合符号。子符号首先是语法层面的文体学,它是内容的一种“包装”,即形式。超符号是词汇层面的文体学,因为电视上的词是信息的主要来源。语音层面的文体学,用于详细描述故事所讲述的人的社会形象,是synsing。
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