CINEMATIC DISCOURSE AS A POLYCODED AND MULTIMODAL PHENOMENON

Abstract

This article is devoted to the study of polycoded and multimodal nature of the cinematic discourse as a semiotically heterogeneous phenomenon. The cinematic discourse is interpreted as a complex integrated socially and culturally conditioned mental-communicative phenomenon that is characterized by a combination of lingual and non-lingual codes in its structure and is polycoded and multimodal by its nature. The paper analyzes the main approaches to the interpretation of the cinematic discourse as a crealized / polycoded / multimodal formation, proves the assumption that the cinematic discourse cannot be considered crealized, as it consists of more than two code systems that are in complex interaction aimed at constructing the meaning. The cinematic discourse contains more than two heterogeneous systems: verbal (speech), non-verbal (gestures, facial expressions, etc.) and non-lingual represented by cinematic means (close-up, camera movement, lighting, noise, music etc.). It is the inseparable combination of three semiotic systems, each is an obligatory element that serves to construct the cinematic meaning. The cinematic discourse contains various heterogeneous systems that make one perceptual flow. The article discusses the notions of the code and the mode that are of important value to explain the polycoded and multimodal nature of the cinematic discourse. The polycoded nature of the cinematic discourse focuses on the combination of several code systems attracted by filmmakers to construct the meaning. The multimodal nature of the cinematic discourse emphasizes its dynamic character and focuses on the addressee considering his cognitive and social features. The combination of different semiotic systems conduces to the film meaning construction.