O. V. Tkachik, K. V. Shutiuk


The article overviews the characteristics of American screenplay as a creolized text, namely the correlation of its verbal, visual and audial elements, which serve for creating the intended communicative effect of a written work. Due to the mutual interference of these elements screenwriters and directors receive an ample opportunity to embody their ideas in the final product, i.e. film, in any way suitable. With the help of verbal element all the needed information may be actualized explicitly, whereas symbolic features are introduced using visual representation. Audial information may provide implications concerning the development of events in a given work in the future or influence the emotions of the viewers. Screenplay is viewed by the scholars as a text on the margin between several semiotic systems, namely the sign systems of literature and cinema, ensuring its complex nature. As exemplified by the screenplays of “Eternal Sunshine of the Spotless Mind”, “Reservoir Dogs” and “Django Unchained”, the movies, if compared to screenplays, are characterized by more concise statements, higher degree of implicitness and riddance from verbal hints which could unambiguously state the correct interpretation of a creolized text.


creolized text; screenplay; verbal, visual and audial elements

Full Text:



Belova, L. I. (1981). Chto takoe sovremennyj scenarij? [What is contemporary screenplay like?] (pp. 5-23). Moscow, Russia: Iskusstvo.

Efremova, T. F. (2000). Novyj slovar' russkogo jazyka: tolkovo-slovoobrazovatel'nyj [New Explanatory and Derivational Dictionary of Russian Language] (p. 837). Moscow, Russia: Author.stnik Cheljabinskogo gosudarstvennogo universiteta, 34, 43-46.

Mechkovskaja, N. B. (2007). Semiotika: Jazyk. Priroda. Kul'tura [Semiotics: Language. Nature. Culture]. (2nd ed.). Moscow, Russia: Izdatel'skij centr «Akademija».

Sorokin, J. A., & Tarasov, E. F. (1990). Kreolizovannye teksty i ih kommunikativnaja funkcija [Creolized Texts and Their Communicative Function]. Optimizacija rechevogo vozdejstvija, 180-186.

Bacalov, L. (n.d.). Album Django Unchained (Original Motion Picture Soundtrack). Retrieved March 03, 2017, from

Ibarraran-Bigalondo, A. (Spring 2015). Music, sampling and musical intertextuality in Quentin Tarantino’s Django Unchained. Testi Letterature Linguaggi, 138-146.

Chapman, G. ( 2010, April 12). Music in the movies: Quentin Tarantino. Retrieved March 03, 2017, from

GOST Style Citations

1. Белова Л. И. Что такое современный сценарий? / Л. И. Белова // Современные тенденции развития советского кино. — Москва : Искусство, 1981. — С. 5–23.

2. Ефремова Т. Ф. Новый словарь русского языка: толково-словообразовательный. / Т. Ф. Ефремова. – М., 2000. – Т. 2. – 1233 с.

3. Зарецкая А. Н. Фильм и киносценарий как взаимосвязанные дискурсы / А. Н. Зарецкая // Вестник Челябинского государственного университета. – 2009. – №. 34. – С. 43–46.

4. Мечковская Н. Б. Семиотика: Язык. Природа. Культура. // Н. Б. Мечковская. – 2-е изд., испр. – М. : Издательский центр «Академия», 2007. – 432 с.

5. Сорокин Ю. А. Креолизованные тексты и их коммуникативная функция / Ю. А. Сорокин, Е. Ф. Тарасов // Оптимизация речевого воздействия. – М.: Наука, 1990. – С. 180–186.

6. Django by Luis Bacalov. Album Django Unchained (Original Motion Picture Soundtrack) [Електронний ресурс]. Режим доступу:

7. Ibarraran-Bigalondo A. Music, sampling and musical intertextuality in Quentin Tarantino’s Django Unchained / A. Ibarraran-Bigalondo // Testi Letterature Linguaggi. – Issue 5. – Spring 2015. – pp. 138-146.

8. Music in the movies: Quentin Tarantino [Електронний ресурс]. – Режим доступу: 

Copyright (c) 2017 Journal of the National Technical University of Ukraine “KPI”: Philology and Educational Studies

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

ISSN 2410-8278 (Online), ISSN 2307-1591 (Print)