CINEMATOGRAPHIC L OGRAPHIC LANGUAGE CONCEPT AND I GE CONCEPT AND ITS PECULIARITIES

Relational filmmaking

The subject of the research is one of the most advanced products of the modern film industry – VR cinema, created using virtual reality technologies. The article analyzes a new, special cinema language Virtual Reality Films, which has its own unique features. The relevance of the topic is due to the fact that VR cinema is an ultramodern phenomenon that has been developing rapidly in recent years and is arousing increasing interest among a wide audience of users. Films containing virtual reality are a related art form to classical cinema and animation. However, VR cinema and animation have a number of differences that manifest themselves at different levels. This article provides a structural analysis of VR cinema (both as a phenomenon in general and specific examples from the industry) in order to understand the specifics of creating a new cinema language of films with the inclusion of virtual reality. The paper examines the specific features of the new VR cinema language, analyzes cinema for virtual reality at several levels that are in close interaction with each other: technological, artistic, and user perception. Several films from the 2010s and 2020s are considered as examples of illustrating the principles of virtual cinema, and the evolution of their artistic language is analyzed. In the process of preparing this article, two key research methods were used. A theoretical method that includes conducting a structural analysis of the VR cinema genre, as well as key concepts, principles, technological and artistic techniques and effects related to this genre. The purpose of this analysis is to identify the unique specifics and characteristic features of the new cinema language inherent in VR films. A practical method that involves analyzing specific examples of films created in the Virtual Reality Films genre. The scientific novelty of the research consists in the generalization and systematization of fragmentary existing concepts about VR films, demonstrated in the considered works, and in the analysis of the evolution of the artistic language of virtual cinema, which it went through from 2010 to the 2020s. In the course of the research, the author became convinced that VR cinema has reached great heights in technical and technological aspects, in the field of maximum immersion of the viewer in virtual reality, in the field of managing the viewer's attention and perception. At the same time, in the age of accelerated scientific and technological progress, VR cinema is waiting for new discoveries in the field of technology. Thus, the article outlines the prospects for the further development of the VR cinema genre.

Interruption/Interaction/Collaboration: A Critical Appraisal of the Textual @traction Interactive Event

In his monograph Krleža’s Still And Moving Images, Prof. Dr. István Lukács, a Croatist and Slovenist living in Budapest presents the problem of intertextuality and intermediality in the work of the classic of Croatian literature, Miroslav Krleža from a comparative Hungarian cultural and literary point of view. In the first part of the monograph, through the analysis of concrete texts (several poems and the novel Flags), the author examines the problem of the reception of Ady's lyric poetry and Hungarian painting production (Dezső Orbán) at the beginning of the 20th century, while in the second, more extensive part, he scrutinizes Krleža's relationship to film. The author's thesis is that the new optical medium (film) played an important role in the formation of Krleža's early dramatic texts (Legends) at the beginning of the 20th century. These works were written in the writer's early youth, immediately after his return from Budapest, where he had studied at the military academy. The author rightly assumes and then proves in his monograph that Krleža was probably already familiar with silent film and Hungarian theoretical works on film at that time. Some authors have already published papers on Krleža's "sound film imaginings", but without a more detailed scholarly elaboration of the whole issue. The first expert to mention the possibility of applying the film technique to a stage production in his extensive essay on Krleža's early plays was Josip Bach, the director of the Drama theater in Zagreb, who refused to stage all of Krleža's plays. Bach's clear observation served as a suitable starting point for the monograph's author to analyse Krleža's Legends, not from the point of view of a possible theatrical staging, but from a possible cinematic inspiration, both in certain themes (Jesus, Salome, Christopher Columbus) as in the application of film poetry, especially in atypical stage directions. In recent decades, authors in contemporary literary theory on intermediality have often thematised the links between literary text and film, they analyse film adaptations of well-known literary works, and write about the filmicity, cinematic style and film poetry of specific literary works. According to the author's findings, all these stylistic elements are also found in Krleža's early works (Legends, symphonies), but the "cinematic language" is so distinctly present that it also structurally characterises these works. The author of the monograph uses the term kinotekst to refer to Krleža's particular stage directions and scenic solutions precisely because of the marking power of these elements. This literary-theoretical notion is an innovation that refers to certain parts of a concrete literary text, and is in fact perfectly adequate to the film cut. This means that certain segments in Krleža's literary text are a real film cut and function as such. It is a strange paradox, since literature is a verbal art and film is a visual art.

This article will analyse Jean-Luc Godard’s 3D feature film, Adieu au langage (2014), as a reflexive meditation on the changing technologies and aesthetics of cinema, in which the history and memory of an entire medium are evoked (or invoked) and reimagined via the apparatus of contemporary 3D imaging. The result is a film that says ‘goodbye’ (per the ‘adieu’ of the film's title) to cinema itself, or at least to a particular conception of cinema and cinematic language (per the ‘langage’ of the film's title), at an end-of-history or end-of-cinema moment at which many, including Godard, have long since proclaimed the medium’s existential demise. Engaging a recurring concern within the director’s oeuvre, Adieu au langage visually and sonically articulates a densely inscribed self-historiography, wherein the now-3D cinematic image maps its own history (or histories, plural), including its evolving technologies, and a broader existential trajectory that spans but also exceeds ‘birth’ and ‘death’ (or ‘deaths’, plural). Positioned between 3D and 2D, present and past, the ‘death’ of cinema and its potential ‘resurrection’, Adieu au langage exists as a revealing historiographic intervention whose 3D images at the edge of history bid ‘adieu’ to cinema to in turn reframe and rearticulate its future.

Migration, beyond being a centuries-old act of displacement, is a comprehensive process with sociocultural and political dimensions. This study examines Emanuele Crialese's film Terraferma (2011) as a qualitative case study in the context of aesthetic and political representations of migration. Focusing on the encounters between islanders who make their living from tourism on the Italian island of Linosa and migrants arriving by sea from Africa, the film reflects the tension between the ethical imperative of aid and the state's security regime. The research explores various concepts in cinematic language, such as Agamben's "state of exception" and Derrida's "conditional/unconditional hospitality," along with their narrative counterparts. Cinematographic details such as how contrasts such as low and high angles, close-up, rhythm, and lighting frame the "criminalization of aid" are highlighted in the study. The reflections of Marx's "tactile epistemology" and the bodily memory effect of the sound-image texture, as well as the emotional ruptures and negotiation processes in Bhabha's "Third Space," in Terraferma distinguish the film from other migration films on a cinematic level. The film transcends a one-dimensional representation centered on victimhood, colliding within the same framework the discourse of touristic hospitality with the discourse of security. In this vein, the study attempts to offer a theoretical contribution to migration cinema, revisiting the problematic of belonging and subjectification surrounding the criminalization of aid through the aesthetic form of cinema.

This article examines a significant era in the development of Soviet cinema during the 1920s and 1930s, a period that coincided with the emergence of national cinematography in the USSR. The development of national film studios during this period occurred in parallel with the conceptual development of ideological and artistic tasks for creating films based on local ethnocultural material. One of the key figures who consistently advocated the idea of creating national cinematography in the USSR and developed the concept of a new cinematic language in the 1920s and 1930s was Nikolai Mikhailovich Iezuitov (1899–1941), a film historian and one of the founders of Russian film studies, who turned his attention to the development of the Belgoskino film organisation. The purpose of this article is twofold. Firstly, it aims to analyse Iezuitov’s views, which are not widely known in scholarly literature, on determining the form of artistic and ideological development and the cultural and political tasks of Soviet cinema in the 1920s and 1930s. Secondly, it will evaluate the film historian’s view of the development of national cinematography with reference to the Belgoskino film studio. A conceptual analysis of the problem is carried out based on the works of N. M. Iezuitov, scholarly literature about him, data from Soviet periodicals and publications of the 1920s and 1930s, and archival sources from the State Archives of the Arkhangelsk Region (Materials for the Party Conference on Cinema for 1926). The authors conclude that in the early stages of its development, the history of Belgoskino generally corresponded to the principles and ideas formulated by Iezuitov in a number of his works and included the following principles: the rejection of entertainment and clichés, the search for new techniques, the mastery of the method of socialist realism and Marxist-Leninist philosophy, the proclamation of the socialist growth of the Soviet national republic as the central theme, the cinematic representation of the village, the widespread use of newsreels, and the ideological and creative quality of the films produced are all important aspects to consider.

In this article, the authors consider one of the little-studied but pressing problems in the philosophy of culture. The purpose of this article is to study the problem of film language in the context of semiotic cultural studies. The novelty of this article topic lies in the fact that the authors analyze the place and role of signs in the formation of the language of cinema in the context of semiotic research. The theoretical and methodological basis for the study of this problem is the work of foreign, Russian, and Kazakh sci-entists. In the study of this problem, the authors also relied on semiotic research and also tried to apply the constructivist paradigm. While writing the article, the authors used semiotic, the method of cultural analysis and cultural-relativism, as well as such general scientific methods as analysis and generalization. This study was based on the methods of historical and cultural approach. We thought that these methods would reveal our scientific article well. As a result, the work of the director, screenwriter, sound director, and finally the game, on the one hand, and, on the other hand, the audience, construct the events taking place in the cinema and are closely associated with the world that is associated with his internal expecta-tions, experiences, which they recreate in itself and with the world that is recreated and constructed in a certain representation of the film’s characters, and is also closely intertwined with those representations and the fictional reality created by the work of filmmakers. Every component of a film, from cultural code, sound design and acting to narrative structure and visual imagery, contributes to a semiotic fabric that reflects and refracts the complexity of human society

The theatre represents a life. A basis of a folk theatre - opposition of the beginnings of goods and evil, riches and poverty, love and hatred, work and laziness, an act and punishment. Language of traditional theatre in India and China, In Korea and Japan is thought over up to the smallest details. Art of a make-up and masks, and of suits, poses, movements of all parts of a body, rhythms, diction and intonations are developed so carefully, that makes the partita of performance. Masks - the important component of all cultures allowing the person to present the fear or a deity to be filled with his forces. Therefore masks in all cultures were esteemed as faces, relics. In it mean a mask as the complete image, with special movements corresponding only to it, rhythms and dances differs from the European understanding of a mask. Art of a mask in Europe developed thanking masquerades to customs. The masks used in rituals and masquerades, mean the complete image accompanying with a certain suit, accessories - rattles and a loop, and also special movements corresponding only to these mask, rhythms, dances and music. But the aesthetics of a cinema shows, it is possible to have a conversation at all about though all and submits to laws of prospect and the directed perception. In a cinema the same message can be stated to different words - the staff. Since XVI century, in Ottoman empire special popularity was got with a shadow play ("Black-eyed"), arisen under influence of culture of India and Egypt. The important role in becoming a folk theatre of Azerbaijan dramatized stages widely known in people Have played. In language of cinema, as well as usual language, the metaphor can be understood as change of signs, various on value, but used in identical syntactic contexts. Both in Turkey, and in Azerbaijan the Turkish cinema had the big popularity. Especially, the created roles actress Тoorkan Shoray, a symbol of a turkish cinema of 1950-1970. Jafar Jabbarli - the known Azerbaijan playwright, was considered as a symbol and the founder of school of film-script writers of Azerbaijan at the end of XIX century.

One of the urgent tasks in culturological science is the study of the problem of the language of cinema in the context of culture. An important role in the formation of the language of cinema was played by theoretical and methodological symbolic studies of culture. In this regard, in this article, the authors consider the main provisions and tasks of the symbolic study of culture, the formation of symbolism in the construction of the language of literature, poetry, in general, their role in the formation of a symbolic understanding of cultural phenomena in human life. The authors of this article analyze the influence of symbolic studies of culture on the formation of the language of cinema. The main objectives of the article are to determine the theoretical contribution of symbolic studies in the study of culture, to show their influence on the formation of the language of cinema. To this end, the authors analyzed the main works of scientists involved in the study of culture from the standpoint of a symbolic approach. The novelty of the study lies in determining the role of symbolic studies of culture in shaping the language of cinema. Determining the contribution of symbolic concepts to the study of culture, the authors of the article emphasize the influence of these studies on the formation of the language of cinema, but at the same time, the construction of a symbolic language.

Sergej M. Ejzenstejn was very much involved with psychology and psychoanalysis. He was an important friend of Lev Vygotskij, founder of cultural-historical psychology, and of Aleksandr Lurija, father of modern neuropsychological assessment: both Vygotskij and Lurija in the early 1920s were among the supporters of psychoanalysis in Russia and members of the Moscow Psychoanalytic Society. In Ejzenstejn’s writings on film language we find psychological concepts of Vygotskij, such as agglutination and internal speech, that were present in the theory of film editing. As far as psychoanalysis is concerned, Ejzenstejn was very much interested in the concept of regression: the art lover, including the movie spectator, must regress and at the same time activate the most mature part of the psyche. Ejzenstejn was friend of Hanns Sachs and knew Otto Rank, Sandor Ferenczi, Franz Alexander, and Wilhelm Reich. In 1929 he gave a lecture at the Berlin Psychoanalytic Institute. In the USSR and in the USA he had two short experiences of psychoanalytic therapy.

The analysis of discussions, regarding the creation of the Polish has become a powerful stimulus for creating a completely new point of view on the beginnings of the Ukrainian language.This article proposes a new approach to research into Ukrainian standard. This term - much better than the somewhat outdated term literary language, suggesting a certain artistry of the author's utterance - is, however, still used in parallel with the generally accepted term language.The authors start from the theory created by Stanislaw Urbanczyk and developed by Bohdan Walczak, according to which one can speak about language with the emergence of the first norm.The norm of the Ukrainian language has undoubtedly been created for many centuries and taking into account various cultural influences. However, undoubtedly its origins can be traced back to the period of Kyivian Rus. Similarly to Latin for Polish the Church Slavonic language for Ukrainian became an incentive to create one's own standard. The process of shaping the Polish and Ukrainian standards, however, was not the same.Incomprehensible to the ancestors of today's Poles, Latin forced the creation of a completely separate system that only used Latin lexis.Not completely understood by the ancestors of today's Ukrainians, for some time Church Slavonic language was a sufficient means of expression. However, from the very beginning (i.e. from the 11th-11th centuries) there are visible attempts to adapt this language to local pronunciation, which can be treated as the first attempts to create a general language norm.The oldest texts in the Church Slavonic language reflect the most characteristic features of the Ukrainian which today are the norm of the language. In this approach, they should be treated as the oldest monuments of the Ukrainian language.

The language of media, especially language of cinema is relatively an unexplored area in the field of academic research. In Bangladeshi commercial cinema, it is often noticed that actors switch their codes from Bangla to English while speaking. However, it should not be thought that in cinema code switching is done without any reason; rather code switching in the dialogues is designed to convey the intended meaning. Therefore, it is important to investigate the phenomenon of code switching in Bangladeshi commercial cinema from an academic point of view. This research is descriptive and qualitative in nature. Its purpose is to find out the reasons and types of code switching which are found in the commercial films of Bangladesh. For this research, data are collected from commercial Bangladeshi films and interviews have been conducted with experts from linguistics and film background. After collecting the data, they are transcribed, tabulated and analyzed in terms of the research objectives. DOI: http://dx.doi.org/10.3329/sje.v7i0.14479 Stamford Journal of English; Volume 7; Page 263-285

본 연구에서는 소설이 성공적으로 영화화하기 위해 필요한 과정에 대해 살펴보고자 한다. 기존의 연구를 통해 소설의 서사구조가 영화라는 매체에 적합한 서사구조로 바뀌어야만 좋은 결과를 만들어낼 수 있음은 익히 알려져있다. 그러나 서사구조의 변경은 성공적인 영화화의 필요조건이기는 하지만 충분조건이 되지는 않는다. 제시된 서사구조에 영화다운 표현을 붙여야 비로소 좋은 결과물이 될 수 있을 것이다. 이미지와 사운드의 구성과 배치를 말하는 영상 언어는 영화적인 표현의 핵심이다. 소설 "내 친구 기리시마 동아리 그만둔대"는 한 챕터 당 한 명의 일인칭 시점으로 고등학교 학생들의 일상을 그려낸 작품이다. 영화 <키리시마가 동아리활동 그만둔대>는 소설의 서사구조를 바꾸어, 전반부는 다양한 인물이 겹쳐보이도록 같은 시간대를 여러 번 반복하여 보여주고, 후반부는 인물들을 학교 옥상으로 모아 하나의 사건을 진행하는 단선적인 구도를 선택하였다. 그리고 이 구조를 표현하기 위해 여러 명을 동시에 표현할 수 있는 가로로 넓은 화면비, 반복되는 사건을 다르게 보여줄 수 있는 구도, 마지막 시퀀스에 힘을 주기 위한 조명과 음악의 대비 등 다양한 영상 언어를 사용하고 있다. This study examines the procedure of successful novel adaptation. It is well known from precedent studies that narrative structure of novels should change forms to suit the media characteristics of films. But, the changing forms of narrative structure is not a sufficient condition of successful novel adaptation, but a necessary condition. A successful adaptation could be completed with filmic expressions on the presented narrative structure. The core of filmic expression is cinematic language which means the composition and array of image and sound. The novel, Kirishma Thing deals with everyday life of high school students and it consists of six stories which are narrated by one student each in first person point of view. The film, Kirishma Thing implemented a different strategy. It reveals the same events several times to show many characters over in each person's point of view in the first half. In the second half, all the characters gathers at the rooftop of the school to have an unilinear narrative structure over one event. This film utilize all kinds of cinematic language to achieve these structures including the widescreen aspect ratio which exposes as many characters as possible in one shot, picture composition which shows the same event in a different point of view, contrast in lighting and music which differentiates and empowers the last sequence of the film.

This film is adapted from the same named work of the Kyrgyz writer, Cengiz Aytmatov. Although the film's textual discourse addresses to Kyrgyzstan, the filmic narrative is also a reflection of our traditions, since it was shot in Turkey. The common 'discourse' and 'narrative' is the handling of the challenges of love- and labor- love. In the film, love is not only passive when compared to love, but also the mother makes her choice regarding her child's choice, labor. Therefore, in the end, the decision Asya makes - she chooses Cemsit, not Ilyas- emerges as a difference in the filmic narrative. We are going to analyze this film in the context of film language by using textual analysis as a method. We will investigate different points of views through the textual elements, by the narrative textual analysis and the filmic language that we form. We will also focus on labor and love, like the woman and the child do. Characters, temporal and spatial relations, role models, references, camera moves, angles, lines, light and sound are among the most effectual elements in this film's narrative.