MOVIE SLOGAN AS AN ADVERTISING TOOL: INFLUENCE AMPLITUDE OF LINGUISTIC AND SEMIOTIC VARIETIES

Abstract

The article is devoted to the problem of determining of the influence amplitude of movie slogans’ linguistic and semiotic varieties as advertising tools. The author of this article makes the following conclusions: 1) the definitions of the concept of “movie slogan” in many sources do not correlate with the main features of the cinema discourse. They more indicate the connection of the movie slogan with the advertising slogan. The discourse of cinema is different from the discourse of advertising: the first has equal rights between the verbal and visual parts, the second does not have equal rights. Therefore, we proposed the following definition: a movie slogan is an acoustically and / or graphically presented phrase that indicates the main idea of the film, has a direct connection with the video style and contains a lot of influence markers that perform an advertising function; 2) for the classification of movie slogans, we used the Ch. Pierce’s classification. As a result, we distributed all movie slogans into three large groups depending on the semiotic status of their keywords. The first and smallest group consists of movie slogans in which the key words are copy signs (see, invisible, beauty). The second group contains movie slogans in which key words have symbolic signs (love, mind, happiness, freedom, friendship, truth, time). The third and largest group contains movie slogans with index signs. We assigned proper names, indexes and pronouns, quotes and intertextual links to index signs; 3) using the methods of suggestive linguistics and neurolinguistic programming, we determined that the movie slogans with copy signs and symbolic signs are instruments of suggestive influence. The movie slogans with index signs can activate suggestive and manipulative effects.