ORTHOLOGICAL PECULI OGICAL PECULIARITIES OF UZBEK MO TIES OF UZBEK MOVIES’ N VIES’ NAMES

The article considers some aspects of art that differ from other forms of art, the concept of of cinema and its features, literary norms, and the names of films. The following features of the language of are listed: audio-visuality, mobility, imagery, expressiveness, communicativeness, entertainment, personality for the screen, sociality, simplicity, attractiveness, understanding. It is argued that the creation of a film corresponding to our time is directly related to the analysis of the language of in a linguistic aspect. And also, some deviations from literary norms in the names of Uzbek films in the period of independence have been clarified. The spelling, punctuation, morphological, and stylistic deviations in the names of films are analyzed.

Background. The article reveals the essence of the concept of intonation, reveals its composition, function and roles in the language of cinema. Intonation is an adornment of oral speech, it is argued that it is the most important element in revealing the character of the characters. This is proved with factual examples from the films Onam bilmasin (Let Mama Don't Know) and Katta Odam 2 (Big Man 2). It is substantiated that the study of the language of cinema in the linguistic aspect, especially, the study of the phonetic, lexical-semantic and grammatical aspects in the future can lead to an increase in the level of films, some recommendations are given to improve the language of cinema.

The material for this article is the letters and diaries of a student of the Philological Faculty of the Leningrad State Pedagogical Institute named after A. I. Herzen (1945-1949), addressed to her mother in Veliky Ustyug, Vologda region. Some elements of dialect speech found in these documents are of scientific interest. The aim of the research is to study the linguistic dynamics of letters that has developed under the influence of the linguistic environment of Leningrad. The analysis revealed that 1) the most frequent in the texts are lexical dialectisms; 2) morphological deviations from the literary norm can be regarded as vernaculars; 3) syntactic dialectal features are reflected in the specific models of sentence construction and non-traditional principles of connecting homogeneous sentence members. The letters of 1945-49 reveal the dynamics of their author's speech, which demonstrates a gradual assimilation of the literary norm. In the diaries, the literary norm of speech is formed earlier. This indicates that the texts of the letters are oriented to the addressee, who is a speaker of urban half-dialect, and the texts of the diaries - to the person who knows literary speech.

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

A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames. Written in a clear and accessible style, the book examines the work of leading film theorists and philosophers of film, and develops a powerful framework with which to think about cinema as an art.

A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames. Written in a clear and accessible style, the book examines the work of leading film theorists and philosophers of film, and develops a powerful framework with which to think about cinema as an art.

The article deals with issues related to the reconstruction of the past events in the artistic space of the film. Based on the analysis of the film language in the movie “Night porter” (directed by L.Cavani), the stages of the formation of artistic imagery of the film through the recreation of the past epoch are traced. Based on the research, the authors identify mechanisms for implementing the existing principles of forming an idea of the basic model that creates the present in the imagination and consciousness of viewers. The specific character of cinema allows one not to merely observe unfolding events in a detached way, but to get into the very essence of what is happening, becoming an active participant, so it is legitimate to speak about a new experience acquired by the audience. The system of values, and especially the process of its transformation, has always been and will always be of genuine interest to artists, since this is the basis, one might even say, the root cause of transactions existing in society that directly shape its spiritual and moral state. The paper confirms the thesis that the life experience acquired by the viewer through penetration into the consciousness of the artistic imagery of the film, affects the decision making.

Once upon a time? Re-designing the traditional tale: exploring the boundaries and opportunities of contemporary folk tale adaptations in film and associated media

Communication consists of basic units of information transferred between emitters and receivers, often functioning inside a whole structure called language that allows the formation of an unlimited multiplicity of relationships. Conscious or tacit, communication ranges from the explanation of a complex idea, to the natural reading of body conditions that manifest that an individual is up to reproduction. That natural sense of decoding, lets us automatically recognize a certain relationship between whatever two objects we put together, like how a black object relates to a white one, or a top one to the bottom, or even one to the many, constituting a primitive sense of idea, order or thought, without even a representation of the subject. Applied to Film, those kinds of relationships between forms are rhythmic relationships, and rythm is basically the essence of filmmaking, as film (same as music) is a form of art that takes place along time and in the rendition of movement, but rather precisely in the temporal distribution of connected blocks of image/movement, timed chains of tension and release that give a certain sense of mathematical relationships settling the base for an universal language, Giving these considerations , what happens when the language of film is ranslated into a computer programming language in order to emulate cinematic properties? What tensions and nuances emerge? This paper will address these issues using an arts based research project of recreating a short abstract film using entirely the popular media arts prototyping language Processing.

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.

While the parameters of the terms “modernist” and “modernism” are constantly under debate, there is a broad critical consensus that “modernist fiction,” in the Western Anglophone world, usually denotes experimental narrative works produced between 1890 and 1940, and the major figures in British and Irish modernist fiction would include Joseph Conrad, Virginia Woolf, and James Joyce. Prose fiction falling within this category is identified by its breaking with literary norms; being “modern,” in the sense of new, different, unprecedented. And while experimentation in terms of form is most widely seen as identifying modernist literature – breaking up linear narrative, using non‐normative syntax, inventing new forms of narrator, and so on – modernist texts are also characterized by their willingness to address new and sometimes controversial subject matter. Modernist fiction has often been caricatured as holding “real life” at a distance, interested only in its own formal and stylistic innovations. But much modernist fiction is characterized by a direct, often antagonistic, engagement with the lived realities of its rapidly changed, and changing, social and political world, influencing and influenced by the contemporaneous developments in other art forms, as well as presenting complex responses to intellectual developments in every field, from politics and philosophy to physics and biology.

Needles and Threads in Text(ile)s by Dolors Monserdà, Mercè Rodoreda, and Maria-Antònia Oliver Kathleen M. Glenn Patriarchal literary theory, as Sandra Gilbert and Susan Gubar reminded us in The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, has traditionally distinguished between texts, created by men using pen and ink, and textiles, fabricated by women employing needle and thread. Sewing, embroidering, knitting, crocheting, spinning, and weaving, according to men, were crafts, not art forms, and their merit was strictly utilitarian.1 A number of women writers and critics, however, have rejected patriarchal strictures and judgments. At times they have shown how constraining needlework can be; at other times they have vindicated it as a form of artistic expression or used it as a metaphor for female writing. The text(ile)s I examine range from Dolors Monserdà's 1904 novel La fabricanta to Mercè Rodoreda's stories "Tarda al cinema" and "Fil a l'agulla," both from the 1958 collection Vint-i-dos contes, to Maria-Antònia Oliver's 1979 novel Punt d'arròs and 1982 television script Muller qui cerca espill, all of which draw on various forms of needlework to reflect upon women's lives and their writing. In Women, Work, and Representation: Needlewomen in Victorian Art and Literature Lynn Alexander notes that "Regardless of their social class, all women in Victorian England [and in Spain, we might add] [End Page 83] were taught to sew. Thus people encountering a woman sewing in literature or in art could identify with the character - either as women who sewed or as men whose mothers, wives, and sisters sewed" (9). The seamstress became an iconic figure and typically was depicted as young, of the middle class but impoverished, without a feminine role model, and the victim of exploitation (34). The most famous single representation of her is found in Thomas Hood's social-protest poem "The Song of the Shirt" (1843), and Hood's shroud image ("Sewing at once, with a double thread, / A shroud as well as a shirt" [124]) figures repeatedly in verbal and visual arts, including Monserdà's La fabricanta. Dolors Monserdà (1845-1919) was a pioneering figure of Catalan feminism who broke with societal as well as literary norms. Novelist, poet, dramatist, essayist, and journalist, she took an active role as a social reformer and founded el Patronat per a les Obreres de l'Agulla. In her Estudi Feminista (1909) she explained that she wrote to reach a female public: "Escriure per a la dona i que els meus escrits poguessin ésser-li d'alguna utilitat moral i material, veus aquí els meus ideals literaris" (4).2 La fabricanta's subtitle, Novel·la de costums barcelonines (1860-1875), highlights Monserdà's interest in documenting what life was like for women during the second half of the nineteenth century in Barcelona and the part they played in the burgeoning textile industry. The protagonist, with the help of her husband, develops her father's two hand looms into a thriving family business, and most studies of the novel have dealt with this aspect of her life. What interests me here are several brief passages in chapters 2, 3, and 5 which serve to make clear that being industrious and entrepreneurial is not incompatible with being feminine. Antonieta is no less womanly for showing initiative and acting with energy. Chapter 2, "L'Antonieta Corominas," centers on the main character and contrasts her warm, affectionate nature with that of the brother for whom she keeps house, a man who is cold and has no interest in what his sister has to say. The illustration that precedes the chapter pictures a balcony overflowing with flowers. The curtain draped over its edge provides [End Page 84] shade and privacy, and a bird cage hangs nearby. It is on such a balcony that Antonieta treats herself to brief moments of relaxation in spring and summer. The novel's description of the balcony focuses on the flower pots and the goldfinch for which Antonieta cares, activities that create an image of her as properly feminine and domestic, but two details suggest how confining her life...

This article raises the problem of transposition (transposition) of the literary text of the verbal code into the language of cinema, which is relevant in modern linguistics. Within the framework of the presented research, the main stages of the development of cinematography, as well as the main techniques and types of editing, are described. The aim of the study is to analyze the historical stage in the development of a new type of art (cinema), its impact on society, as well as to analyze the relevance of such a phenomenon as the adaptation of a literary work of art. The relevance of addressing this topic is due to the development of modern filmmaking, the number of film adaptations that have come out in recent years. The article describes the views on cinema and film adaptation by Umberto Eco and David Lynch, suggesting that the film adaptation of literary works is a new type of artistic creation that was born in the 20th century and requires more careful research. The article presents an analysis of the novel by L.N. Tolstoy «Anna Karenina», as well as the main world adaptations of the novel. The analysis is carried out in order to identify the main cultural similarities and differences. The paper presents analyzes of such methods of translating meanings as color and cut-off.

The issue of “genre memory” in the noir film language is one of the most relevant problems in the modern study of “black” cinema evolution. In spite of the fact that in the recent years, noir has significantly expanded its traditional artistic “cover”, the study of features and ways of its transformation is one of priority vectors of the research. In the context of audiovisual transformations of the early 21st century, noir is represented by at least two genre constructions (post-noir and neo-noir), which also need to be studied in areas related to “diffuseness” of genres and “hybridization” of artistic film language. The main stages of the formation of noir genre paradigm are considered by the authors. These stages are defined and analyzed in the context of tools of artistic film language: compositional and plastic techniques, stylistic solutions and “genre iconography”. Defining three main periods in the development of the “black” cinema, the authors outline its main typical-specific roles, which form various strategies and forms of existence of classical “genre memory” of noir in different systems of cinematic art thinking. Noir showed an extremely high potential for modification, which led to the expressiveness of its subgenre convention. Example of a number of films shows how directors use or borrow traditional aesthetics of noir with the help of expressive means of cinema. In many cases, semiotics of the “black” cinema becomes an object for the search for new artistic and stylistic solutions, which further confirms the genre elasticity of noir. All of the above allows us to state the existence of a kind of “noir” ontology in artistic film tools, which first of all appeals to the lacuna of “genre memory” using particular range of techniques.

This book has highlighted some of the fundamental changes that have occurred in Bollywood cinema after its economic liberalisation at the turn of the twenty-first century. Through an analysis of various film texts, it has demonstrated how Bollywood, as well as being global and transnational, has reached a postmodern stage that has provided new ways of reading Indian cinema. It has also examined the Bollywood remake, arguing that remaking was contemporary Bollywood's most significant and effective means of achieving creative innovation. Furthermore, it has described some of the devices at the core of New Bollywood's unique cinematic language, such as figural excess and hyperrealism, which enable the cinema to operate differently as an art form and film language. The book concludes by offering a redefinition of contemporary Bollywood cinema, proposing the value of postmodernism as a new alternative method for studying, teaching and articulating Bollywood in the West. It also reflects on Bollywood's future prospects.