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LINGUOCOGNITIVE FOUNDATIONS OF FILM DISCOURSE
Saydaliyeva Matluba
PhD student at Alisher Navoi University of
Uzbek Language and Literature
https://doi.org/10.5281/zenodo.15761492
Abstract:
This article analyzes the concept of film discourse and its
linguocognitive properties. It sheds light on the scientific basis on how film
discourse is formed through language, thought, and multimodal expression, as
well as its relationship with cognitive frames, concepts, scenarios, and emotional
reactions. During the analysis, it is explained how language units are processed
in the human mind, and what semantic fields are formed through film characters
and events, based on examples.
Keywords:
film discourse, linguistic cognitive, frame, concept, multimodal
discourse, speech act, semantic field.
The formation of new approaches in linguistics and the development of the
scientific paradigm determined the need for a deep analysis of linguistic
phenomena, including such concepts as "text" and "discourse". If in the first half
of the 20th century the main attention of researchers was primarily focused on
the structural features of language, then from the second half of the century
there was a shift in attention to the functioning of language in real
communicative conditions.
In the field of modern linguistics, discourse analysis has become one of the
most comprehensive methodologies. In particular, the profound influence of
cinema on the thinking of society, the semantic layering of its language tools, has
made it an independent object of analysis. Unlike ordinary text, film discourse
has multimodal, interactive and connotative properties, in which, along with
language, visual, auditory and emotional components are combined. Therefore,
its study based on a linguocognitive approach is one of the current scientific
issues.
The concept of film discourse and its characteristics
Cinematic discourse is a type of discourse inherent in the art of cinema,
inextricably linked with other non-linguistic signs (image, facial expressions,
musical background, montage). It constitutes a communicative process between
the screenwriter, director, actor and viewer. Scholars such as VN Toporov, TA
van Dijk, ND Arutyunova, MM Bakhtin consider discourse not limited to
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language alone, but as a contextual and socio-pragmatic system.
1
The main
features of this discourse are:
Multimodal character - through cinema, meaning is created not only
through language, but also through facial expressions, gestures, visual images,
background music, and other semiotic means.
Interactivity – the viewer perceives the film not passively, but cognitively
actively: he understands the context, guesses the intentions of the characters,
and responds emotionally.
Cognitive scripts - in film, reality is often depicted based on a stereotypical
chain of events (scripts), which are associated with pre-existing knowledge and
assumptions in human thinking.
Linguistic features
The linguistic elements in film discourse are specially selected. These
elements are distinguished by the following aspects:
Dialogues are similar to real-life speech, but perform a more dramatic
function. Each line reflects the character's psychological state, social status, and
personality.
Speech acts – in film discourse, directive (command, request), expressive
(emotional), and informative acts often prevail.
Pragmatic devices – context-dependent meanings, irony, metaphor, and
other pragmatic indicators are widely used.
Cognitive aspects
Cognitive linguistics analyzes how film text is perceived in the human mind.
The main concepts in this are:
A frame is a mental schema for understanding a real event. For example, a
"war frame" or a "family frame."
A script is a stereotypical model of a sequence of events. In cinema, a script
not only shapes the plot, but also cognitive expectations.
Also, emotional cognition - that is, the emotional states (fear, joy, disgust)
that arise during the process of watching a film - shapes cognitive reality.
Concepts – through the characters of the film, certain concepts (for
example, "freedom", "justice", "homeland") are manifested and activated in the
mind of the viewer.
Emotional cognition - emotions are not only expressed through film
discourse, but also evoke certain cognitive reactions in the viewer.
Analysis with examples
1
Arutyunova, N.D. (1990). Discourse. V sb. Linguistic encyclopedic dictionary. Moscow: Soviet Encyclopedia
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For example, in the famous Uzbek film "Mahallada duv-duv gap", one of the
main characters' feelings is: "Don't let the story get out to the neighborhood,
there's something called reputation!"
Analysis: sociocognitive elements: the phrase "talk" - metaphorical
meaning: talk is cognitively interpreted as something that is physically
transmitted.
Cultural code: Reputation is a mental construct, meaning it is not a real
object, but it has a very strong real impact on people.
Collective discourse: The film depicts the neighborhood as a unit of social
consciousness.
Multimodality and semiotic systems
To fully understand film discourse, it is important to analyze it from a
multimodal perspective. Language is the primary, but not the only, tool. The
following also create semantic meaning:
Visual codes (colors, composition, clothing);
Audial codes (background music, sound effects);
Cinema paradigm (film genre, cultural context).
For example, dark colors, slow movement, and soft music evoke a sense of
danger or tragedy in the cognitive mind. The film analyzes national mentality,
cultural values, and visible and invisible processes in the mind.
Cinematic discourse, while being a linguistic tool, is also a screened form of
human thought.
Film discourse analysis combines linguistic and cognitive approaches to
uncover the deep essence of film text. It reveals the inextricable link between
human thought, cultural experience, and linguistic means. In today's era of
globalization, studying the relationship between language and thought through
film discourse is an important direction for modern linguistic research.
References:
1.Arutyunova, N.D. (1990). Discourse. V sb. Linguistic encyclopedic dictionary.
Moscow: Soviet Encyclopedia.
2.Van Dyck, T.A. (1989). Yazyk. Poznań. Communication. Moscow: Progress.
3.Kubryakova, E.S. (2004). Yazyk i znanie: Na puti polucheniya znaniy o zazyke.
Chasti rechi s cognitive eye sight. Moscow: Yazyki slavyanskoy kultury.
4.Fowler, R. (1991). Language in the News: Discourse and Ideology in the Press.
London: Routledge.
5.Kress, G. & van Leeuwen, T. (2001). Multimodal Discourse: The Modes and
Media of Contemporary Communication. London: Arnold.
DEVELOPMENT OF PEDAGOGICAL TECHNOLOGIES IN
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6.Lakoff, G., & Johnson, M. (2003). Metaphors We Live By. Chicago: University of
Chicago Press.
7.Iskandarova, D. (2018). “Linguistic and pragmatic analysis of film discourse”.
Issues in Uzbek linguistics, No. 2.
8.Karimov, O. (2020). “Cognitive Linguistics and Discourse: Theoretical
Approaches”. Philology and Language Teaching, No. 4.
9.Rizayeva, M. (2022). “Cinema Discourse and Multimodal Communication.”
Languages and Intercultural Communication, No. 1.
