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KINODISKURSNING LINGVISTIK VA EKSTRALINGVISTIK XUSUSIYATLARI
Ollomurodov Arjunbek Orifjonovich
Buxoro davlat universiteti, mustaqil tadqiqotchi
E-mail: arjun.ollomurodov@icloud.com
https://doi.org/10.5281/zenodo.14800993
Annotatsiya:
Kino san’ati – ommaviy kommunikatsiyaning eng ta’sirchan vositalaridan
biridir. Ushbu noyob madaniy hodisa tez rivojlanish, global tarqalish va butun dunyo bo‘ylab
tomoshabinlarga ta’sir ko‘rsatish bilan ajralib turadi. Ushbu maqolada "Gone with the Wind"
filmida kino diskursining lingvistik va ekstralingvistik xususiyatlari tahlil qilinadi.
Kalit so‘zlar:
madaniyat, til, diskurs, semiotika, dialekt, dialog, ekstralingvistik, diegetik,
non-diegetik, retorik vosita, vizual.
Kinodiskurs faqat gapirilgan so‘zlardan iborat emas. Bu – ma’noni yaratish va
tomoshabinni jalb qilish uchun birlashgan turli elementlarning murakkab o‘zaro ta’siridir. Film
diskursi turli xil belgilarni umumiy semantik, funksional va struktural sohada sintez qilishning
yorqin misolidir. Oddiy belgilarning kombinatsiyasi birinchi tartibdagi murakkab belgilarga, bu
esa ikkinchi tartibdagi yanada murakkabroq belgilarga aylanadi (Mechkovskaya, 2017). Film
diskursining belgilarini lingvistik va non-lingvistik guruhlarga ajratish mumkin. Har bir
guruhda, Pirsning tasnifiga ko‘ra, ikonalar, indekslar va simvollar ajratilgan. Til vositalari
asosan yozma (filmning haqiqatiga kiruvchi posterning, ko‘cha nomining, xatning matni kabi
yozuvlar) va og‘zaki (aktyorlarning gaplari, ekran ortidagi matn, qo‘shiq) belgilari va simvollar
bilan ifodalanadi (Slyshkin & Efremova, 2004). Indekslar va ikonalar tilda kam uchraydi; har
ikki turdagi belgilar kino diskursida ishlatiladi – intonatsiya, interyeksiyalar va shifterlar tabiiy
tilda indekslar bo‘lsa, onomatopeya esa ikona hisoblanadi (Mechkovskaya, 2017). Kino
diskursining non-lingvistik komponenti asosan ikonalar va indekslar bilan ifodalanadi, ular
vizual va audial bo‘lishi mumkin. Audial qism (tabiiy shovqinlar, texnik shovqinlar va musiqa),
shuningdek, badiiy film ichidagi hujjatli filmlar bo‘limlari indeks belgilari sifatida ko‘rsatiladi.
Vizual qism (odamlar, hayvonlar va obyektlar tasvirlari, harakatlar ketma-ketligi, imo-
ishoralar, yuz ifodalari) asosan ikona va indeks belgilari bilan ifodalanadi (Slyshkin &
Efremova, 2004).
"Shamollarda qolgan hislarim" filmi
(1939) – bu kino san’atining
durdonalaridan biri bo‘lib, uning bardavom kuchi va maftunkor hikoya qilish uslubi lingvistik
hamda lingvistik bo‘lmagan xususiyatlarning uyg‘unligiga bog‘liq. Ushbu tadqiqotda ushbu
elementlar qanday qilib tomoshabinni butunlay o‘ziga jalb etuvchi tajriba yaratishga xizmat
qilishi tahlil qilinadi. Filmda kino diskursining bir nechta lingvistik va lingvistik bo‘lmagan
xususiyatlari izohlar bilan tahlil qilinadi:
I. Lingvistik omillar:
1.
Dialog:
a) Mazmun:
Qahramonlar tomonidan aytilgan so‘zlar syujet rivojini, munosabatlarni va
xarakter xususiyatlarini ochib beradi. Lug‘at tanlovi, rasmiylik darajasi va jargon
qahramonlarning ijtimoiy sinfi, ta’lim darajasi va hududiy kelib chiqishini aks ettiradi.
b) Ifoda uslubi:
Dialog qanday yetkazilishi so‘zlarning o‘zicha emas, balki ularning ma’nosi
uchun ham juda muhimdir. Ovozni ohanglantirish, gapirish sur’ati va urg‘u kibr, qo‘rquv,
muhabbat yoki boshqa har qanday tuyg‘uni yetkazishi mumkin.
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c) Lahja va talaffuz:
Qahramonlarning nutq uslubi ularning kelib chiqishi, ijtimoiy maqomi va
hatto shaxsiy xususiyatlari haqida ma’lumot beradi.
Film janubiy lahjaga xos bo‘lgan talaffuz va so‘zlashuv uslubidan foydalanadi, bu esa o‘sha
davr va geografik joylashuvni aks ettiradi. Masalan, Skarlett O’Hara va Rett Batler kabi
qahramonlar mahalliy iboralar va cho‘zib talaffuz qilish usulini qo‘llaydilar, bu esa filmga
haqiqiylik va mintaqaviy ohang bag‘ishlaydi. Dialoglar qahramonlarning xarakterini va
jamiyatdagi ijtimoiy tabaqalanishni ochib berishda samarali ishlatiladi, bunda sinf farqlari
rasmiylik darajasi va ishlatilgan lug‘at orqali yaqqol namoyon bo‘ladi.
1.
Narration:
a)
Voiceover: A disembodied voice providing context, background information, or the inner
thoughts of a character.
b)
Direct address: When a character speaks directly to the audience, breaking the fourth wall
and creating a more intimate connection.
The film uses narration sparingly, primarily at the beginning and end, to establish context
and guide the viewer. The elegant language used in the narration contrasts with the more
informal dialogue, creating a sense of historical distance and epic scope.
2.
Written language:
a)
Inter-titles: Text on screen used to convey dialogue in silent films, or to provide additional
information in sound films, such as dates, locations, or news headlines.
b)
Signs and symbols: Text within the scene itself, such as on billboards, newspapers, or shop
signs, which contribute to the setting and atmosphere.
In certain scenes, characters switch between languages, such as when Scarlett speaks
French with her governess or Rhett uses slang with Belle Watling. This reflects the multilingual
reality of the South and further highlights the characters' social backgrounds and relationships.
The dialogue is rich with rhetorical devices like metaphors, similes, and hyperbole, which add
depth and emotional impact. For example, Scarlett's famous line, "After all, tomorrow is another
day," employs a simple yet powerful metaphor for hope and resilience.
I.
Extra-linguistic factors:
1.
Music:
a)
Underscoring: Background music that sets the mood and emotional tone of a scene. It can
create tension, suspense, joy, or sadness.
b)
Leitmotif: A recurring musical theme associated with a particular character, place, or idea.
The iconic score of "Gone with the Wind" plays a crucial role in setting the mood and amplifying
emotions. The sweeping melodies evoke the grandeur of the Old South, while poignant themes
underscore moments of loss and heartbreak.
2.
Sound effects:
a)
Diegetic: Sounds that originate from within the world of the film and can be heard by the
characters, such as footsteps, gunshots, or car horns.
b)
Non-diegetic: Sounds added to the film that do not originate from the story world, such as
background music or a narrator's voice.
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The film uses sound effects strategically to create a realistic atmosphere and enhance the
viewer's engagement. The sounds of cannon fire, galloping horses, and bustling crowds
immerse the audience in the midst of the Civil War and Reconstruction era.
3.
Visuals:
a)
Cinematography: Camera angles, movement, and shot composition influence how the
viewer perceives the scene and characters.
b)
Mise-en-scène: The arrangement of everything that appears in the frame, including sets,
costumes, props, and actors, which contributes to the overall atmosphere and symbolism.
c)
Lighting: The use of light and shadow can create mood, highlight important elements, and
symbolize emotions.
The cinematography of "Gone with the Wind" is breathtaking, utilizing panoramic shots to
capture the vastness of the landscape and close-ups to reveal the characters' emotions. The use
of color, lighting, and costume design further contributes to the visual storytelling.
4.
Acting:
a)
Facial expressions and div language: Nonverbal cues that convey emotions, intentions,
and subtext.
b)
Gestures and movement: Physical actions that reveal personality traits and relationships
between characters.
The performances in "Gone with the Wind" are legendary, with actors like Vivien Leigh
and Clark Gable bringing their characters to life with nuance and charisma. Their facial
expressions, div language, and delivery of dialogue convey emotions and motivations beyond
what words alone can express.
The true magic of "Gone with the Wind" lies in how these linguistic and extra-linguistic
features interact and complement each other. For instance, the Southern dialect is enhanced by
the actors' drawl and expressions, while the music underscores the emotional weight of key
dialogues. The panoramic visuals of Tara are paired with Scarlett's passionate declarations
about her love for the land, creating a powerful connection between character and setting.
In conclusion, "Gone with the Wind" masterfully utilizes both linguistic and extra-
linguistic features to create a cinematic experience that is both aesthetically captivating and
emotionally resonant. The interplay of dialogue, music, visuals, and acting brings the story to
life, immersing the audience in a bygone era and leaving a lasting impression.
References:
1.
Mechkovskaya, N. B. (2017). Yazik i filosofiya obshcheniya [Language and communication
philosophy]. Moscow: FLINTA: Nauka.
2.
Slyshkin, G. G., & Efremova M. A. (2004). Kinotekst (opyt lingvokulturologicheskogo
analiza) [Film as a text (a lingua-cultural approach)]. Moscow: Vodolei Publishers..
