Journal sections
Archive and statistics
Log in

Печатный вестник PRINTED
Издательство МГОУ Publishing house the

Our address: 105005, Moscow, Radio street,10a, office 98.

+7 (495) 780-09-42 add. 1740,
+7 (495) 723-56-31


Work schedule: Monday to Thursday from 10-00 to 17-30,

Friday from 10:00 to 16-00,

lunch break from 13:00 to 14-00.



BK Facebook Telegram Twitter Instagram

Bulletin of the MRSU / Section "Philological sciences" / 2020 № 3.


Y.A. Evgrafova (Zakirova)



UDC Index: 81’37

Date of publication: 14.08.2020

The full text of the article

Downloads count Downloads count: 49


Aim. The aim is to describe the interaction between verbal and non-verbal units generating meaning in the dynamic scope of the screen heterogeneous text. Methodology. The main bulk of the work is the analysis of the mass culture texts – film texts and teletexts. The research is based on feature film “Midnight in Paris” and TV show “Morning of the Friday” (season 6, episode 38) at the level of several shots. Chosen fragments are divided into structural units and their meanings as separate components of the text and then the ways of generating new meanings by the means of their constellation with each other in different fragments of the narration are analysed. To structure and regulate the process of the study the following methods are used: philosophical general-logical; general scientific and empirical; disciplinary methods. Results. The author comes to the conclusion that in space-time continuum of the text the meaning of verbal and non-verbal units depends not only on their position within one or two shots but also on juxtaposition in syntagmatic of screen speech – in the chain of shots, which is named “constellation” in this work. Besides, it is concluded that constellation of verbal and non-verbal units creates the mimetic layer of the text – the world of the imaginary universum, the field of action of audio-visual narration, which is perceived by the viewer directly. Research implications. In the conclusion it is stated that the perspectives of the further study of the constellation of the polycode-multimodal text verbal and non-verbal units will allow linguists to gain deeper insight in the mechanisms of the mass culture screen texts manipulation with the viewer consciousness.

Key words

polycode-multimodal text, the screen speech, screen language, non-verbal units, audial units, verbal units, film text, teletext

List of references

1. Arnkheim R. Iskusstvo i vizual’noe vospriyatie [Art and visual perception]. Moscow, Arkhitektura-S Publ., 2012. 392 p.
2. Babich E. V. [Sense-generating potential of the iconic attractor in the structure of polycode literary text]. In: Filologicheskie nauki. Voprosy teorii i praktiki [Philology. Theory and practice], 2016, no. 7–3 (61), pp. 64–67.
3. Bazen A. Chto takoe kino? [What is cinema?]. Moscow, Art Publ., 1972. 384 s.
4. Balбzs B. The Spirit of Film (Russ. ed.: Fridland N., transl. Dukh fil’my. Moscow, Goslitizdat Publ., 1935. 200 p.).
5. Barthes R. [The problem of meaning in cinema]. In: Zenkin S. N., transl., comp. Sistema mody. Stat’i po semiotike kul’tury [Fashion system. Articles on the semiotics of culture]. Moscow, 2004, рр. 195–199.
6. Barthes R. S/Z (Russ. ed.: Kostikov G. K., Murat V. P., transls. S/Z. Moscow, Academic project Publ., 2009. 373 p.).
7. Bellur R. [Unreachable text]. In: Razlogov K., comp. Stroenie fil’ma [Film structure]. Moscow, Raduga Publ., 1984, рр. 221–229.
8. Deleuze G. Cinema (Russ. ed.: Skuratov B., transl. Kino. Moscow, Ad Marginem Publ., 2004. 622 p.).
9. Evgrafova Yu. A. Screen “language” and screen “speech” in the static scope of the heterogeneous texts: discrete units of the movement continuum. In: Vestnik Moskovskogo gosudarstvennogo oblastnogo universiteta (elektronnyi zhurnal) [Bulletin of Moscow Region State University (e-journal)], 2019, no. 2. Available at: (accessed: 25.01.2020).
10. Evgrafova Yu. A., Novikova M. G. Verbal and audial components of the screen “speech”. In: Vestnik Moskovskogo gosudarstvennogo oblastnogo universiteta (elektronnyi zhurnal) [Bulletin of Moscow Region State University (e-journal)], 2019, no. 4. Available at: (accessed: 25.01.2020).
11. El’mslev L. Prolegomena to a Theory of Language (Russ. ed.: Mazo V. D., comp. Prolegomeny k teorii yazyka Moscow, KomKniga Publ., 2006. 248 p.).
12. Kobzeva E. V. [Polycode text as an object of philological analysis]. In: Izvestiya Volgogradskogo gosudarstvennogo pedagogicheskogo universiteta [Bulletin of the Volgograd State Pedagogical University], 2017, no. 10 (123), pp. 58–62.
13. Kon’kov V. I., Maevskaya M. I. [Documentary: the history of polycode text formation]. In: Vek informatsii [Information age], 2016, no. 2, pp. 80–83.
14. Korchagin S. S. [Translatological specificity of on-screen text localization in the television series “Sherlock”]. In: Filologiya i chelovek [Philology and man], 2017, no. 1, pp. 145–151.
15. Krakauer Z. Priroda fil’ma: Reabilitatsiya fizicheskoi real’nosti [The Nature of Film: Rehabilitation of Physical Reality]. Moscow, Iskusstvo Publ., 1974. 387 p.
16. Kuleshov L. V. Iskusstvo kino. Moi opyt. T. 1 [The art of cinema. My Experience. Vol. 1]. Moscow, Art Publ., 1987. 448 p.
17. Lotman Yu. M. [Semiotics of cinema and problems of cinema aesthetics]. In: Ob iskusstve [About art]. St. Petersburg, Iskusstvo-SPb Publ., 2005, pp. 288–372.
18. Maksimenko O. I. [Semiotics (verbal and non-verbal) of multi-fandom world (based on Marvel, DC and Bubble comics)]. In: Voenno-gumanitarnyi al’manakh T. 1. Vyp. 2. Yazyk. Kommunikatsiya. Perevod. Seriya: Lingvistika [Military-humanitarian almanac. Vol. 1. Iss. 2. Language. Communication. Translation. Series: Linguistics]. Moscow, International Relations Publ., 2017, pp. 36–47.
19. Metz C. The Imaginary Signifier: Psychoanalysis and the Cinema (Russ. ed.: Kalugin D., Movnina N., transls. Voobrazhaemoe oznachayushchee. Psikhoanaliz i kino. St. Petersburg, Publishing House of the European University in St. Petersburg, 2010. 336 p.).
20. Min’yar-Belorucheva A. P. [The polycode of art criticism discourse]. In: Vestnik Yuzhno-Ural’skogo gosudarstvennogo universiteta. Seriya: Lingvistika [Bulletin of the South Ural State University. Series: Linguistics], 2017, vol. 14, no. 4, pp. 16–20.
21. Nekrasova E. D. [On the question of the perception of polymodal texts]. In: Vestnik Tomskogo gosudarstvennogo universiteta [Tomsk State University Journal], 2014, no. 378, pp. 45–48.
22. Pudovkin V. Izbrannye stat’i [Featured Articles]. Moscow, Art Publ., 1955. 464 p.
23. Tynyanov Yu. N. Poetika. Istoriya literatury. Kino [Poetics. Literature history. Cinema]. Moscow, Science Publ., 1977. 575 p.
24. Ward P. Picture Composition for Film and Video (Russ. ed.: Amurova A. M., Volkova Yu. V., transls. Kompozitsiya kadra v kino i na televidenii. Moscow, Humanitarian Institute of Television and Radio Broadcasting Publ., 2005. 196 p.).
25. Ukhova L. V. [The visual language of social nets users]. In: Verkhnevolzhskii filologicheskii vestnik [Verhnevolzhsky philological bulletin], 2017, no. 4, pp. 97–100.
26. Shklovsky V. B. Za 60 let: Raboty o kino [Over 60 years: Works on cinema]. Moscow, Iskusstvo Publ., 1985. 573 p.
27. Eco U. La estructura ausente. Introduccion a La Semiotica (Russ. ed.: Reznik V. G., Pogonyailo A. G., transls. Otsutstvuyushchaya struktura. Vvedenie v semiologiyu. St. Petersburg, Symposium Publ., 2006. 544 p.).
28. Eco U. Lector in fabula. La cooperazione interpretativa nei testi narrative (Russ. ed.: Serebryanyi S., transl. Rol’ chitatelya. Issledovaniya po semiotike teksta. Моscow, АСТ Publ., CORPUS Publ., 2016. 640 p.).
29. Yakobson R. Izbrannye raboty [Selected works]. Moscow, Progress, 1985. 453 p.
30. Barthes R. Système de la mode. Paris, Éditions du Seuil, 1983. 352 p.
31. Deleuze G. Cinйma. Cinйma 1. L’Image-Mouvement. Cinйma 2. L’Image-Temps. Paris: Les Йditions de Minuit, 1983.
32. Eco U. La struttura assente: La ricerca semiotica e il metodo strutturale. 8а ed. Milan, Bompiani, 2015. 464 p.
33. Eco U. Semiotics and the philosophy of language (Advances in semiotics). Bloomington, Indiana University Press, 1986. 242 p.
34. Metz Ch. Film Language. A semiotics of the cinema. Chicago, The University of Chicago Press, 1992. 268 p.
35. Metz Ch. Le signifiant imaginaire. Psychanalyse et cinema. Paris, Union gйnйrale d’йditions, 1977. 373 p.
36. Monaco J. How to read a film. Movies, media, multimedia. New York, Oxford, Oxford University Press, 2000. 672 p.
37. Pasolini P. P. Discorso sul piano-sequenza ovvero il cinema come semiologia della realtа. In: Linguaggio e ideologia nel film. Novara, 1968, pp. 135–137.
38. Wollen P. Signs and meaning in the cinema. Bloomington, Indiana University Press, 1969. 192 p.

Лицензия Creative Commons