Music in Cinema: Concerning the Question of the Internal Form of the Film Text in the Aspect of Emotiveness

Abstract

The focus of the article is emotiveness, which in the research work of Viktor Shakhovsky and Polina Volkova has acquired the status of a universal methodology relevant for both verbal (poetry and literature) and non-verbal discourses (painting and music). Turning to synthetic works in the domain of cinematography, the authors analyze the films of Alexander Lapshin (Dialogue with Continuation) and Kira Muratova (Three Stories. The Second Story). From a new scholarly point of view, examination is made of the musical accompaniments to the designated films, represented by the musical compositions of Bach — Gounod (Ave Maria) and Vasily Agapkin (the march Farewell of Slavyanka). It is the music that determines the turn to the inner form of artistic expression, acting as the emotive potential of the semantics of the film text. It is emphasized that the indicated emotive potential determines both the ethical and aesthetic essence of the verbal sign and its emotional richness, awakening the formation of spiritual energy. The indicated attitudes demonstrate the prospects for the interaction of linguistics and musicology, creating precedents for working with such forms that require active participation from the communicants of artistic expression. As a result, the category of emotivity, developed in a field different from linguistics, acquires new characteristics. Ensuring its viability, emotivity demonstrates the obvious priority of the human factor in the era of digitalization and artificial intelligence.

Keywords: music and linguistics, emotiveness, synthetic text, feature film, non-verbal artistic discourse