У статті зроблено спробу окреслити окремі лінгвософські засади
декодування документального кінотексту як різновиду гетерогенних
текстів. Рецепція й аналіз лінгвальних та нелінгвальних кодів
кінотексту стрічок «Великі українці. Леся Українка» (2007), «Вір
мені» (2005), «Леся Українка. Місія» (2011) спроєктовані на специфіку
реалізації мовних маркерів інфотейнменту. Висловлено гіпотезу, що
інфотейнмент – це універсальний стиль творчої діяльності, що нині
пронизує різні тематичні сфери, зосібна – кінодокументалістику.
In the modern information space of the beginning of the XXI century,
verbal communication is increasingly combined with various nonverbal
ways of transmitting information. Currently in the field of view
of researchers heterogeneous texts characterized by a polycode structure.
Different recipients decode the same heterogeneous text with varying
degrees of depth and adequacy. Traditionally, the following factors
influencing the decoding process are distinguished: personal characteristics
of the recipient of the heterogeneous text; parameters of the heterogeneous
text and the reality reflected in it; the specifics of the situation in which the
decoding takes place.
Among heterogeneous texts, a special place belongs to film text, the
decoding of which is always variant, as it depends on the perception of a
particular viewer, and occurs at the level of the text (verbality) and at the
level of other means of expression (nonverbality).
The polycode nature of modern communication has a powerful influence
on the culture of society and linguistic culture in particular, which is
primarily manifested in media production. In the broad sense, infotainment
is a way of presenting information in an entertainment form based on the
hedonistic function of the media and appealing to the audience’s emotions.
The most widespread linguistic techniques of infotainment are language
play, expressiveness, irony, suspense, dramatization. They are aimed at
ensuring the dynamism and creativity of the plot, emotional influence,
saturation with means of expressiveness. For linguistic analysis, we
consider the term “language marker” of infotainment to be more correct,
since linguists deal with a ready-made, already established media product,
in which certain language tools mark (indicate, help identify) the format
of infotainment, whereas social communication specialists study the
mechanisms for creating media products in this format.
According to the results of the study, the language markers of
infotainment in documentary movies are expressed and concealed, can be
correlated or contrast with the video, but they are combined by a pragmatic
approach to establish contact with the recipient, to attract and to retain his
attention.
