Methods of word formation of cinematic vocabulary

Il'in Aleksandr Aleksandrovich ORCID: 0000-0001-7084-8718 Postgraduate student, Department of Germanistics and Linguodidactics, Moscow City University 105064, Russia, Moscow, lane. Small State, 5, of. B sashailiin98@yandex.ru Other publications by this author

Shatilova Lyubov' Mikhailovna ORCID: 0000-0001-6250-0957 Doctor of Philology Professor; Department of German Studies and Linguodidactics; State Autonomous Educational Institution of Higher Education of the city of Moscow 'Moscow City University' 105064, Russia, Moscow, Maly Kazenny lane, 5, office B shatilova-79@mail.ru

Language, as a living organism, is constantly adapting to changes in society, which makes it the subject of endless study and discussion. As G. V. Denisova notes, cinema carries a certain message, which includes the sender (director, screenwriter and actors), the recipient (viewer) and the transmission channel, therefore, methods borrowed from linguistics can be applied to its analysis ^{[6, p. 247]}. One of the key characteristics of the formation of any language is its spontaneous nature. Thus, learning a language requires careful analysis of not only its grammatical structures, but also its lexical ones. The relevance of studying the ways of word formation of cinematic vocabulary is determined by several factors: firstly, cinema is one of the most influential art forms in the modern world, occupying an important place in culture and forming national and global cultural norms, which leads to the constant updating and enrichment of language, including the creation of new words and terms reflecting the processes of, phenomena and technologies related to cinema; secondly, the German language, like other languages of the world, actively borrows lexical units from other languages (especially from English) and creates new words, adapting them to grammatical and phonetic norms. Studying the mechanisms of vocabulary formation makes it possible to clarify patterns and ways of integrating new words into the language and contribute to a better understanding of trends in the development of German film vocabulary, the study of which is also important for translation, due to the need for awareness of lexical nuances and methods of forming specialized terminology for adequate representation.

In order to achieve the set research goal, a number of key tasks were identified and successfully completed: 1) the main ways of word formation of specialized vocabulary used in the field of cinema are analyzed; 2) general patterns of word formation of cinematic vocabulary are revealed; 3) the data obtained are systematized and the main trends and productive ways of word formation in the cinematic terminology system of the German language are determined.

The research strategy was formulated based on research goals and specific tasks. The following methods have found their application in the work: 1) lexicographic analysis method; 2) continuous sampling method; 3) structural method; 4) semantic analysis method; 5) descriptive method; 6) word-formation analysis of words.

The electronic specialized dictionary "Das Lexikon der Filmbegriffe", which is the world's largest collection of German language film terms, was used as the research material. It is published in collaboration with the universities of Kiel, Munster, Hagen, Luxembourg and Zurich. URL: https://filmlexikon.uni-kiel.de/.

The theoretical basis of the research was based on the fundamental works of Russian linguists, thoroughly analyzing the theory of terminology, the mechanisms of the formation of a terminological base in highly specialized fields, aspects of film discourse and the processes of integration of borrowed words from other languages. ^{[4, 5, 6, 8, 9, 10]}.

The practical significance of the research lies in the possibility of using the materials and results of this research in the practice of teaching such linguistic disciplines as introduction to linguistics, semantic and stylistic interpretation of text, lexicology, comparative typology, professionally oriented translation, introduction to the theory of intercultural communication, improvement of speech communication skills, a workshop on the culture of speech communication, and they can also be They are integrated into the preparation of research papers, including dissertations, final qualifying and term papers on relevant topics.

The analysis of the structure of terms provides an opportunity to characterize productive ways and models of word formation, as well as to develop recommendations for the creation of new terms. This analysis contributes to the unification of professional communication, which is an important prerequisite for effective international cooperation. A term is a special lexeme naming a general concept ^{[3, p. 725]}.

The smallest structural unit of a term is the term element, which is not only an independent word in complex terms, but also the basis for word formation, as well as the word-forming affix and symbol ^{[2, p. 46]}. This minimal structural unit does not function independently in terminological systems.

The classification of terminology by S. V. Grinev-Grinevich is an important area of lexicography and terminology studies, which makes it possible to systematize and streamline the processes of vocabulary formation specialized in various fields of knowledge.

In his work, S. V. Grinev-Grinevich distinguishes monolex and polylex terms (words and phrases) from the point of view of form ^{[4, p. 195]}.

There are three types of monolex terms: simple, complex, and affixal terms. For example, die Szene / scene (hereinafter translated into Russian by the authors personally), die Gage / fee, der Filmstreifen / film, die Filmproduktion / film production, die Vorproduktion / pre-production; die Nachsynchronisation / dubbing and others.

Polylexemic terms consist of two or more words, hence, according to the quantitative and structural classification, they can be divided into three subtypes: two-word, three-word, four-word. For example, der Europ ö ische Filmpreis / European Film Award, die Franz ö sische Neue Welle / French New Wave, die British Academy Film Awards / British Film Academy Award and others.

After analyzing more than 500 film terms in the specialized electronic dictionary Das Lexikon der Filmbegriffe, selected by continuous sampling, we can conclude that the cinematic terminology system includes the vast majority of monolex terms. These terms are represented by both simple one-word and complex one-word terms formed by word formation, which is the most effective method of forming nouns and the predominant position of word formation among various methods of word formation is one of the characteristic features of German grammar ^{[1, p. 432]}. This indicates the quantitative predominance of monolexemic terms in comparison with polylexemic ones, which are expressed in the form of phrases. However, among the monolex film terms, there is a quantitative advantage of complex terms.

The set of words in the German cinematic lexicon is diverse and covers a wide range of fields of knowledge, building its own terminological system of common and terminological vocabulary, as well as nomenclature names.

S. V. Grinev-Grinevich, working in the field of onomasiological terminology and describing the forms and types of terminology formation, comes to the conclusion that the standard classification for the analysis of special vocabulary in many fields includes: 1) the semantic method; 2) the morphological method; 3) the syntactic method; 4) the morphological and syntactic method of terminology formation ^{[4, pp. 197-198]}. This classification perfectly reflects the structure of the vocabulary of the cinematic terminological system of the German language.

The semantic method of terminology formation is a change in the meaning of the commonly used vocabulary of a language, being a classic example of terminology formation in various fields of knowledge ^{[4, p. 198]}. This method can be systematized and divided into two large groups within the framework of the cinematic terminology system of the German language.: 1) expansion of meaning; 2) borrowing. Since the emergence of cinematic vocabulary is inextricably linked with the development of the film industry, and the expansion of word meanings is less due to semantic changes in common vocabulary.

The specificity of cinematic vocabulary as a special language does not imply the active use of common words. However, as already mentioned, the composition of this vocabulary is diverse, and therefore the presence of commonly used vocabulary in this area is quite natural.

The expansion of the meaning of words included in the cinematic terminological system of the German language can be represented as the processes of terminologization (specialization) and metaphorization.

Terminologization is the process of forming a new word due to the semantic reinterpretation of a commonly used lexeme and/ or the formation of relevant features of a special word in a commonly used lexeme ^{[11, p. 13]}. A commonly used word becomes special by changing its meaning, but not its form. The terms of this group are formed by expanding the meaning of previously existing words ^{[4, p. 199]}. Examples of the terminologization of film vocabulary considered in this work are terms such as der Streifen / tape, das Format / format, der Titel / title, das Projekt / project; Atmosphere / atmosphere, Fahrt / trip, which originate in the common language. For example, while Fahrt in common parlance means traveling by car or train, in the technical language of the film, Fahrt means traveling with a camera.

Metaphorization is the process of forming a new word through metaphorical perception based on the similarity of the appearance or functionality of the called object ^{[4, p. 200]}. For example, based on the external similarity, the following terms are formed: die Babybeine / baby legs (a tripod with short legs, which is used for shooting from below); der Kaffeesatz / coffee grounds (photographic enlargement of the landscape in order to recreate a model of a swarm of insects above it) and others.; based on the similarity of functions, the following terms are formed: die Angeln / fishing rod (a long stand to which a microphone is attached), das Kaleidoskop / kaleidoscope (a brightly colorful series of pictures that represent a topic without a common thread of narration) and others. Sometimes the external similarity is intertwined with the similarity of functions, for example, the Dolly / dolly (a mobile platform designed for shooting from motion).

As we wrote above, in addition to expanding the meaning, part of the semantic method of term formation is borrowing, which can be both intersystemic and interlanguage.

Cinema is a synthetic art form, and this fact leaves its mark on its terminology. Thus, the cinematographic special vocabulary is filled with words from literature, painting, photographic and theatrical discourses, the sound sphere and the sphere of information technology, etc. The following terms can be attributed to intersystem borrowings: das Stativ / tripod, die Bühne / stage, die Rolle / role, der Erzähler / narrator, das Mischpult / mixing console, der Bildschirm / The screen, the Quadrocopter, and others.

Foreign language borrowings occupy an important place in the evolution of the terminological system of the German language in the field of cinematography. They enrich the language and contribute to reflecting global trends in the film industry. The influence of new technological developments on the film language is also noted by V. Y. Prokofiev and M. A. Nazarov. In their general work, they describe the phenomenon of the appearance of English-language borrowings in the film and television industry caused by the creation of new phenomena in screen production, new genres or formats of audiovisual works, etc.^[12], since this sphere is strongly influenced by English language. According to the dictionary of linguistic terms, borrowing refers to the process and result of the transition from one language to another of words, grammatical constructions, morphemes, and phonemes, emphasizing that this is the most common type of language contact ^{[9, p. 107]}. The following terms can be attributed to foreign language borrowing: der Art-direktor / art director, der Producer / producer, das Kinocenter / cinema center, das Cinemax / cinema, das Summary / summary, der Camcorder / video camera, das Drive-in-Kino / open-air cinema, das Happy End / happy ending, der Bluescreen / chromakey, der Stream / Stream, der Soundtrack / soundtrack, der Akteur / actor, der Modist / modiste, der Kaskadeur / stuntman, das Chiaroscuro / chiaroscuro, das Szenarium / script, die Katharsis / catharsis, die Parodie / parody. As can be seen from the examples of borrowings from English, French, Italian, Latin, and Greek, the vast majority of loanwords are English-speaking, and T. I. Shchelok and D. P. Gostischeva came to this conclusion after analyzing the materials of articles from the "Kino" section of the German-language online publication "Spiegel" ^{[14, p. 171]}. Such foreign-language borrowings can be explained by the fact that international communication is carried out mainly in English ^{[8, p. 57]}.

The morphological method of terminology formation is the process of creating new terms based on morphological elements of language ^{[4, p. 216]}. This method is one of the most common in the German language and is actively used in the film industry to create new terms. S. V. Grinev-Grinevich identifies the following methods of morphological terminology formation: conversion, phonetic-morphological method, suffixation, prefix, prefix-suffix method, truncation ^{[4, pp. 2216-222]}.

One of the early methods of morphological terminology is conversion ^{[4, p. 216]}. A conversion is a transition from one part of speech to another ^{[9, p. 161]}. For example, the transition from an infinitive to a noun, from an adjective to a noun, or from a participle to a noun. In German, infinitive substantiation is especially often used; in film terminology, the following examples can be found: das Montieren / mounting, das Synchronisieren / synchronization, das Schwenken / panning, das Zoomen / zooming, and others.

The phonetic-morphological method is the formation of new terms, which is accompanied by phonetic changes in derived words, for example, alternating stress, changing the root vowel or phonetic variation ^{[4, p. 216]}, but it is not used in the practical formation of the cinematic terminological system of the German language.

Suffixation is one of the affixal ways of word formation, where the main word–forming component is the suffix. This method is one of the most common in German terminology, including in the cinematic terminology system. Common suffixes in this method of terminology are -er, -ing, -ent, -or, -ist, -eur, -tion, -ung, for example, das Casting, der Produzent, der Dramaturg, and others.

In prefix, the word-forming component is a prefix (prefix). This method of morphological terminology is reflected in the following words: der Abspann / end credits, die Aufnahme / frame, die Untertitel / subtitles, der Vorspann / screensaver and others. Many prefixes are involved in the process of the prefixal method of terminology, among which one can single out ab-, auf-, bei-, unter-, über-, ver-, vor.

The prefix-suffix method is one of the combined affixal methods ^{[9, p. 278]}. In German film terminology, it is also one of the most productive ways of terminology formation. Using this method, the following terms are formed: die Abblendung / blackout, die Vorproduktion / pre-production, die Beleuchtung / lighting, die Nachsynchronisation / dubbing and others. In this process of term formation, similar morphemes are used, as in the two previous affixal methods.

The method of truncating the bases is a suffix-free method of word formation based on the reduction of the generating base by the type of abbreviation without taking into account the morphemic seam ^{[9, p. 425]}. For example, Atmo (Atmosphere) / atmosphere, Krimi (Kriminalfilm) / detective, Kino (Kinematograf) / cinematography, das Biopic (biographical picture / biografischer Film) / biopic (biographical film) and others. The truncation of the bases is used more often than the long form of the producing word, probably because of the brevity, which is useful in the technological processes of film production.

The syntactic method of terminology formation is the process of forming new terms using syntactic language tools. Studies of various terminologies of European languages show that word combinations prevail over one-word terms in terminology. Thanks to this method, 60-95% of the composition of various terminologies of modern European languages is formed ^{[4, p. 222]}. This approach provides increased adaptability in language use, allowing the formation of phrases that can be easily reconfigured to suit a variety of conditions. The process of creating new words is often based on already known constructions.

The simplest and most widespread are two-component attributive phrases. The differences between the types of two-component compound terms depend on the degree of formal expression of the defining element. An analysis of German cinematic terminology has helped to identify a number of the most characteristic structural two-component models: Adj + S (Adjektiv + Substantiv), for example, abstrakter Film / abstract film, Goldener Bär / Golden Bear (Berlin International Film Festival prize), romantische Komödie / romantic comedy, titelloser Film / nameless film, Weimarer Kino / Weimar cinema; S + S (Substantia + Substantia), for example, audience flow, Spaghetti Western, Academy Awards, punch line, story editor; S + S (G) (Substantia + Substantia im Genitiv), for example, Altersfreigaben der Filme / age ratings of films, Kinematisierung der Wahrnehmung / Kinematization of perception, Woche der Kritik / critics' week (film festival); Z + S (Zahlwort + Substantiv), for example, f ü nfte Generation / fifth generation (periodization of Chinese cinema), second banana / second banana (supporting character in a comedy sketch), zweiter Bildschirm / second screen and others.

Among the three-component German cinematic terms, the most common are the following models: S + Präp + S

(Substantia + Präposition + Substantia), for example, Film ohne Kamera / tubeless film, Untertitel für Hörgeschädigte / subtitles for the hard of hearing, Walk of Fame / walk of Fame; Adj + Adj + S (Adjektiv + Adjektiv + Substantia), for example, Französische Neue Welle / French New Wave, Neue r Deutsche r Film / new German cinema, New American Cinema / new American cinema; Adj + S + S (Adjektiv + Substantiv + Substantiv), for example, Hamburger Filmmacher Cooperative / Hamburg filmmakers cooperative, outcast couple film / a film about a couple of rejected; small town movie / a film about a small town and others. It is worth noting that three-component terms are formed on the basis of two-component phrases characterized by closer structural and semantic relations ^{[4, p. 227]}.

After analyzing more than 8,000 lexical units of the specialized monolingual dictionary of cinematic terminology "Das Lexikon der Filmbegriffe", it can be concluded that approximately 2.5% of the terms of the entire terminological system under consideration are formed using syntactic language tools, among them 85% are two–component compound terms. Thus, it can be concluded that syntactic methods of word formation are less productive than morphological and semantic ones, but they play an important role in the construction of stable expressions.

The morphological and syntactic method of terminology formation is aimed at the formation of one-word terms through syntactic and morphological transformations of lexical forms ^{[4, p. 232]}. These methods include: 1) ellipsis – the omission of one of the words terminological phrases where the meaning of an entire phrase based on the remaining words, and under the broad interpretation of the term refers to any deletion of any element of the utterance ^{[10, 14]}, for example, der Oscar / Oscar from der Oscar Award / award Oscar, der Bär / bear from der Goldener Bär / Golden bear, das Streaming / streaming from die Streaming Media / streaming (streaming) media and others; 2) compounding – compound in a word of two or more root morphemes ^{[4, c. 233]}, which determines the appearance of the entire series of similar organized complex composites, often with total initial borrowed component ^{[7, p. 466]}, for example, der Spielfilm / feature film, der Stummfilm / silent movie, der Tonfilm / sound film, der Familienfilm / family film, der Horrorfilm / horror film, der Filmschauspieler / actor, der Kostümbildner / costume design, der Bühnenbildner / designer, der Regieassistent / assistant Director, der Blockbuster / blockbuster, die Kameraperspektive / the camera angle, die Lichttechnik / Svetotekhnika, die Filmleinwand / the silver screen, die Filmproduktion / filmmaking, die Filmcrew / crew and others; 3) abbreviations – the process of reducing the names of any object ^{[13, c. 176]}, it is worth noting that in the German language, Gusev A. E. and I. Olshansky G isolated models such abbreviations as letter sound, syllable, mixed, graphic, and contractures ^{[5, c. 106-107]}, for example, ADR: automatischer Dialogaustausch / ADR: automated replacement dialogues, FPS: frames per second / FPS: frames per second, SW: schwarzweiß (Film) / BW: black and white (movie); DEFA: Deutsche Film-Aktiengesellschaft / DEF: German joint-stock company movie, der Krimi (Kriminalfilm) / detective, das Biopic (biographical picture / biografischer Film) / biopic (biographical film) and others. On the one hand, abbreviations are compact, so they have advantages from the point of view of linguistic economy, and on the other hand, they can cause misunderstandings, since they often have ambiguity, especially when theoretically they can be used in several subject areas. For example, in the field of cinema, the abbreviated form IT can be defined as internationaler Ton, meaning the finished soundtrack of a film without dialogues and / or voiceover for international dubbing, also IT: die Informationstechnologie / IT: information technology in the field of computer science. Another disadvantage is the difficulty of determining the language affiliation of an abbreviation, which sometimes leads to the need to use both short and full forms at the same time.

Summarizing the above, we came to the following results concerning the specifics of the word formation of cinematic vocabulary: thus, after analyzing the cinematic terminological system of the modern German language, selecting individual lexemes from the specialized monolingual dictionary "Das Lexikon der Filmbegriffe", we can conclude that the peculiarity of the German-language film discourse is due to a greater focus on the formation of a cinematic terminological system using There are such methods of terminology formation as semantic, morphological, syntactic, morphological-syntactic methods, emphasizing that the developed model of S. V. Grinev-Grinevich is universal, and can be applied to many terminospheres of any field of knowledge. This study has shown that the most productive ways of word formation of cinematic vocabulary are the semantic method, since in most cases these terms form the core of cinema terminology, the morphological method, since affixation plays an important role in replenishing the vocabulary of the German language in many fields of knowledge, and the morphological and syntactic method, due to the variety of structures that allow the formation of complex phrases and utterances that convey specific concepts and ideas related to the cinema of one-word terms. In addition, the result of the study indicates the active use of metaphors and metonymies in cinematic speech. This indicates that the development of new terms is often based on a figurative meaning, which makes it possible to create more emotionally intense and figurative expressions. It should also be noted that in recent years there has been a tendency to borrow foreign terminology. This is due to the globalization of the film industry and the influence of international standards on the development of language practice. Some terms are becoming universal, and their use greatly simplifies communication between specialists from different countries.

Summarizing the above, it is worth noting that the mentioned methods of word formation differ in varying degrees of productivity, so, for example, at the moment, word formation within the framework of morphological and syntactic terminology remains the leading method of word formation, representing a multidimensional and complex phenomenon that is intertwined with affixation, with other means of word formation and borders on syntax. The prospects for further research in this direction can be continued in a more detailed study of the special film terminology of the German language, examining, for example, the influence of borrowings from other languages on the formation of cinematic vocabulary of the German language in the context of globalization, the influence of new media and technologies on terminology, especially in the context of the growth of streaming platforms and social networks, or sociolinguistic aspects that They show how the language of cinema changes depending on social groups and cultural context.