History and modification of modern 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

The peculiarity of the formation of any language is its spontaneity, it is inextricably linked with thinking, society, culture and the ability of people to recognize objects of reality, identify them with symbolic, linguistic designations, as well as establish complex connections between them. When studying the semantic content of language units, it is necessary to take into account not only the structure of the language, but also the peculiarities of psychology, culture and historical development of its speakers, since these factors play an important role in the origin of words, modification of their meanings and peculiarities of use. One of the branches of culture is cinema, whose tasks include the creation of motion pictures and their demonstration to the viewer through digital space. According to the Russian-language Internet publication and the Kinopoisk cinema database, 23990 films were released in 2022, over the past 3 years this figure is 97759 films (https://www.kinopoisk.ru/lists/movies/year--2022/?b=films&sort=rating ). The expansion of the Internet's ability to distribute modern film distribution leads to a trend of linguistic changes and the active use of borrowed words in the context of general globalization. The approach to the study of cinematography can be defined in broad and narrow meanings, where in the first case it is considered as part of a social whole that has fallen under the influence of society, and in the second case it implies the analysis of the film within the film process ^{[3, p. 247]}.

The relevance of this study is determined by the insufficient study of the formation and development of German film lexicon in the XXI century, which contributes to the emergence of new research on this issue in modern linguistics; as well as the need to study the process of formation and evolution of the German language film lexicon to identify linguistic and cultural features of this area of vocabulary.

To achieve this research goal , the following tasks were set and solved: 1) the modern scientific linguistic literature has been studied and analyzed in order to form a theoretical basis for this research problem; 2) the semantic field of cinematography has been considered and the analysis of individual lexical units of German cinematography has been carried out and the modification of lexemes in the context of the historical development of the language in relation to modern trends has been described; 3) the nature of borrowing in the German language of film terms from other languages and the analysis of their structure is made.

The research methodology was determined by the purpose of the study and the tasks set. The following methods were used in the work: 1) continuous sampling method; 2) structural method; 3) semantic analysis method; 4) descriptive method; 5) word-formation analysis of words.

The following electronic resources served as reference material for the work: 1) the world's largest database of cinema "Internet Movie Database" (hereinafter IMDb). URL: https://www.imdb.com /; 2) German-language Internet portal dedicated to cinema news and film critics' reviews "Film-Rezensionen.de . Popcornkino & Independent". URL: https://www.film-rezensionen.de /; 3) the Russian-language online publication about cinema "Kinopoisk". URL: https://www.kinopoisk.ru /; 4) German daily online newspaper "Zeit Online". URL: https://www.zeit.de 5) the corpus of texts of the German language "DWDS", represented by large daily and weekly newspapers of nationwide distribution. URL: https://www.dwds.de /; 6) German-English dictionary of the Internet portal "Educalingo". URL: https://educalingo.com/en/dic-de ; 7) electronic spelling dictionary of the German language "Duden". URL: https://www.duden.de/.

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

The theoretical basis of the research was the scientific works of Russian linguists, which consider the issues of semantics, methods of analysis of lexical units and the nature of borrowing foreign terms ^{[1, 6, 10, 11, 12, 16,18]}.

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 the text, lexicology, comparative typology, professionally oriented translation, introduction to the theory of intercultural communication, improving speech communication skills, a workshop on the culture of speech communication, as well as in practical courses according to the methodology of writing dissertation research, when writing term papers, final qualifying papers on related problems.

Semantics is engaged in solving the problems of interpretation and definition of the semantic content of a word. One of the main tools is semantic analysis, which allows decoding the inherent meaning depending on the context, as well as determining the ambiguity of the word itself, comparing it with the maximum of contextual pointers ^{[1, p. 7]}. A lexeme, as a form of expression of a word, contains one or more sememes acting as the meaning of the lexical unit itself, i.e. a sememe is a separate meaning of a word, and its material side is a lexeme. Consideration of these concepts in lexical analysis refers to the method of semasiology, which is an aspect of the study of semantics, which in turn comes from the science of sign systems – semiotics ^{[16, pp. 3-6]}. The word contains the unity of three elements of a linguistic sign: external, consisting in sound and graphic expressions, objective, that is, a certain denotation reflecting a real thing or object, and semantic, identifying an objectively existing thing or object with its name in human consciousness ^{[22, p. 10-12]}. Semantic analysis involves establishing the relationship between all these elements of the word. Thus, a polysemous word is a vivid manifestation of linguistic variability, which is a set of lexical and semantic variants, each meaning of which is realized only in a certain context of speech in combination with other lexemes.

In terms of content, the language system includes two types of words: everyday, common and special, among which scientific terms play a key role. There is a common pattern between everyday words and scientific concepts: everyday words that have similar characteristics to scientific concepts tend to become part of the latter. However, this aspiration remains unrealized, since scientific concepts are ahead of the development of everyday words, surpassing them and moving forward in their development. A feature of the semantic patterns of words of general everyday topics is their tendency to merge with scientific concepts if they have any common features, for example, important cultural terms inherent in a certain era, such as, for example, "civilization", "revolution", "democracy", "science", "technology", "personality". These words combine the meaning of everyday words of the language and the ideas of time prevailing in society, making up the semantic content of these words. ^{[17, pp. 625-626]}.

Based on the studied scientific base on semantics developed by domestic and foreign linguists, it was revealed that semantic analysis of lexical units can be performed using the following methods: 1) classical ^[18]; 2) syntagmatic ^[4]; 3) thematic groups ^[13]; 4) semantic fields ^[21]; 5) contextual ^{[7, 10]}.

The classical method of semantic analysis involves identifying the meaning of a word according to normative publications, encyclopedias, dictionaries, reference books ^{[18, p. 66]}. Full lexico-semantic analysis includes the use of epidigmatic analysis, which involves the analysis of the structure of the meaning of an unambiguous or polysemous word, reveals its internal semantic structure, types of lexical and figurative meanings, the composition of them, as well as the types and methods of their interactions; the use of paradigmatic analysis, which allows to establish semantic relations of words, as well as their commonality and differences; and the use of syntagmatic analysis to study lexico-semantic and syntactic connections between words ^{[4, pp. 308-309]}. In his work, I.A. Melchuk ^[11] writes that linguistic semantics has become one of the central disciplines of modern linguistics due to the wide recognition of its leading role, and not by the number of studies conducted, and proposes to carry out semantic analysis through the concept of lexical function, as well as syntactic and semantic valence. He revealed that the semantics of a word in a language is reflected not through objective reality, but through native speakers' ideas about this reality, that is, through a kind of concept. However, most researchers are of the opinion that semantic analysis should be performed after syntactic analysis. For example, in their work V.Sh. Rubashkin and D.G. Lahuti ^[15] emphasize the hierarchy of syntactic connections, placing role–based, then coreferent, optional connections at the base, and only after all these levels - subject-associative. Some scientists propose to divide the concepts of language into semantic groups based on the principle that they have a common semantic component, for example, E.V. Paducheva advocates such a division. In her work ^[13], she focused on thematic classes of words, in particular, describing the original meanings of verbs and their semantic derivatives, where one can trace the meaning of the verbs of perception, state, knowledge, movement, being. However, as T.V. Batura ^[2] noted, the main problem of this approach is that the allocation of thematic classes strongly depends on the individual perception and interpretation of concepts by a particular person. Another method of semantic analysis is component analysis, based on the analysis of the components of the meaning of a word. It is easier to carry out this analysis using the example of nouns and verbs than adverbs, adjectives or words containing a strong emotional color ^[9].

The concept of a semantic field was introduced by G. Ibsen and became most widespread in linguistics after the publication of his work ^[21], where it was defined as a set of words with a common meaning ^{[20, p. 22]}. The method of semantic fields involves dividing the vocabulary of a language into certain thematic and conceptual spheres according to some general principle, for example, the semantic field of emotion, spheres of activity, profession. This method is closely related to the method of thematic description of vocabulary, widely used in classical lexicology ^{[18, pp.76-79]}. Contextual analysis is used to establish a specific lexical meaning. As V.I. Zabotkina notes, "... the context is considered primarily as a frame that imposes restrictions on the content of language units. In this case, the content of the language unit acts as a figure, and the context acts as a background" ^{[7, p. 72]}. E.M. Mednikova emphasizes the difference between a narrow and a wide context, since in the first case it is assumed to study the immediate environment of the word and word combinations with it, and a broad understanding of the context gives an idea not only about the verbal environment of a language unit, but also about the conditions and features of its functioning in speech related to historical, cultural, social and situational factors ^{[10, p. 96]}.

This trend is well traced in the analysis of the semantic field of cinematic vocabulary, represented by concepts such as film professions. So, with the appearance of such a new cultural phenomenon as cinema in Germany, words such as der Film r egisseur / film director (hereinafter translated into Russian by the author personally – Ilyin A.A.); der Filmr egisseur / film director; der Regieassistent / assistant director; der Kameramann / operator appear in the language; der Hauptanimator / chief animator; der Sensationsdarsteller (der Kaskadeur, der Stuntman) / stuntman; der Filmarchitekt / set designer and a whole layer of concepts related to the field of cinematographic professions.

For example, the word der Filmschauspieler / movie actor consists of three bases der Film / cinema, die Schau / demonstration, screening and der S pieler / player, the same principle can be observed with the word die Filmschauspieler / movie actress, the difference lies in the use of the feminine suffix -in. But in most cases, when talking about a movie actor, his abbreviated form of the word is used – der Schauspieler / actor. It is worth noting that the word der Schauspieler appeared in ancient times with the advent of the theater.

The connection between cinematic and theatrical vocabulary really exists and has a number of objective reasons.

Firstly, cinema, like theater, is based on dramatic works and, therefore, is closely related to the theater in terms of vocabulary. In many movies and television series, actors play scenes that mimic a theatrical performance, and in such cases similar terms and expressions are used.

Secondly, terminology taken from theatrical vocabulary is widely used in cinema. For example, words such as der R egisseur / director, der Kost?mbildner / costume designer; der B ? hnenbildner / decorator, Drehbuch / script, die Rolle /role, etc. are universal concepts and are used in both types of art.

Based on the frequency of use of the der Schauspieler token in digitized printed publications over the past five hundred years (https://educalingo.com/ru/dic-de/schauspieler ), it can be concluded that the peak frequency of its use was in the nineteenth century, which is associated with the flourishing of culture, theaters and the emergence of cinema. In the twentieth century, there has been a sharp dip in the frequency of use, which is associated with historical military events, and in the post-war years the term is gaining popularity again, but since 2014 there has been a slight decrease in its use (https://www.dwds.de/r/plot /?view=1&corpus=zeitungenxl&norm=date%2Bclass&smooth=spline&genres=0&grand=1&slice=1&prune=0&window=3&wbase=0&logavg=0&logscale=0&xrange=1946%3A2022&q1=Schauspieler). This decrease is due to the growing popularity of borrowing from the French language of its synonym der Akteur and its active use in modern realities (https://www.dwds.de/r/plot /?view=1&corpus=zeitungenxl&norm=date%2Bclass&smooth=spline&genres=0&grand=1&slice=1&prune=0&window=3&wbase=0&logavg=0&logscale=0&xrange=1946%3A2022&q1=Akteur). In turn, der Akteur comes from the Latin word actor.

Other examples with a similar type of word formation are the words der Kost?mbildner / costume designer, formed by adding the words das kost? m / costume, der Bildner / artist, which in turn is formed from the verb bilden / create, model and der B ? hnenbildner / decorator, also formed by adding two nouns, one of which is verbal: d ie B?hne / scene and der Bildner / artist. The word der Regieassistent / assistant director is formed in a similar way, where die Regie / directing, director and der Assistant / assistant, assistant, formed from the verb assistieren / assist, help. The above examples of the analysis of the lexemes der Filmschauspieler, der Kost ? mbildner, der B ? hnenbildner and der Regieassistent show that the words denoting professions in the field of cinematography are formed mainly using verbal nouns by word composition.

In modern German, there is also a tendency to increase the vocabulary of the language by using borrowings from English, French, Latin and other languages, which is associated with extensive international, and, consequently, language contacts. Zhilyuk S.A. emphasizes that the German language was enriched by a large number of borrowings, primarily from Latin and French by the first half of the XIX century, and since 1825 began to actively borrow words from English, when the first railway was opened, symbolizing the technical superiority of Great Britain ^{[6, p. 35]}.  Thus, borrowings from other languages have not spared the cinematic vocabulary of the German language, T.I. Schelok and D.P. Gostischeva, analyzing the materials of articles from the "Kino" column of the German-language online publication "Spiegel", found that most of the noted borrowings relate to English, but there are also borrowings from French ^{[19, p. 171]}. Among the film productions in German, there is a similar tendency to borrow words from English, French and Latin. The electronic spelling dictionary of the German language "Duden" acts as authoritative sources on this issue in our work (https://www.duden.de /) and the electronic specialized dictionary of film terms "Das Lexikon der Filmbegriffe" (https://filmlexikon.uni-kiel.de /).

So, the word der Film r egisseur / filmmaker, formed by word composition, has 2 bases, which can be expressed by two independent nouns der Film / film, cinema and d er R egisseur / director, where the first word is borrowed from English, and the second from French. French borrowings also include the words der Akteur / actor; der Modist / modiste; der Kaskadeur / stuntman. The words der A nimator / animator and der Assistant / assistant are of Latin origin. English-language borrowings in German prevail in the semantic field of the film profession, they include the following words: der Stuntman / stuntman; der G reensman / greengrocer, greener; der Gaffer / gaffer; der Produktionsdesigner / production designer; der Art-direktor / art director and others. Such foreign-language borrowings can be explained by the fact that for some objects, things and concepts coming from abroad, the words existing in the German language are much more complicated in word formation and use, and sometimes there are no special names, and their designation occurs through the use of a whole phrase ^[5]. It is interesting in this sense to compare the lexeme der Kassenschlage r / blockbuster, bestseller (English translation box office hit, box office success), formed by adding two noun bases d ie Kasse / box office and der Schl a ger / hit, success and a borrowed version from the English-language film discourse der Blockbuster / blockbuster. The first token has an average frequency of use, and the second is used all over the world and is much more popular among the German population itself. Thus, the word der Kassenschlager for 2022 was found in printed periodicals 316 times (https://www.dwds.de/r/plot /?view=1&corpus=zeitungenxl&norm=date%2Bclass&smooth=spline&genres=0&grand=1&slice=1&prune=0&window=3&wbase=0&logavg=0&logscale=0&xrange=1946%3A2022&q1=Kassenschlager), and the number of uses of the word der Blockbuster was 968 times (https://www.dwds.de/r/plot /?view=1&corpus=zeitungenxl&norm=date%2Bclass&smooth=spline&genres=0&grand=1&slice=1&prune=0&window=3&wbase=0&logavg=0&logscale=0&xrange=1946%3A2022&q1=Blockbuster), which is 652 word usage higher than the national equivalent. The lexeme der Produzent / producer can object to the above principle of borrowing, since its English-language counterpart in German, der Producer / producer, is the least used. It should be noted that the word der Produzent is polysemic and the lexicographic meaning of this lexeme in the dictionary "Duden" (https://www.duden.de/rechtschreibung/Produzent ) has the following description: "m?nnliche Person, die etwas produziert; Hersteller; Erzeuger" / "a man who produces something; a manufacturer; a manufacturer", however, when using it with the lexeme der Film / cinema, we understand that we are talking about the production of a film, but the context in which the lexeme der Produzent is used also matters. For example, German film director Tim Dunshede in an interview (https://www.film-rezensionen.de/2023/01/tim-duenschede-interview-2022 /) uses the feminine version of the word der Produzent – die Produzentin in the meaning of producer: "Mein Co-Autor Anil Kizilbuga und ich haben uns mit der Produzentin Justyna M?sch getroffen, um mit ihr ?ber m?gliche n?chste Projekte zu sprechen" / "My co-author Anil Kizilbuga and I met with producer Justina Mush in order to talk with her about possible next projects." And in the article "Eine Frage der Kohle" / "The question of coal" of the newspaper "Zeit Online", German journalist Steffen Richter writes: "China ist der weltgr te Produzent von Treibhausgasen" / "China is the world's largest producer of greenhouse gases", where the lexeme der Produzent appears in the meaning of producer.

However, Anglicisms are widely used when using a thematic group of words dedicated to film genres. For example, by referring to the German-language Internet portal dedicated to cinema news and film critics' reviews "Film-Rezensionen.de . Popcornkino & Independent", it was found that in the film discourse of the German language there is a predominant majority of Anglicisms in the genres of cinema (https://www.film-rezensionen.de/genres /), for example, der Horror / horror; der Mockumentary / pseudo-documentary; der Western / western; die Action / action movie; die Fantasy / fantasy; das Musical / musical; die Mystery / detective; das Roadmovie / road movie; die Science-Fiction / science fiction; der Thriller / thriller, etc. We can conclude that the German-speaking and English-speaking linguistic cultures have a similar formation and development of film terminology, which is associated with the internationality of cinema, as well as with the authority of English-speaking countries, especially the United States, in the field of cinema. In the language of film critics, there is the expression classic Hollywood cinema, denoting a certain style of filmmaking that was inherent in American films at the beginning and middle of the last century, it was this expression that IMDb titled the recommended selection of films (https://www.imdb.com/list/ls054738611 /). The Russian-language online publication Kinopoisk has 443697 films of the American film industry (https://www.kinopoisk.ru/lists/m_act [country]/1/) and 35952 German cinema (https://www.kinopoisk.ru/lists/m_act [country]/3/), the prevailing number of American films also has an impact on the development of the international cinema terminology system.

The history of German lexicography, according to Y.V. Kobenko ^[8], can be divided into 2 global stages of borrowing foreign language vocabulary by analyzing cartographic summaries of the spelling dictionary "Duden": 1) the end of the XIX – beginning of the XX century, associated with the industrial revolution; 2) the time after the Second World War ^{[8, p. 36]}. The gap between these stages in the trend of linguistic globalization is associated with the National Socialist policy of Germany in the 1930s and 1940s, the spread of which affected the language as well ^{[8, p. 3]}. In the XXI century and over the last decade of the XX century, the number of borrowings has increased significantly, mainly due to the development of new technologies, the phenomenon of the digital age and the desire of the mass media to adopt a large number of bright, attractive with their novelty and brevity, easy to remember words, such as der Camcorder / camcorder, das Drive-in-Kino / car cinema, das Happy End / happy ending, der Bluescreen / Monochrome, der Stream / stream, der Soundtrack / soundtrack, der Trailer / trailer, der Spot /commercial, der TV-Spot / TV commercial. 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 field of cinema and television industry caused by the creation of new phenomena in screen production, new genres or formats of audiovisual works, etc. ^[14], since this sphere is strongly influenced by English language.

Thus, it can be assumed that the peculiarity of the German-language film discourse is due to a greater degree to the use of borrowed synonyms for the original word and to the use of word composition in the formation of domestic film terminology.

Summarizing the above, we will come to the following results concerning the specifics of the cinematic vocabulary of the modern German language: for example, analyzing the semantic field of the film profession, selecting individual lexemes of the German film discourse, represented by concepts such as the names of professions, both related to the performing arts and related to work on the site, lexical units denoting various genre representation of films, and words related to the sphere of media and cinema, it can be concluded that the semantic group denoting the profession of performing skills is represented mainly by linguistic lexemes of the German language obtained by adding the bases of nouns, and one of which is verbal, and this method of education is inherent as nouns expressing representatives of the profession male and female representatives through the addition of the feminine suffix -in to the existing male basis, but it is worth clarifying that in addition to the main marker of female gender, it is also possible to add the word die Frau / woman, for example der Kameramann – die Kamerafrau / operator, der Stuntman – die Stuntfrau / stuntman. And at the moment in the development of the language there is a significant tendency to use borrowed synonyms to the original word. This is primarily due to the active globalization and enrichment of the language with the vocabulary of other cultures to simplify interaction and work in the global market. The borrowings mostly used came from Latin, French and English. For the professions of voice-over work, on the contrary, the use of classical German basics is typical.

Summarizing the above, it is worth noting that the study considers only a separate part of the cinematic vocabulary, affecting to a greater extent the semantic fields of film professions and film genres. Prospects for further research in this direction can be continued in a more detailed study of the special film terminology of the German language, exploring, for example, such semantic fields as film equipment, film plot, editing, etc. or in considering the linguistic and pragmatic potential of cinematic vocabulary.