Anhelina GANZHA,
\nPhD in Philology, Senior researcher of the Department of stylistics, language culture and sociolinguistics, Institute of the Ukrainian Language of National Academy of Sciences of Ukraine
\n4 Hrushevskyi St., Kyiv 01001, Ukraine
\nE-mail: ganzhalina@ukr.net
\nhttps:\/\/orcid.org\/0000-0003-2938-5306<\/p>\n
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Heading<\/strong>: Language of the media Abstract:<\/strong> Narratives in cinema text are seen as narratives of interrelated events occurring within specific space-time frames involving the author, narrator and characters.<\/p>\n The intermedical nature of documentary filmmaking complicates its analysis in the coordinates of any research paradigm. However, among the universal categories of reception of film narratives, polyphonicism should be singled out as a means of creating a holistic view of a cultural product.<\/p>\n The article offers the author\u02bcs vision of realization of the polyphonism of the film narrative in the documentaries \u201cI Call You\u201d (2006), \u201cPoeta Maximus\u201d (2008), \u201cSo No One Loved\u201d (2008) from the series \u201cGame of Fate\u201d. It is concluded that there is a certain plot-compositional scheme of organization of audiovisual polyphonic narrative in the series.<\/p>\n Among the specific figures of the screen narration in the analyzed documentary tapes we see transposition (eg, transition from the direct speech of the presenter to a voice-over commentary on a movie quote), overlay (simultaneous use of the \u201cchronicle of the epoch\u201d with the off-screen reading of an excerpt from an artistic text), photos and video snippets).<\/p>\n \u00a0<\/strong><\/p>\n Keywords<\/strong>: cinema text, documentary, narrative, polyphonism, P.\u00a0Tychyna, M.\u00a0Rylskyi, V. Sosiura.<\/p>\n <\/p>\n
\nLanguage<\/strong>: Ukrainian<\/p>\nREFERENCES<\/h5>\n
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