FILM LANGUAGE AND SEMANTIC STRUCTURE OF THE TEXT

Abstract

The article is devoted to the cinematic language and the semantic structure of the text. Here, in
particular, it discusses in detail how the text of the screenplay is based on the words of a living spoken
language, and the links between cinema and reality are in the center of attention. But the fact is that
the display of typical objects and phenomena of reality is not a mechanical fixation on the tape. In
other words, the screen reveals the truth to the truth and opens the seemingly invisible, unheard of
aspects of reality and events in the real world and creates a new model of reality. The article presents
the deformations of the facts of reality and their new meaning.
The article speaks of such artistic possibilities of cinema as a perspective, plan, chiaroscuro, contrast, color variety, optical changes and changes in the pace of movement. It is indicated that the display language of the screen, thanks to these possibilities, acquires a peculiar ability to turn them into a
real aesthetic condition of a new reality.