KREATIVNOST U FILMSKIM SLOGANIMA VANJEZIČKA, TEKSTUALNA I JEZIČKA ANALIZA
Главни садржај чланка
Сажетак
Rad se bavi raklamnim sloganima (eng. tagline) dela nagrađenih Oskarom za najbolji film, kao i filmova nominovanih u istoj kategoriji u periodu između 1990. i 2018. godine. Spisak slogana sastavljen je na osnovu baze podataka Američke filmske akademije o pobednicima i nominovanim filmovima u proteklih 29 godina. Analiza primera u centralnom delu rada oslanja se na uvodne lingvističke, kulturološke i kinematografske napomene o filmskim sloganima kao upečatljivim izrazima i reklamnim instrumentima čiji je cilj da privuku publiku odražavajući i prenoseći ton, atmosferu i suštinu filmske priče (poput slogana „The List is Life.” iz filma Schindler’s List, ili „Trapped. Hunted. Surrounded. Survive.”, koji se odnosi na film Dunkirk). Odabrani slogani klasifikovani su na osnovu vanjezičkih i tekstualnih faktora, te mehanizama jezičke kreativnosti na fonološkom, grafološko-pravopisnom, leksičko-semantičkom i sintaksičkom nivou i pripadajućim podnivoima. Pretpostavka u radu jeste da upotreba imeničkih sintagmi ili kratkih upečatljivih rečenica koje se odlikuju elementima jezičke kreativnosti postignute igrom rečima, primenom stilskih figura i/ili fonoloških sredstava, uz pomoć raznih društveno-kulturnih referenci, predstavlja najčešću i najproduktivniju formulu za stvaranje uspešnog filmskog slogana. U istraživanju je primenjena kvalitativna metodologija – analiza je na reprezentativnim primerima sprovedena opisom raznovrsnih matrica stvaranja filmskih slogana na spomenutim vanjezičkim, tekstualnim i jezičkim nivoima.
Downloads
Metrics
Детаљи чланка
Референце
Edwards, G. J. (1985). The International Film Poster. The Role of the Poster in Cinema Art, Advertizing and History. New Hampshire: Salem House.
Elaesser, T.–Hagener, M. (2010). Film Theory: An Introduction through the Senses. New York: Routledge.
Haidegger, I. (2015). “Make Them Expectant”: The Movie Poster as a Marketing Tool and Genre Indicator (Unpublished doctoral thesis). Institut für Amerikastudien, Universität Innsbruck, Innsbruck.
Jakobson, R. (1960). Closing statement: Linguistics and poetics. In: Sebeok, T. (ed.) (1960). Style in Language. Cambridge Massachusetts: MIT Press. 350–377.
Kálmán, E. (1993a). Ahová lépek szörny terem, avagy a filmcímek stilisztikumáról. Retrieved on September 23, 2013, from http://ebooks.gutenberg.us/Wordtheque/hu/AAACYR.TXT
Kálmán, E. (1993b). Az angol nyelvből fordított filmcímek nyelvészeti vizsgálata. Retrieved on September 23, 2013, from http://ebooks.gutenberg.us/Wordtheque/hu/AAACYQ.TXT
King, E. (2003). A Century of Movie Posters. From Silent to Arthouse. New York: Barron’s.
Kolstrup, S. (1996). The film title and its historical ancestors, or how did we get where we are?. P.O.V. filmtidsskrift, 2. Retrieved from http://pov.imv.au.dk/Issue_02/section_1/artc1B.html
Liu, K.–Wei, X. (2006). On English and Chinese movie title translation. Canadian Social Science, 2/2, 75–81.
Lotfollahi, B. (2012). Translation of movie titles from English into Persian: Strategies and Effects. Mediterranean Journal of Social Sciences, 3/3, 511–516.
Mahlknecht, J. (2011). Writing on the Edge: Paratexts in Narrative Cinema (Doctoral thesis). Institut für Amerikastudien, Universität Innsbruck, Innsbruck.
Mahlknecht, J. (2016). Writing on the Edge: Paratexts in Narrative Cinema. Heidelberg: Universitätsverlag Winter.
Mooallem, J. (29 Feb, 2004). How movie taglines are born. Boston Globe. Retrieved on December 21, 2017, from http://archive.boston.com/news/globe/ideas/articles/2004/02/29/how_movie_taglines_are_born/?page=full
Ndoka, A. (2015). “Inceptionˮ film poster analysis. Retrieved on March 5, 2018, from http://slideplayer.com/slide/4468529/
Panić Kavgić, O. (2014). Jezička kreativnost u formiranju filmskih naslova na engleskom jeziku i njihovom prevođenju na srpski. U: Prćić, T., Marković, M. i dr. (ured.) (2014). Engleski jezik i anglofone književnosti u teoriji i praksi: Zbornik u čast Draginji Pervaz. Novi Sad: Filozofski fakultet. 399–418.
Panić Kavgić, O. (2016a). Linguistic creativity at work: Nicknames of women tennis players. In: Vujin, B., Radin Sabadoš, M. (eds.) (2016). English Studiеs Today: Prospects and Perspectives. Selected Papers from the Third International Conference English Language and Anglophone Literatures Today (ELALT 3). Novi Sad: Faculty of Philosophy. 383–400.
Panić Kavgić, O. (2016b). Leksička kreativnost u nadimcima svetskih tenisera. Godišnjak Filozofskog fakulteta u Novom Sadu, 41/1, 269–299.
Panić Kavgić, O.–Kavgić, A. (2017a). Taglines of Oscar-winning and nominated films. Oral presentation. The Fourth International Conference on English Studies “English Language and Anglophone Literatures Today 4 (ELALT 4)ˮ, University of Novi Sad, Faculty of Philosophy, Novi Sad. March 25, 2017.
Panić Kavgić, O.–Kavgić, A. (2017b). Film taglines: Syntactic aspects and thematization strategies. Oral presentation. International Conference “Languages and Cultures in Time and Space 7”, University of Novi Sad, Faculty of Philosophy, Novi Sad. November 18–19, 2017.
Peng, Y. (2007). Translation of film titles with the application of Peter Newmark’s translation theory. Sino-US English Teaching, 4/4, 77–81.
Prćić, T. (2008). Semantika i pragmatika reči. Drugo, dopunjeno izdanje. Novi Sad: Zmaj.
Rhodes, G. D. (2007). The origin and development of the American moving picture poster. Film History: An International Journal, 19/3, 228–246.
Steinsaltz, D. (2000). What’s German for G. I. Joe?: How film titles travel. Retrieved on June 3, 2010, from http://www.steinsaltz.me.uk/papers/film.pdf.
Tagline. (2018, January 23). In: Wikipedia, the Free Encyclopedia. Retrieved on 2 February, 2018, from https://en.wikipedia.org/wiki/Tagline