Film subtext as the subject matter of media education

Abstract

(uk) У статті систематизовано та узагальнено кіномистецький досвід осмислення підтексту та його втілення в кіно на матеріалі праць консультантів з написання кіносценаріїв К. Іґлесіаса, Р. Маккі, Л. Сеґер і Дж. Уестон. Вивчення специфіки розуміння підтексту в кіно сприятиме адекватним аналізу, інтерпретації та оцінки кіно як медіа тексту в медіаосвіті.(ru) В статье систематизировано и обобщено опыт киноискусства в осмыслении подтекста и его воплощения в кино на материале работ консультантов по написанию киносценариев К. Иглесиаса, Р. Макки, Л. Сегер и Дж. Уэстон. Изучение специфики понимания подтексту в кино будет способствовать адекватным анализу, интерпретации и оценки кино как медиа текста в медиаобразовании.(en) The interpretation and evaluation of media content in the media education are impossible without the use of specific theoretical knowledge of different kinds of art. Thus, film interpretation and evaluation require the understanding of the subtext phenomenon.The art experience of film subtext exploration and film creation understanding need systematization and generalization for the use of this specific knowledge in the process of film analysis, interpretation, and evaluation in the media education. From the level of the implicit and unspoken, subtext needs deep penetration into the explicit for its adequate understanding, and furthermore it needs sharp insight, background knowledge, associations, etc. But on the entry level, when intuition proceeds deep understanding, it becomes an important identifier of subtext –the feeling that the inner meaning is elusive, it’s not that is spoken about. The work at implicit meanings is on two levels: the author subtext presentation and the actor subtext creation that harmoniously coexist and cooperate for adequate bringing implicit meanings to viewers. The screenwriter designs and traces every action in a film image, concerning either foregrounding of a particular scene or a film in general. But sometimes subtext as the consequent result was not premeditated initially. In accordance with the subtext nature, a scene is to be formed in two levels: explicit and implicit. Significant importance in the process of the implicit meaning provision arises from dialogues where the main sense is elusive. One of the tools that brings the «iceberg»effect is pauses. Visual and audio effects can also bring additional impressions, moods, and feelings. Implicit meanings can be communicated through the actors’ gestures, so the audience needs to «read» body language. Methods employed by writers can also be used by scriptwriters. Subtext in a film gives a special role to audience, because the adequate understanding of a film depends on film viewers.