Music in Cinema (Concerning the Question of the Inner Form of the Cinematic Text in the Aspect of Affectability)
The article is devoted to research of the musical component of the Russian cinematograph and its role in the actualization of the inner form of the cinematic text combined with the category of affectability. Positioning the cinema text on the level of artistic integrality, the author of the article focuses her attention on the directorial works of Alexander Lapshin ( Dialogue with a Continuation ) and Kira Muratova ( Ophelia ). Turning to the musical accompaniment represented by the works of Bach-Gounod ( Ave Maria ) and Vassily Agapkin (the march The Slavic Woman's Farewell ), the author denotes an array of phenomena. Falling into the context of a synthetic artistic whole, the works of Bach-Gounod and Agapkin obtain the potential of the semantics of the cinema text, providing an outlet onto the inner form of the indicated directorial works. The commonality stipulating the possibility to examine the emotive potential of the nonverbal (musical) discourse, which demonstrates itself as an inalienable component of the synthetic artistic whole, the correlate of the inner form of the cinema text, is determined, on the one hand, by the dialectics of the part and the whole. On the other hand, both cases refer to emotional-volatile thinking as a concrete action of thought which stands against abstract thinking. What is referred to here is the experience of thought-activity outside of which the inner form cannot obtain its inner form, just as the emotive potential of non-verbal discourse would never be actualized/verbalized. The reference point in the study of the inner form of the cinema text in the aspect of affectability actualized in the domain of nonverbal artistic discourse was expressed by the conceptions of affectability of researchers in Russia and other countries: the conception of musical emotions developed by Valentina Kholopova (Moscow, Russia), the study of musical emotions developed by Wu Liang (Luoyang, China), as well as the school of affectability developed by Ekaterina Prikhodovskaya (Tomsk, Russia). The perspectivity of integrating linguistics and musicology are perceived by the author of the article in the possibility of creating precedents of work with such forms which, while not being ready-made, require active participation of the linguistic identity entering the space of artistic communication.