Keywords
cinematic discourse
film communication
images of film heroes
cyborg
hybrid image
How to Cite
Abstract
Introduction. Modern processes of mediatisation are accompanied by active shifts in various fields and their respective discourses. Since the end of the 20-th c., film discourse has become an integral part of mediatisation, when cinema began to cultivate and disseminate specific media practices at different stages of film production, eventually forming the phenomenon of “film communication”.
Relevance and purpose of the study. There is a need for a comprehensive consideration of modern strategies of film characters' mediatisation in the national and global mediatisation context, taking into account cultural, social and political transformations. The purpose of the study is to identify the directions of film discourse representation in the contemporary media landscape on the example of foreign and Ukrainian cases of film characters' mediatisation.
Methodology. In the process of forming the methodological basis analysis and synthesis were used. Comparative and diachronic methods helped to identify the stages of cultural mediatisation. Classification, typological and systemic analysis, methods of description, case studies, generalisation and discursive analysis were used while considering media representations of film discourse and formulating the results of the study.
Results. A study of the current content of the Ukrainian online media “Ukrayinska Pravda” and “Suspilne” revealed that film discourse has the highest level of media representation on the websites of these outlets (33 % and 29 % respectively). The image of the cyborg in the early twenty-first century is being conceptually rethought and actively transformed into a complex mediatised concept; in the contemporary Ukrainian cultural space, the image of the cyborg is presented in the media as a hybrid mediatised symbol of invincibility, invincibility and fighting spirit of Ukrainian soldiers and the people as a whole.
Conclusions. The study proved that film discourse acted both as its subject (cinema as a type of media played an important role in the creation of media culture and mediatisation processes in 20-th c. societies) and object. It is thanks to the active use of online platforms, social networks of film companies, actors, films, fans and other participants of film discourse, as well as thanks to modern news and specialised media, that we are witnessing a deep mediatisation of film discourse.
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