EVALUATIVE COMPONENT OF ENGLISH NEOLOGISMS IN CINEMATIC DISCOURSE AND ITS MANIPULATIVE POTENTIAL

In the neological space of cinematic discourse, a separate place is occupied by new lexemes that characterize films from a positive or negative side. This assessment depends on various factors (the cast, the quality of the acting, the semantic component or its absence in the film, the budget of the film, etc.) and is given, as a rule, by film critics or ordinary viewers – the recipients of the cinema. Evaluation can be objective and subjective, momentary or timetested. The starting point in evaluating films is a certain “average level” (zero rating), when compared with which films are characterized in a derogative or ameliorative manner. The paper examines two groups of cinematic discourse neologisms with axiological-interpretive potential – characterizing the genre / type of film and the participants of the cinematic discourse. The sources of neologisms of cinematic discourse with an evaluative component were Internet dictionaries, glossaries of film terms, and Englishlanguage articles of mass media. Based on the definitions of such neologisms of cinematic discourse, as well as Internet sources containing these neologisms, one can draw conclusions can be drawn about certain aspects that affect the positive or negative characteristics of the film. It is summarized that the neologisms of cinematic discourse with axiological-interpretive potential have a manipulative property, affecting the audience, influencing their assessment of the film, as well as the expectations of the film, which can affect not only the popularity and sales of the film, but, on the contrary, lead to his failure at the box office. Not always, however, the fact that a picture belongs to a certain cinema genre with a negative characteristic will alienate the viewer and negatively affect the return on investment of the picture, and the presence of positive characters will not necessarily attract a larger audience. Considering the popularity of films and TV series with socalled “difficult men” and the positively colored contextual field of this neologism, we can, on the contrary, conclude that negative, multifaceted characters appeal to the viewer much more than entirely positive screen types.

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