Music in Cinema: Concerning the Question of the Internal Form of the Film Text in the Aspect of Emotiveness

The focus of the article is emotiveness, which in research work Viktor Shakhovsky and Polina Volkova has acquired status a universal methodology relevant for both verbal (poetry literature) non-verbal discourses (painting music). Turning to synthetic works domain cinematography, authors analyze films Alexander Lapshin (Dialogue with Continuation) Kira Muratova (Three Stories. Second Story). From new scholarly point view, examination made musical accompaniments designated films, represented by compositions Bach — Gounod (Ave Maria) Vasily Agapkin (the march Farewell Slavyanka). It music that determines turn inner form artistic expression, acting as emotive potential semantics film text. emphasized indicated ethical aesthetic essence sign its emotional richness, awakening formation spiritual energy. attitudes demonstrate prospects interaction linguistics musicology, creating precedents working such forms require active participation from communicants expression. As result, category emotivity, developed field different linguistics, acquires characteristics. Ensuring viability, emotivity demonstrates obvious priority human factor era digitalization artificial intelligence.