Substantive metonymy in the film text (based on E. Ryazanov’s films)

The research aims to identify the specifics of the functioning of noun-based metonymy in the texts of films directed by E. Ryazanov. The article identifies and analyzes metonymic units structured according to the metonymic models “a part for the whole”; “a container for its contents”; “an event for its participants”; “a used object for its user” in the film text. The work reveals the lexical-semantic, functional, stylistic, and linguocultural features of the identified metonymy models within the framework of the material under consideration; identifies the main cases of metonymy use in film language, which showed the national-cultural peculiarity of metonymic reinterpretation and reflected a fragment of the Russian linguistic worldview. The scientific novelty is determined by the little-explored nature of the linguistic realization of substantive metonymy as a cognitive-semantic structure in the film text. Modern linguistics pays more attention to the typology of metonymic transfers, while the specifics of their verbalization in different types of texts, in particular in creolized texts, have been little studied so far. The research makes the first attempt to comprehensively examine the functioning of metonymic models in the film text from the perspective of lexical and functional semantics, stylistics, cognitive science, and linguoculturology, thereby revealing their features. As a result, it has been found that the metonymization process is actively manifested in E. Ryazanov’s films. It is most often characterized by the metonymic transfer “a container for its contents” as the main way of denoting a person. The identified metonymic units in the film text can give the denoted person an additional characteristic and emotional assessment, serve as a means of ensuring compression in the presentation, creating a certain effect in the film, as well as increasing the speech expressiveness and aesthetic value of the film text.