The subject of the study is the practice of visual replication in dialogue, integrated into the film text and interacting with the standard frame of interpersonal dialogue in the demonstration of artistic reinterpretation of the biographies of famous individuals. The object of the study is intermediality in contemporary English-language film discourse in its relation to a specific pattern of dialogue conduct. The author thoroughly examines such aspects of the topic as the implicit reference to the source of intermediality – paintings do not appear in the frame, yet a visual reminiscence is demonstrated, understandable to the target audience of the biopic. Special attention is given to the representation of Salvador Dal and his wife Gala in film discourse through the demonstration of the discourse of accusation, which is the central theme of the film, and the use of elements of intermediality – the incorporation of sketches of Dal's well-known paintings from the later period of his career into the dialogue and their use as the artist's response to accusations from Gala. The methodology of the research includes a comprehensive sampling of episodes demonstrating the discourse of accusation, extraction of character lines from the context that demonstrate specific strategies of accusation, and identification of moments of intermediality that correlate with specific patterns of speech behavior of the characters. The main findings of the conducted research are the patterns of integration of speculative referencing to the source of intermediality in contemporary film discourse formulated by the author, exemplified by a biographical film about the artist. A significant contribution by the author to the study of the topic is the formulation of the role of the intermedial source in the artistic interpretation of the biography of a great person: the fact of the "significant absence" of Salvador Dal's paintings in the film about the later years of his life (“Daliland”, 2022) has been established, and it has been demonstrated that moments of showcasing sketches and references to paintings are inextricably linked with the discourse of accusation, which becomes the leitmotif of the film. The novelty of the research lies in the fact that it for the first time identifies strategies for integrating visual content into dialogue as an implicit response to accusations, showing the transition from implicit to explicit accusations, culminating in an open conflict between the characters and death, and for the first time in both domestic and foreign science practices, it connects intermedial studies with research on speech behavior in the context of film discourse.
Ekaterina Aleksandrovna Drozdova (Wed,) studied this question.