Styling identities in post-Soviet cinema: the use of slang, argot and obscenities in contemporary Russian films
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Date
26/11/2013Author
Christie, Varvara Alexandrovna
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Abstract
Traditional Soviet conceptualisation of slang, argot and obscenities as ‘substandard’ is
argued to have strong ideological underpinnings. Despite such lexis gaining increased
visibility in public speech starting from Perestroika times, sociolinguistic research into their
use is still scarce and often tainted by the same judgemental approach. Rejecting the
association of slang, argot and obscenities with speakers’ insufficient linguistic competency,
this study shifts attention to their identity construction values. Drawing largely on
constructionist sociolinguistics, this thesis examines the use of slang, argot and obscenities in
the scripts of six post-Soviet Russian films released in the period 1993-2005. It investigates
how indexical connections between language and society were exploited, negotiated and, at
times, reinterpreted in the films.
Lexical variation is conceived here as a stylistic resource, and its functions in cinematic
discourse are analysed in terms of statics (engagement with stereotypes) and dynamics
(identity work) of characterisation. With regards to the former, the focused and economic
conditions of film production determine that stereotypes are often drawn on to provide quick
identification, especially in construction of minor characters. Stereotypes of criminals, youth
and uneducated male adults were analysed, revealing that cinema does not only exploit direct
associations between lexical varieties and social groups, but also engages with such
stereotypes agentively, bringing to viewers’ attention their arbitrary nature and rigidity of
boundaries, established by social categories.
Language variation can also represent dynamics of characters’ identity work, which was
analysed on two levels – interpersonal and ideational. The analysis revealed a multitude of
functions, which on the interpersonal level drew on associations with familiarity, power and
catharsis, yet defying stable connections between lexical varieties and structural elements.
On the ideational level slang, argot and obscenities were shown to render characters’
orientation towards social structure and discourses, prevalent in the contemporary Russian
society.
This thesis thus shows that slang, argot and obscenities are a versatile meaning-making
resource, employed in cinematic discourse for a variety of purposes. Focusing on the way
character identities are styled through the use of lexical variation enabled this project to
account for both the local instances of identity construction and the macro-level attempts of
the filmmakers to critically engage with the social structures, exploring, questioning and
reinterpreting them.