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The perception of films is a process that includes a direct viewers perception as well as the imaginative perception of its authors in its structure, and it can be said that it is a complicated informational, or, to be more exact, communicative, system. The communicative nature of films can be easily seen in the following example. When we look out of the window of a moving train, we never think of joining the views that we see into one logical chain. If we first see children playing and then cars crashing or young people having fun, we will not join the images into causeand-effect or any other logical or artistically meaningful sets, unless we want to artificially create a text such as "This is life" based on the visual input that we have received. In the same way, looking out of the window, we will never ask ourselves: "What are these mountains for?" However, in discussing a film, such questions would be quite appropriate (Lotman, 1973).In films, we can single out the elements and the means of the connection of images in a message that is realized in a communicative system (Voroshilova, 2007; Yanovsky, 2008). Shots are such elements of a moving picture. Looking at such images in respect of transmitting information, we can say that a moving picture is a certain sign system that is encrypted in an ordered series of shots and aimed at a decoding process of perception. The apparatus for deciphering dynamic screen images is formed quite slowly. However, as soon as this apparatus has been created in its most elementary form, it continues to develop under the influence of imaginative perception throughout a person's life (Zhinkin, 1978).Film languageThe basis of film text is not taught specially. There are no special institutes or rules for mastering this form of communication, as it is not the easiest and most evident means of satisfying human communicational requirements. The elementary forms of film expression are acquired spontaneously and intuitively, and they are rarely self-reflected. Even in specialized educational organizations, the teaching of film language does not have a systematic character: students learn the separate aspects of montage theory, film psychology and other approaches, with no conceptualization. Ultimately, students achieve a high professional level based on their own extensive experience of viewing and working with film material.The deliberate use of films as the means of increasing communication efficiency is quite a new and scarcely studied notion (Bondarenko, 2000). In the modern world, it is done mostly in the context of film therapy, which achieves changes in a client's communication by solving personality problems and working with communicative mindsets (Korablina, 2001; Pleskachevskaya, 2001; Ulus, 2003). Film therapy requires a special understanding as a separate style of practical work, and it needs to be used competently and in a balanced way to achieve its maximal advantageous and well-controlled effects.The first and the main film therapy restriction is connected with the psychological evolution of the subject. In case a person is not able to react analytically or verbally to the film material that is shown, the range of means that are available with which to treat him can be very narrow (Carroll, 2008). Moreover, experimental work has shown that all people do not resonate with film characters with the same ease. This creates another restriction that is based on the personality of the viewer, influenced by personal qualities such as emotional capability, empathy, or sensitivity (Kvasova, 1993).Thus, on one hand, we have a viewer who cannot analyze a film but can "feel" it, and the developing effect in this case is minimal. On the other hand, we can have a viewer with a good understanding of the creative product that can remain absolutely indifferent to what is happening on the screen (Coplan, 2006). If we do not take special steps to increase the effect of working with such viewers, it is unlikely that we will be able to achieve positive results in psychotherapy or education through the means of films. …

Theoretical and empirical approaches to using films as a means to increase communication efficiency