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The article considers influence of flashback on turn-taking in the cinematic discourse. Functions of flashback have been defined as a marker of transition relevance place in turn-taking actualization as a result of the research. Flashback has also been studied as an intensifier of cinematic codes function as a turn-taking marker, and as an expression of inner speech. The problem of turn-taking as an important structureorganizational characteristic of dialogic communication has been introduced by E. Goffman (turn-taking [16]) and it has attracted interest of many researchers. On the basis of communicative-discoursive approach turn-taking is considered to be the basic factor of dynamic discourse structuring [6, p.192; 1; 9], nevertheless the problem of turn-taking remains understudied as for the theoretical and practical aspect. The new impulse to the studies of turn-taking has been provided by the increased role of cinema in the modern society as well as increased interest to it, cinematic discourse has been studied by O. Aronson, A. Sonin, G. Slyshkin etc. [2; 8; 7]. It should be noted that verbal and nonverbal code combination with the cinematic codes provides a lot of opportunities for turn-taking studies in the real-time mode. Flashback has also been studied by a number of researches like M. Turim, D. Bordwell etc, but the aspect of flashback influence on turn-taking has not been studied yet. The goal of the article is definition of flashback role in the process of turn-taking, its features and functions in the cinematic discourse. The material of the research is movie scripts, put down and completed with special remarks which concern nonverbal and cinematic components of cinematic discourse taken down while watching the movie itself. Notation system TRUD developed by M. Makarov has been used to take down and analyze the scripts and remarks [6, p. 116]. Prior to the discussion of the results of the research notions of cinematic discourse and turn-taking, as well as flashback should be outlined. Cinematic discourse is polycode cognitivecommunicative form, the inseparable unity of different semiotic units characterized by coherence, comprehension and addressing [5]. Cinematic discourse is actualized by verbal and nonverbal signs including cinematic codes according to the intention of collective author and is structured by means of turn-taking [5]. Turn-taking is operational metadiscoursive category which provides structuring and regulation of dialogue discourse in real-time mode by transferring a turn from one speaker to another. Turn-taking is actualized within the exchange of communicative acts [5]. Turn-taking is actualized in the transition relevance place (TRP) [17; 11, p. 159]. It marks the ending of one turn and beginning of another turn [1, p. 8]. TRP is defined by the speaker to mark the turn transition [14, p. 40]. Turn-taking actualization in TRP follows the analysis of the speaker of the turn and choice of the listener of the planned turn which is constructed in parallel [1, p. 55]. It should be noted that the listener is not a passive partner as the listener encourages the speaker to choose way of delivering information and the behavior style [3, p. 259; 9, p.91]. Turn-taking provides “communicative coauthorship” in the dialogue [4, p. 245-261]. For smooth talk both speaker and listener use signals (verbal and nonverbal) to claim a turn (turn-claiming signals), to suppress a turn (attempt-suppressing signals) or to yield a turn [13]. Basing on communicative means turn-taking signals include verbal, paraverbal and nonverbal ones [10], as well as cinematic signals [5]: Turn-taking signals are potential, they can mark TRP, but this place will not always coincide with the turntaking actualization [2]. Flashback relates to cinematic means of turn-taking. Cinematic codes can mark TRP. Such turn-taking marker can be close shot, music and sound effects etc. [5]. Verbal and nonverbal turn-taking means are combined with cinematic ones; this is unique feature of turn-taking in cinematic discourse. Events in the cinematic discourse can develop in two opposite directions: prospection (prolepsis) and retrospection (flashback or analepsis) [15]. A cinematic flashback may be: 1. Visual. In this case, the character is shown taking part in some events. 2. Linguistic / acoustic. The audience can hear a voice from the past (voice of a character or other person). 3. Visual and acoustic (combination of a picture and a voice from the past) 4. Textual (text on the screen in the silent movie) Flashback is used to explain the plot, to create tension, to give flashback a distinctive meaning, to emphasize distinction between the past and the present, to provide missing information for a character or the audience, also by suddenly presenting the past, flashbacks can abruptly offer new meanings connected to any person, place or object [18, p.17]. It should be noted that flashbacks can be accompanied and emphasized by sound effects (music, noise, speech of the character telling about the past), mimics of the character, color change (color movies changes into black-andwhite or some color can dominate), close shot (especially 28 Science and Education a New Dimension. Philology, VI(44), Issue: 151, 2018 www.seanewdim.com

Influence of flashback on the process of turn taking actualization in the cinematic discourse