Lito vilovito and phraseological creativity: Issues and challenges for phraseography

Abstract

If we understand film as an artistic medium with a special scenario, scenography, and actors, as an audiovisual medium with realistic affinity whose photographic record of the external world has always been more interesting to researchers than movie speech—even for those filmologists who were interested in the auditory features of film (Vlašić Duić, 2013)—in this paper we understand film as a medium for realisation of the creative potential of the language system, i.e. as a discourse for realisation of the creative potential of the phraseological language subsystem. We have chosen comedy as a film genre to be analysed since one of its main features is unconventional language use as one of main ways to achieve comic effect. For the purpose of this research we have used Lito vilovito (1964), one of the most famous black-and-white domestic comedy films, directed by Obrad Gluščević. Our research methodology includes transcription of the film Lito vilovito in the first step and, in the next step, detection of all phraseological units (PUs) used in the film: phraseographically confirmed PUs, phraseographically non-confirmed PUs (modified PUs) as well as pretenders to a dictionary entry, precedent texts, and speech formulae. Phraseographically non-confirmed (modified) PUs are then interpreted through the prism of the theory of phraseological creativity in a discourse (Zykova 2015, Zykova 2019), taking into consideration the following strategies: insertion, increment, recomposition, bifurcation, combination. As a result of a linguocultural approach, some PUs are accompanied by a linguocultural comment.

Keywords

• film discourse
• croatian comedy lito vilovito
• phraseological creativity
• linguoculturology