Позитивные изменения. Том 3, № 2 (2023). Positive changes. Volume 3, Issue 2 (2023)

 In the first stage, semantic connections between objects are analyzed using such methods as associative experiments and subjective scaling. This step results in the construction of a similarity matrix that encapsulates the internal structure of the semantic space.

2. In the second stage, the similarity matrix is subjected to mathematical processing to uncover the underlying factors or clusters. This typically entails using various techniques such as factor analysis, multivariate scaling, and cluster analysis.

It is important to note that mathematical processing does not generate new content but allows for the presentation of raw data in a concise and well-structured format.

3. In the third stage, the selected structures are interpreted by searching for semantic invariants that unite the objects grouped within a factor or cluster. Competent experts are involved, and reference objects are introduced to formulate hypotheses about the content of the factors.

PSYCHOSEMANTICS IN CINEMA: A CASE STUDY

The application of psychosemantics in cinema assumes a crucial role as it uncovers the genesis, structure, and functioning of individual and collective systems of meanings portrayed in cinematic images and reality. Each viewer, immersed in the events on the screen, identifies with specific characters, and different scenes evoke distinct emotions in each person. Cinemalogy highlights fundamental codes that foster free strategies and imagination to enhance humanistic values like personal worth, responsibility, cooperation, evolution, freedom, and spirituality (Strelkova, 2009; Yanovsky, 2010).

Numerous studies have explored the psychosemantics of film art, including analyses of movies such as “Stalker,” “The Barber of Siberia,” “Rashomon,” and others (Petrenko et al., 2014).

To provide a clearer illustration of this approach, let us turn to V. F. Petrenko’s work, “Psychosemantic Analysis of the Feature Film The Barber of Siberia’” (Petrenko, 2005).

Experiment Procedure. After collectively watching the film, the respondents were asked to formulate bipolar constructs that contrast the characters (using G. Kelly’s Triadic Choice methods)[2 - In order to form a construct, the experiment should involve both similarities and differences among the objects (for instance, Ivanov and Petrov are brunettes, and Sidorov is not).