Linguistic Means of Constructing ‘Enemy Number One’ in the US Cold War Cinema

The study examines how the US Cold War cinema employed linguistic means to construct images of the USSR and American communists. The research relevance is determined by: the need to study the techniques of creating the enemy image as one of the crucial issues in international relations; and the importance of the topic amidst the aggravation of Russia- US relations. The study aims at analysing the usage of linguistic means in such practices of constructing/deconstructing the images of ‘enemy number one’ as dehumanisation of the enemy, its normalisation, domestication, and rehumanisation. The research novelty lies in the fact that, for the first time, the language as a resource for constructing enemy images in the Cold War films is analysed. The material for the study makes American films of the 1940s-1960s, in which contaminated speech for depicting Soviet characters is extensively used. Particular attention is paid to the means of creating speech portraits of Soviet characters. The research methods used are descriptive, linguistic, and sociolinguistic methods, and discourse analysis. The authors conclude that linguistic means (primarily linguistic competences and accent) were instrumental for creating enemy images in the cinematic Cold War. Linguistic otherness served as a means of emphasising second-rate culture, which in turn was intended to mark political foreignness. Linguistic means helped fulfil functions of the enemy image: showing its otherness; depriving it of the linguistic abilities as an essential attribute of humanity, helping dehumanise it; emphasizing its civilisational inferiority; and making the enemy comical. Finally, attention is drawn to the fact that the cinematic image of ‘enemy number one’ contributed to the hierarchisation of languages; everything Russian was associated with communism and therefore perceived as inferior and hostile.