Abstract
The correctness of the concept of “cinema language” is called into question asthe most common designation of specific cinematographic techniques, which resulted in theformation of certain spectator attitudes towards a film. The authors determined the three mainmeanings of the word “cinema language” and traced their formation on the material of classicaland modern film theory. The main film theoretical approaches that focused on the search foranalogies between film and language (linguistic, semiotic), are presented. Moreover an exampleof their main provisions from the movie Keiki Batyr is given on the material of the modernKazakh film philosophy and a conclusion about its theoretical consistency is made.Possible directions of the film-theoretical movement on the other side of linguistic analogies areoutlined. It is recommended to pay attention to those techniques of film, that fundamentallydo not have the function of designation; an example of minimal cinematographic elementsrelated to the audiovisual field of the film itself is provided; for further discussion, the authorsproposed a thesis about changing the viewer’s attitude from an interpretive “understanding”to a sensory “encounter” when watching.The necessity of continuing theoretical work is emphasized, this might be possible due to theabandonment of linguistic analogies and the interpretive position of the theorist and the viewer,as a result it will be possible to direct to the conversation about the autonomous mode of filmexistence.