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The question of the originality of the syntax of native advertising publications in Russian editions of international glossy magazines in 2018-2020 is considered. The relevance of the chosen topic is due to the interest of domestic and foreign experts in one of the modern formats of brand promotion on the market — natural advertising that organically fits into the content of the site, print or online edition and helps to promote the brand’s products to the market. The novelty of the study is associated with the allocation, systematization and description of the main features of native publications: the functioning of bisubstantive sentences, question-answer complexes, connecting structures, definite personal one-part sentences with predicate verbs of the 1st and 2nd person singular; the use of bifunctional exclamation sentences, simple sentences, complicated by inserted constructions and introductory-modal words; the use of non-union complex sentences with explanatory semantic relations, complex sentences with explanatory-object and intrinsic-attributive clauses; introduction of various explicit intertextual units, etc. The author comes to the conclusion that the syntax of texts in the native advertising format as a whole is a hybrid formation, similar to the syntax, on the one hand, of direct advertising texts, and journalistic and PR-texts on the other.

The article is devoted to the use of syntactic units in the language of film actors. The article draws attention to various ideas and considerations regarding the use of syntactic units in all areas of the cinematic language. The reader is presented about themes, genres, style problems in Azerbaijani cinema, screen artists, large-format publishing, a variety of styles in the director’s work, various problems of cinema and theater poetry, the history of television poetry and style. The differences in some cases between the written language and its oral form, innovation, accent, facial expressions and gestures of the actors by the setting of the pavilion and the fact that the dramatic point of view of the film is conveyed to the reader only by word. Since thought is known in dialogical speech, the narrative of some members of a sentence, complex sentences requiring details are omitted. The film pavilion, structure, actor’s movements, images form the basis of the article. Readers can extract information from all this, especially since directors and actors choose syntactic units that are more suitable for spoken language. The article also provides tips from individual films and presents ideas for any explanation.

[Resumo] Consciente da dificultade dos temas que se tratan neste traballo, tanto pola súa amplitude como polas controversias suscitadas no estudo da sintaxe moderna, pareceume adecuado tocar só algúns aspectos fundamentais que atinxen á problemática da fixación das unidades principais e os seus subtipos, así como á complexidade das relacións e funcións sintácticas que operan nesas unidades. O obxectivo non é, pois, elaborar un minitratado de sintaxe, aínda que considero que non está de máis identificar os tipos de relacións, de unidades e de funcións sintácticas con que imos traballar, como paso previo a calquera precisión. [Abstract] Being conscious of the difficulty regarding the topics which we deal with in this work, both for its wideness and for the controversies which when studying modern syntax, I thought convenient to study only a few basic aspects which affect the problem of defining the main units and its subtypes as well as the complexity of the syntactic relations and functions which work in these units. The aim is not, therefore, to elaborate a small volume on syntax, while I consider it is not completely out of the question to identify the syntactic relation types, units and functions which we are going to work, with as a step previous to any accuracy.