THE FATHER FIGURE IN ENGLISH AND UZBEK CINEMA: A PSYCHOLINGUISTIC ANALYSIS (BASED ON THE FILMS "THE PURSUIT OF HAPPYNESS," "INTERSTELLAR," "OTA," "MAHALLADA DUV-DUV GAP")

Abstract

The article compares the psycholinguistic characteristics of the father's image in English-language and Uzbek-language film discourse. Based on four films - "The Pursuit of Happyness," "Interstellar," "Ota," and "Mahallada duv-duv gap" - the study analyzes fathers' speech acts in dialogues with children, forms of address, emotional coloring of utterances, and distribution of communicative strategies. It demonstrates that American films reinforce the model of an emotionally engaged and verbally supportive father, while in classical Uzbek film discourse, an authoritarian-directive type of speech behavior prevails with minimal verbalization of feelings. The modern Uzbek film "Ota" presents a transitional model that combines the traditional authority of the father with the growing role of emotional empathy and dialogic interaction. The article highlights both culture-specific and universal features of paternal discourse related to the motif of sacrifice and responsibility for children's future.