Статтю присвячено аналізу ремінісценцій та алюзій у прозі В. Домонтовича на відомі фільми
німого кіномистецтва 1920-х, огляду рис та елементів кіномови у творчій манері письменника,
а також з’ясуванню характеру кінематографізму, притаманного його прозі.
V. Domontovych’s prose is considered one of the most mysterious and complicated in its intertextuality
in the literature of Ukrainian modernism. The article presents a comparative analysis of the reminiscences
and references to the silent films of the 1920s in V. Domontovych’s prose, as well as the features of the
poetics of cinema in the composition of his novels.
The plot analogies between his debut novel ‘The Girl with Teddy Bear’ and two famous soviet films
‘Mary Pickford’s Kiss’ (1927) and ‘The Cigarette Girl from Mosselprom’ (1924) reveal that the popular
culture of the 1920s was an important sphere of the intertextual dialogue with the recipient. The results of
the analysis reveal that V. Domontovych used the intentional intertextuality with the cinema of that time to
enforce the visual associations between his characters and famous cinemactors. The most eloquent example
is the resemblance of Zina Tyhmienieva from ‘The Girl with Teddy Bear’ and Zina Vesienina from ‘The
Cigarette Girl from Mosselprom’ whose performed by famous soviet cinemactress Yulia Solntseva.
According to O. Punina, the methodology the author of this article researches the nature of cinematography
which is peculiar to Domontovych’s creative manner: whether it is hidden or pretended literary
cinematography. The article characterizes both montage thinking and scenario constructs in the famous
writer’s prose. Besides, it emphasizes the availability of literary adaptations of such filmmaking techniques
as the parallel scenes montage, film transitions, leitmotifs, panning, playing with film shots. Thereby, the
article outlines the cinematographic potential of V. Domontovych’s novels.
