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Прихований кінематографізм: кіномистецтво 1920-х в інтертекстуальному дискурсі прози В. Домонтовича

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dc.contributor.author Чорногуз, Ярина
dc.date.accessioned 2017-11-28T16:52:31Z
dc.date.available 2017-11-28T16:52:31Z
dc.date.issued 2017
dc.identifier.citation Чорногуз Ярина Ярославівна. Прихований кінематографізм: кіномистецтво 1920-х в інтертекстуальному дискурсі прози В. Домонтовича / Чорногуз Я. Я. // Магістеріум. Літературознавчі студії. - 2017. - Вип. 69. - С. 48-52. uk_UA
dc.identifier.uri http://ekmair.ukma.edu.ua/handle/123456789/12284
dc.description.abstract 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. uk_UA
dc.description.abstract 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. en_US
dc.language.iso uk uk_UA
dc.subject Домонтович uk_UA
dc.subject інтертекстуальність uk_UA
dc.subject вроджений кінематографізм uk_UA
dc.subject прихований кінематографізм uk_UA
dc.subject кінопоетика uk_UA
dc.subject кіномова uk_UA
dc.subject кіноприйоми uk_UA
dc.subject монтажне мислення uk_UA
dc.subject паралельний монтаж uk_UA
dc.subject монтажна uk_UA
dc.subject сценарна та технічна конструкція в літературному творі uk_UA
dc.subject Domontovych en_US
dc.subject intertextuality en_US
dc.subject congenital cinematographism en_US
dc.subject hidden cinematographism en_US
dc.subject poetics of cinema en_US
dc.subject cinema language en_US
dc.subject filmmaking techniques en_US
dc.subject montage thinking en_US
dc.subject parallel scenes montage en_US
dc.subject montageous en_US
dc.subject scenarios and technical constructs in the literary text en_US
dc.title Прихований кінематографізм: кіномистецтво 1920-х в інтертекстуальному дискурсі прози В. Домонтовича uk_UA
dc.title.alternative The Hidden Cinematography: Cinema of 1920th in the Intertextual Discourse of V. Domontovych’s Prose en_US
dc.type Article uk_UA
dc.status first published uk_UA
dc.relation.source Магістеріум: Літературознавчі студії uk_UA


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