Кіно у творчості Василя Герасим'юка

Abstract

У статті досліджено роль кіно у творчості Василя Герасим’юка. Простежено особливості використання кінематографічних прийомів, проаналізовано цитування кінокласики, розкрито значення постаті І. Миколайчука у текстах В. Герасим’юка. Розглянуто вплив "поетичного кіно" і особливо стрічки "Тіні забутих предків" на формування "карпатського тексту" поета.

In the poems of Vasyl Herasymiuk, one of the most notable creators of the "Carpathian text" in Ukrainian literature, the interaction of different arts is analyzed. In his poetry and interviews Vasyl Herasymiuk frequently mentions cinema as one of the most important ways of reality comprehension for him. The article explores the role of the cinematography in Vasyl Herasymiuk’s poetry. In particular, I trace the features of cinematic approaches appliance (especially, this article concerns the specific way in which Herasymiuk constructs the composition of the book "The Poet in the Air"). The citations of cinema classics are analyzed (in particular, "Ukrainian poetry cinema", as well as "Auteur cinematography" of his time (Michelangelo Antonioni, Luchino Visconti, Akira Kurosawa, Federico Fellini, Ingmar Bergman). The significance of Ivan Mykolaichuk figure in the Herasymiuk’s texts is discovered (including the influence of the Mykolaichuk’s death on the basic individual concept of Herasymiuk’s work – "August in Old Style"). The influence of “Ukrainian poetic cinema”, particularly the movie "The Shadows of Forgotten Ancestors", on the formation of poet’s "Carpathian text" is analyzed. This pattern is demonstrated on the example of the revolution in the thinking of Herasymiuk’s time, as well as on the presentation of the "Ukrainian text" through the "Carpathian text". In addition, article examines how Herasymiuk designs the Ukrainian history of the 20th century, including the history of his family, as well as his own biography, using the cinema as the instrument of analysis. The role of Herasymiuk’s personal experience in film production is explored as well. In general, the article presents the cinematic correlation with Herasymiuk’s artistic structures.