Поезія і/чи проза: до археології однієї дискусії в радянському кіно
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Date
2017
Authors
Брюховецька, Ольга
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Abstract
У дослідженні проаналізовано теоретичні джерела і політичні наслідки статті московського
кінокритика М. Блеймана "Архаїсти чи новатори?" (1970), яку вважають обґрунтуванням заборони школи українського поетичного кіно як "безперспективного" напряму. Статтю М. Блеймана вміщено в контекст дискусії про поетичне і прозаїчне кіно, яку систематизовано щодо двох
підходів: нормативного, який вважає лише один із напрямів кіно релевантним його природі (йому
відповідає сполучник "чи"), і плюралістичного, який розглядає обидва напрями як актуалізації
різних кінематографічних потенцій згідно з тими завданнями, що ставлять режисери (йому відповідає сполучник "і").
The study is focused on the analysis of the theoretical sources and political consequences of the article “Archaists or Innovators?” (1970) by Moscow based film critic M.Bleiman, which is considered to be a substantiation of the ban of Ukrainian poetical cinema as a direction “with no prospect.” The major target of this article became the films by S. Parajanov. Since M.Bleiman’s seminal article is quite a performative statement disguised as a theoretical treatise, it is necessary to ask what it has done, rather than what it meant. Therefore, its political consequences for Ukrainian cinema were studied first. Despite the similarity of the key words and statements between this article and the authoritative discourse on cinema in the Ukrainian SSR after V.Shcherbytsky’s coming to power, it is clear that repressive campaigns of so called ‘malanchukivshchyna’ would have been implemented even without the particular useful vocabulary provided by M. Bleiman. Moreover, M. Bleiman’s criticism was aimed not at the national particularity of the poetical cinema, which became the main target of repressive campaigns of ‘malanchukivshchyna’, but rather at the difficulty of its films. The author proceeds to study the theoretical sources of M. Bleiman’s article. The article is placed in the context of a wider discussion on cinematic poetry and prose in the Soviet cinema, which is systematized according to two major approaches: a normative one, according to which only one direction in cinema is seen as relevant to its nature (with the corresponding conjunction “or”), and a pluralistic one, according to which both directions actualize different cinematic potencies in relation to different creative tasks (with the corresponding conjunction “and”). While the Thaw Era film criticism, particularly such film critics as E. Dobin, M. Turovskaya, L. Anninsky, and V. Fomin, developed a pluralistic approach to the Soviet cinema, M. Bleiman, recycling the arguments advanced in the discussion on cinematic poetry and prose, regressed in his article to the normative approach.
The study is focused on the analysis of the theoretical sources and political consequences of the article “Archaists or Innovators?” (1970) by Moscow based film critic M.Bleiman, which is considered to be a substantiation of the ban of Ukrainian poetical cinema as a direction “with no prospect.” The major target of this article became the films by S. Parajanov. Since M.Bleiman’s seminal article is quite a performative statement disguised as a theoretical treatise, it is necessary to ask what it has done, rather than what it meant. Therefore, its political consequences for Ukrainian cinema were studied first. Despite the similarity of the key words and statements between this article and the authoritative discourse on cinema in the Ukrainian SSR after V.Shcherbytsky’s coming to power, it is clear that repressive campaigns of so called ‘malanchukivshchyna’ would have been implemented even without the particular useful vocabulary provided by M. Bleiman. Moreover, M. Bleiman’s criticism was aimed not at the national particularity of the poetical cinema, which became the main target of repressive campaigns of ‘malanchukivshchyna’, but rather at the difficulty of its films. The author proceeds to study the theoretical sources of M. Bleiman’s article. The article is placed in the context of a wider discussion on cinematic poetry and prose in the Soviet cinema, which is systematized according to two major approaches: a normative one, according to which only one direction in cinema is seen as relevant to its nature (with the corresponding conjunction “or”), and a pluralistic one, according to which both directions actualize different cinematic potencies in relation to different creative tasks (with the corresponding conjunction “and”). While the Thaw Era film criticism, particularly such film critics as E. Dobin, M. Turovskaya, L. Anninsky, and V. Fomin, developed a pluralistic approach to the Soviet cinema, M. Bleiman, recycling the arguments advanced in the discussion on cinematic poetry and prose, regressed in his article to the normative approach.
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Keywords
радянське кіно, поетичне кіно, прозаїчне кіно, українське кіно, "маланчуківщина", "національна своєрідність", "складний фільм", Михайло Блейман, Сергій Параджанов, Soviet cinema, cinematic poetry, cinematic prose, Ukrainian cinema, national particularity, difficult films, Mykhail Bleiman, Sergey Parajanov
Citation
Брюховецька Ольга Вячеславівна. Поезія і/чи проза: до археології однієї дискусії в радянському кіно / Брюховецька О. В. // Наукові записки НаУКМА. Теорія та історія культури. - 2017. - Т. 191. - С. 33-41.