Володимир Винниченко: "кінодекадент у вишиванці" (культурна історія екранізацій - 1917-2014 рр.)
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Date
2017
Authors
Кирилова, Ольга
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Abstract
Статтю присвячено системному аналізу корпусу екранізацій творів Володимира Винниченка від
появи української декадентської драми до наших днів. У статті досліджено історичні зв’язки
Володимира Винниченка з німим кінематографом, контексти перших екранізацій його п’єс і сценаріїв, а також особливості "сукупного кінотексту" В. Винниченка, який формується у 1990-ті роки
та створює цілісну екранну парадигму рецепції творчості Винниченка кінематографом.
The article explores the cultural history of Volodymyr Vynnychenko’s screenings from 1918 to 2014, in contexts of decadence and “decadent film”. The argument is that Vynnychenko’s pattern had been taken as a basis for Ukrainian local version of the world cinema of decadence. There are certain major periods in this cultural history of screenings marked out. The first one, the period of silents, was characterized by the necessity of shaping specifically independent Ukrainian decadent cinema together with the achieved political independence of the Ukrainian state. In 1918 this aim resulted in two films based on popular Vynnychenko’s plays, both unreleased: “The Lie” (Biofilm Studio, by V. Vyskovskyi, found and reconstructed) and “Black Panther and Polar Bear” (Ukrainfilm Studio, by S. Veselovskyi, unfinished and lost); they were opposed to silents emerging in cultural contexts of “multinational diffusion” in the decadent film of the Russian Empire (“The Devil’s Staircase/Black Panther”, by G. Azagarov, 1917), that of German expressionism (“Black Panther”/Die Schwarze Pantherin”, by J. Gutter, 1922) and, finally, the Soviet cultural context exploiting Vynnychenko’s children’s fiction (“Poltynnyk’s Adventures”, by A.Lundin, 1929), which was rather an exception in ‘Vynnychenko’s film paradigm’. The next, Post-Soviet period of Vynnychenko’s screenings started after the gap in the 1990s, shaping the key conceptual points of the mentioned ‘film paradigm’. It was based upon specific Vynnychenko’s “ethical symbolism” and “erotical decadence” based upon such re-evaluated concepts as “law”, “sin”, “truth”, “lie” as the key dialectical symbols. This paradigm also includes a system of special motives: 1) infanticide as thanathoteurgy / creation by means of death (obviously borrowed from “dannunzianesimo” – ‘decadent’ lifestyle described by Gabriele d’Annunzio; 2) love as hate / love-hate / Hassiliebe (from German) aiming at the destruction of the object; 3) psychological experiment in inter-subjective relations (mainly sexual). This system of motifs is supplemented by a number of specific codes, the code of sacrifice, the code of seduction, the code of pornographism among them. They are represented in the whole complex of screenings after V. Vynnychenko’s works (these are eight Ukrainian productions screened from 1989 to 2014, the brightest of them by Oleh Biyma: “Black Panther and Polar Bear” – 1990, “The Sin” – 1991, “The Engagement” – 1996).
The article explores the cultural history of Volodymyr Vynnychenko’s screenings from 1918 to 2014, in contexts of decadence and “decadent film”. The argument is that Vynnychenko’s pattern had been taken as a basis for Ukrainian local version of the world cinema of decadence. There are certain major periods in this cultural history of screenings marked out. The first one, the period of silents, was characterized by the necessity of shaping specifically independent Ukrainian decadent cinema together with the achieved political independence of the Ukrainian state. In 1918 this aim resulted in two films based on popular Vynnychenko’s plays, both unreleased: “The Lie” (Biofilm Studio, by V. Vyskovskyi, found and reconstructed) and “Black Panther and Polar Bear” (Ukrainfilm Studio, by S. Veselovskyi, unfinished and lost); they were opposed to silents emerging in cultural contexts of “multinational diffusion” in the decadent film of the Russian Empire (“The Devil’s Staircase/Black Panther”, by G. Azagarov, 1917), that of German expressionism (“Black Panther”/Die Schwarze Pantherin”, by J. Gutter, 1922) and, finally, the Soviet cultural context exploiting Vynnychenko’s children’s fiction (“Poltynnyk’s Adventures”, by A.Lundin, 1929), which was rather an exception in ‘Vynnychenko’s film paradigm’. The next, Post-Soviet period of Vynnychenko’s screenings started after the gap in the 1990s, shaping the key conceptual points of the mentioned ‘film paradigm’. It was based upon specific Vynnychenko’s “ethical symbolism” and “erotical decadence” based upon such re-evaluated concepts as “law”, “sin”, “truth”, “lie” as the key dialectical symbols. This paradigm also includes a system of special motives: 1) infanticide as thanathoteurgy / creation by means of death (obviously borrowed from “dannunzianesimo” – ‘decadent’ lifestyle described by Gabriele d’Annunzio; 2) love as hate / love-hate / Hassiliebe (from German) aiming at the destruction of the object; 3) psychological experiment in inter-subjective relations (mainly sexual). This system of motifs is supplemented by a number of specific codes, the code of sacrifice, the code of seduction, the code of pornographism among them. They are represented in the whole complex of screenings after V. Vynnychenko’s works (these are eight Ukrainian productions screened from 1989 to 2014, the brightest of them by Oleh Biyma: “Black Panther and Polar Bear” – 1990, “The Sin” – 1991, “The Engagement” – 1996).
Description
Keywords
кінотекст, декаданс, життєтворчість, еротанатологія, даннунціанізм, Gezamtkunstwerk, Hassiliebe, порнографізм, інфантицид, коди, мотиви, етичний символізм, декадентський кінематограф, стаття, cinematic text, decadence, life-creation, pornographism, infant homicide, codes, motives, ethical symbolism, decadent film
Citation
Кирилова Ольга Олексіївна. Володимир Винниченко: "кінодекадент у вишиванці" (культурна історія екранізацій - 1917-2014 рр.) / Кирилова О. О. // Магістеріум. Культурологія. - 2017. - Вип. 68. - С. 58-66.