Володимир Винниченко: "кінодекадент у вишиванці" (культурна історія екранізацій - 1917-2014 рр.)

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dc.contributor.authorКирилова, Ольга
dc.date.accessioned2017-12-01T08:02:43Z
dc.date.available2017-12-01T08:02:43Z
dc.date.issued2017
dc.description.abstractСтаттю 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.uk_UA
dc.description.abstractThe 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).en_US
dc.identifier.citationКирилова Ольга Олексіївна. Володимир Винниченко: "кінодекадент у вишиванці" (культурна історія екранізацій - 1917-2014 рр.) / Кирилова О. О. // Магістеріум. Культурологія. - 2017. - Вип. 68. - С. 58-66.uk_UA
dc.identifier.urihttps://ekmair.ukma.edu.ua/handle/123456789/12322
dc.language.isoukuk_UA
dc.relation.sourceМагістеріум: Культурологіяuk_UA
dc.statusfirst publisheduk_UA
dc.subjectкінотекстuk_UA
dc.subjectдекадансuk_UA
dc.subjectжиттєтворчістьuk_UA
dc.subjectеротанатологіяuk_UA
dc.subjectданнунціанізмuk_UA
dc.subjectGezamtkunstwerken_US
dc.subjectHassiliebeen_US
dc.subjectпорнографізмuk_UA
dc.subjectінфантицидuk_UA
dc.subjectкодиuk_UA
dc.subjectмотивиuk_UA
dc.subjectетичний символізмuk_UA
dc.subjectдекадентський кінематографuk_UA
dc.subjectстаттяuk_UA
dc.subjectcinematic texten_US
dc.subjectdecadenceen_US
dc.subjectlife-creationen_US
dc.subjectpornographismen_US
dc.subjectinfant homicideen_US
dc.subjectcodesen_US
dc.subjectmotivesen_US
dc.subjectethical symbolismen_US
dc.subjectdecadent filmen_US
dc.titleВолодимир Винниченко: "кінодекадент у вишиванці" (культурна історія екранізацій - 1917-2014 рр.)uk_UA
dc.title.alternativeVolodymyr Vynnychenko: cinematic decadent wearing embroidered shirt (cultural history of screenings from 1917 to 2014)en_US
dc.typeArticleuk_UA
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Вип. 68. Культурологія