Два кіносюжети декадансу: 1921 рік ("Корабель" Ґ. д'Аннунціо та "Чорна Пантера" В. Винниченка)
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Date
2018
Authors
Кирилова, Ольга
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Abstract
Статтю присвячено культурологічній реконструкції контекстів появи двох знакових європейських фільмів кінематографічного декадансу – "Корабель" за Ґ. д’Аннунціо (реж. Ґ. д’Аннунціо-мол.,
Італія) та "Чорна Пантера" за В. Винниченком (реж. Й. Ґутер, Німеччина) у 1921 р. Акцентовано
їхню унікальність та спільність за об’єднавчою характеристикою "політичного даннунціанізму"
як форми декадентської життєтворчості, що характеризувала італійського та українського
кінодраматургів. Розглянуто "Корабель" як підсумковий твір кінематографічного символізму та
"Чорну Пантеру" як експериментальний твір кінематографічного експресіонізму. Відзначено перспективи реконструкції й дослідження українсько-німецького фільму, на противагу італійському,
офіційно виданому й добре відомому.
The article aims to reconstruct the cultural contexts of two major European decadent films created in 1921: La Nave (The Ship, director G. d’Annunzio-jr, Italy, story by G. d’Annunzio) and Die Schwarze Pantherin (The Black Panther, director J. Guter, Germany, story by V. Vynnychenko). The newly discovered cinematic heritage of decadence culture should be reconsidered and reactualized in the cultural context. The films are basically compared based on the common feature of the political “dannunzianesimo” as a typically decadent mode of life-creation common for both the Italian and the Ukrainian playwrights. La Nave is regarded as an oeuvre of the cinematic symbolism and Die Schwarze Pantherin as an expressionist film experiment. According to the decadent “feminocentric” film paradigm, both pictures are focused on the central female characters ("femmes fatales") performed by actresses of the Ukrainian origin: Ida Rubinstein, native from Kharkiv, starring as the Byzantine dancer Basiliola in La Nave, and Olena Polevytska, an actress of Kyiv Solovtsov Theatre, starring as Rita in Die Schwarze Pantherin. The latter film is regarded also as a unique combination of the expressionist film aesthetics (the script was written by Hans Janowitz, the plotwriter of Wiene’s “Caligari”, on the basis of Vynnychenko’s play) and the traditions of Les Kurbas experimental theatre. The perspectives of reconstruction and research of the German-Ukrainian film project are discussed in comparison with the Italian one, which is officially distributed, digitalized, restored, and explored. However, Die Schwarze Pantherin is of importance to culturologists because it serves as the evidence of the Ukrainian presence in the European cinematography of 1920s. So far two masterpieces from the cinematic texts of the two representatives of “dannunzianesimo”, Italian and Ukrainian, are not on an equal footing.
The article aims to reconstruct the cultural contexts of two major European decadent films created in 1921: La Nave (The Ship, director G. d’Annunzio-jr, Italy, story by G. d’Annunzio) and Die Schwarze Pantherin (The Black Panther, director J. Guter, Germany, story by V. Vynnychenko). The newly discovered cinematic heritage of decadence culture should be reconsidered and reactualized in the cultural context. The films are basically compared based on the common feature of the political “dannunzianesimo” as a typically decadent mode of life-creation common for both the Italian and the Ukrainian playwrights. La Nave is regarded as an oeuvre of the cinematic symbolism and Die Schwarze Pantherin as an expressionist film experiment. According to the decadent “feminocentric” film paradigm, both pictures are focused on the central female characters ("femmes fatales") performed by actresses of the Ukrainian origin: Ida Rubinstein, native from Kharkiv, starring as the Byzantine dancer Basiliola in La Nave, and Olena Polevytska, an actress of Kyiv Solovtsov Theatre, starring as Rita in Die Schwarze Pantherin. The latter film is regarded also as a unique combination of the expressionist film aesthetics (the script was written by Hans Janowitz, the plotwriter of Wiene’s “Caligari”, on the basis of Vynnychenko’s play) and the traditions of Les Kurbas experimental theatre. The perspectives of reconstruction and research of the German-Ukrainian film project are discussed in comparison with the Italian one, which is officially distributed, digitalized, restored, and explored. However, Die Schwarze Pantherin is of importance to culturologists because it serves as the evidence of the Ukrainian presence in the European cinematography of 1920s. So far two masterpieces from the cinematic texts of the two representatives of “dannunzianesimo”, Italian and Ukrainian, are not on an equal footing.
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Keywords
декаданс, даннунціанізм, символізм, експресіонізм, декадентський кінематограф, стаття, decadence, "dannunzianesimo", symbolism, expressionism, decadent film
Citation
Кирилова О. О. Два кіносюжети декадансу: 1921 рік ("Корабель" Ґ. д'Аннунціо та "Чорна Пантера" В. Винниченка) / Кирилова О. О. // Магістеріум. Культурологія. - 2018. - Вип. 71. - С. 61-66.