Чорногуз, Ярина2017-11-282017-11-282017Чорногуз Ярина Ярославівна. Прихований кінематографізм: кіномистецтво 1920-х в інтертекстуальному дискурсі прози В. Домонтовича / Чорногуз Я. Я. // Магістеріум. Літературознавчі студії. - 2017. - Вип. 69. - С. 48-52.https://ekmair.ukma.edu.ua/handle/123456789/12284Статтю присвячено аналізу ремінісценцій та алюзій у прозі В. Домонтовича на відомі фільми німого кіномистецтва 1920-х, огляду рис та елементів кіномови у творчій манері письменника, а також з’ясуванню характеру кінематографізму, притаманного його прозі.V. Domontovych’s prose is considered one of the most mysterious and complicated in its intertextuality in the literature of Ukrainian modernism. The article presents a comparative analysis of the reminiscences and references to the silent films of the 1920s in V. Domontovych’s prose, as well as the features of the poetics of cinema in the composition of his novels. The plot analogies between his debut novel ‘The Girl with Teddy Bear’ and two famous soviet films ‘Mary Pickford’s Kiss’ (1927) and ‘The Cigarette Girl from Mosselprom’ (1924) reveal that the popular culture of the 1920s was an important sphere of the intertextual dialogue with the recipient. The results of the analysis reveal that V. Domontovych used the intentional intertextuality with the cinema of that time to enforce the visual associations between his characters and famous cinemactors. The most eloquent example is the resemblance of Zina Tyhmienieva from ‘The Girl with Teddy Bear’ and Zina Vesienina from ‘The Cigarette Girl from Mosselprom’ whose performed by famous soviet cinemactress Yulia Solntseva. According to O. Punina, the methodology the author of this article researches the nature of cinematography which is peculiar to Domontovych’s creative manner: whether it is hidden or pretended literary cinematography. The article characterizes both montage thinking and scenario constructs in the famous writer’s prose. Besides, it emphasizes the availability of literary adaptations of such filmmaking techniques as the parallel scenes montage, film transitions, leitmotifs, panning, playing with film shots. Thereby, the article outlines the cinematographic potential of V. Domontovych’s novels.ukДомонтовичінтертекстуальністьвроджений кінематографізмприхований кінематографізмкінопоетикакіномовакіноприйомимонтажне мисленняпаралельний монтажмонтажнасценарна та технічна конструкція в літературному творіDomontovychintertextualitycongenital cinematographismhidden cinematographismpoetics of cinemacinema languagefilmmaking techniquesmontage thinkingparallel scenes montagemontageousscenarios and technical constructs in the literary textArticle