Abstract
The paper explores the interaction between poetic text and cinema, analysing the phenomenon of ‘video poetry’. On the example of the relationship between the author-writer and the illustrator of their works the contradiction between the subjective individualisation of the director and the author's concept of the text, as well as reader's associations is comprehended. When a fiction text is translated from a temporal to a spatio-temporal art form (screen adaptation), the text and its meanings are reinterpreted. Means of expressiveness of the artistic text (metaphors, comparisons, epithets, etc.) are modified in accordance with the requirements of the new art form). The article analyses the peculiarities of screen adaptations and self-screenings, when the author of a poem acts as a director for further screen adaptation. It concludes with an analysis of video recordings made for the Video Poetry Festival ‘Videostikhiya’. The main aim of the work is to study the processes of rethinking and adapting an artistic text to the requirements of film language, which includes the transformation of means of expression (metaphors, comparisons, epithets, etc.) into visual images. The authors analyse various approaches to the screen adaptation of poetic works, explore the peculiarities of self-screening and present examples of video works created for the Videostikhiya festival.
Using the example of screen adaptations of poems such as ‘Winter Morning’ by J. Przialkowska, the ways in which the text is visualised through the use of light, frame changes and cinematic techniques (e. g. the ‘God's eye’) are examined. The differences between screen adaptations are analysed, structured into three types according to Jeffrey Wagner's classification: transposition, commentary and analogy. These approaches allow creators to choose between faithful reproduction of the text, interpretation or significant deviations from the original.
Special attention is paid to self-interpretation, when the author interprets his work independently, adding new meanings. The opposite approach is exemplified by works where the poem is recited without visualising the plot, which allows the viewer to perceive the text independently, minimising the influence of the director's interpretation.
The conclusion emphasises that screen adaptation requires a deep adaptation of the original text using the tools of cinematography and acting, creating a new format of perception of the work. Video poetry becomes a unique form of connection between poetry and film art, offering an original way of actualising poetic texts.
Keywords
Screen adaptation, poetic text, video poetry, script, cinematography.