DOI 10.52172/2587-6945_2021_17_3_69
Abstract
The article focuses on film interpretations of Gogol's works. It is no secret that for many years – almost since the inception of cinematography – the topic of interaction between literature and cinematography has attracted the attention of many theorists and researchers. Among such people are supporters of OPOYAZ, S. M. Eisenstein, scientists like U. A. Guralnik, N. S. Gornitskaya, N. M. Zorkaya and many others. Starting from the era of silent cinema and ending with postmodern versions, the author of the article gives examples of film adaptations of Gogol. Films are characterized according to the time in which they were created. In this regard, the article mentions such significant concepts as Melies' fiction, the French "new wave", the cinema of Pasolini, etc. It is also important that the consideration of film adaptations – and there are a lot of Gogol film adaptations – cannot but affect the historical and functional aspect. The reason for this is the different stages in the development of cinema as an art. Since in the course of this development technological and linguistic features and ifferences are manifested which are formed as both arts develop, affecting the process of film interpretation. And, therefore, the question arises about the specifics of translating a literary text into a film language. After all, it is known that Gogol's cinematography went through several stages: the stage of silent monochrome cinema, through periods of the formation of genres (fairy tale, horror), postmodernism. The study of postmodern interpretations is especially important. For the reason that it allows to understand how the authors, whose aim is to focus on the game, use Gogol's texts. In postmodern interpretations, in contrast to classical adaptations, the viewer recognizes the writer's works by quotations (plots, motives, images, details), but not by the ideas of the work (the idea of righteous labor, the Christian idea of resurrection). Almost the same thing happens in silent films. However, only because at the stage of silent cinematography, cinema had not taken shape as art yet (an exception is the film "The Overcoat" in 1926). And, since such a comprehensive study of Gogol's adaptations has not been carried out, this allows to make a conclusion of the novelty of this study.
Key words
Interpretation, silent cinematograph, avant-garde cinema, film adaptation classics, postmodernity, Gogol`s poetics.