| Article | |
|---|---|
| Article name | Screen Culture and Literary Mythology of Mass Consciousness (two “Onegins” – 1999 and 2024) |
| Authors | Il’chenko S.N. Doctor of Philology, tv_and_radio@mail.ru |
| Bibliographic description | Ilchenko S. N. Screen Culture and Literary Mythology of Mass Consciousness (two “Onegins” – 1999 and 2024) // Humanitarian Vector. 2024. Vol. 19, no. 4. P. 141–150. DOI: 10.21209/1996-7853-2024-19-4-141-150. |
| Section | REVIEWS |
| UDK | 316.77 |
| DOI | 10.21209/1996-7853-2024-19-4-141-150 |
| Article type | Review |
| Annotation | The article discusses the practice of promoting the images and meanings of classical works of Russian literature in modern screen culture. The relevance of this topic is connected with the widespread use of images of Russian literature in those samples of screen culture that the modern mass audience is faced with. In the article, the method of comparative analysis will be used as the main research method. The author proposes to compare two cinematic versions of one of the key works of Russian literature - the novel ‘Eugene Onegin’ by A. S. Pushkin. In the course of the analysis, it is proposed to study the circumstances of the creation of both films, the cultural and socio-psychological context of the appearance of screen adaptations, and the general historical background. Particular attention will be paid to the country of origin of each of the films (Great Britain and Russia), which, of course, could not affect the final result. The author examines the adequacy of screen versions, taking into account the existing traditions of film viewing and film perception, determined not only by the practice of the viewers themselves, but also by the dominant information and analytical trends characteristic of mass communication channels, taking into account the circumstances of their functioning in each specific, chronological deterministic case. The author paid special attention to the principles of creating both films, the factors that formed the final aesthetic solution of each of the versions - from the selection of actors to the choice of locations and location locations. The article also touches upon the history of cinematic versions of the literary source. The traditions of literary criticism and critical analysis of the original text by A. S. Pushkin in Russian literary criticism are also taken into account. Attention is also paid to the distribution fate of each of the films, since they were created in completely different conditions and in different systems of film production with different cultural traditions necessary for subsequent promotion to audiences.The author comes to the conclusion about the varying degree of aesthetic adequacy of the analyzed phenomena of screen culture to the literary source, when, in his opinion, the approach of British cinematographers is preferable. |
| Key words | ‘Eugene Onegin’, Pushkin, screen culture, literature, Ralph Fiennes, Sarik Andreasian, mass consciousness |
| Article information | |
| References | Gofman, M. L. History of the creation of “Eugene Onegin”. Pushkin A. S. Eugene Onegin. Ed. by M. L. Hoffman. Paris, 1937. (In Rus.) Grinbaum, O. N. Pushkin’s Novel “Eugene Onegin”: Rhythmic-Semantic Commentary. Chapters one, two, three, four. St. Petersburg: SPbGU, 2012. (In Rus.) Fomichev, S. A. “Eugene Onegin”: The Movement of Design. Moscow, Russkii put Publ., 2005. (In Rus.) Nabokov, V. V. Commentary on the novel “Eugene Onegin” by A. S. Pushkin. St. Petersburg, “Art – St. Petersburg”, 1998. (In Rus.) Lotman, Y. M. Novel in Pushkin’s poems “Eugene Onegin”: Special Course. Introductory lectures in the study of the text. Lotman Yu. M. Pushkin: Biography of the writer; Articles and Notes, 1960–1990; “Eugene Onegin”: Commentary. St. Petersburg, Iskusstvo-SPB Publ., 1995: 393–462. (In Rus.) Gornitskaya, N. S. Interpretation of Pushkin’s prose in cinema. In: Pushkin: Research and materials. USSR Academy of Sciences. Institute of Russian Literature (Pushkin. House), Institute of Theater, Music and Cinematography. L: Nauka, Leningrad Department, 1967. Vol. 5. Pushkin and Russian culture. P. 278–304. (In Rus.) Gornitskaya, N. S. Cinema, literature, theater: on the problem of interaction of arts. Leningrad, LGITMiK Publ., 1984. (In Rus.) Gornitskaya, N. S. Visible Word (Cinema and Literature: Dialectics of Interaction). Ed. by N. S. Gornitskaya. Leningrad, L.O. Publishing House “Iskusstvo”, 1985. (In Rus.) Gornitskaya, N. S. Basic patterns of the process of interaction of cinema art and literature: dissertation of the doctor of art studies. Leningrad, LGITMiK Publ., 1988. (In Rus.) Anninsky, L. A. Leo Tolstoy and Cinematography. M: Iskusstvo, 1980. (In Rus.) Bogomolov, Y. A. Courier of Muses: Dialectics of Productive and Reproductive in Creativity on Radio and TV. M: Iskusstvo Publ., 1986. (In Rus.) Lotman, Y. M. On Art: The Structure of a Literary Text. Semiotics of Cinema and Problems of Film Aesthetics: Articles. Notes. Performances (1962–1993). St. Petersburg: Iskusstvo-SPb, 1998. (In Rus.) Varshavsky, Y. L. Success. Filmmakers and viewers. M: Iskusstvo Publ., 1974. (In Rus.) Levshina, I. S. Do You Like Cinema? Enter. Article by G. A. Kapralov. M: Iskusstvo, 1978. (In Rus.) Quarry, J.-C., Eco, U. Don’t expect to get rid of books! Interview with J.-F. de Tonnaca. Transl. from French. St. Petersburg: “Symposium”, 2010. (In Rus.) МcLuhan, G. M. Understanding Media: External Extensions of a Person. Transl. from English. M: Zhukovsky: “CANON-press-C”, “Kuchkovo pole”, 2003. (In Rus.) |
| Full article | Screen Culture and Literary Mythology of Mass Consciousness (two “Onegins” – 1999 and 2024) |
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