Siberian Federal University

Issue

Journal of Siberian Federal University. Humanities & Social Sciences. 2016 9 (5)

Authors

Liusyi, Alexander P.

Contact information

Liusyi, Alexander P.:The Heritage Indtitute 2 Kosmonavtov Str., Moscow, 129366, Russia; E-mail:

Keywords

poetics; metaphor; film rhetoric; editing; classifications; catastrophe; medium; text; film industry

Abstract

The Crimean text originated as the South Pole of the Petersburg text. In the process of its genesis Semyon Bobrov’s cumbersome poetics was absorbed by Alexander Pushkin’s poetic ease. As for literary “film poetics”, it is of the Crimean origin, and Bobrov remains unrivalled here, especially in the poetics of catastrophism. Later mythology of selfdenial turned to be especially inherent to two cities in the world, the cities being Petersburg and New York. Catastrophism was strengthened by cinematographism in both cases. Regarding the Petersburg and Moscow texts, the strengthening was due to cinematographism of the word but not due to real screen adaptations. In particular, it was Andrew Bely who had specific cinematographic thinking. He created film poetics in his novels “Petersburg” and “Moscow”. This poetics was far ahead of the real development of cinematography of his and even our time. The paradox is that no one aims at screen adaptation of Bely’s novels. They limit themselves to Vladimir Sorokin, who turned out to be closer to the capital that came alive again as office and raw Phoenix (Moscow as New Petersburg of New Russia). As for New York, thanks to cinematography it has long been a symbol of the city destroyed by all sorts of catastrophes. “September 11” is neither more nor less than a symbolic repetition of many scenes from catastrophe films. Imaginary disasters till 11.09.2011 compensate for a monotonous rhythm of everyday life, whereas after this date they virtualize a radical experience and function as an emotional protection, formed by a daily monotonous rhythm. However, the response to the terrorist attack at the state level was akin to the cowboys’ reaction to early westerns when they fired at the screen. In Russia catastrophism is not as much gets its cinematographic adaptation but it is added to the category of museum ehxibits by the media. The launch of the mechanism of formation of a global screen room is shown in the finale of Balabanov’s “Morphine” film

Pages

1198-1209

Paper at repository of SibFU

https://elib.sfu-kras.ru/handle/2311/20269

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0).