FROM THE NOVEL “PINOCCHIO” BY CARLO COLLODI TO THE FILM “THE GOLDEN KEY” (1939) BY ALEXEY TOLSTOY AND ALEXANDER PTUSHKO: THE PROBLEM OF POLITICAL ALLUSIONS
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Abstract
The article analyzes the transformation of images in the fairy tale novel by C. Collodi “Pinocchio. The Story of a Wooden Doll” in the works of A. Tolstoy and in the film by A. Ptushko “The Golden Key” (1939). Possible reasons for the authors’ appeal to the European literary fairy tale and the methods of secondary conventionality in the context of political repressions of the 1930s are considered. The cinematography of this period, characterized by increased symbolization and work with archetypal structures, is viewed through the interaction of different trends in the the pre-war Soviet art: from modernism and neo-romanticism to socialist realism and Stalinist neoclassicism.
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