“CineSkovoroda”:传记的电影更新

N. Nikoriak
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摘要

这篇文章关注文学与电影之间的类型遗传问题的相关性。电影摄影甚至在其发展的最初几十年,在沉默的时代,也积极转向传记类型。在整个20世纪,它并没有从摄影师的视野中消失。最近,这一类型在电影和电视上都被激活了,这增加了研究人员的兴趣。因此,在电影话语中分析了乌克兰哲学家、神学家、诗人和教师Hryhorii Skovoroda的传记(1722-1794)的接受问题学。人们注意到,无论是在苏联时期(只拍摄了一部故事片和一部纪录片),还是在乌克兰独立时期,这位杰出哲学家的形象都没有引起摄影师的注意。然而,即使是那些为数不多的电影,对观众来说也只是部分地代表了“乌克兰苏格拉底”。据称,与故事片相比,纪录片制作以许多关于Hryhorii Skovoroda的电影为代表,当然,这些电影在质量和创作潜力方面有所不同。然而,它们具有美学和认知价值,都呈现出某种处理传记材料(信件、记忆、同时代人的故事)、他的作品和创作作品(哲学、文学、音乐作品)的方式,并对普及这一杰出人物及其创作遗产发挥着重要作用。研究表明,近几十年来,这位哲学家传记和作品的电影化实现是由于新的历史形势,是因为人们希望以新的视角看待他的遗产,揭穿现有的传记神话。斯科沃罗达的哲学思想不仅在21世纪仍然具有相关性,而且在现代现实中也作为乌克兰身份的标志出现。
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“CineSkovoroda”: Cinematic Update of the Biography
The article concerns the relevance of the issue of genre heredity between literature and cinema. The cinematography actively turned to the genre of biography even in the first decades of its development, in the era of the silents. It did not disappear from the view of cinematographers throughout the 20th century. Recently, this genre has been activated both in cinema and on television, which increased the interest of researchers. Hence, the receptive problematics of the Ukrainian philosopher, theologian, poet and teacher Hryhorii Skovoroda’s biography (1722–1794) is analysed in the cinematographic discourse. It was noticed that the figure of the outstanding philosopher did not attract the proper attention of cinematographers either in Soviet period (only one feature film and one documentary film were shot) or in the time of Ukraine’s Independence. However, even those few films only partially represent the “Ukrainian Socrates” to the viewer. It is stated that documentary production, in contrast to the feature films, is represented by a number of films about Hryhorii Skovoroda, which, of course, differ in their quality and creative potential. However, having an aesthetic and cognitive value, they all present a certain way of processing biographical material (letters, memories, stories of contemporaries), his writings and creative works (philosophical, literary, musical works) and perform an important function of popularizing this outstanding personality and his creative heritage. It is concluded that the cinematographic actualization of the philosopher’s biography and works in recent decades is due to the new historical situation, to the desire to perceive his legacy in a new light, to debunk the existing biographical myths. Skovoroda’s philosophical ideas not only remain relevant in the 21st century, but also appear as markers of Ukrainian identity in the modern reality.
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