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ZAKHAR PRILEPIN'S STORY «EIGHT» IN ALEKSEY UCHITEL'S SCREEN VERSION. THE SUBJECT VARIATION OR SUPERTEXT UNITY?

Annotation

In article the author compared the art text of the Zakhar Prilepin's story «Eight» with the Aleksey Uchitel's film created according to Aleksandr Mindadze's scenario features of subject interpretation of the cinema scenario and the screen version come to light. As a result of the analysis the author made the conclusion, that both the writer and the director, and the screenwriter correctly understood the main problem of our time, having shown its sources and the reasons, having recreated the Eltsin's era of disorder of the USSR in the late 1990s, having shown «era cut» on destinies of four fighters from Special Police Force, former «Afgans». Article contains the short analysis of the most significant reviews and reviews of the screen version of the story «Eight» emphasizing absence of true understanding of the problems put in work and its cinema interpretation. Making a start from cinema criticism, the author of article reasoned, comparing the art text of the story «Eight» and the film that different esthetic receptions of fiction and a cinema both artists do not create «the fighter or the melodrama», the story about Prilepin's «passion», and approve the same idea: as a result of spiritual crisis of the XX century (revolution and civil war, Stalin repressions and disintegration of the country in 1991) in society the human person depreciated, an unprecedented cruelty became the norm, true moral guidelines and sense of human life were lost. The modern person feels deep loneliness and «God for sakenness», having lost traditional ideas of family values, of true love.

Keywords

performance; interpretation; subject variation; dialogizm; symbolics of color and sound; graphic symbols; cinematography; recurrence; supertext unity; culture code

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Pages

226-232

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