Вплив ідеї фільму на вибір жанру: фільми “Укркінохроніки” 2014–2017 років

Abstract

У статті на прикладі фільмів Української студії хронікально-документальних фільмів періоду 2014–2017 років досліджено процес зміни ідейного спрямування фільму та його вплив на жанрове втілення кінострічки. В результаті аналізу жанрової дифузії виявлено безпосереднє художнє збагачення драматургії фільму. Розглянуто жанрові й тематичні особливості документальних кінострічок,, які через образне відображення життя, проектують онтологію вітчизняного соціуму. Охарактеризовано умови, за яких відбуваються зміни жанру.

В статье на примере фильмов Украинской студии хроникально-документальных фильмов периода 2014–2017 годов исследован процесс изменения идейного направления фильма и его влияние на жанровое воплощение киноленты. В результате анализа жанровой диффузии выявлено непосредственное художественное обогащение драматургии фильма. Рассмотрены жанровые и тематические особенности документальных кинолент, которые через образное отражение жизни, проектируют онтологию отечественного социума. Охарактеризованы условия, при которых происходят изменения жанра.

In conditions of the expressive flow of social events, modern documentary cinema often faces the problem of reorienting ideological content at the stage of the already formed trith or script. In many cases, this leads to a substitution of the genre, or genre diffusion, according to the author’s message, which undergoes changes. Such a transformation of the ideological and genre solution makes contemporary domestic documentaries relevant and enhances artistic imagery, allowing Ukrainian cinema documentaries to be in the context of the world cinema process and successfully represent their screenings at international film forums. In view of the lack of theoretical research in relation to genre issues in contemporary domestic documentary cinema, the screenings of the studio “Ukrkinochronika” became the subject of the study. Common to them is that at different stages of the film, directors were forced to review their author’s concepts under the influence of the social context, which affected the genre and thematic changes in their films. The theme of each film, in one way or another, carried in itself latent reflections of a certain ideological, moral and ethical criteria that incited the domestic society during this period. So, directors who already had a clear idea of the author’s design, and, consequently, the genre range, responding to the events of life, changed the concept of the film, and hence the genre of the work, making radical adjustments. For example, in 2013 documentary director Anna Yarovenko initially designed his film within the ethnographic and folklore genre of folk art traditions. The name was planned – “The secret of the kobzar shop”. But the events in the country at the beginning of 2014 directly influenced the concept of the author’s plan, and the director took off and mounted an entirely different film. In connection with this, the idea was transformed, which forced to abandon the educational genre of the film about the history of kobza-lyre players and their kobza shops and to address the current ideological and patriotic themes at the present and the present time, already in the genre of the film-research on national roots, Ukrainian traditions and national dignity. And the name of the film has become another – “Free people”. First the documentary film theme “Taras Shevchenko. Identification” was planned as a mythologizing image of Kobzar: the existence of folk retellings, fairy tales, legends, witty fables. The film was planned to be solved in the genre of a poetic film scene with elements of folk humor. But, given the situation in 2014 in the country, the public context needed other subjects, with a focus on other thoughts and conclusions. Famous Ukrainian director Sergiy Proskurnya changed the artistic and ideological orientation of the film towards the study of the self-consciousness of the nation, whose historical flagship was always Taras Shevchenko. The new idea was that the multiplicity of “popular” Shevchenko, by gaining strength, should trigger an instinctive desire to clear the metaphysical Shevchenko space and try to feel its true – this is the main theme-idea of the film, which eventually crystallized in the genre of philosophical social mystery. Also, originally the author’s idea of the film “Primary Avant-garde” was to uncover the world of the oldest Ukrainian musical instruments, their origin, tidiness, and everyday life. But life situations, like the tuning fork, set the director to expand the ideological range of the work, and he presented on the screen this story, as a story about the self-identity of Ukrainians, their authenticity, self-consciousness. It seems that the change of ideas transformed the genre approach – from the informational and educational genre of popular science-based cinema to the genre of the film-opening a documentary. This replacement of the cinema's type and genre made it necessary to complement the drama of the film by inventing a cinematic move – to build a folk instruments orchestra with avant-garde music performers, introducing the National Academic Orchestra of Folk Instruments of Ukraine to the popular electronic music band “ONUKA”, which specializes in using folk motifs and instruments in electronic music, called folkloric. These real events have become the background to the idea of a Ukrainian nation, which has already had its own culture for thousands of years. This topic in our cinema is quite new, it is, of course, that its innovation has led to a solution in the genre of the film-discovery. The full-length documentary “The Time is Not Childish” is also an example of how events that really occur in life affect the change of the ideological and aesthetic concept of a work, which in turn directly affects the change of genre form. Initially, the director collected material about children of the Second World War, but modern events transformed the idea, and the film was already created on the figurative parallels of children of two warriors. The theme of the film was decided by the author in the genres of drama and confession film. Consequently, unpredictable social shifts are organically becoming the background of films, on the background of which the images of heroes of documentary films are revealed. This makes directors change the concept of their works, even when they are in the final stages of productions