Empty or source of literary work. The meaning of the word shielding

22.11.2020

Biography Haruki Murakov Haruki Murakami emphasis

Last week I went out The new screen version of the Roman Thomas Hardy "away from the distraught crowd" with Carey Maligan in the lead role. Hardy is the classic of English literature, whose works have changed more to the film screen, but always with different success. It is always difficult to screen the classics, and the audience often endure the verdict not in favor of the director. We decided to remember 10 equally successful novels and their brilliant shields. We are confident that the bondarchuk "Lolita" or "War and the World", "Lolita" or "War and Peace", you yourself, so that are some more paintings worthy of your primary source.

Dasha Tatarkova

Hamlet

Many have seen the classic "Hamlet's post-Soviet space" with Smoktunovsky in the lead role - very academic, but due to no less brilliant decree. Gamlet's play is a matter of honor for most actors, and adapted tragedy hundreds of times - from movies to the Kabuki Theater. For example, this year in the formulation of the London Barbican Gamlet's Theater plays the universal pets of Camplumbatch. The actor and director of Kenneth Brahn, who starred a new "Cinderella", devoted most of his career to Shakespeare. Without waiting for invitations from others, he played most of the main roles - in Gamlet, including. The screening of Brana gathered exclusively the laudatory reviews of critics, the last role was played by the fact that the director did not sacrifice the text of the original source in favor of screen time. As well as on the stage, the "Hamlet" is a full 4 o'clock and looks epic: the visual series of the film is contrary to the usual asceticity of other interpretations. Less Indian Hyder also deserves attention from new shields, whose action was transferred to modern Kashmir.

"Tragic story
about Hamlet, Prince Danish

William Shakespeare, 1600-1601

Mind and feelings

SENSE AND SENSIBILITY, 1995

Few whose works were shielded as often as the heritage of the main English novelist, Jane Austin. Decent examples of mass, and most of them belong to the company BBC, which came to turn the famous novels into the same successful mini-series. If we talk about movies, then "pride and prejudice" with Kira Knightley immediately comes to the mind, but we decided to remember the other famous work of the writer. "Mind and Feelings" - the first published Roman Austin, who came out under the laconic pseudonym "Lady". In 1995, ENNG was removed on him a very gentle film with enviable star composition: Emma Thompson, Kate Winslet, Hugh Grant and Alan Rickman - what else to wish. Thompson not only played one of the main roles, but also adapted the script. Although the film is not enough realism, the director successfully interprets the original source, remaining attentive to the details and humor.

"Mind and feelings"

Jane Austin, 1811

Wuthering Heights

Wuthering Heights, 2011

Emily Bronte, he managed to publish a single novel until his death, but it turned out enough to enter her name in the Annala of the English classics forever. "Thunderstorm Pass" Bronte is one of those books that are difficult to screen, but the directors are trying to try their strength from time to once. Beautiful and gloomy film Andrea Arnold with every crudge, hesitates the feeling of inevitably impending danger, the second spirit of the original. The director did not even think to shoot another Victorian drama with heroes in ideal curls and with starchy collars - described by Bronte and so frightened contemporaries hyperealist scenes of violence, animal horror and dark sides of the human soul in the film Arnold are shown without embellishment. Especially the director was praised for the interpretation of Hitcliffe: without going on with Hollywood standards, Arnold stopped on a dark-skinned actor, much more similar to the hero of the book than his screen predecessors like Tom Hardy. "Thunderstorm Pass" is a real book out of time: the chamber of events pushes the tragedy of passions, the same understandable and readers of the XIX century, and our contemporaries.

"Wuthering Heights"

Emily Bronte, 1847

Moron

Another novel, for many inextricably linked with Soviet shields. Due to the contradictions between the director Ivan Pyriev and the executor of the leader's leader Yuri Yakovlev, two-particle film remained unfinished. The screening of Kurosava has an even more heartbreaking story. The director has always been a big fan of Russian literature, considered Dostoevsky his favorite writer and dreamed of faster. After the success of the "Rasloon" Kurosava dared to take up Russian classics, but suffered the main conflict of the novel from distant Russia to post-war Japan. When the first version of the film, stretching for four and a half hours, accepted coldly, producers forced Kurosava to reduce the picture more than twice, which, naturally, did not like it. As a result, the carved scenes have not been preserved anywhere and see the same original is now impossible. Anyway, the "idiot" of Kurosava proves that the best film adaptations of great works are not the following that follows each letter, and those that are looking for a new approach.

Fedor Dostoevsky, 1869

Manor Hauarts-and

Howards End, 1992

E. M. Forster We are quite recently - this is his novel with a movie with a young Hugh Grant "Maurice." "Hauarts-end Manor" under the one to become many other classic works of this list puts your task to capture the modern writer time. In the case of Forster, this is Edwardian United Kingdom at the turn of the centuries, shown through the intertwined history of three families of different origin. In the screening, only the best was involved: In addition to Anthony Hopkins, the main roles went to Helen Bonam Carter, Vanessa Redgrave and, as she likes any good film in British classics, Emma Thompson. The latter received for this role "Oscar". The director of the picture of James Ivory is half the legendary Duet Ayvor - Merchant, who has been adapted to the cult literary works for movies for several decades in a row. The duet has long become a nominal name, and its work causes inevitable associations with pathoral historical dramas. However, this does not cancel the well-deserved success "Manor Hauarts-and".

"Howard End"

E. M. Forster, 1910

East of paradise

East of Eden, 1955

Steinbeck is one of those whales on which American classical literature is holding. It was approached more than once - in all the main big novels there are Hollywood filmms of different years: from black and white "Greaves Anger" to "On Mice and People", filmed in the 90s. You can watch any of them (with the exception, except that the recent fence of James Franco), but it is "east of paradise" is called the most ambitious work of the writer, to which he walked all his career. Elia Kazan (grandfather actress Zoya Kazan) took the adaptation of the second half of the book), by the time he managed to transfer an incredibly successful play "Tram" desire ". "To the east of paradise" became a classic of cinema, and James Dean played his first major role in it. "To the east of Paradise" - the present canvas, placing the biblical history about Cain and Aver in American realities. According to rumors, Jennifer Lawrence will fulfill in the new screenplay.

"Eastern from Paradise"

John Steinbek, 1952

To Kill a Mockingbird

To Kill A Mockingbird, 1962

Let's literally after a few days, the scandalous attack of the novel "Kill Mocking" will come: say that "Go Set A Watchman" will see light exclusively thanks to the proquireness of publishers who publish a book Contrary to the desire of Harper Lee. The main work of the writer, all these years remained the only one, provided it with a lifetime glory and became the classics of American prose. The film of the Pulitzer novel about the lawyer from Alabama, the times of the Great Depression did not make himself wait. The film without unnecessary pump shows the main thing: destroying racism and those who have enough courage to fight him, the formation of the Spirit and the upbringing of kindness in humans. Attikus Finch played the chief Hollywood actor of the time Gregory Pek, receiving Oscar for his role. Harper Lee left behind the film was delighted and more than once admired the game of the pen.

"To Kill a Mockingbird"

Harper Lee, 1960

flying over Cuckoo's Nest

ONE FLEW OVER THE CUCKOOS'S NEST, 1975

One of those cases when the book is read after it looked at her screen release, which in no case dedicates the merit of the first. In the 60s Roman Kizi about the confrontation of the personality and the despotic regime was a mirror of what had happened and the force of the civil rights movement headed by Martin Luther King. At the same time, American health care began to apply a fundamentally new approach to the treatment of mental diseases. Bestseller Kizi is largely based on the personal experience of a writer who worked in a hospital similar to that described in the novel, as well as on its experiments with LSD. Milos Forman film is an exemplary film, and Nicholson in the lead role is the greatest luck. At the same time, Kizus was against Jack Nicholson playing McMurphy, and Nicholson himself and Foreman barely tolerated each other's society on the set.

"Flying over Cuckoo's Nest"

Ken Kizi, 1962

Running on the blade

Blade Runner, 1982

Perhaps the best screening of science fiction from all existing ones. Philip Dick became a classic Sai-Faya while lifetime, raising complex issues of humanity, consciousness, ethical and political dilemmas in his works. "Blade Running" is the free interpretation of the novel "Do the Androids dream of electrical transfers dream?". Ridley Scott did not put the tasks to literally transfer the dick book on the screen, and perhaps exactly therefore the film turned out to be so successful. Both works easily exist as independent masterpieces that do not need the support of the source or, on the contrary, visual interpretation. A hunter for runaway replicants Decarian remains one of the best roles of Harrison Ford, risking forever stuck somewhere between India and Khan Solo. If everything is clear with the book, then the film must be looked neatly: the best of all, of course, the director's version, without a voice speaking of the main character and a stupid happy end, imposed by Ridley Scott Studio.

"Do android dreams
about Electrovets? "

Philip K. Dick, 1968

The Unbearable Lightness of Being

THE UNBEARABLE LIGHTNESS OF BEING, 1988

Roman Kunders about Czechoslovakia times of Prague Spring, no doubt, became modern classics. "The unbearable ease of being" was filmed with the active participation of the writer himself, but in the end he remained disappointed with the result. In one of the Czech reissues, Roman Kunder says that the Spirit of the film has nothing to do with the book, but I do not want to agree with it. The story of people captured by love and the inevitability of choice, heed a new life on the screen. In many ways, this is the merit of operator work with Nyuquist (it he filmed "Fanny and Alexander" Bergman), which brought relevant naturalistic in the frame. Part of the charm of the film is lighted in a different cast: from the Englishman Daniel Day Lewis to the French Julietary Julietary Binosh and Swedes Lena Olin, nominated for the role of Sabina on the Golden Globe.

"The Unbearable Lightness of Being"

Milan Kunder, 1984

briefly

1. Retelling-illustration, or straight screening.

1. The text is reduced or increasing.

2 . Prosecical descriptions are transferred to the form of dialogues or monologues, in different types of rapid speech.

3. If the play is shielded, then dialogues and monologues, on the contrary, are reduced.

Example; S. Gerasimov "Silent Don" (1957-1958); D. Golsuorussi "Saga about Forsyites." S. Bondarchuk "War and Peace" 1966-1967; V. Bortko "Idiot"; Panfilov. "In the first circle."Unsuccessful retelling F. Dzefirelli "Romeo and Juliet"; S. Bondarchuk "Boris Godunov".

2. New reading, or based on.

1. Conditioning classics.

Example; B. Lurmanna "Romeo and Juliet"; B. Lurmanna "Romeo and Juliet"

2. Transferring the original to another time to another country.

Example; A. Kurosava "Idiot" and "Throne in the blood"; Dannelia "Do not burn!"; A. Konchalovsky "Mary lovers"; M. Forman "Flying over a cuckoo nest".

3. Processing of the original in all directions (mainly style postmodernism).

Example;A. Kurosava "Rammon" (1950); Toma Stoppard "Rosencranz and Guillantine Dead" (1990);unsuccessful processing I. Annesky "Anna on the neck" (1954).

3. Arrangement, or film adaptation.

This is an adaptation or translating of a literary work, to the language of cinema, while maintaining the peculiarity of the writer style, the spirit of the original. So would the story behaved by the viewer, techniques of cinema, it would be clear that it was the Czechs or the Strugatsky brothers. (from)

Example;S. Samsonova "Pumping"; S. Bondarchuk "Fate of Man"; L. Visconti "Death in Venice"; A. Sokurov "Lonely voice of a person."

full of

Based on the foregoing and agreeing with the need to schematize the material, it can be said that there are three main types of adaptation:

- retelling illustration, or direct film.

- new reading,or based on the.

- Arrangement.or filmadaptation.

Retepset illustration

This is the least creative from a dramatic point of view the way of filmization. Abroad it is called "Adaptation" (from lat. Adaptatio - adapt), i.e., the adaptation of the literary text to the screen. "Retelling-Illustration" characterized the smallest The remoteness of the script and the film from the text of the screening literary work. What happens in such cases?

BUT) The text is reduced if it is more of the alleged film in the film, or (which happens less frequent) increases by fragments from other works of the same writer.

B) Prose prose descriptions of thoughts and feelings of heroes, as well as copyright arguments are translated into the necessary cases of dialogues and monologues, in different types of raising speech.

C) If the play is shielded, then dialogues and monologues, on the contrary, are reduced. The director of the painting "Romeo and Juliet" F. Dzefirelli said: "The film contains all the large scenes and monologues of the play, but there is more action. The author's text is removed more than half ... "

Part of the scenes, the action of which occurs in the interiors, is transferred to nature. At the same time, large theatrical scenes are usually divided into several fragmented, occurring on different sites. As it happened, by the way, in the film F. Dzefirelli from the first stage of Shakespeare's play, the place of action of which is indicated as "Square in Verona".

Similar, in essence, a reproductive way of film adaptation, does not always lead to great success, for they are not used to properly the specific advantages of cinema and, together, are lost the advantages of prosaic text or the strength of the theater action - the live communications with the audience.

So, hardly can be considered a serious success of the film of the Big Master of the Domestic Cinema - Sergey Bondarchuk - His shielding of the Pushkin Drama "Boris Godunov". In the course of work on the dramatic basis of the picture, all the above methods of adaptation of the play to the screen were used: replicas and monologues were reduced noticeable, the mass scenes were filmed on the "historical" nature. However, all the efforts of a powerful creative group did not lead, unfortunately, to the creation of a truly cinematographic work - theatricality never managed to overcome.

For the sake of truth, it should be said that the cinematic retelling of classical literary works can turn into its own strength. This is sometimes observed in the multi-sieves of novels. Here is the original property of this type of work with the literary text: the possibility of joint with the audience, as it were, reading on the screen of the Great Work of Literature on the screen.

A. Hichkok at one time recognized: "I take the" crime and punishment "of Dostoevsky, from this venture, too, nothing good would be. Dostoevsky's novels are very verminated, and each word carries its function. And in order to deliver the novel to the on-screen form equivalently, replacing the written speech visual, you need to count on 6-10 watch films. "

Multiserry films provided to cinematographers such an opportunity.

The passage is often quoted from the letter F. Dostoevsky to Princess V. Obolenskaya, who requested the Great Writer about "permissive" to her "Crime and Punishment" to Drama: "... almost always, - answered the writer correspondent, - such attempts did not succeed, at least Extent, quite. There is some kind of mystery of art, according to which the epic form will never find self-compliance in dramatic. "

But it turned out that the "epic form" of the novels began to find a very worthy "self-conformity" in the multi-sieves film.

It was almost the first and very successful attempt by the filmization of the Russian classical novel, the formulation of S. Gerasimov paintings in the 3rd series on the novel M. Sholokhov "Silent Don" (1957-1958).

The very success of the audience was used by the multi-sieuled English television film on the novel D. Golsuorussi "Saga about Forsyites".

The major success of the domestic cinema was created in 1966-1967. S. Bondarchuk four-ranhine film on the Roman-Epopea L. Tolstoy "War and Peace" (Oscar Prize). It is significant that even during work on the picture, and during its discussions, the authors - the filmmature V. Solovyov and the director S. Bondarchuk strongly emphasized: this is not their film, it is L. Tolstoy. In the titers of the picture, a large font was first arose: Lion Tolstoy, and then much smaller - the names of the authors of the script and director.

Noticeable events in the Russian culture of recent years have become the multi-venee television films on the novels of F. Dostoevsky "Idiot" (director of V. Bortko) and A. Solzhenitsyn "In the Circle of the First" (director of Panfilov). A particularly respectful attitude towards the original source in the latter case was also marked by the fact that the voice did not sound the director or actor, but the voice of the writer Alexander Solzhenitsyn himself in the original speech.

The withdrawal is best in retelling-illustration, or direct screenplay are obtained by many serial films.

New reading

These are the film-films, in the credits of which we meet the subtitles: "Based on ...", "based on ..." ("Based on the novel ...") and even "variations on the topic ..."

"Another thing," wrote F. Dostoevsky in the letter-cited letter to V. Obolensk, - if you rewind as possible and change the novel, while retaining it from it only one episode, for processing to drama, or, taking the initial thought , completely change the plot? ..

In contrast retelling illustration» new reading It implies the extremely active introduction of film authors into the fabric of the primary source - until its complete transformation. With a similar approach to the adaptation, the author considers the literary original only as a material for creating his film, without taking care of whether the picture created by him is not only the letter, but even the spirit of the screening work.

Dictionary Efremova

Shielding

g.
Creating a movie or television film based on a literary work.

encyclopedic Dictionary

Shielding

interpretation by means of cinema products of prose, drama, poetry, as well as opera and ballet libretto.

Dictionary Ushakov

Shielding

equipment, shielding, mN. not, wives. (neol. movie). Device of something for showing in cinema on the screen. Shielding novels.

Dictionary of Ozhegov

Terminological Dictionary-Thesaurus for Literary

Shielding

creating a movie or television film based on a literary work.

RB: Structure of a dramatic work

Ass: Staging, script

* "The film" translates "literary, that is, the verbal, image on the language of the images of plastic, dynamic and visible, using a whole arsenal of its specific visual and expressive means (installation, general, large and medium plans, sound, color and light, wide format and Dr.). But the visible image is recreated by the film-shielding, deprived of the "multidimensionality", which is characterized by the image of a verbal "(USA). *

Cinema: Encyclopedic Dictionary (ed. 1987)

Shielding

Shielding

Flaxation, interpretation of cinema products. Other sort of lawsuit: prose, drama, poetry, theater, opera, ballet. From the first years of the existence of the cinema saw a source of images in the literature, taking an equal energy for the gospel, for the releases of boulevard books ("Nick Carter" V. Zhasse, a series of L. Fyada "Fantomas" on novels M. Allen and I. Suventra) and for W. Shakespeare (Hamlet has been filmed already in 1900, and the total number f. The tragedy is calculated with tens). J. Meleves Following the fairy tales of Sh. Prahée was shielded by J. Swift, D. Defo, V. Goethe. First Russian gaming f. There was a "Poison Volnitsa" (1908) - E. Nar. Songs "Because of the Island on Strazhen". Based on the production A. S. Pushkin per year began Rus. Cinema-VA was removed OK. 50 tapes. Among the further appeals to Rus. Pictures of Ya A. Protazanova ("Picazova", 1916, "Father Sergius", 1918) and A. A. Sanina (Polykushka, 1919, release 1922 are distinguished by the classics of seriousness and culture.

The relationship of cinema with lit-swarm is quite complex and diverse. At first, tumoring the illustrations, to the "live paintings", inspired by the plots of famous products., E. In the future, it becomes an increasing depth of the interpretation of lit-ry and the latter art. independence. On the one hand, the cinema permits to use the images of lit-ry in the same rights, on what it uses the images of folklore, stories of history or SCU. Chronicles. The opposite attitude occurs when the filmmaker sees its task in the maximum completeness and accuracy of approximation to the source (so, "from the line to the line" Franz. Dir. R. Bresson seeks to film D. Didro or Romane J. Bernanosa). There are many creatures between these extreme dots. options. For example, S. M. Eisenstein believed that the condition of E. is the "cinematographicity" of the writer's thinking, and argued that the battle from the poem "Poltava" can be removed on the instructions of the plans, the movement of the camera, installation, etc. can be removed from the Pushkin text. D. Interpretation is sometimes polemic. So, f. "The Gospel of Matthew" (1964) P. P. Pasolini, literally adhering to the text of Scripture, at the same time permeated with the argument with traditions. Christianity.

Often, E. is accompanied by a change in historical. and nat. Coloring the place of action. In owls. The cinema-version of this principle was not established (although it is possible to call the cargo filled with realities, the life of the film G. N. Deliai "Do not burn!" According to Roman K. Tille "My Uncle Benjamen", 1969), in the world cinema it is often used. So, A. Kurosava suffered the actions of the Roman F. M. Dostoevsky "Idiot" in Japanese The city after the 2nd World War, and turning the "Macbeth" of Shakespeare in the "Castle of the Putin" ("Throne in Blood", 1957), created the atmosphere of Japanese. Medieval legend. J. Renoir brought the action of F. Renuar to the eve of the 2nd World War. "Man-beast" (1938), Created. According to Roman E. Zola. L. Visconti, starting "White Nights" (1957) with reproduction Rus. The text of the test of Dostoevsky - with "Yates" and hard signs, further deploys on the streets of Livorno. 20 V. If directing artisans have modernization only leads to a violation of realistic. principle typical. characters in typical. Circumstances, major masters the result of the same experience gives high artistic philos. results.

Can be very far away and style aspirations f. and the screening work. For example, on boulevard fiction. Roman about Dracula B. Stoker Dir. F. V. Murnaau Post, famous made. it. CinemaSpricksionism "Nosferatu, Syphony of Horror" (1922), and vice versa - Filos. Romantic. Prose M. Shelly (Roman "Frankenstein") was used in "horror films" about Frankenstein (USA, United Kingdom). Changes are allowed to change the genre nature of the filled force.; So, the novel "Adventures of Oliver Twist" Ch. Dickens was decided in movies like music. Comedy-stylization ("Oliver!", 1968).

"Optimal", "Normal" E. It is customary to consider this when the purpose of cinematographers becomes the creation of an ECR. Analogies to the screen made, it is transferred to the language of cinema with preservation of content, spirit and words. At the same time, the refusal of the "Book of Translation", the reduction of sidelines, the concentration of action, is natural. Such type E. was established with the arrival of sound in the cinema, with the formation of "Prosaich. Cinema" and the romance form on the screen. Sample such E.- Amer. The painting "Gone by the Wind" (1939) on the novel M. Mitchell.

In the USSR, the period of silent cinema was marked by such a variety of films as "Shinel" M. Kozintseva and L. 3. Trauberga on N. V. Gogol (SC. Yu. N. Tyanyanov), "Mother" V. I. Pudovkin According to M. Gorky (SC. N. A. Zarkha) - both 1926, the provisional of a new type E. became f. "Push" (1934) M. I. Rommo in Moscassan, and its samples - "Chapaev" (1934) G. N. and S. D. Vasilyevoy in D. A. Furmanov, "Peter First" (1937 - 1939) V. M. Petrova according to A. N. Tolstoy, the film "Childhood of Gorky", "In People", "My Universities" (1938 - 40) M. S. Donskoy in Gorky, "Young Guard" (1948) A. A. Fadeev and "Quiet Don" (1957 - 58) in M. A. Sholokhov - both revenues. S. A. Gerasimova, "Pumping" (1955) S. I. Samsonova according to A. P. Chekhov, "Othello" (1956) S. I. Yutkevich on Shakespeare, "The Fate of Man" (1959) for Sholokhov and "War And the world "(1966-67) in Tolstoy - both dir. S. F. Bondarchuk, "Hamlet" (1964) and "King Lear" (1971) on Shakespeare - both revenues. Kozintseva. Among the best e. Also: "Forty-first" (1956) G. N. Chukhraya according to B. A. Lavrenev, "White Steamer" (1976) B. T. Shamshiyeva on Ch. T. Aitmatov, "Brothers Karamazov" (1969 ) I. A. Pyryaeva and "Crime and Punishment" (1970) L. A. Kulidjanova - both for Dostoevsky, "Climbing" L. E. Shephenko in V. V. Bykov, "An unfinished play for mechanical piano" N. with . Mikhalkov on Chekhov, "Tree of Desire" T. E. Abulalais on Novellas N. Leonidze - all 1977.

1. What is "screening"?

You will say: the film is a re-creation of a film of the work of literature - prose or theatrical drama.

Right. But what is the screen version on its deep essence?

Ek R and Z and C and I am the image of a literary source.

Not a copy, not reproduction, namely - form.

Recall what an image is.

ABOUT B R A - is an item seen, felt, meaningful by the author and recreated by them means of a certain type of art.

The subject, material for creating an image during the creation of the original work the artist itself is the very reality. During the work on the shielding, such material for cinematographers is the "second reality" - literary text. But the principle of the approach to its transformation remains the same: the authors of the screening - the screenwriter, the director and other participants in the creation of the film are perceived, comprehend the original source and recreate its image with the means of another type of art - in this case, cinematic.

We remember that the quantitative relationship between the two components of the image is the subject and a pronounced attitude towards them from the author - it can be unequal. We also know that there are such pictures in which the author "little", and those in which the author is his personality, his feelings and vision of the world fill almost all the space of the image.

The same can be found in the films-screen vehicles: we observe both greater, and a much smaller degree of invasion of the text of the literary original from the authors of cinematographers.

From here - different types of shields.

2. Types of shields

Based on the foregoing and agreeing with the need to schematize the material, we can say that there are three main types of adaptation:

Retelling illustration

New reading

Arrangement.

Retepset illustration

This is the least creative from a dramatic point of view the way of filmization. Abroad it is called "adaptation" (from Lat. Adaptatio - to adapt), i.e. device literary text to the screen. The "retelling-illustration" is characterized by the smallest remoteness of the script and the film from the text of the screening literary work. What happens in such cases?

A) The text is reduced if it is more expected by the film in the volume, or (which happens less often) increases by fragments from other works of the same writer.

Multiserry films provided to cinematographers such an opportunity.

But it turned out that the "epic form" of the novels began to find a very worthy "self-conformity" in the multi-sieves film.

The very success of the audience was used by the multi-sieuled English television film on the novel D. Golsuorussi "Saga about Forsyites".

New reading

These are the film-films, in the credits of which we meet the subtitles: "Based on ...", "based on ..." ("Based on the novel ...") and even "variations on the topic ..."

"Another thing - wrote F. Dostoevsky further in a letter cited by the letter to V. Obolenskaya, if you as you will alterate and change the novel by keeping it from it only one episode for processing into drama, or, taking the original thought, completely change the plot? .. (itals everywhere mine - L.N.). "

In contrast to the "retelling illustration", the new reading implies the extremely active introduction of film authors into the fabric of the original source - until its complete transformation. With a similar approach to the screening, its author considers a literary original only as material for creating his The film, without taking care of whether the picture created by him will answer not only the letter, but even the spirit of the screening work.

This uses a variety of ways to transform literary text. Here is some of them:

1. Conditioning classics.

The action of the painting B. Lurmanna "Romeo and Juliet" occurs not on the streets of the Renaissance Verona filled with the sun, and in the modern American city of Miami. Deadly not an old Italian clans, but mafia hays; Heroes are not fighting on the swords - they kill each other from the original guns "guns". And although the film sounds Shakespearela text (naturally, strongly reduced), a very noticeable change in the genre occurred in the picture: instead of the tragedy, we are a criminal melodrama, vigorously and masterfully delivered.

Similar transfer of the action of the tragedy "Romeo and Juliet" in modernity with the simultaneous change in its genre painting - the phenomenon for American cinema is not new. At one time, several Oscars received a filmus of R. Wise "Westside History" (1961), where the warring groups of young people also acted.

Screen Conditioning of classical works is generally used in the American film industry.

2. Transferring the original to another time to another country.

Thus, the events of the film A. Kurosava "Idiot" (according to Roman F. Dostoevsky) occur in the Japanese city - after World War II, and its film "Throne in Blood" (on Macbeth "V. Shakespeare) - in Japan, medieval.

The picture of the city of Sannelia "Do not burn!", In which the motives of the novel "My Uncle Benjament" of the French writer Claude Tella, are built on the Georgian household material of the beginning of the twentieth century.

The action of the story A. Platonova "River Potudan" was postponed by the director A. Konchalovsky in his film "Mary lovers" from the ruined Civil War of Russia - to post-war America, and the main character of the story - the former Red Armenian turned into a picture in the former American prisoner of war in Japan.

Translation of the film to another compared with the literary source view of the plot.

So, the picture of M. Forman "Flight over the nest of the cuckoo" is, as is well known, the screen is a widespread novel of the American writer Ken Kizi. The plot of books is obviously narrated: this is a story about events from the point of view of the Indian leader. The picture, as we have repeatedly figured out, is a sample of building a dramatic film. Changing the type of plot led to a substantial overcoming in the figurative system. The chief hero in the film was not an Indian leader, but Buzoter Mc Murphy.

3. Processing of the original in all directions.

The famous film A. Kurosava "Renés" (1950, the main prize of the Venetian Film Festival, Oscar for the best foreign film of 1951) was created on the basis of two stories of the classic of Japanese literature Acuthogava Reniusk - "In more often" and "Rammon Gate". But the director not only subjected to their essential processing, but also contributed to the scenario basis - until changes in the meaning of things. "I was going to make a film for the film company" Diai, "said A. Kurosava. - At this time, Synku Hasimoto (SOMETRATOR painting "Rammon" - L.N.) There were several ready-made scenarios. One of them attracted me, but he was too short - just three episodes. He really liked to all my friends, but in the studio could not have been so many, about which he. I finished the beginning and end to him, and there as if I agreed to accept it. "

In the story of acutogaves "in more often" - three Right contradictory versions of a samurai murder. They are set forth on judicial interrogations:

Tadsera robber,

Wife killed samurai

The mouth of the well-known spirit of the deceased.

But this story contradicted the initial report of the woodcutter: as if he did not observe the scene of the bloody drama, but only stumbled upon in more often on her traces. Therefore, this initial response to the court also became a version.

As a result, in the film we have, unlike the story, not three, but five versions.

It was finishing A. Kurosava version of the murder, told ultimately with the woodcase, is served in the film as the most truthful. While acutoghava is true about the story of the killed samurai herself.

Tadsera robber here Not fearless, deft and noblen, how he looks like in his own story, but, on the contrary, a cowardly, awkward and avenge;

Beautiful samurai wife is not a migratory and defenseless, and evil and cunning;

Samurai is not proud, Silen and Noble, how he looks in his own story, and weak in battle and be worried.

According to the connoisseurs of Eastern Martial Arts, if in the first battle the robber and samurai hold the swords correctly, then in battle, how did it see the eyes of the woodcutter, the author of the paintings, the characters turn into a weapon incorrectly - not in Samurai.

IN film The myths of brave robberies, about noble samurai and their meek and faithful beauty-wives, were debunked.

Recall that the painting was created by the director just a few years after the defeat of the military power of Japan.

The fact is that, except for the versions of what happened, A. Kurosava introduced another important constructive-semantic element in the film drama - an episode, which is ringing, interrupting and fastening all the novels of the main event. The director built the action of this episode on the site, taken from them from another thing of Acuthogava - "Gate Rammon". Judging by the story, the corpses of people are kept on the top tier of the gate, the corpses of people are stored. However, A. Kurosava unfolds at this site completely different compared to the story of the plot.

Here - at the gate of Ramsovskoye, filled to the wall by questions of the rampage of tramp, can not answer him - where did the dagger come with him who committed himself samurai?

"Everywhere is a lie," says the third character of the episode - Buddhist monk.

All participants - and even the witness of the bloody drama of the woodcutter - not until the end of truth; None of them can not be believed. The film A. Kurosava became not only the exposure, but also repentance.

But if there is repentance, there is hope. The shower stops, and the woodcutter comes out with the found infant-podkin in the hands of the shadow in the sun.

However, for the hero we see the black ominous abis of the corpus repository - Rammon gate ...

To an even greater degree of reinpection of literary works (including classical) occurs when creating films in postmodernism style.

In the picture of the Englishman of Toma Stoppard "Rosencranz and Guillantterns are dead" (1990), which the director took the same name on his own plays:

The secondary characters of the tragedy of Shakespeare "Hamlet" Rosencranz and Guillantine became the main characters, and the Danish Prince turned into an episodic face;

Stray theatrical troupe looks a kind of oracle and even the fate of heroes;

If the Piese of Shakespeare is the Christian worldview: Hamlet dies due to the fact that the moral law has passed - the law of love, then Rosencranz and guildesterns in the painting of T. Stoppard are forgiven with life by the will of Rock: they are not guilty of anything; Their "Wines" consists only in what they fell into the unknown world for their persons. Before death, they say to each other: "We did nothing wrong ..."

The genre of primary source changed radically changed: the picture of T. Stoppard is not a renaissance tragedy and not even an antique (although the topic of Fatum's theme of Fatum sounds persistently) and not even a tragedy; "Rosencranz and Guillands are dead," in our opinion, is witty tragicomedy with glitter.

The principle of the film used by the film by the film can be quite accurately characterized by the following words: " Good old text is always empty (SIC!) space for the invention of the new "(From the downloaded text to the TV film "Dante. Hell" directories of Tom Phillips and Peter Greenuia).

However, the possibility of using the material of classical art for its own arbitrary interpretations does not always lead to the creation of the screen decent on its artistic level.

So, at one time, in our country, the public of Director I. Annene "Anna on the neck" (1954) was successful in the public - according to the story of A. Chekhov. The story is short enough - it is based on an anecdote with the bearing of the female name "Anna" and the names of the Order "Anna Second Degree". In the story - through thin and accurate parts, through the pronounced attitude of the author to events and the characters, unbearable vulnerable vulnerable and their gross success of people was ridiculous. The creators of the paintings set another goal for themselves - to captivate the viewer with scene by the "rayful" life, and it was largely possible. Beautiful young actress Alla Larionov, endless songs, romances under the guitar, rude comicing, Gypsies, boating and triggers: instead of an ironic story - operetta with all signs inherent in her.

In "Notes on the plot in prose and filmmaturegia" (1956), Viktor Shklovsky wrote: "The plot of Chekhov was taken by Annensky not as a result of the author's knowledge of the world, not as a result of identifying the author's moral attitude towards the phenomena of life, but simply as an entertaining event.

Therefore, it turned out a tape in which the benefits of easy behavior were depicted.

The woman turned out to be morally not exposed. And this happened first of all because it was not transferred to Chekhovsky attitude to life. "

Arrangement

This - the third - the mixing method also implies an actively transforming attitude to the literary source.

But unlike the previous way, the purpose of the shields with the "Arrangement" is not to create a film on the original material, and in the reporting to the viewer, the essence of the classic work, features of the writer style, the spirit of the original, but with the help of specific funding tools. Back in the 20s. The last century famous literary critic B. Eikenbaum wrote: "Translate a literary work into the language of the cinema - it means to find analogies with the stylists of this work in the vintage." And his friend is a literary critic and writer Yu. Tynyanov in the scenario, written by him by Gogol - "Shinel", did not try to almost solve this task without success (in 1926 the film was raised by the director G. Kozintsev and L. Trauberg).

This method of filmization, of course, is difficult, and therefore, the successes on this path are rather rare.

These include those created to the 100th anniversary of the birth of A.P. Chekhov on the film studio "Lenfilm" picture "Lady with a dog" (1960, the prize of the ICF in Cannes) - the director I. Heifitz put it according to his scenario.

The overall design, the sequence of presentation of the story described by A. Chekhov, was not changed in the film. But its individual "nodes" with the help of purely cinematic products were subjected to more detailed development.

So, for example, the Hururov (A. Batalov) of the character of the story of Anna Sergeyevna (I. Savvina) from Yalta to Simferopol, to the train, described by A. Chekhov, just a half lines: "She went on horseback, and he had searched her. Drove all day. " In the picture, the director, together with the operators of A. Moskvin and D. Meshiev, as well as with the composer, the hope of Simonyan unfolds these phrases into a remarkably organized rhythm and mood part of the film. Only at the very beginning there are several phrases Anna Sergeyevna. And then - the general plans of the tracks of the equestrian crew of mountain roads are interspersed with close-ups of silent heroes - under an unusually accurate responding to the spirit of the scene, the music expressing unspoken, but deeply exciting heroine of the film feelings.

Winter months of life Gurova in Moscow, described by Czech on two pages in the form of a purely copyright story, are presented in the film in the form of eight truly developed scenes, stylistically very verified "on Chekhov". Some of them use the motives of other writer stories. One of the scenes, in fact, almost all is based on the story of the story - "drunk." But look at how thoroughly and skillfully prepared the wink of the motives of this story in the Film Fabric.

In the first scenes of the paintings, the action of which is happening in Yalta, the director introduces episodic characters, which are not in the story - the so-called "homeowner", the fat man of Alexandrovich Nicodemus, as well as a certain France of the Middle Ages who came to the Boftle Pavilion on the Yalta Embankment along with a friend Gurov Young lady. Then, this France appears on a walking boat, where the main is a scene in which Anna Sergeyevna reports Gurov that he received a letter from her husband. Mr. poses a lady, which turned out to be an artist; She is on her remark that he is not a fashionable hat, Pshast is a careless gesture of a hat in the sea. And finally, the unfolded scene in the Moscow nightly restaurant, where the gurus comes. Here he meets with his Yalta familiar who is in a state of drunk melancholy. In the story of Chekhov, "Drunk" scene took place between this Mr. - the born-manufacturer Frolov and his attorney's attorney Almer, in the film - between the Frolov and the hero of the film Gurov. But only after comparative analysis, it is possible to establish that this scene is taken by the film by the film not from the story of the "lady with a dog", but from another Chekhovsky story: so thoroughly and subtly spent in the picture "fit" of these different plot motives. The main thing that has allowed to connect both in this, and in other scenes of the film the diversity material, it turned out to be the unity of the true and steadily conducted Chekhov style, the unity of underlying - tempo, rhythm, inner spiritual melody.

Very clearly similar style unity can be traced by how used in the painting I. Hayfitis, an important drama of artistic expressiveness is a detail. In the story "Lady with a dog" of the details a lot, and almost all of them are transferred by the director in the film. Starting from the watermelon, who eats Gurov in the scene, next immediately after the first closeness of him with the heroine, and ending - the posters, who announced from the city stand about the play "Geisha" in the Saratov Theater, as well as the rider statuette for a horse, "whose hand was raised With a hat, and the head is repulsed, "in the room of the Seahudual Local Hotel. But the director added a lot of details, and his, and Chekhov, in his own way - the leatem and beaten. In the story of A. Chekhov, the Spitz dog, with whom Anna Sergeyevna walked on Yalta, was used as a substantive part two times - in the scene of the heroes and in the scene of the Gurov's Saratov House, Anna Sergeyevna: "The front door suddenly opened, and from her Some old woman came out, and he fled to the familiar Spitz. Gurov wanted to call a dog, but his heart suddenly was hampered, and he could not remember the name of Spitz from excitement. " In the film, the "role" of the dog is largely increased - its line has become through. Shepitz Laem was noted in the picture The beginning of the Hero and Heroine love: "jealous," said Gurov. It is already quite purely cinematographically resolved in the film Growing Gurova and Anna Sergeyevna to nearby. In the story after kissing them on the sea pier followed:

"- Let's go to you ... - He said quietly.

And both went fast. "

In the picture of Gurov, nothing says here, and we do not see the walking heroes; Immediately after a kiss - the passage of the camera to quickly-quickly running on the leash of spitz, on which the flower petals fall from the bouquet - Anna Sergeyevna brought him to the marina for a failed meeting with her husband.

And then - in the winter Moscow, Gurov will see the sidewalk from the car running along the sidewalk of exactly such a white spitz and will pursue and call him until he detects his mistake.

And, of course, it is impossible not to mention such a directorial detail as Anna Sergeyevna's glove, which she lost on the platform before leaving from Crimea. I say goodbye to the lady, Gurov, leaving the station, detects her glove on the platform. But ... with an indifferent species leaves it on the hedge. Point in the usual among holidaymakers in the south love adventure ...

The authors of the film managed to create essentially adequate cinematic equivalent and the spiritually sublime decision of the final, which we find in the Chekhovsky story: "... it seemed to them that the fate itself intended them for each other, and it was not clear what he was married for what he was married ; And for sure these were two migratory birds, the male and female, which were caught and forced to "live in individual cells." In the final frames of the picture, the feeling of high and clean love is worsened by the feeling of bitter hopelessness. "What to do? .. What to do?" - heroes repeat, and then: "We will come up with something ... I will come up with something ..." and a purely cinematic solution: we see the figures of Anna Sergeyevna and Gurov's high frosty hotel window; He smokes, she says something, says ... And then, when Gurov comes into a nightly courtyard, first in the frame of his little figure, and then from his point of view - a highly high window with a sad face of Anna Sergeyevna. And the same musical melody sounds, which sounded on the passage of an equestrian carriage on the mountain road from Yalta ...

But didn't it happen in the film "Lady with a dog" some "reform" images of its main characters in comparison with the story? After all, Chekhov - and Gurov, and Anna Sergeyevna initially appear before us as people endowed with qualities that do not distinguish them from the crowd; Only love takes them to a higher spiritual level. In the film, they from the very beginning are perceived as individuals suffering from surrounding their vulgarity. You can agree: such a refinement in relation to this story really in the film takes place. The authors of the paintings sought to be faithful not so much letter of the screening story as Chekhovsky creativity generallyAnd they managed it. About the film "Lady with a Dog" can be said with full right: "Yes, these are Chekhov."

The creators of films, those that put the goal as accurately and deeper to express the author's style of the writer, (as examples you can call "Pumping" S. Samsonov - according to A. Chekhov, "Fate of Man" S. Bondarchuk - by M. Sholokhov , "Death in Venice" L. Visconti - on T. Mannu, the "lone voice of man" A. Sokurov - according to the story of A. Platonov "River Potutan" and others) as if "reveal the writing brackets" and retell their contents own cinematic language.

It is in such a way that the literature on the screen, which we call the "Arrangement", is most fully understood by the film-screening film the image of a literary work.

_______________________________

: specification type; Methods for the transfer of literary text to cinematic; the presence of new scenes and parts; changes in the outfit of heroes; The level of preservation of the style features of the extensive piece of literature.

: "Romeo and Juliet" (1968, dir. F. Dzefirelli), "War and Peace" (1967, III and IV series, dir. S. Bondarchuk), "Mary lovers" (1985, dir. A. Konchalovsky), Romeo and Juliet (1996, dir. B. Lurmann), "Renmon" (1950, dir. A. Kurosava), "Rosencranz and Guillantterns are dead" (1990, dir. T. Stoppard), "Pumping" (1955, Dir. S. Samsonov), "Lady with a dog" 1960, dir. I. Heifitz), "Three steps in delusion" (1968, dir. R. Vadim, L. Malli and F. Fellini), "Fate of a person" (1959, dir. S. Bondarchuk), "Strange People" (1970, Dir. V. Shukshin), "Death in Venice" (1971, dir. L. Visconti), "bad good man" (1973, dir. I. Heifitz), "Lonely human voice" (1987, dir. A. Sokurov ).

Part of the eighth

Finally, we got to the very deep drama component underlying the entire form of the film - before it ideas:

Moving and sounding image

Composition

Plot

The image of the whole

Idea

Scheme number 36.

1. What is the "idea"?

The idea, as already mentioned at the very beginning, is the content of the image is intactfills all the space of the film, and form knowledge truth.

It should be emphasized that the speech here is not about scientific, but about artistic The idea that does not speak in the form of rationalistic, logical statements, but in the form of figurative insights. S. Eisenstein wrote:

« Build a thought not by conclusions, but lay out it with frames and composite moves.

Unwittingly remember Oscar Wilde, who spoke that the artist ideas would not be called "naked" at all, and then dress in marble, paints or sounds.

The artist thinks directly the game of his means and materials. The idea of \u200b\u200bhim turns into a direct action, formulated not by the formula, but forms. "

From here - such a definition of the idea as a component of film drama:

And D E I (Greek. IDEA - the concept, performance) is a figurative thought underlying the film.

But, arguing about the idea of \u200b\u200ban artistic work, it is impossible not to talk about such a meaningful component, as subject.

What is the "topic"?

The topic is not until the end of the film's idea. This is a problem, the question that puts in front of the audience the author of the picture and which he meets all his work.

TEMA (from Greek. Théma is what is based on the basis) - the initial moment of the author's concept.

Speaking easier, the topic is about what says the author in his work, and the idea is what Wants to tell us by his film.

2. Forms and types of film ideas

The final formation of an artistic idea occurs only at the very end of the thing - at the last point of development of the film's plot (this was already discussed in the section "Architectonics").

Depending on the nature of the entry of thematic lines on the final synthesis, we have different forms of the idea of \u200b\u200bthe film:

Idea-approval (finals and epilogue of the "Andrei Rublev" painting);

The idea of \u200b\u200bthe question, as it were, the problem ("lady with a dog", "criminal fiction");

But in any of the forms of ideas, we will distinguish at least four hypostasis, four types of its inhibition:

1. The idea is the idea of \u200b\u200bthe film.

2. The idea embodied in the finished picture.

3. The idea of \u200b\u200bwhich the viewer of the film perceived it.

4. The idea is the main idea of \u200b\u200bthe picture.

2.1. Idea-plan

The idea we call the state of the idea of \u200b\u200bthe film, which arises before the inner gaze of the authors of the future picture. This state is always dynamic, developing, passing through a number of stages.

At first, feelings: feelings, thoughts, paintings, actions, people, plot motives, - from different authors in different ways.

This is how I. Bergman's plan described: "The film for me begins with something very uncertain - a random remark, sniffing a conversation, unclear, but a pleasant event that is not related to a certain situation. It can be several music clocks, a ray of light, crossed the street ... This is a mental state, not the narration itself, but something that is replete with rich associations and images. Moreover, it is a bright color thread, stretching out of the dark bag of the subconscious. If I start winking this thread and make it carefully, you will get a whole movie. "

In the picture I. Bergman "Person", at the very beginning, we see how "the artist grows out of the dark bag of the subconscious.

The process of occurrence cannot not be purely individual. But in any case, when creating a truly artistic work, the idea idea is born by no means in the form of a logical thesis.

In cinematographic practice, the intention, as you know, are then fixed in the form of various kinds of written documents - Applications, Sinopsis, Libretto. In them, ideas from "things in themselves" become "things for others". And if such a document is compiled quite professional, we can see how the idea already at the stage of the plan performs in figuratively.

Read one of the applications. In this case, this is an application for the scenario, according to which the director G. Chukhray was subsequently raised by the film "Ballad of Soldiers" (1959, the prize of the ICF in Cannes) is a work that has passed with great success on the screens of the whole world.

The application for the studio was brought by Kinoframaturgy Valentin Ezhov and Budimir Metalnikov - people are relatively young, but by whose shoulders by that time were not only studying in the film institute and set by filmcenery, but (which in this case is extremely important) participation in the Patriotic War.

Here is this application:

Ballad about Soldiers

B. Metalnikov

"Our comrade-soldier who fell by death by brave in the spring of 1945 is dedicated to this film."

So we want to start a story about our contemporaries ... About another, who was from each of us, with whom we studied together and together, went straight from school bench.

He passed the whole war and died when he was only 22 years old.

He did not have time to learn the joy and burning love, he did not become either her husband, no father, he did not have time to create his work - the first work that fell into his share was the labor of a soldier.

But he made the Higher, what could do on earth a man - gave life for the happiness of his people.

He was a soldier, but we will not show his front-line life, his fighting feats and death. The film begins with the fact that he rides from the front home.

How? Autumn 1944, and a completely healthy soldier rides home? - People are surprised.

But he really rides home to three days. This vacation is his award for military merit. And how he spends his vacation, and is the content of the film.

In the way, he faces the most different people. Some helps him quickly get home, others are looking for his help, and others do not ask anything, but he himself sees what they need to help.

He willingly helps them, and from this the longer becomes his way home. But what to do, so it was a man that he could not calmly go past someone else's misfortune, could not intervene in an unfair business. And the time was difficult, and those who remained in the rear - was also not easy.

He distributed a soldier to other people all the time of his short and expensive vacation so that he did not have time to flourish his first, timid love that met him, and on a date with his mother, to which he was in a hurry - remained a few minutes.

And let him see the audience a generous and responsive heart, a faithful friend and a good citizen.

And, of course, he will understand that he did not know his holidays for nothing. Such people are most capable of a feat and they are them are real heroes.

And his meetings with different people give us the opportunity with great fullness to recreate the image of the heroic time and life that our people lived during the Great Patriotic War. "

As you can see, although the idea is outlined in just a half-third of the text of the text, the idea of \u200b\u200bthe future film already has quite defined shape.

The application is clearly, even emphasized by the author's attitude to the material - first of all, to the hero of the future work: the film will tell "about a friend ... with whom we studied together and together, right from school bench went to the front."

Already appear in the text of the application and the main features of the character and personality of the main character: his mentality, his responsiveness to someone else's misfortune.

The application contains the main dramatic move: soldiers during the war goes home on vacation on three days, but on the way to the mother every time something delays. The idea includes the principle of composite construction of the future thing: the picture should consist of a number of novel - meetings and collisions of the hero "with the most different people."

For the authors of the application are clear and the main dramatic situations of the future scenario: the parting of the hero with the love of her who met him and the fact that "on a date with the mother, to which he was in a hurry, - remained a few minutes," and what (the bitter!) The young man in the war will perish. It was clear for screenwriters and thematic prerequisites: it is such people as their friend who died in war, "and are real heroes."

"Poem," P. Dostoevsky wrote, - in my opinion, it is like a native gemstone, a diamond, in the soul of the poet, completely ready in all its essence, and this is the first thing of the poet as creator and Creator, the first part of his creation ... ".

2.2. Idea embodied in the finished picture

"... then," F. Dostoevsky continued, "the second case of the poet follows, not so deep and mysterious, but only as an artist: this, having received a diamond, to deprive and fix it."

The idea embodied in the film, in any case, will differ from the idea-idea. In cinema to a greater extent than in literature or in painting. For the embodiment of the plan takes place in the movies in several stages, and in the creation of kinocartes are engaged in all new and new personalities.

Already at the stage of writing a scenario, the figurative thought undergoes changes. An even greater number of them arise during the production, installation and sounding of the film. Even if the authors of the picture will strive to be as true as possible initial design, it will still be largely in a complete thing, because it will find the flesh - the psycho-physical data of actors, the subtleties of the visual and sound solutions, the personal qualities of the director.

If you remember the history of the creation of the film "Ballad about a soldier", then in it the increment of the plan began to occur during the writing of the script. What a change in the author's team was also facilitated: the scenario was already created by V. Yezhov and B. Metalnikov, and V. Yohova and the future director of the film G. Chukhray - a man who also passed war. During the filming of the picture there was another extraordinary event: the leading executor of the leading role was replaced - Alesh Skvortsov. As a result, a nineteen-year-old student of the film institute Vladimir Ivashov starred in the first role. The replacement was important and principled, in many respects determined the final success of the case. The young performer, on the one hand, rather answered the idea of \u200b\u200bthings (remember: "He did not have time to learn the joy and burning love, he did not have a husband, no father, he did not have time to create his work ..."), on the other - Vladimir Ivashov He brought the charm of a certain human person to the film - with its purity, sincerity and spiritual openness. The hearts of the audience were squeezed into sorrow from the consciousness that this one, that's this wonderful Alyosha will die and will not meet more with his mother.

It is very important for all this to remember that the idea embodied in the finished film is expressed in it not only by the system of images of acting persons, but also by composite comparisons, and the nature of the plot movements, and the peculiarities of the spelling decisions, and many others, - the idea penetrates all the smallest Cells of the picture, like blood penetrates into all cells and capillaries of the human living organism. It is impossible to change anything in the film without changing the idea embodied in it - let in extremely small, in essence the case of an imperceptible degree.

Even such, it would seem, a technical factor, as the mode of printing copies of the film (for example, their sealed or inappropriateness), an obvious way can affect the sensual component of the content of the picture and, it means on his idea.

Therefore, the creators of the picture (director and the operator) are so carefully followed, for example, even for the seal of reference copies of the film finished. This is how I was worried about S. Seesensnaine, when bad health did not allow him to control the process of printing the color part of the film "Ivan Grozny". In a note, transmitted by S. Seestenstein from the hospital, the operator of the picture A.Moskvin, the director wrote:

"I am very worried about the question of printing color.

The company has a tendency to be slightly preprit in the name of "humanity" of the colors of the face.

They are poorly printed by general plans (bypassing Ivan the throne when he becomes kneels, and dances on the chorus).

It is necessary to pull up to absolute juiciness and chroma.

Dress Up Vladimir began with a close-up, juicy too. Next - especially red background. Something needs to be done with the doors when a volyan sits about them.

If it's all decently, show with God, only sorry for damaging, without bringing to the end of the color ... "

The multivalousness of the image of a whole and concluded in it up to the smallest things of the completeness of ideological meaning do not provide the ability to express this meaning in the formulated form. There is a frequently quoted memory that when Leo Nikolayevich was asked what his novel "Anna Karenina", the great writer said: "In order to answer your question, I will have to recover this book. from the first to the last line».

2.3. The idea of \u200b\u200bwhat her viewer took her

The idea of \u200b\u200bfilm perceived by the viewer will always be more or less - differ from the objectively staying in the film its figurative thought. Otherwise, and can not be. After all, the perception of the work of art by man is a creative process. In the image of a whole, underlying the film, not only the material of reality and the attitude towards it of the artist, but also the attitude towards them (and to the material, and to its image) on the part personality perceiving. Spectators differ from each other in a variety of indicators - by age, by nature of life experience, on temperament, in terms of education, according to social status, but you never know why. That one seems funny, another may seem sad, and vice versa. If you approach the question from an exclusively scientific point of view, you can even say: how many spectators have one or another picture - so much there is its audience ideas. Hence the disputes, the incomprehension of the opinions, the emergence of a wide variety of, sometimes opposing interpretations of the ideological content of the same film.

2.4. Idea - the main idea of \u200b\u200bthe film

However, during critical arguments about films, disputes about them, during the nomination of interpretation positions, it is necessary to resort to solid and next to the formulation basic The meaning of things.

In this case, the abstraction of this meaning is taken from the completeness and meaningfulness of the idea embodied in the film tissue. The idea in this case loses its shaped, specifically artistic. "Dry residue" acts here in the form logical Conclusion. That is why the authors of films, especially highly artistic, as a rule, do not like to formulate the main thought of their work. This is how A. Tarkovsky was expressed about this: "Critics should be read in painting Cezanna that Sesann himself did not formulate. And instead, criticism is drawn to the director an idiotic question: what do you want to say this movie? But after all, ask this question the critic should not be directed, but to myself: what did the director say this film? "

Take such a complex product of cinema as a "mirror" and try to still answer the question: "What did you say or wanted to say the director with this film?". Relying, as it should be, first of all, on the semantic decision of the finals of the picture, it will be possible to say that Andrei Tarkovsky claims the idea of \u200b\u200bthe spiritual immortality of a person.

However, it is when trying to determine main thought such a multi-line for its ideological fullness of the work of a film, as "mirror", and all unambiguity is detected, narrow and subjective A similar attempt.

3. Art idea as a gift

The depth of the idea of \u200b\u200bthe work, the measure of her spirituality depend not only from the artist himself. In the outstanding works of art (including the arts of the cinema), the figurative thought is sometimes on the author over as insight. We sometimes use the word "gift". But whose Dar.?

In the painting "Andrei Rublev", the creation of the master with the Creator is depicted with a wonderful force and persuasive. In the desperate struggle for creating a huge bell of a young guy, almost a teenager, Borisk leads a certain powerful force. And as a result, the audience suddenly learns that a magnificent bell was worked by a boy who did not even know the secrets of bell copper! As well as the phenomenon of any great work of art, the bell sounded here looks miracle. And the very creation of the film "Andrei Rublev" - is it not a miracle? After all, the image of this unusually powerful painting on its artistic and semantic layers arose in the creative consciousness of her creator, when he was only thirty years ...

The idea of \u200b\u200ba talented work, and even more so the masterpiece is a gift that has been sent over; This is the heart and love of the truth.

______________________________

Tasks on films to this topic: theme and idea of \u200b\u200bthe film; semantic accents in the finals of the picture; Form of the idea of \u200b\u200bthe film; The script and the film applied on it is the possible difference in their semantic solutions.

Films recommended for viewing: "Ballad about a soldier" (1959, dir. G. Chukhray); "In the last breath" (1960, dir. J. Godar), "Ghost of Freedom" (1974 Dir. L. Bunuel), "Seventh Stamp" (1957, Dir. I. Bergman), "Europe" (1991, dir. LF-Trier), "Road checks" (1985, dir. A. Hermann), "Third Man" (1949, dir. K. Reed), "On the needle" (1996, dir. D. Boyle) , "Sacrifice" (1986, dir. A. Tarkovsky).

Throughout the period of the existence of artistic cinema, literature follows him. Someone even looked at him, as a sibling of literature, something like Bastard. Perhaps, at first, this statement was even fair, because for the era of a silent movie was shielded almost all significant literary works. In a strongly abbreviated and primitive form.

Later, the relationship "Film-literature" logically undergone all development. On the household level, also solid contradictions. Most often, they are expressed in the famous formula "Book better" on the one hand, and a variety of favorite public film films on the other. This and much more makes us talk today about what is an adscription.

To be honest, I have never thought about writing in writing to analyze the process of transferring a literary work on the screen. Meanwhile, I have a direct practical experience in this area - in 2010, I wrote a scenario based on the story of Jack London "Piece of Meat" and put the same short film on it.

The experience gained by me in the process of creating this picture was truly invaluable. In fact, it was from the "piece of meat", I stopped making amateur rollers, resembling films, and began to make films.

Is this not a reason to try to understand what is the screen version?

Perhaps the above text will help someone come to the thoughts to make a movie, pushing out from the story or a story (or even a novel than the damn not joking). And maybe on the contrary, finally discard attempts to adapt the literary material and create a script completely independently.

Without a doubt, such a topic as an adaption cannot be exhaustively studied under the same article. Therefore, I propose to look at the question clearly, using examples of existing movietin, as well as the person's personal experience of the article.

The most important thing is that it is to be done in this article - this is perhaps going to some level of classification to systematize information. On the Internet, I met only the following classification of shields: retelling-illustration, new reading, arrangement.

Unfortunately, an article in its format does not allow you to join direct controversy, because I can only say that I consider such a classification of too looking at the movie from the position of literature.

I will venture to offer my classification standing at the position of cinematographer-practice, although, of course, the common points of contact with already available typologies will inevitably arise.

Types of screen issues

Recall the numerous variations of the "Book Better" variations, then the case arising in the discussions of the shields. As a rule, the root of claims lies in the mismatch of the storyline, characters, individual episodes or parts shown in the cinematic version with the original text. Often, the contradiction is quite formal, even though critics does not stop.

Therefore, we immediately begin with this type of adaptation, to which the most difficult to present such accusations - we denote him as chest film.

Personally, no other like Vladimir Bortko comes to mind in connection with this. It is known to the viewer, first of all, such television films as the "dog heart" and "Master and Margarita" on the works of Mikhail Bulgakov. Many would call the screening wonderful. In this case, I will find from evaluation judgments.

It is difficult to deny the fact of the incredible similarity of the text of Bulgakov and Film Films. As if the book replaced the script, as such. Putting the picture is also professional. However, a number of significant issues begged. If the film is accurate retelling of the novel, illustrated by the corresponding personnel - for which a person who read the original, to watch it in general?

In the same case, when the viewer, on the contrary, did not read the book - does she turn into an overwhelming boredom for him with a subsequent reading when the film did all the work? Finally, it is much more important for us, how interesting is the director work on such an orthodox interpretation of the material? Does he expose his own creative thinking to conscious hard restriction? It is unlikely that the answers to the questions set may be in all cases unambiguous. However, I myself am not close to me.

There is a different case when the film director holds quite close to the literary source, but, nevertheless, he feels the right and strength to change the text for its specific needs. Formally, such a director will also be difficult to immediately impress the disrespectful attitude towards the writer, at the same time, the movie can hire a number of surprises. Moreover, it is even enriched with concepts and ideas that were absent in the book initially.

Agree to call such a work consonant screening (Because it generally resembles a literary original, but has a fairly wide range of variation). And here it is worth remembering the great American director Francis Ford Koppol. He created one of the most famous shields in history - the film on the novel Mario Puezo (originally novel, by the way, did not like Coppol).

According to the first impression it may seem that the "gentle father" also follows exactly on the heels of the source. The impression is deceptive. We do not take place many characters, plot lines, but also come together with a number of exacerbations, as well as changes at the level of dialogues, characters, individual details.

Coppola himself told himself about his preparation for the adaptation: he took an extra copy of the novel and, reading it from beginning to end, actively made a note with a pencil on the fields - any thoughts that arose during reading were recorded; Then the pages were removed from the instance, which did not collect the marks at all, the remaining fastened into one working volume and the script was developed on it.

I suppose this technique can be extremely effective. After all, the recorded reflections are generated directly by literary material, while unnecessary fragments simply are deleted, allowing the director to make the film more concentrated, dense. By the way, I did something like that with the story of the "piece of meat", although at the time of the development of my picture I was not yet aware of the method of Francis Ford.

The next two methods of the adaptation are much more extreme in their freedom - probably, so they are most interesting for me. First of all, it is worth saying about the situation in which the literary work is for a filmmaker nothing more than just a reason for his own film. In the chapter of the corner, thus, it rises that the figure of cinema - his personality, his worldview and his statement becomes decisive. Literature is also turning only in the bridgehead, from which the director begins his creative path.

Agree to call this phenomenon "Mutational film" - as a process, literally genetically modifying the original text, leading to radical transformations. Some would have taken here such adhesives as the transfer of the book to another country or time, the change of charts, etc., but in most cases it is rather the methods of the first two types (literal and consonant shields), because the remaining components of the original often remain unchanged. While the mutational adaptation from my point of view is characterized by precisely fundamental changes that are not limited to cosmetics alone. Because for clarity again turn to the examples.

Andrei Tarkovsky, studying the novel of the Polish fantasty Stanislav Lem "Solaris", joined the acute conflict with the author. Soviet cinematographer was going to tell the story about the heat of people in the cold and alienated space, while the Polish writer laid in Roman exactly the opposite idea. Communication of the director and writer led to the fact that Lem accused Tarkovsky in "Dostoevshchina", after which he left home, and Andrei Arsenyevich made that film that also assumed. The story judged them.

And the novel, and the film is recognized in the whole world, but at the same time are different works.

The same Tarkovsky a few years later put the screening of the story of the Picnic on the side of Arkady and Boris Strugatsky. The film was called "Stalker". This time he truly broke with the literary original, and left the book just only a mystical zone, and individual, not so significant details - in the rest of the movie city did not have any points of contact with the "picnic on the side of the sideline" (despite the fact that We worked the Strugatsky themselves, but under the leadership of Tarkovsky). As we can clearly make sure the literature under the action of cinema in the above cases really mutated, turning into unexpected forms.

In foreign cinema in front of us also grows the darkness of the samples. In particular, you can remember the cult film "Running on the blade" of the British director Ridley Scott. Is this the screen version of the Philip Dick's novel "Does the android dreams of electrical stops dreams?", And again, differs from him unimaginable.

The plot of books is reproduced only relative to, with a huge number of distortion; The main characters are dramatically recycled; shifted philosophical accents; And even atmospheric moments are fundamentally unhappy with each other. Once again, all put everything in its place - with such irreconcilable differences, and the novel, and kinocartin are inscribed in the history of gold letters.

These directors were also engaged in mutational ads, such as Stanley Kubrick, Akira Kurosawa and many others. Yes, the viewers with a large fraction of the literary originals are blindly loyal to the adaptation of the specified type. But if you think about it, then such a creative approach to the use of a literary source is more justified by the film itself than, say, literal film. Therefore, I will venture to assume that mutational screening is closer to the nature of cinematographic art.

And the last point of the proposed classification will be somewhat controversial. Because it will be talking about films, outwardly at all are non-empty. Their plot mostly is not associated with literary works, the characters wear other names, the names are completely independent, and even in the credits there are no lines "based on ..." or "based on ...". Why would it be how to talk about such film stories? After all, they do not shield anything - it's just movies! However, a thin face occurs. Yes, the film of this kind does not shield anything - it imitates. Therefore, without causing a wilderness, let's call the process - imitation.

What do you mean? For one reason or another, the director is not going to shield a literary work. For example, he failed to get copyright to the original or he does not want to argue himself with the need for a future collision with readers. Perhaps the cinematographer is simply inspired by one or another literary work (or in general the entire amount of creativity) of any author, and creates its own history in the style of his idol.

For example, Canadian David Cronenberg once created a Mystical Thriller "Scanners", charged by creative energy from one of the chapters "Lunch Nagishm" William Berrowza. Despite the fact that the "scanners" is not an empty, a person familiar with Berrouza's books immediately feels something familiar. By the way, Cronenberg later put "Lunch Nagishom", mixing certain novel motifs with the real biography of William Berrowza, which is already a method of mutational adaptation.

Or the story of John Milius called "Apocalypse Today" in the formulation of Francis Coppola already appeared in this article, definitely demonstrates a noticeable influence of the story of Joseph Konrad "The Heart of Darkness", but, despite this, there are no references in Titors. In addition, the Book of Conrad happens in Africa (the work is written in 1902th), "Apocalypse Today" also transfers us during the times of the Vietnam War. Of course, in both cases there is a surname Kurtz and a motion of motion on a boat along a long-long river (explicit reflection), but the rest of the Apocalypse today only sees certain associations, it works on something barely by catch.

Why did I call this type of flashing controversial? Because it is often possible to determine intentional imitation or a random coincidence is not possible. Let's say whether Christopher Nolan Nomanov Philip Dick imitated (first of all "kill") in his picture "Start"? Is George Lucas focused on the "1984" George Orwell when working on his debut film "TNH-1138", and maybe even imitated jams? How tightly the "Mad Max" Series of George Miller comes into contact with Roman Roman Zelazna "Valley of Curses"? To answer these questions, it is confidently impossible, even with a rather visual similarity of the cinematic work with appropriate literature.

Nevertheless, imitation is an extremely interesting and complex method of processing literary material. It requires a screenwriter and director first, great abilities in styling material; secondly, a sufficient professional level to successfully build its own structures based on read; Thirdly, of course, a high level of culture.

So, we managed to determine what is an adscription in its classification. Without a doubt, views are separated from each other very vague borders. However, it was important to understand that the screening is not in all cases mechanical transfer of the text of the work on the screen. This is a much more complex and responsible work.

Now, when we more or less figured out, you should talk about the practical application of the concept of filmization.

First of all, the literary basis in one form or another may be an effective assistant for directors, either not quite confident in its own dramaturgical skills, or do not write at all. The screening in these circumstances gives vast freedom of action - the history of mankind has accumulated a great many literary sources for thousands of years. True, there is also the problem of "screening" of one or another work - however, this is the topic of a separate article.

Often, a certain writer is very close to the director in spirit - a common circle of problems, a worldview, or anything else. Why in this case, in this case, the cinematographer does not take on the decree? Probably, it may turn out a good movie.

But do not forget about the whole set of dangers.

The reader's unpredictable response has already been said about the unpredictable reaction. It may be that the book seems to absorb director. In this context, it comes to the mind "Escape from Shawshank" or "Green Mile" - most of the ordinary spectators know perfectly well that this is the screening of Stephen King, but many of them will be called Frank Darabontta, the film director of the movie city?

Finally, in our harsh world there is a certain extent to a certain extent of copyright legislation. And all is well, if the writer itself likes the idea to make a movie. But there are frequent cases when the writer requires too much fee, or, he died at all, and less than 70 years ago, and his relatives possesses the rights to works, pursuing commercial interests. We warn all from a negligent relationship to this tedious legal issue - on the experience of many colleagues, I know how unpleasantly faced with subsequent litigation (sometimes they even lead to the full inability to show a movie anywhere). Again, the article in terms of its volume does not allow us to talk about it in more detail.

I myself, during the creation of the film "A piece of meat", did not know almost anything that I was present here. It was the very beginning of the second year of study at the university, and the task to make the decree proceeded from the master of the Viktor Ivanovich Course of Boturlin without any explanation. I took it to stild the literature unsymptic, you can even say blindly - and a great luck was to stumble on the story of London. He corresponded to my love for narrative, but tough and male stories. Did I understand how it should adapt the material? Probably not. I made solutions intuitive and, sometimes, with the help of a teacher. The circumstances have developed so that the author of the story, Jack London, died in 1916, and I could not have problems with copyright.

But most likely, if I knew what I know now, the film could get more interesting, inventive. Maybe I could penetrate the author's essence or, on the contrary, to reveal through the formulation of certain my own traits. And perhaps, it would have chosen another literary source.

Anyway, I was obtained the most valuable experience, without which it would be difficult for me to be difficult for creative development. Therefore, I wish the other to go through the same school screening, and not only find the same skills, but also to achieve much more impressive heights.

Empty or source of literary work. The meaning of the word shielding

Read also

Hamlet

Mind and feelings

Wuthering Heights

Moron

Manor Hauarts-and

East of paradise

To Kill a Mockingbird

flying over Cuckoo's Nest

Running on the blade

The Unbearable Lightness of Being

Dictionary Efremova

encyclopedic Dictionary

Dictionary Ushakov

Dictionary of Ozhegov

Terminological Dictionary-Thesaurus for Literary

Cinema: Encyclopedic Dictionary (ed. 1987)

Is this not a reason to try to understand what is the screen version?

Types of screen issues