|
Title of the article: |
SPIRITUAL MUSIC IN DRAMATURGICAL STRUCTURE OF THE MODERN RUSSIAN FILM |
|
Author(s): |
Yulia V. Mikheeva |
|
Information about the author/authors |
Yulia V. Mikheeva — DSc in Arts, Professor, S. A. Gerasimov All-Russian State Institute of Cinematography, Wilhelm Pieck St. 3, 129226 Moscow, Russia. E-mail: julmikheeva@gmail.com |
|
Section |
History of Arts |
|
Year |
2020 |
|
Volume |
Vol. 55 |
|
Pages |
pp. 249–257 |
|
Received |
June 03, 2019 |
|
Date of publication |
March 28, 2020 |
|
DOI: |
10.37816/2073-9567-2020-55-249-257 |
|
Index UDK |
791.43/.45 |
|
Index BBK |
85.374(2) |
|
Abstract |
Since the mid-1980s, Russia witnesses interest in the domestic spiritual heritage renewed, and exemplified in publications of philosophical and religious literature, concert performances and sound recordings of the masterpieces of Russian sacred music, which used to be under censorship in Soviet times. The issue of spiritual searches was also topical in the Russian cinema of the late 20th – early XXIst centuries, when a lot of religion-themed films appeared on screen, characterized, however, by different artistic quality. At the same time, the line of spirituality in cinema can be traced in the “pre-perestroika” period too and is associated primarily with such representatives of the author's cinema as Andrei Tarkovsky, Alexander Sokurov, Konstantin Lopushansky and others. In modern Russian cinema, this line of direction finds its continuation, yet often requires closer consideration, since the spiritual search of the author can be hidden inside rather complex functional-semantic relations of sound and image, and be involved in the polysemantic dramaturgical structure of the film, the plot of which is often related to spiritual and religious topics indirectly. The paper examines various ways and meanings of introducing sacred music into dramatic structure of the modern motion picture, as well as the significance of the technical processing of musical sound recording, including the conscious distortion of sound in the film’s soundtrack. |
|
Keywords |
Russian spiritual heritage, sacred music in cinema, author cinema, film dramaturgy, film sound solution. |
|
References |
1 Dirizher: beseda mitropolita Ilariona i Pavla Lungina [Conductor: conversation between Metropolitan Hilarion and Pavel Lungin]. Pravmir.ru. Available at: https://www.pravmir.ru/kino-o-pokayanii-beseda-mitropolita-ilariona-i-pavla-lungina/ (accessed 18 May 2019). (In Russian) 2 Kononenko N. G. Andrei Tarkovskii. Zvuchashchii mir fil'ma [Andrey Tarkovsky. The resonant world of film]. Moscow, Progress-Traditsiia Publ., 2011. 288 p. (In Russian) 3 Lopushanskii K. Dialogi o kino [Dialogues about movies]. St. Petersburg, Aleteiia, TO “Stupeni” Publ., 2010. 192 p. (In Russian) 4 Pospelov P. Primitiv iz Oksforda [A primitive from Oxford]. Vedomosti. 30.03.2007. Available at: https://www.vedomosti.ru/newspaper/articles/2007/03/30/primitiv-iz-oxforda (accessed 18 May 2019). (In Russian) 5 Tarkovskii A. Uroki rezhissury. Uchebnoe posobie [Directing lessons. Textbook]. Moscow, Izdatel'stvo VIPPK Publ., 1993. 92 p. (In Russian) 6 Tiurin Iu. P. Pogibel' ventsenosnoi Rusi. Ekran o gibeli dinastii Romanovykh [Death of crowned Russia. Screen about the death of the Romanov dynasty]. Moscow, Kanon+ Publ., 2012. 240 p. (In Russian) |
|
PDF-file |
|
|
Illustrations |
|
