Text on the Culturological Border: the Cinemanovel “The Red. Without a Front Line” by A. Kokotiukha
DOI:
https://doi.org/10.31861/pytlit2020.102.164Keywords:
genre, cinemanovel, prequel, novelization, A. Kokotiukha, “The Red. Without a Front Line”Abstract
The article under studies reveals the terminological polymodality of the concept of “cinemanovel” as a screened novel; film genre; an original narrative work that tends to a screenplay; literary text written on the basis of the film and the screenplay to it (film “novelization”). An overview of modern theoretical and practical discourse of the cinemanovel genre is presented in the paper. It has been emphasized that some researchers try to find out the origins of this genre by analyzing the samples in a comparative and intermediate way, while others focus on clarifying the specifics of individual novels, concluding on the synthetic and hybrid nature of this genre. In particular, in this aspect, the cinemanovel-prequel by A. Kokotiukha “The Red. Without a Front Line” (2019) has been analyzed. This text, based on a film screenplay, appears to be a rather complex construct that acquires a double coding – cinematic and literary – hence the genre of the novel (as a product of the synthesis of two arts) contains the key features of both. On the one hand, we have to deal with the preservation of the cinematic codes that pass from the screenplay: fragmentation, word visualization, documentalism, eventfulness, editing, alternation of angles and plans, time reduction, dialogues, character formation in action, characterization through speech, conciseness of phrases in certain scenes to create the effect of maximum tension, image condensation, accumulation of internal tension in the episode. On the other hand (as a result of the so-called “novelization”), the text acquires genre features of the novel. These are: the scale of the narration (although fragmented and condensed), the description of characters’ lives is presented in line with historical events, with the disclosure of their psychology and inner world. Finally, the work is also marked with specifically architectonic, i.e. the author connects his cinemanovels together by means of a plot, the main character and a general artistic idea.
References
Balod, A. (2005). Krizis zhanra, Ortega-i-Gasset i roman-androgin [Crisis of the genre: Ortega y Gasset and the novel-androgyne]. Setevaia slovesnost'. URL : https://www.netslova.ru/balod/ra.html (accessed: 18 October 2020). (in Russian).
Batrak, V. (2017). Andrii Kokotiukha: „Ia pyshu kinoromany, bo dlia mene knyzhka i kino – odne i te same” [Andriy Cocotuha „I am writing cinemanovels because a book and a film are just the same to me”]. Visnyk Pereiaslavshchyny. 30 October. URL : http://visnik-press.com.ua/?p=84308 (accessed: 15 November 2020). (in Ukrainian).
Bernadska, N. (2016). Pro vytoky kinoromanu [About the origins of a screennovel]. Problemy suchasnoho literaturoznavstva, no. 22, pp. 11–21. (in Ukrainian). https://doi.org/10.18524/2312-6809.2016.22.129392
Vasyliev, Y. (2017). Suchasna dramaturhiia: zhanrovi transformatsiï, modyfikatsiï, novatsiï [Modern drama: genre transformations, modifications, innovations: monograph]. Lutsk : PVD “Tverdynia”, 532 p. (in Ukrainian).
Veretennyk, H. (2017). Kinoroman “Chervonyi”: istoriia pro kokhannia chy zhahu do peremohy? [The cinemanovel “The Red”: the story of love or craving to win?]. Ukraïns′kyi interes. URL : https://uain.press/articles/kino-roman-chervonyj-istoriya-pro-kohannya-chy-zhagu-peremogy-358319 (accessed: 10 November 2020). (in Ukrainian).
Hoseiko, L. (2005). Istoriia ukraïns′koho kinematohrafa (1896–1995) [The history of Ukrainian cinematography (1896–1995)]. Kyiv, 464 p. (in Ukrainian).
Hundorova, T. and Syvachenko, H. (eds.) (2018). Literatura na poli medii [Literature in the field of media]. Kyiv, 633 p. (in Ukrainian).
Demin, V. (1974). Kinoroman [Cinemanovel]. In: Timofeev, L. and Turaev, S. (eds.). Slovar' literaturovedcheskikh terminov. Moscow : Prosveshchenie, p. 48. (in Russian).
Dovzhenko, O. (1984). Slovo u stsenariï khudozhn′oho fil′mu [A word in a feature film script]. Tvory. V 5 tomakh. Kyiv : Dnipro, vol. 4, pp. 133–153. (in Ukrainian).
Zhdan, V. (1982). Estetika fil'ma [Film aesthetics]. Moscow : Iskusstvo, 375 p. (in Russian).
Ivanova, N. (2010). Kinopovist′ O. Dovzhenka “Zemlia”: poetolohichni pryntsypy rekonstruktsiï kinotekstu [O. Dovzhenko's cinemastory “Earth”: poetic principles of film text reconstruction]. Naukovi zapysky Kharkivs′koho natsional′noho pedahohichnoho universytetu im. H. S. Skovorody. Ser.: Literaturoznavstvo, no. 1, pp. 107–112. (in Ukrainian).
Kaplenko, O. (2010). Avanhardnyi naratyv: oholennia destruktyvnykh praktyk [Avant-garde narrative: exposing destructive practices]. Literatura ta kul′tura Polissia. Vyp. 58: Problemy filolohiï, istoriï ta kul′tury XX stolittia u suchasnykh doslidzhenniakh. Nizhyn : Vydavnytstvo NDU im. M. Hoholia, pp. 3–20. (in Ukrainian).
Kovaliv, Y. (eds.) (2007). Kinoroman [Cinemanovel]. Literaturoznavcha entsyklopediia. U 2 tomakh. Kyiv : VTs “Akademiia”, vol. 1: A–L, p. 480. (in Ukrainian).
Kokotiukha, A. (2018). Kino [Cinema]. Sait Andriia Kokotiukhy. URL : http://www.kokotuha.com/%d0%ba%d1%96%d0%bd%d0%be/ (accessed: 4 November 2020). (in Ukrainian).
Kokotiukha, A. (2012). Chervonyi [The Red]. Kharkiv : Klub Simeinoho Dozvillia, 320 p. (in Ukrainian).
Kokotiukha, A. (2019). Chervonyi. Bez liniï frontu [The Red. Without a Front Line]. Kharkiv : Klub Simeinoho Dozvillia, 320 p. (in Ukrainian).
Kokotiukha, A. (2020). Biohrafiia [Biography]. Sait Andriia Kokotiukhy. URL : http://www.kokotuha.com/%d0%b1i%d0%be%d0%b3%d1%80%d0%b0%d1%84i%d1%8f/ (accessed: 4 November 2020). (in Ukrainian).
Lotman, Y. (1998). Ob iskusstve: struktura khudozhestvenogo teksta [On arts: the structure of a literary text]. Semiotika kino i problemy kinoestetiki. Stat'i. Zametki. Vystupleniia (1962–1993). Saint Petersburg : Iskusstvo, 704 p. (in Russian).
Liadov, M. (1930). Stsenarii. Osnovy kino-dramaturhiï ta tekhnika stsenariia [Scenario. Fundamentals of film drama and scripting techniques]. Kyiv : UKRTEAKINO-VYDAV, 92 p. (in Ukrainian).
Manevich, I. (1966). Kino i literatura [Cinema and literature]. Moscow : Iskusstvo, 240 p. (in Russian).
Maslenkova, N. (2012). Osobennosti poetiki kinoromana: problema perekodirovaniia teksta [Features of the poetics of the novel: the problem of text recoding]. Studia Rossica Posnaniensia, vol. XXXVII. Poznań : Adam Mickiewicz University Press, pp. 163–174. (in Russian).
Punina, O. (2012). Kinofikatsiia ukraïns′koho literaturnoho dyskursu (20–30-ti roky XX stolittia) [Kinofication of Ukrainian literary discourse (20–30s of the XX century)]. Donetsk : DonNU, 332 p. (in Ukrainian).
Romanova, O. (2012). Kinoromany Alena Rob-Griiie: (Aspekty syntezu mystetstv) [Alain Robbe-Grillet's cinemanovels: the aspects of arts synthesis]. Cherkasy : ChNU imeni Bohdana Khmel′nyts′koho, 244 p. (in Ukrainian).
Tsymbal, Y. (2014). Futurysty na kinofabrytsi: literatura i kino v “Novii heneratsiï” [Futurists at the Film Factory: literature and cinema in the “New Generation”]. Literaturoznavchi obriï. Pratsi molodykh uchenykh, no. 20. Kyiv, pp. 197–203. (in Ukrainian).
Chervinska, O. (2015). Arhumenty formy [Form arguments]. Chernivtsi : Chernivets′kyi nats. un-t, 384 p. (in Ukrainian).
Chervonyi (2017). Rezh. Zaza Buadze [The Red. The film director Zaza Buadze]. (in Ukrainian).
Iatsenko, T. (2017). “Ukraïns′ka literatura – dytyna iz nepovnoï rodyny”, – Andrii Kokotiukha [„Ukrainian literature – a child from a single-parent family” – A. Kokotiukha]. Galinfo. 18 September. URL : https://galinfo.com.ua/articles/ukrainska_literatura__dytyna_iz_nepovnoi_rodyny__andriy_kokotyuha_269403.html (accessed: 8 November 2020). (in Ukrainian).
Bluestone, G. (2003). Novels into film. Baltimore & London : Johns Hopkins University Press, 243 p.
Cléder, J. E. (2012). Littérature et cinéma: Les affinités électives. Paris : Armand Colin, 224 p.
Jost, F. (2004). The Look: From Film to Novel: An Essay in Comparative Narratology. In: Stam, R. and Raengo, A. (eds.). A Companion to Literature and Film. Oxford : Blackwell, рp. 71–80. URL : https://onlinelibrary.wiley.com/doi/10.1002/9780470999127.ch5 (accessed: 17 November 2020). https://doi.org/10.1002/9780470999127.ch5
Mahlknecht, J. (2012). The Hollywood Novelization: Film as Literature or Literature as Film Promotion? Poetics Today, vol. 33, iss. 2, pp. 137–168. https://doi.org/10.1215/03335372-1586572
Morrissette, B. (1985). Novel and Film. Essays in Two Genres. Chicago : University of Chicago Press, 254 p.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2020 Nataliia Nikoriak
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
