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ОПЫТ ГРАЖДАНСТВЕННОСТИ: 1812-Й ГОД / EXPERIENCE IN CIVISM: YEAR 1812 / ERFAHRUNG DES STAATSBÜRGERLICHEN BEWUSSTSEINS: DAS JAHR 1812

Кийченко К.И., Сычёва А.С.

Социокультурное значение кинематографических реконструкций событий Отечественной войны 1812 года

Кийченко Кирилл Игоревич, научный сотрудник кафедры философии политики и права МГУ имени М.В. Ломоносова

E-mail: philos@inbox.ru

Сычёва Алёна Сергеевна, преподаватель факультета государственного управления Российской академии народного хозяйства при Президенте РФ

E-mail: 9737101@mail.ru

Настоящая статья освещает попытки воплощения канонических образов героев Отечественной войны 1812 года в кинопроизведениях и их социокультурное значение. Рассматривается как дозвуковой период становления кинематографа, так и современный этап его развития.

Ключевые слова: дозвуковой кинематограф, кинопроизведения об Отечественной войне 1812 года, обыденные представления о роковых исторических событиях.

Литература:

Красногорский архив кинофотодокументов. Арх. № 12740 (Отдельные киносюжеты 1911-1912 гг.)

Баталин В.Н. Кинохроника в России 1896-1916 гг.: Опись киносъемок, хранящихся в РГАКФД. М.: ОЛМА-ПРЕСС, 2002.

Зоркая Н.М. История советского кино. СПб.: Алетейя, 2006.

История отечественного кино. М.: Прогресс-Традиция, 2005.

Караваев Д.Л. 1812. Герои экранного эпоса. Исторические персоны эпохи Отечественной войны 1812 года на кино- и телеэкране. М.: Канон+, 2012.

Кино. Энциклопедический словарь. М.: Советская энциклопедия, 1987.

Садуль Ж. История киноискусства от его зарождения до наших дней. М.: Инлитиздат, 1957.

Форестье Л.П. Великий немой. М.: Госкиноиздат, 1945.

Фрейлих С.И. Теория кино: От Эйзенштейна до Тарковского. М.: Искусство, 1992.

Ханжонков А.А. Первые годы русской кинематографии. М. — Л.: Искусство, 1937.

Эйзенштейн С.М. Избранные сочинения в шести томах. Т. 2. М.: Искусство, 1964.

Abel R. "Frame Stories for Writing the History of French Silent Cinema." Studies in French Cinema  2.1 (2002): 5–13.

Abel R.  The Ciné Goes To Town: French Cinema, 1896–1914. Berkeley: University of California Press, 1998.

Belyakov V. "Russia's Last Tsar Nicholas II and Cinema."  Historical Journal of Film, Radio and Television  15.4 (1995): 517–524.

Bingham D. Whose Lives Are They Anyway?: Whose Lives Are They Anyway? The Biopic as Contemporary Film Genre. New Brunswick, NJ: Rutgers University Press, 2010.

Deleuze G. Cinema 2: The Time-Image. Minneapolis: University of Minnesota Press, 1989.

Graffy J. "'Cinema Is life'. Recent Studies of Russian and Early Soviet Cinema."  Slavonic and East European Review  70.3 (1992): 505-510.

Long P. "A Companion to the Historical Film." Historical Journal of Film, Radio and Television  1 (2013): 1–3.

MacCabe C. "Theory and Film: Principles of Realism and Pleasure." Screen 17.3 (1976): 7–28.

Rosenstone R.A. "The History Film as a Mode of Historical Thought."  A Companion to the Historical Film. Eds R.A. Rosenstone and C. Parvulescu. New York: Wiley, John & Sons, Inc. 2012, рр. 71–87.

Sorlin P. "War and Cinema: Interpreting the Relationship." Historical Journal of Film, Radio and Television 14.4 (1994): 357–366.

Virilio P. War and Cinema: The Logistics of Perception. London and New York: Verso, 1989.

Wollen P. Signs and Meaning in the Cinema. Bloomington and Indianapolis: Indiana University Press, 1972.

Keychenko K.I., Sycheva A.S.

‘Socio-Cultural Significance of Cinematic Reconstruction of the 1812 Patriotic War Events

Kirill I. Keychenko, Scientific Researcher at the Chair of Philosophy of Politics and Law, Lomonosov Moscow State University, Philosophical Department

E-mail: philos@inbox.ru

Alena S. Sycheva, Lecturer at the Department of Public Administration, Russian Academy of National Economy under the RF President of Russian Federation

E-mail: 9737101@mail.ru

Study of artistic reconstructions of historical events has a significant impact on the formation of myths and events representations in the collective consciousness. Our article focuses on the attempts to implement the canonical images of the heroes of the Patriotic War of 1812 in Russian (pre-Revolution, Soviet, and post-Soviet) cinematographic and their socio-cultural significance. Both subsonic infancy cinema and modern stage of its development are being studied. Method of comparing distant in time film works is able to demonstrate the transformation of 1812 mythology.

We have studied in detail the plots and cinematic techniques used in such films as "1812" (1912) by A. Khanzhonkov, documentary newsreels of celebrating the 100th anniversary of the Battle of Borodino filmed by "Gaumont", movies "War and Peace" by V. Gardin and Ya. Protazanov (1815), and by S. Bondarchuk (1965–1967), as well as contemporary films.

In terms of studying artistic reconstructions of the events in 1812 the most interesting thing is the combination of documented reality and the artistic and mythological ‘superstructure’. Comparison of specific episodes of artworks to real historical facts leads to the conclusion that the attempt to transfer the on-screen key events of the war up to the factual level was carried out by pre-revolutionary filmmakers only, while subsequent cinematographic of the Soviet and post-Soviet era were more of either propaganda or profanation nature.

Keywords: political power, political stereotypes, War of 1812, patriotism, culture, memory, national character.

References:

Abel R. "Frame Stories for Writing the History of French Silent Cinema." Studies in French Cinema  2.1 (2002): 5–13.

Abel R.  The Ciné Goes To Town: French Cinema, 1896–1914. Berkeley: University of California Press, 1998.

Batalin V.N. Newsreel Russia in 1896–1916: Inventory of Filming Stored in Russian State Archive of Film and Photo Documents. Moscow: Olma-Press Publisher, 2002. (In Russian).

Bingham D. Whose Lives Are They Anyway?: Whose Lives Are They Anyway? The Biopic as Contemporary Film Genre. New Brunswick, NJ: Rutgers University Press, 2010.

Belyakov V. "Russia's Last Tsar Nicholas II and Cinema."  Historical Journal of Film, Radio and Television  15.4 (1995): 517–524.

Deleuze G. Cinema 2: The Time-Image. Minneapolis: University of Minnesota Press, 1989.

Eisenstein S.M. Selected Writings. Moscow: Iskusstvo Publisher, 1964, vol. 2. (In Russian).

Forestier L.P. The Great Silent. Moscow: Goskinoizdat Publisher, 1945. (In Russian).

Freylikh S.I. Film Theory: from Eisenstein to Tarkovsky. Moscow: Iskusstvo Publisher, 1992. (In Russian).

Graffy J. "'Cinema Is life'. Recent Studies of Russian and Early Soviet Cinema."  Slavonic and East European Review  70.3 (1992): 505-510.

History of Domestic Cinema. Moscow: Progress-Traditsiya Publisher, 2005. (In Russian).

Karavaev D.L. 1812. Screen Epic Heroes. Patriotic War of 1812 Historic Persons in Film and TV. Moscow: Kanon+ Publisher, 2012. (In Russian).

Khanzhonkov A.A. Early Years of Russian Cinematography. Moscow — Leningrad: Iskusstvo Publisher, 1937. (In Russian).

Krasnogorsk Cinema and Photo Documents Archive, archive 12740 (Selected Cinema Plots 1911–1912). (In Russian).

Long P. "A Companion to the Historical Film." Historical Journal of Film, Radio and Television  1 (2013): 1-3.

MacCabe C. "Theory and Film: Principles of Realism and Pleasure." Screen 17.3 (1976): 7–28.

Rosenstone R.A. "The History Film as a Mode of Historical Thought."  A Companion to the Historical Film. . Eds R.A. Rosenstone and C. Parvulescu. New York: Wiley, John & Sons, Inc. 2012, рр. 71–87.

Sadoul G. Art History of Cinema. From Its Origins to Our Days. Moscow: Inlitizdat Publisher, 1955 (In Russian).

Sorlin P. "War and Cinema: Interpreting the Relationship." Historical Journal of Film, Radio and Television 14.4 (1994): 357–366.

The Cinema. Encyclopaedia. Moscow: Sovetskaya entsiklopediya Publisher, 1987. (In Russian).

Virilio P. War and Cinema: The Logistics of Perception. London and New York: Verso, 1989.

Wollen P. Signs and Meaning in the Cinema. Bloomington and Indianapolis: Indiana University Press, 1972.

Zorkaya N.M. History of Soviet cinema. Saint Petersburg: Aleteiya Publisher, 2006. (In Russian).

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