(In)visible text: Queen of Spades in Russian Silent Cinema

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F19%3A73594197" target="_blank" >RIV/61989592:15210/19:73594197 - isvavai.cz</a>

Výsledek na webu

<a href="https://doi.org/10.15643/libartrus-2019.2.1" target="_blank" >https://doi.org/10.15643/libartrus-2019.2.1</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.15643/libartrus-2019.2.1" target="_blank" >10.15643/libartrus-2019.2.1</a>

Jazyk výsledku

angličtina

Název v původním jazyce

(In)visible text: Queen of Spades in Russian Silent Cinema

Popis výsledku v původním jazyce

Alexander Pushkin’s literary works have been an inspiration for the cinema already from the emergence of the narrative fiction film. One of Pushkin’s most frequently adapted stories is a mystical novella Queen of Spades written in 1833. In Russian silent cinema, there were different versions of the story – the first one appeared as a short film in early 1910 and was directed by Pyotr Chardynin, another already a feature-length version was made in 1916 by Yakov Protazanov. While Protazanov’s version follows Pushkin’s story more closely, Chardynin also seems to draw heavily from Tchaikovsky’s eponymous opera, which makes his film more reliant on the viewer’s prior knowledge of the original text. The article focuses on both films, particularly on their means of transferring Pushkin’s original text to the screen. By comparing them to each other as well as with their original source materials (hypotexts in Genette’s terminology) it also defines the degree of intertextuality in relation to the viewer’s understanding of the resulting hypertext.

Název v anglickém jazyce

(In)visible text: Queen of Spades in Russian Silent Cinema

Popis výsledku anglicky

Alexander Pushkin’s literary works have been an inspiration for the cinema already from the emergence of the narrative fiction film. One of Pushkin’s most frequently adapted stories is a mystical novella Queen of Spades written in 1833. In Russian silent cinema, there were different versions of the story – the first one appeared as a short film in early 1910 and was directed by Pyotr Chardynin, another already a feature-length version was made in 1916 by Yakov Protazanov. While Protazanov’s version follows Pushkin’s story more closely, Chardynin also seems to draw heavily from Tchaikovsky’s eponymous opera, which makes his film more reliant on the viewer’s prior knowledge of the original text. The article focuses on both films, particularly on their means of transferring Pushkin’s original text to the screen. By comparing them to each other as well as with their original source materials (hypotexts in Genette’s terminology) it also defines the degree of intertextuality in relation to the viewer’s understanding of the resulting hypertext.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60500 - Other Humanities and the Arts

Projekt

—

Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Liberal Arts in Russia

ISSN

2305-8420

e-ISSN

—

Svazek periodika

2019

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

RU - Ruská federace

Počet stran výsledku

16

Strana od-do

91-106

Kód UT WoS článku

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EID výsledku v databázi Scopus

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