vgikВестник ВГИКVestnik VGIK2074-08322713-2471ВГИКvgik-1055Research ArticleПЕРФОРМАНС | ИСКУССТВО ВОПЛОЩЕНИЯPERFORMANCE | THE ART OF PRESENTATIONГротеск как формообразующий прием в драматургии игрового фильмаGrotesque as a Formative Method in the Drama of a Feature FilmБабинаА. Е.BabinaAnastasiya E.202007022025122(44)6272Copyright © Бабина А.Е., 20242024Бабина А.Е.Babina A.E.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://www.vestnik-vgik.com/jour/article/view/1055

На примере американских фильмов «Битлджус», «Оно» и «Оно-2» рассматривается гротеск как формообразующий прием в драматургии. Исследуется его дифференциация и отличие от количественных тропов — литоты, гиперболы, а также тропов с отсутствием трансгрессивного элемента — аллегории, метафоры. В статье анализируются эмоциональные механизмы гротеска, закладывающие целевые ориентиры восприятия зрителем произведения киноискусства.

The article studies the phenomenon of the grotesque in the dramaof a feature film as a formative element of the plot, conflict and twists in storylines.The text is divided into two blocks. The first block, where the diversificationof the device is considered, analyses the difference between the grotesque andartistic tropes that provide a quantitative metamorphosis of the object or itscomplete formation in the proposed conditions, such as: metaphor, allegory,hyperbole and litotes. The example of Tim Burton's film "Beetlejuice" (1988)shows the dynamics of the use of the grotesque device, which allows for theplay with plastic and meaning-forming modes, thus causing qualitative changesin the conflict through semantic inversion. The second section concentrates ofthe mechanics of the grotesque, which influence the emotional atmosphere ofthe film, focusing on the genres where the technique in question is used mostoften, and the formation of emotional components. Two films — "It" (2017)and "It-2" (2019) directed by Andres Musketti are analyzed, in which laughteris combined with frightening elements, escalating the conflict and emphasizingthe grotesque ambivalence of the plot in the horror movies. This genre clearlydemonstrates the “gluing” of semantic fields which ensure the diversity of plotsand physicality, visuals and palpable forms. Thus, the technique in questionallows to create a genre universe of horror films through a combination of theincongruous – the creepy and the comic.The article, which can benefit practicing screenwriters and art theorists, isbased on the scientific heritage of M.M. Bakhtin, Y.V. Mann, Ben Woodard,M.V. Yampolsky, and S.E. Yurkov. It proves the existence of the subject ofresearch, the grotesque, as a full-fledged formative method that qualitativelytransforms the object of scientific research — the cinematic image — generatedby the conflict created by the playwright. Thus, the mechanisms of the grotesquedetermine the genre and emotional specifics of the film, and the way therecipient perceives it.

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The authors declare that there are no conflicts of interest present.