vgikВестник ВГИКVestnik VGIK2074-08322713-2471ВГИКzmblxxvgik-70Research ArticleКИНОЯЗЫК И ВРЕМЯFILM LANGUAGE AND TIMEФильм «Пиковая дама» (1982) как анализ образной системы одноименной повести А.С. ПушкинаThe Queen of Spades (1982) as an Analysis of the Imagery in Pushkin's Eponymous NovelМарусенковВ. В.MarusenkovV. V.

кандидат искусствоведения

PhD in Art History, Associate Professor (Higher Attestation Commission), Professor at the Chair of Film Studies, Dean of the Department of Scriptwriting and Film Studies

ШереметФ. И.SheremetF. I.

2nd year student, Department of Scriptwriting and Film Studies

S.A. Gerasimov All-Russian State Institute of Cinematography (VGIK)Russian FederationS.A. Gerasimov All-Russian State Institute of CinematographyRussian Federation202225032024141(51)2641Copyright © Марусенков В.В., Шеремет Ф.И., 20242024Марусенков В.В., Шеремет Ф.И.Marusenkov V.V., Sheremet F.I.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/70

В статье рассматривается опыт деконструкции и анализа литературного произведения экранными средствами на примере фильма «Пиковая дама» (1982) режиссера И.Ф. Масленникова. Фильм представляет собой пространство с несколькими временными плоскостями, в которых располагаются герои и повествователь, — их взаимодействие обусловливает драматическое движение картины. Анализируется выделенное режиссером структурное пространство экранизированной повести.

The article looks at the deconstruction and analysis of a literary work by screen means using the example of The Queen of Spades (1982) directed by Igor Maslennikov.In the film both the characters and the narrator are placed in a certain space with several time planes, and their interaction determines the dramatic movement of the picture. The authors outline and analyze the structural space of the screen version of the story. The article deals with the analysis of Igor Maslennikov's film The Queen of Spades (1982), in which the space of the film becomes a platform for the deconstruction of A.S. Pushkin's eponymous story by screen means.Along with preserving the plot and individual details, the film copies the architectonics of the original material, including the epigraphs. In the film they reflect the analyzed structure of the story and reveal its characters as abstract entities, e.g. Hermann as Explorer, the Countess as personified Doom.The original story is deliberately de-dramatized, in order to expose its basis, its «skeleton». The artistic world of The Queen of Spades is considered artificial but perfectly realistic, in which there is no place for the magical or the supernatural, and all extraordinary occurrences are the result of the author's structural manipulations. Hermann is transformed into a character beyond the storyline but still interacting with the plot: he is aware of the artificiality of his surroundings, but accepts the "rules of the game" in order to find the artistic and structural center of the story - the Countess's boudoir.The film opens up new facets of the art of film adaptation — its viewing does not imply just watching the subjective interpretation of the literary plot, but its joint deconstruction (by the director and the spectator).

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