Preview

Vestnik VGIK

Advanced search

Evolution of Stunt Episodes in Fiction Films about the Great Patriotic War

Abstract

Taking the same stunt episode in three film adaptations of the
short story “The Dawns Are Quiet Here...”, which were made by S.I. Rostotsky
(1972, USSR), M. Weining (2005, China — Russia) and R.F. Davletyarov (2015,
Russia) as an example, the article studies the transformation of the film stunts
in terms of their choreography.
The principal distinctive characteristics of each of these adaptations are
specified. Particular emphasis is laid on the artistic value of stunt episodes as
a means of creating the cinematic truth in Soviet (later Russian) films about
the Great Patriotic War (1941–1945). The peculiarity of Russian stunt episodes
in fiction war films is that a heroic exploit per se is a stunt. The heroism of
the Soviet people in the Great Patriotic war meant above all overcoming,
persistence and humanism. And the utmost manifestation of these qualities
achieved by plastic expressive means is a stunt. The author assumes that every
film stunt must have an intrinsic artistic side to it, which precisely complies with
the narrative plotline while evoking a direct association with the plastic pattern
of a particular character. The corresponding body of evidence is the result of an
empirical method of analyzing the object in the temporal aspect (retrospection
and prognosis).
Today Russian films about the Great Patriotic War (1941–1945) and their
predecessors, Soviet movies — which may be considered a gold standard of the
use stunts — can be looked upon as a cinematic paragon of presenting the truth
about the deadliest war of the twentieth century both in historic reenactment
and artistic retrospection

About the Author

Dzhan I. Danilov

Russian Federation


References

1. Bugayeva L.D. (2016) Yazyk emotsy v filme [Language of emotions in the film].

2. Medialingvistika, 2016. No 2 (12), pp. 61–70.

3. Vasilyev B.L. (1969) A zori zdes tikhiye... (sbornik) [And the dawns are quiet here].

4. B.L. Vasilyev — ‘‘Eksmo’’, 1969.

5. Grishin O.E., Yemanov A.A. (2016) Kinematograf kak instrument politicheskoy

6. kommunikatsii na postsovetskom prostranstve [Cinema as a tool of political communication

7. in the post-Soviet space]. Problemy postsovetskogo prostranstva, 2016. No 2 (8), pp. 37–48.

8. Zhdan V.N. (1982) Estetika filma [Aesthetics of the film]. Moscow: Iskusstvo, 1982. 375 p.

9. Ivanov R.V., Polyushkevich O.A. (2016) Patriotizm i identichnost v sovremennykh rossyskikh

10. filmakh [Patriotism and identity in contemporary Russian films]. Izvestiya Irkutskogo

11. gosudarstvennogo universiteta. Seriya: Politologiya. Religiovedeniye. 2016. T. 18, pp. 44–55.

12. Lapshin V.A. (2015) Kinematograf kak faktor politicheskoy sotsializatsii molodezhi [Cinema

13. as a factor of political socialization of young people]. Chelovek. Obshchestvo. Inklyuziya,

14. No 4 (24), pp. 43–46.

15. Lubashova N.I., Lukhtan A.S. (2015) Sotsialistichesky realizm sovetskogo kino

16. [Socialist realism of Soviet cinema] // Analitika kulturologii, 2015. No 3 (33), pp. 96–99.

17. Malyshev V.S. (2015) Obrazy Vtoroy mirovoy voyny na ekrane [Images of world war II on the

18. screen]. Vestnik RGNF, 2015. No 2, pp. 65–80.

19. Rogozyansky M.E. (2016) Kino — okean smyslov ili territoriya zabluzhdeny? Mysli vslukh na

20. temu pedagogicheskogo potentsiala otechestvennoy kinematografii [Is cinema an ocean of

21. meaning or a territory of delusions? Thoughts aloud on the pedagogical potential of Russian

22. cinematography]. Vestnik Kemerovskogo gosudarstvennogo universiteta kultury i iskusstv,

23. No 37–2, pp. 189–193.

24. Tyazhlov Ya.I. (2015) Kino kak sredstvo remifologizatsii deystvitelnosti [Cinema as a medium

25. of remythologization reality]. Sovremenny diskurs-analiz, 2015. No 1 (12),

26. pp. 28–38.


Review

For citations:


Danilov D.I. Evolution of Stunt Episodes in Fiction Films about the Great Patriotic War. Vestnik VGIK. 2020;12(3(45)):91-101. (In Russ.)

Views: 14


Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 License.


ISSN 2074-0832 (Print)
ISSN 2713-2471 (Online)