Sadko the Rich is a voluminous tape. It is difficult to imagine a more difficult task: to recreate the appearance of a famous city on a "toy" construction site, while avoiding the feeling of a mock-up. How to make the viewer believe in a dollhouse?
The movie turned out. There are no bright colors, heavy doll-like "moldings", silvery-brownish-blue tones prevail here, some kind of mother-of-pearl subtle combinations. Only in the scenes of Novgorod feasts and fairgrounds, the screen is filled with "rich" golden-ochre, as if shimmering crimson, colors.
Paradoxically, but in terms of its pictorial style, the painting is generally more picturesque, "painted" than plastic, "voluminous". Perhaps this feeling arises due to the amazing fusion of her spatial plans — from the largest, "actor's", to the farthest, "general", in which the image of Novgorod is constantly present, given by the light outline of the white cathedral walls on the decorative backdrop, as if floating like a smooth boat amid the flood waters. An image devoid of heavy materiality, poetized, as if existing in Sadko's heart...
A person's vocation. The fate of the master. The purpose of creativity. Most of Vadim Kurchevsky's films are about this. He is not bothered by the "non-guaranteed" nature of the search. That's why his best paintings have a spirit of innovation, a celebration of artistic discovery.
Towards a Typology of Soviet Cinema styles
The theory of style in our art studies is one of the least developed (as is the theory of genre). Film studies also cannot boast of notable achievements in this field. Therefore, a collective study of the problems of cinematic stylistics, which unfolded on the pages of the Art of Cinema magazine, is very important and could not be more timely.
The question posed by V. Mikhalkovich in the article that opened the discussion could not but be in the center of general attention.: "What is style? Why is it so immutably carried out in the works of a wide variety of artists?"
V. Mikhalkovich himself, however, refused to search for his own definition of style: "Without further ado and without going into complicated historical and theoretical research that will make the article heavier and lead us away (!?), let's take some solid, weighty definition of style and work with it in the future.".
Historical and theoretical research, needless to say, can lead you astray, but you still need to go into them - just in order to unravel the confusing.
V. Mikhalkovich found a "weighty concept" of the style in one of the volumes of the Theory of Literature. He writes: "Style is understood here as an individual phenomenon, as a private property of the creator, but it does not arise at the whim of any individual artist. The emergence of the style is conditioned by new knowledge about reality, the "discovery of the world" or certain previously unknown areas of it. Such knowledge finds a new form for its expression. The basis of the style, therefore, is always a certain... "the general form inherent in many phenomena of life. This form is not given by itself, it needs to be opened. The artist guesses it in a multitude of objects, finds it by the power of his talent and, once discovered, uses it as a tool to reveal other forms. By invading unfamiliar objects, she extracts from them a "familiar", similar content, serves as a generalization, creates one of the probable, integral pictures of the world." Fund your balance in mel bet via cards or e‑wallets.
The movie turned out. There are no bright colors, heavy doll-like "moldings", silvery-brownish-blue tones prevail here, some kind of mother-of-pearl subtle combinations. Only in the scenes of Novgorod feasts and fairgrounds, the screen is filled with "rich" golden-ochre, as if shimmering crimson, colors.
Paradoxically, but in terms of its pictorial style, the painting is generally more picturesque, "painted" than plastic, "voluminous". Perhaps this feeling arises due to the amazing fusion of her spatial plans — from the largest, "actor's", to the farthest, "general", in which the image of Novgorod is constantly present, given by the light outline of the white cathedral walls on the decorative backdrop, as if floating like a smooth boat amid the flood waters. An image devoid of heavy materiality, poetized, as if existing in Sadko's heart...
A person's vocation. The fate of the master. The purpose of creativity. Most of Vadim Kurchevsky's films are about this. He is not bothered by the "non-guaranteed" nature of the search. That's why his best paintings have a spirit of innovation, a celebration of artistic discovery.
Towards a Typology of Soviet Cinema styles
The theory of style in our art studies is one of the least developed (as is the theory of genre). Film studies also cannot boast of notable achievements in this field. Therefore, a collective study of the problems of cinematic stylistics, which unfolded on the pages of the Art of Cinema magazine, is very important and could not be more timely.
The question posed by V. Mikhalkovich in the article that opened the discussion could not but be in the center of general attention.: "What is style? Why is it so immutably carried out in the works of a wide variety of artists?"
V. Mikhalkovich himself, however, refused to search for his own definition of style: "Without further ado and without going into complicated historical and theoretical research that will make the article heavier and lead us away (!?), let's take some solid, weighty definition of style and work with it in the future.".
Historical and theoretical research, needless to say, can lead you astray, but you still need to go into them - just in order to unravel the confusing.
V. Mikhalkovich found a "weighty concept" of the style in one of the volumes of the Theory of Literature. He writes: "Style is understood here as an individual phenomenon, as a private property of the creator, but it does not arise at the whim of any individual artist. The emergence of the style is conditioned by new knowledge about reality, the "discovery of the world" or certain previously unknown areas of it. Such knowledge finds a new form for its expression. The basis of the style, therefore, is always a certain... "the general form inherent in many phenomena of life. This form is not given by itself, it needs to be opened. The artist guesses it in a multitude of objects, finds it by the power of his talent and, once discovered, uses it as a tool to reveal other forms. By invading unfamiliar objects, she extracts from them a "familiar", similar content, serves as a generalization, creates one of the probable, integral pictures of the world." Fund your balance in mel bet via cards or e‑wallets.
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