Academic Journal
Freedom as mental and ethical dominant of Milos Forman's author cinematography
| Τίτλος: | Freedom as mental and ethical dominant of Milos Forman's author cinematography |
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| Πηγή: | ACADEMIC BULLETIN OF KYIV NATIONAL KARPENKO-KARYI UNIVERSITY OF THEATRE, CINEMA AND TELEVISION; No. 26 (2020); 86-92 Науковий вісник Київського національного університету театру, кіно і телебачення імені І.К.Карпенка-Карого; № 26 (2020); 86-92 |
| Στοιχεία εκδότη: | Київський національний університет театру, кіно і телебачення імені І. К. Карпенка-Карого, 2020. |
| Έτος έκδοσης: | 2020 |
| Θεματικοί όροι: | авторская режиссура, морально-етичні домінанти, author's cinema, субъективация творчества, moral and ethical dominant, 791.633(437 73)''196/201''-051Фор, authoring, субʼєктивація творчості, 16. Peace & justice, морально-этические доминанты, авторское кино, subjectivation of creativity, 123.1](045), авторське кіно, [791.234, авторська режисура |
| Περιγραφή: | The article defines the essence of authorship in cinematography, reveals features of the author's directing through the prism of moral and ethical categories and concepts, explores the specificity of Milos Forman's work in the interpretation of the concept of freedom as a universal value, which succeeded in relying on literary and musical works, to realize its potential in cinema on television.Freedom is emphasized in the article as one of the dominant features of the author's cinematography and focuses on the interpretation of this concept in the work of Milos Forman – a native and a bright representative of the Czech model of authorial cinema known as the Czech New Wave.The first feature film by Milos Forman, «Black Peter», created in 1964, became the emblem of the Czech New Wave, in which the works of the heroes always appear as a reflection of subjective-objective conditions and circumstances in which strange characters act, which skilfully conceal the veiled desire for freedom.It should be noted that in the works of Foreman's "Czech" period, as in his later works, the feelings and aspirations of the heroes for freedom have different manifestations, and their relations with the morals of society are ambiguous and often tense.Milos Forman has always felt the urgent need to study and reflect on the various aspects of a person's desire for freedom as a conscious need. The director wanted to enter a new creative frontier, to prove his own ability to realize himself as an author in the production conditions of theUnited States. The Master enthusiastically accepts Michael Douglas' proposal to film Ken Kesey's best-selling book "One Flew Over the Cuckoo's Nest", whose hero was a prisoner in a psychiatric clinic.The director showed the unique accuracy of directing, reproduced the process of peculiar observation of the action, gestures and behavior of the characters, sounds, words and intonations in their arbitrary, however, the filmmaker conceived variant, and checked the validity of the idea that only the awareness of freedom as a voluntary self-will relationships with other individuals should be defined as the moral significance of their choices.In his films, the artist actively engages in open dialogue with a wide range of viewers, illuminates the essential features of moral and ethical categories and concepts through the penetration of the characters, their complex connections with the world. Milos Forman develops cinematic action both in-depth and in time. In the musical "Hair", which became a kind of anti-war youth manifesto, the director pays tribute to the hippie movement of freedom, consciously emphasizes the clash of two opposite principles – Good and Evil.The moral and ethical dominance of Forman's creativity is the theme of protecting human dignity, the problems of tolerance of society, which will be especially revealed in the movie Ragtime, an interpretation of Edgar Lawrence Doctorow's novel.The director refers to Peter Schaffner's play "Amadeus" and, despite the complete fiction of the history of the relationship of Mozart and Salieri, in a kind of baroque interpretation presents to the modern viewer the author's view on the freedom of creativity deserves phenomenal success.Choderlos de Laclos’ novel "Dangerous Liaisons" became the literary pioneer for next masterpiece “Valmont”. In the film, the master demonstrates a high culture of imaginative decision and argues with the author of the novel. The director seeks to discover and expose the essence of cynicism in order to convince his viewers, through his own subjective view of the author's self, that love cannot justify overt violence and loses its purpose when it becomes a habit and stranger.The film «The people vs. Larry Flint» also contributes to the development of moral and ethical issues, in which Foreman faithfully and sincerely reproduced in a series of dramatic events and human passions a whole layer of modern moral consciousness.As a result, we will point out that in the films of representatives of different author models, in particular, Milos Forman, we can state that cinematographers try to participate as actively as possible in the life of modern society, not only by reflecting the sometimes contradictory processes, but also by actively intervening in them. It is known that the deeper and more organically the artist penetrates into the spiritual world of the individual, into the essence of moral problems and conflicts of a certain epoch, the wider the range of phenomena and the sign of reality he embraces with his creativity, the more powerful his opportunities for comprehension and effective intervention in being. В статье определяется сущность авторства в кинематографе, выявляются особенности авторской режиссуры сквозь призму морально-этических категорий и понятий, исследуется специфика творчества Милоша Формана в интерпретации понятия свободы как общечеловеческой ценности, которому удалось, опираясь литературные и музыкальные произведения, реализовать свой художнический потенциал в театре, кино, на телевидении У статті визначається сутність авторства в кінематографі, виявляються особливості авторської режисури крізь призму морально-етичних категорій і понять, досліджується специфіка творчості Мілоша Формана в інтерпретації поняття свободи як загальнолюдської цінності, котрому вдалося, спираючись літературні та музичні твори, реалізувати свій художницький потенціал у театрі, кіно, на телебаченні |
| Τύπος εγγράφου: | Article |
| Περιγραφή αρχείου: | application/pdf |
| Γλώσσα: | Ukrainian |
| ISSN: | 1997-4264 |
| Σύνδεσμος πρόσβασης: | http://nv.knutkt.edu.ua/article/view/202603 |
| Αριθμός Καταχώρησης: | edsair.scientific.p..d5364a604a2fde88963f51b577195aca |
| Βάση Δεδομένων: | OpenAIRE |
| ISSN: | 19974264 |
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