Author(s): Anna VARGA

Title: A FILMNYELV LEHETŐSÉGEI AZ 1930-AS, '40-ES ÉVEK SZOVJET FILMJEIBEN

Source: P. Baka, A. Mészáros, Sz. Simon, A. Litovkina (eds.): 16th International Conference of J. Selye University. Language and Literacy Sections. Conference Proceedings

ISBN: 978-80-8122-508-6

DOI: https://doi.org/10.36007/5086.2025.97

Publisher: J. Selye University, Komárno, Slovakia

PY, pages: 2025, 97-105

Published on-line: 2025

Language: hu

Abstract: THE POSSIBILITIES OF FILM LANGUAGE IN SOVIET FILMS OF THE 1930S AND '40S
The films of the period created a unified, new language, thus strengthening the national identity of the Russian cinema. And the new lyrical codes developed were, surprisingly, able to assert themselves in this very documentary art form. The poetics of the Soviet cinema is perhaps also difficult to approach today because of a kind of artistic 'under-view' that characterises the 'postmodern' basic stance of our times, which is based on the collapse of former hopes and the failure of the grand narratives of modernity. As a consequence of the resulting disillusionment, contemporary cinema sees the reign of the petty in the hopeless and unpromising everyday, and perceives the individual as a failure. The code of the Soviet films, on the other hand, is distinctly archaic, going back to the Russian chronicles of the 13th century, as if the 'spirit' had slept through a few hundred years and now awakened knowing only the previous codes, as the iconography of the films suggests. These codes simply eliminate the dominance of rationality, approaching the individual from a cosmic perspective, whose task, as a religious heritage, is to facilitate the unfolding of salvation.

Keywords: film, mass-market movie, comedy, film language, 1930s, 1940s, Soviet films

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