Nina Ju. Sputnickaja
Russian State Institute of Cinematography, Moscow, Russia
129226 Russia, Moscow, Wilhelm Peak str., 3.
PHD in Art Criticism
e-mail: firstname.lastname@example.orgImages of Enemy in the Fairy-Tale Films and Animation of the USSR during the II World WarAbstract:
The author considers the representation of the confrontation between East and West in a world war II children films (fairy tales). The article introduces archival materials into scientific circulation: the cases of the films “Children of captain Grant” by V. Weinstein, “Magic grain” by V. Kadochnikov and F. Filippov, the idea of “Kozy Karpeche” by V. Kadochnikov. The article reveals the aesthetic guidelines of cinematographers (animation Studio “Disney”). New value dominants highlighted by cinematographers in folk tales have analyzed in the films “The hunchback horse” (1941), “Nasreddin in Bukhara” (1943), “Kashchey the Immortal” (1945), in wartime animated films. The author defines the system of the conventions of dream-like images resulting from the deformation values, sets the mechanisms of kinoskazki how the formula works on the basis of the tales of these years and their relevance in the early postwar years, during the Cold war. The collective image of the enemy in the animation of the USSR is formed in line with traditional ways of representation – a caricature image with hypertrophy of individual features; allegorical forms (images of animals from a fable). The author proves that the basic aesthetic models of ideological confrontation to the West in Russian cinematography began to form in the pre-war period and proved to be suitable in the films of war and the first post-war years.Key words:
Cinema and ideology, wartime cinema, fairy tale in cinema, folklore and cinema, Valentin Kadochnikov, Alexander Rowe, Yakov Protazanov, screen adaptation, Soviet cinema.References:
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Sputnickaja, N. (2020). Images of Enemy in the Fairy-Tale Films and Animation of the USSR during the II World War. International Journal of Cultural Research, 4 (41), 94–110. DOI:10.52173/2079-1100_2020_4_94