DOI: https://doi.org/10.31318/0130-5298.2017.43.0.131927

The musical phenomenon in the films by Sergey Parajanov

S. Sarkisyan

Abstract


The interrelation of music and cinema is examined. Music and cinema are two arts that have shown the most varied entwinements on semiotic and phenomenological levels during their century-old history. The permeation of these two arts has given birth to a substantially new form of their existence. That is the reason that the films and the complete creation of Sergey Parajanov are somehow situated in between these arts, between the plasticity of the cinema and the expressiveness of music, creating a new phenomenon of the resounding plasticity of music and the expressivity of the silent film. The emphasis is on the fact that the overflowing of characteristics from one art to another does not occur to the detriment of the genre category of this particular art; in other words, the film does not cease to be film, nor is this the case with music. It would be more precise to confirm just the opposite: the permeation of the characteristics between the arts enriches each individual art, because the associative degree is augmented. This circumstance influences the perception of these arts, especially of the cinema. It acquires the capacity to actively influence the spectator, seemingly evading its basic visual rank. This genre of cinema refers to intellectual, sensual and subconscious incentives, forming at the same time a new type of spectator.It is emphasized that Sergey Parajanov had entered the history of cinema as a reformer of its language which had time - during its century-long existence – to be saturated with its formal logic within the development of content. Outgrowing the literary narration, Parajanov introduced in his films the poetry and logic of painting, music, choreographic and pantomime plasticity, thus enriching the cinema with a new essential synthesis of arts.


Keywords


Sergey Parajanov’s films; music; cinema; interpretation of arts; semiotics

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