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Research of Historical and Cultural Factors of S. Paradzhanov's Creative Work РЕЖИСУРА ТА ЗВУКОРЕЖИСУРА КІНО І ТЕЛЕБАЧЕННЯ FILM AND TELEVISION DIRECTING AND SOUND ENGINEERING Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Arts and Production 2020 · 3(2) · pp.237-244 DOI: 10.31866/2617-2674.3.2.2020.217652 UDC 791.633-051 RESEARCH OF HISTORICAL AND CULTURAL FACTORS OF S. PARADZHANOV'S CREATIVE WORK Yurii Harmash1a, Oleksandr Priadko2a 1 Honoured Artist of Ukraine, Associate Professor, Professor of the Department of Cinema and Television Arts; e-mail: [email protected]; ORCID: 0000-0003-0646-575X 2 Honoured Worker of Ukraine Culture, PhD in Technical Sciences, Associate Professor; e-mail: [email protected]; ORCID: 0000-0002-9080-6758 a Kyiv National University of Culture and Arts, Kyiv, Ukraine Keywords: Abstract Ukraine; The purpose of this article is to study the historical and cultural factors of the Sergei Paradzhanov; emergence, formation, and development of the brilliant personality of Sergei cinematograph; Paradzhanov through the lens of his life and creative path, to analyze the film director; role of Ukraine in becoming an outstanding film director, his contribution to film Ukrainian and world cinema. The research methodology is to apply historical, cultural, empirical, general-logical methods for the analysis of creativity and social activity of S. Paradzhanov. The scientific novelty of the work lies in a comprehensive study of the various stages of biography and creative 237 achievements, the public activity of S. Paradzhanov, his contribution to the revival of Ukrainian poetic cinema. Conclusions. The work clearly sets out the biographical accents of Sergei Paradzhanov’s life, explores the formation of pro-Ukrainian aesthetics and worldview of the Master, his public position, details his creative achievements, the influence of his work on the modern generation of cinematographers. The creativity of S. Paradzhanov opened the floodgates of national consciousness, made the contribution to the revival of lost traditions, raised the importance of each person to a new level. For citation: Harmash, Yu. and Priadko, O. (2020). Research of historical and cultural factors of S. Paradzhanov's creative work. Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Arts and Production, 3(2), pp.237-244. Problem Statement and popular publications, monographs, documentaries and feature films were For decades, the phenomenon of Serhii devoted to his cinematography. According Paradzhanov has been striking the to the results of numerous researches, the imagination of the cultural community of creativity formation of the great cinema different continents. Hundreds of articles master and his connection with Ukraine is printed in dozens of languages in scientific considered. © Yurii Harmash, Oleksandr Priadko, 2020 Recieved 06.09.2020 ISSN 2617-2674 (Print), audiovisual-art.knukim.edu.ua ISSN 2617-4049 (Online) РЕЖИСУРА ТА ЗВУКОРЕЖИСУРА КІНО І ТЕЛЕБАЧЕННЯ Вісник Київського національного університету культури і мистецтв. Серія: Аудіовізуальне мистецтво і виробництво 2020 · 3(2) · с.237-244 Recent research Main research material and publications analysis An outstanding film director Serhii Ukrainian film expert Yurii Morozov (2013), Parajanov, an Armenian by nationality, in the carefully laid out collection “The was born and lived in Georgia, studied Screen World of Serhii Parajanov”, made in Moscow, created his masterpieces in the first attempt to bring together at least Ukraine, Georgia and Armenia. By right, he part of this worldwide “parajainian”. can be called an international filmmaker. In 2014, the “Kyiv-Mohyla Academy” Ukrainian literature, Georgian and Armenian Publishing House and the Editorial office epos, history, culture and art of the people of “Cinema-Theater” Magazine released of these countries, which had a tremendous a selection of articles and archival influence on his work were close and dear documents dedicated to his ninetieth to him. But it was Ukraine that played a key anniversary, which covered the complicated, role in the artistic biography of the Master. sometimes dramatic, partly refined And Parajanov himself for many years had scientific, sometimes purely everyday-life an impact on Ukrainian cinema. At the discourse of Serhii Parajanov. This study opening of the exhibition of his works of art shows that Parajanov was able to turn on January 15, 1988, in Yerevan, Parajanov his own life into a complete artefact that said: “Everyone knows that I have three could compete with his own works. The homelands. I was born in Georgia, worked director’s contemporaries well remember in Ukraine and am going to die in Armenia” how powerful was his influence on everyone (Zahrebelnyi, 2011). 238 he communicated to. The “Parajanov In 1945, Serhii Parajanov left his native Phenomenon” can be traced on almost Tbilisi for Moscow and became, at first, every page of this work (Briukhovetska a student of the conservatory, and since ed., 2014). 1946, a student of the directing faculty Incredible character traits, lessons of of VGIK (Russian State University of kindness, generosity, his will and desire Сinematography). His first teacher of to help not only relatives but also strangers mastery of directing was the prominent to him, have left indelible memories in the Ukrainian film director Igor Savchenko, the hearts and souls of many Ukrainians for creator of the monumental heroic drama film life (Harmash, 2017). “Bogdan Khmelnitsky”, which was released on cinema screens in 1941. It was Ihor Purpose of the article Savchenko who obtained the retrial of the first criminal case fabricated in 1948 against The purpose of the work is to study Serhii Parajanov, according to which he was the historical and cultural factors of the sentenced for 5 years at a closed meeting emergence, formation, and development of the Military Tribunal of the Ministry of of the brilliant personality of Serhii Internal Affairs of the Georgian SSR. The Paradzhanov through the lens of his life intercession of I. Savchenko led to the fact and creative path, to analyze the role of that after consideration of the cassation Ukraine in becoming an outstanding film appeal by the Military Collegium of the director, his contribution to Ukrainian and Supreme Court of the USSR, young Parajanov world cinema. was acquitted and released. ISSN 2617-2674 (Print), Гармаш, Ю., Прядко, О. Дослідження історичних і культурних чинників ISSN 2617-4049 (Online) творчості С. Параджанова FILM AND TELEVISION DIRECTING AND SOUND ENGINEERING Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Arts and Production 2020 · 3(2) · pp.237-244 In the same year, S. Parajanov, as In Kyiv, Parajanov meets his future wife – I. Savchenko’s assistant, worked in the Svetlana Shcherbatyuk, Ukrainian. In 1955, documentary-historical epic film “The Third they officially registered their marriage, they Impact” (awarded the State Prize) at the have a son, Suren, who now lives in Kyiv. Kyiv feature film studio. Despite the fact that they filed for divorce S. Parajanov and other students of in 1961, Svetlana and Serhii continued to I. Savchenko after the death of their maintain close relations for the rest of their teacher in 1950 took part in finalizing the lives. last work of Ukrainian director – film “Taras At this time, Parajanov arranges a kind of Shevchenko”, where Serhii Bondarchuk intellectual salon at home, where there are played the main role. In 1952, this film debates about art, there are discussions of Savchenko received the highest State about domestic and foreign films that are award, and S. Bondarchuk became its not available at a wide release. From this laureate. The film was shot in Russian and moment, the young director, again, falls Ukrainian languages in different takes. That under the scope of “competent authorities”. is, two full-length films were made, in two It’s the turbulent’60s, a kind of political languages, but not dubbing of any version. thaw. Just at that time, Serhii Parajanov, Parajanov himself in the same year directs impressed by the work of the classic of his graduation work already under the Ukrainian literature Mikhailo Kotsiubynskyi, guidance of the internationally recognized everyday life, ethnography, song and culture Ukrainian director Olexandr Dovzhenko. of the Ukrainian people, started to shoot The creativity of the director-poet, poetic the film “Shadows of Forgotten Ancestors”. cinema of Ukraine will leave a mark in the And already in 1965, the film was released 239 soul of Parajanov for life and play a decisive in cinemas around the world. role in his creative manner, in the form and The film “Shadows of Forgotten style of his films. Ancestors” marked the beginning of an After successfully defending his era of Ukrainian cinema. A famous Russian graduation work in Moscow, Parajanov actor was immediately approved for the receives a referral to Ukraine, to the Kyiv main role in the film by the studio’s artistic feature film studio. Immediately after council, but contrary to this decision, arriving at the film studio, he was attached Parajanov was not afraid to give the main and seconded to the “Maksimka” film crew role to the little-known, for that moment, as an assistant to film director Vladimir Ukrainian actor Ivan Mikolaichuk, who, Brown. for many years, would become the Two years later, he had already shot his embodiment of the Ukrainian hero. As an first full-length work “Andriesh” which operator, he invites the young Yurii Ilienko. repeated the plot of his graduation work. For the main role Parajanov will approve From 1957 to 1962, in Kyiv Parajanov shot Larysa Kadochnikova, Yu. Ilienko’s wife. documentaries “Dumka”, “Natalia Uzhviy”, Heorhii Yakutovych was the production “Golden Hands”, devoted to Ukrainian designer of the film. Mikolaychuk and themes, as well as feature films “The First Ilienko will later become outstanding film Guy”, “Ukrainian Rhapsody” and “A Flower directors, ones of the founders of modern on a Stone” (Kapelhorodska, Hlushchenko, Ukrainian cinema. The feature of the film and Synko, 2004).
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