The Image of the Road in the Yakut New Wave Films
The article examines the liminal image of the road in the films of the Yakut new wave as a space in which deep personal transformations of the character take place. The relevance of the study is explained by the fact that the road is an important plot-forming, semantic, and figurative element in the...
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| Main Author: | |
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| Format: | Article |
| Language: | English |
| Published: |
State Institute for Art Studies
2024-12-01
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| Series: | Художественная культура |
| Subjects: | |
| Online Access: | https://artculturestudies.sias.ru/upload/iblock/7af/d1c762ur4pc5dh6cbq5rheuabo8p9umv/hk_2024_4_728.pdf |
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| Summary: | The article examines the liminal image of the road in the films of the Yakut new wave as a space in which deep personal transformations of the character take place. The relevance of the study is explained by the fact that the road is an important plot-forming, semantic, and figurative element in the films of the Yakut new wave — a unique phenomenon of national cinematography which has become part of the modern culture of the Sakha people. The novelty of the work lies in the fact that for the first time it examines the road as an important semantic space in the films by M. Lukachevsky (The White Day, SUOL), A. Ambrosiev (Mummuttar / Lost), S. Burnashev (Black Snow), P. Burtsev (Ferrum), and L. Borisova (Don’t Bury Me Without Ivan).
Based on the analysis of these films, the author comes to conclusions that can be used in comprehension of the figurative system of the Yakut new wave films and in the study of the semantics of cultural constructs in the screen space. The results obtained may be useful in the Humanities research of ethno-cultural orientation, as well as in projects aimed at preserving ethnic cultural traditions and supporting national creativity. |
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| ISSN: | 2226-0072 |