Such a concept of revolution, frankly speaking, is unusual for our cinema, which has always interpreted revolution as breaking not only social forms, but also forms of folk psychology. Therefore, the question arises: how fruitful and justified is it? A sharply negative answer could be given to this question if Mikołajchuk had not raised the revolution, extending its influence over the whole process of being. The revolution in the film is a class-historical phenomenon, and at the same time, as it were, raised to the level of the world. In order to consider the artistic embodiment of such an idea in the film, we will take the most general look at the principles of the functioning of myth in the system of modern art.
The experience of using mythological motifs in literature and cinema of the 20th century is so vast that within the framework of this article there is no way to consider it even briefly. Since Mikołajchuk’s film is related to the direction in cinema, which absolutizes the visual expressiveness of the frame, let us turn to the experience of painting of the XX century, focused on mythological motives. Widely known paintings, taken in pairs, will reveal two principles of the development of myths by modern art culture. Play Pin Up Casino
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I. Mikolaychuk speaks of the novel by V. Zemlyanok, but what was said more correctly would be transferred to the images of the film “Babylon-XX”. In the world of film, revolution is a continuation of the elements; life will naturally take the revolution into its fold, because the laws of both life and revolution are one. Therefore, the revolution will only ripple the surface of popular life, drawing its deep waters into the ocean of being. Even the film credits express this important thought for the director: they go against the background of a group photograph of the inhabitants of Babylon. Maintaining seriousness on their faces, the villagers lined up in front of the outlandish tripod of some visiting photographer, whom fate should not soon bring to these parts - and therefore the whole outfitted Babylon poured out onto the village square to leave his true image forever. The view of the photograph is as if it had just been removed from a grandmother’s well-worn chest: the picture is blurry, the photo paper has faded, the edges of the photo have been burned - but the historical moment is still held by the lens. The director writes it into eternity: behind the scenes, a striking phonogram sounds in which the noise and singing of thousands of crowds, the howling of the wind, noise, rustle, sighs and thunder rumbles are inextricably intertwined. All this creates the image of a cosmic hum; The beats of the International breaking through it make up only a harmonic chord in the relentless symphony of a rolling life. The revolution, inscribed in the cycle of natural life, is interpreted in the film as one of the persistent recurring motifs of the general mythological concept of being.