Cinematographic techniques in a free fantasy by Friedrich Gorenstein

The aim of the work was to identify the ways of "cinematographic" depiction in Friedrich Gorenstein's novel Letit sebe aeroplan [The Airplane Keeps Flying], the genre of which the writer defined as a "free fantasy based on the life and work of Marc Chagall". The author of the article writes that Gorenstein avoids division of the text, traditional for the literature: excerpts are not marked graphically as chapters. Relatively small finished semantic segments are separated by indentations. The narrative is very clear and specific. What happens is divided into separate frames. At the beginning of the small chapters, as a rule, the time and place of events are reported, the lighting of the episode is often described. This is followed by introspective and final comments. In several fragments of the novel there are "real" remarks, which are placed inside the speech lines in parentheses. Instructions on the response of listeners often appear in episodes united by the problem of manipulation of mass consciousness. It is proved that focus on visual perception is manifested in certain details and in the features of portraying. Reasons for the writer's interest in details are established. It is emphasized that the descriptions are periodically given through the eyes of the actors. This is evidenced, in particular, by the limited viewing angle. Gorenstein uses panoramas in mass scenes which necessarily include a dynamic video sequence. The most frequent colors, episodes with the image of fire are listed. The writer's inclination to contrast the conventional normal light and the "anomalous" light is mentioned. Noises are noted as an essential element of the poetics of a "free fantasy". The idea that the sound in the novel sometimes becomes a key form of perception of events is substantiated. For example, when there is a mismatch of sound and "image", the objectivity of the narrative is achieved: the reader (the viewer), like the characters, does not see what is happening outside the visible space. Further, the plot multi-linearity of the "free fantasy", which contributes to the active use of the editing principle, is described. Arguments are given in favor of the idea that Gorenstein tends to match the episodes, building up a series of reflections and returns. Besides this, leitmotifs are revealed in the novel. Among them, the most revealing are: fire (burning), water (ablution), sky (flight). It is pointed out that the leitmotifs help to integrate the work composed of isolated parts and highlight the recurring ideas. The final part of the article is devoted to determining the degree of intensity of the use of "cinematographic" techniques in the novel. It is concluded that gradually the writer changes the script technique and framing and uses the standard prosaic form.

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