Այլաբանութեան դրսեւորումները հայ կինոյում. Սերգէյ Փարաջանով, Արտաւազդ Փելեշեան
| dc.contributor.author | Սիրանոյշ Գալստեան | |
| dc.date.accessioned | 2025-11-05T12:46:24Z | |
| dc.date.available | 2025-11-05T12:46:24Z | |
| dc.date.issued | 2004 | |
| dc.description.abstract | Every time art attempts to see the invisible essence through visible forms, it condenses expression and calls in the help of allegory, with the poetic language of symbols and metaphors. The author claims that only with such a complexity may one approach the highest realities, the bases of human existence. In addition, art in its highest forms aspires to express those bases of human existence by transforming reality into codes or legends. To live these symbols and metaphors and to be influenced by them is similar to the heartbeat and the subconscious condition of someone who seems to be at a very close range to that unknown. Galstian claims that this is why, when we watch a high-quality movie or when we are still under its influence, we remain in that sphere of the unknown, the intangible, and feel the unsaid for a while. The author proposes that a number of movies produced by two talented Armenian producers, Sergey Paradjanov and Artavazt Peleshian, fall within this framework. They include Peleshian’s “Seasons of the Year” (1975), “We” (1969), “Natives” (1970), “Our Century” (1982), “End” (1992), “Life” (1993), and Paradjanov’s “The Forgotten Shadows of Our Ancestors” (1965), “The Color of the Pomegranate” (1969) “Legend on Surami Fortress” (1985) and “Ashugh Gharib” (1988). Furthermore, the author highlights the characteristics and the very specific creative art effects these two producers have achieved in their films. In the case of Paradjanov, for instance, Galstian considers that one of the greatest inventions of his art is the juxtaposition of things that are normally not put together. Galstian underlines the fact that in both cases the producers have become co-authors of the scenario, combining the time and the thoughts of the characters, the scenarists and the producer with all their baggage of aesthetic motifs and expressions. | |
| dc.identifier.citation | Գալստեան, Ս., «Այլաբանութեան դրսեւորումները հայ կինոյում. Սերգէյ Փարաջանով, Արտաւազդ Փելեշեան», «Հայկազեան հայագիտական հանդէս», 2004, Պէյրութ, էջ 311-331 | |
| dc.identifier.uri | https://haigrepository.haigazian.edu.lb/handle/123456789/920 | |
| dc.title | Այլաբանութեան դրսեւորումները հայ կինոյում. Սերգէյ Փարաջանով, Արտաւազդ Փելեշեան |
Files
Original bundle
1 - 1 of 1
No Thumbnail Available
- Name:
- Սիրանոյշ Գալստեան, «Այլաբանութեան դրսեւորումները հայ կինոյում. Սերգէյ Փարաջանով, Արտաւազդ Փելեշեան».pdf
- Size:
- 1.81 MB
- Format:
- Adobe Portable Document Format
License bundle
1 - 1 of 1
No Thumbnail Available
- Name:
- license.txt
- Size:
- 1.71 KB
- Format:
- Item-specific license agreed to upon submission
- Description: