Այլաբանութեան անցած ուղին հայկական խաղարկային կինոյում
Loading...
Date
2010
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
Image in cinema is realistic, even naturalistic, by its nature and substance. But it has both an obvious meaning and a hidden sense at the same time. The object in the given frame often obtains additional importance, dual metaphorical meaning, and in some cases is directly perceived as a symbol. Due to this characteristic, as an art of actually depicting objects, cinema is able to depict complicated phenomena and express allegoric meanings through simple and familiar things.
Against the backdrop of this observation the author describes the manifestations of allegory, particularly in the classical period of the Armenian cinema.
Galstian notes that allegory and metaphor appeared in the Armenian cinema as of the 1960s. She analyses and compares Arman Manarian's Tejvejik (1961) with Frunze Dovlatian's Barev, Yes Em (1965) and especially with Henrik Malian's Erankuni (1967). She highlights the various manifestations of allegory in the films of other Armenian directors, like Aghasi Ayvazian, Bagaral Hovhannisian, Albert Mkrtchian, and Suren Babayan.
The author concludes that as a cinematographic means of expression, allegory reached its aesthetic peak in Sergei Parajanov's and Artavazd Peleshian's masterpieces.
Description
Keywords
Citation
Գալստեան, Ս., «Այլաբանութեան անցած ուղին հայկական խաղարկային կինոյում», «Հայկազեան հայագիտական հանդէս», 2010, Պէյրութ, էջ 245-268