Myth-80 #005

I. Mikolaichuk is talking about V. Zemlyak's novel, but it would be more accurate to transfer what he said to the images of the film Babylon XX. In the world of the film, revolution is a continuation of the natural element; life will naturally accept revolution into its bosom, because the laws of both life and revolution are the same. Therefore, the revolution will only ripple the surface of national life, dragging its deep waters into the ocean of existence. Even the credits of the film express this important thought for the director: they go against the background of a group photo of the inhabitants of Babylon. Keeping their faces serious, the villagers lined up in front of the outlandish tripod of some visiting photographer, who would probably not be brought to these parts for a long time yet, and therefore the entire dressed-up Babylon poured out onto the village square to leave their true image to eternity. The photo looks as if it had just been taken out of a battered grandmother's chest: the picture is not sharp, the photo paper is withered, the edges of the photo are burned — but the historical moment is still held by the lens. The director inscribes it into eternity: an amazing soundtrack sounds behind the scenes, in which the hubbub and singing of thousands of crowds, howling wind, noise, rustling, sighs and thunderclaps are inseparably intertwined. All this creates the image of a cosmic hum; the bars of the Internationale breaking through it are just a harmonic chord in the incessant symphony of rolling life. The revolution, inscribed in the cycle of natural life, is interpreted in the film as one of the stable recurring motifs of the general mythological concept of being.


To put it bluntly, such a concept of revolution is unusual for our cinema, which has always interpreted revolution as a breakdown not only of social forms, but also of forms of folk psychology. Therefore, the question arises: how fruitful and justified is it? One could have given a sharply negative answer to this question if Mikolaichuk had not elevated the revolution, spreading its influence over the entire process of being. The revolution in the film is a class-historical phenomenon, and at the same time, as if elevated to the level of the world. In order to consider the artistic embodiment of such an idea in the film, let's take a very 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 it is not possible to consider it even briefly within the limits of this article. Since Mikolaichuk's film is related to the direction in cinematography that absolutizes the visual expressiveness of the frame, let's turn to the experience of 20th-century painting focused on mythological motifs. Widely known paintings, taken in pairs, will reveal two principles of mastering the myth of modern artistic culture. Veel spelers die zich verdiepen in verantwoord online gokken zoeken graag naar neutrale informatiebronnen, zoals casinosites https://hetyogalokaal.nl , om strategieën en kansen beter te begrijpen. Door rustig de spelregels, uitbetalingspercentages en limieten te bestuderen, vergroten zij hun inzicht en houden ze hun speelgedrag beter onder controle.