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Frolova Anna V.,
Candidate of Philology), Associate Professor
of the Russian Literature of the XX and XXI Centuries,
Theory of Literature and Humanities Department
Voronezh State University
e-mail: frolova-anna2008@yandex.ru
https://orcid.org/0009-0007-2263-7853
The film adaptation is one of the ways to actualize the classical heritage. This article analyzes the film versions of Vasily Shukshin’s short story “Boots”, created by S. Velikoredchanin (2008), Yu. Kozyreva (2015), A. Sterlikova (2021), E. Kotikhina (2021). It is considered how contemporary directors transform artistic material, organize a dialogue with the original source. The frequent reference to the writer’s work is explained by the lyrical nature of the plot of the story, which made the movement of the hero’s experience the subject of the image. The analysis of the films was carried out from the point of view of the compositional organization of the literary material imprinted in them, the degree of proximity of the director’s version and the writer’s mind. It has been established that such types of film adaptation as a direct film adaptation, which assumes a careful attitude to the literary source (versions by S. Velikoredchanin and Yu. Kozyreva), and a film adaptation «based on motives», which allows showing the work in a new perspective, are the most in demand. In the films of 2021, the spatial-temporal (A. Sterlikova) and cultural (E. Kotikhina) coordinates of the literary text. It is proved that the film interpretations of V. Shukshin’s story preserve its most significant storylines, are united by the interest of modern directors in the innermost in man, reflect their desire to find timeless connections between people.
Keywords: V. Shukshin, “Boots”, intermediality, film interpretation, film dialogue
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