Реальность жанра vs. иллюзия воспоминаний: семейная история как история кино в фильме Стивена Спилберга «Фабельманы»
Марина Юрьевна Торопыгина
Докладчик
доцент
Всероссийский государственный университет кинематографии им. С. А. Герасимова
Всероссийский государственный университет кинематографии им. С. А. Герасимова
243 Кинозал
2023-03-16
15:00 -
15:30
Ключевые слова, аннотация
Спилберг; Фабельманы; жанр; мейнстрим и авторское кино; формула пафоса
/ Spielberg; The Fabelmans; genre; mainstream and politique des auters; pathos formula
/ Spielberg; The Fabelmans; genre; mainstream and politique des auters; pathos formula
Тезисы
БЕЗ ПУБЛИКАЦИИ
The new film of Steven Spielberg is based on a true story: it shows many details of the Spielberg’s family past, including the relation of parents and the future director growing up in a controversial family. Despite autobiographic authenticity, some motives and events in The Fabelmans definetely remind of classic cinema situations and genre formula: the train (crash) at the beginning follows with the Western scenes of a first school film, the discovery of family secret reminds of Antonioni’s Blow Up, and the last film in college anticipates the popularity of coming-of-age genre. The Fabelmans is thus an interesting case of a personal story seen through the lens of cinema history. The final episode is of great importance as usual. Here the aspiring director gets an advice of the living classic, both master of the genre and the cult figure for the young French critic-directors, who actually invented the term ‘la politique des auteurs’. The new film of Steven Spielberg is based on a true story: it shows many details of the Spielberg’s family past, including the relation of parents and the future director growing up in a controversial family. This means not only the divorce of the parents, but also the opposite interest of father and mother: he a computer genius, she as a talented piano player, who abandoned the carrier for her family. This opposition of rational and creative in the end defines the composition of these qualities for the future director and producer The film shows how the young Steven Speilberg develops his interest for the film, from the first film seen on screen to the amateur films he shot during the vacation with family and with his enemy friends at school. Most of the scenes in this fiction recreate the subjects and films Spielberg actually shot back then, thus confirming the authenticity of reconstructed events. On the other hand, some motives and events in The Fabelmans definetely remind of classic cinema genre formula and situaltions, including Spielberg’s own movies: it starts the the train (crash) follows with the Western scenes of a first school film, the discovery of family secret reminds of Antonioni’s Blow Up, and the last film in college “anticipates” the popularity of coming of age genre. Spielberg himself openly admits that his films refer to his own problems and events in his life, even in sci-fi ET – the Extra-Terrestrial where the family relations prevail or in Duel, where the bulling problem from school time transforms into an action thriller. Now “The Fabelmans” looks back at the “real events”, but the old pathos formula from classic cinema come to live within private memories. Spielberg has long been celebrated or or dismissed as a ‚mainstream’ director, on the other hand, his personal distinct style can not be denied, which usually defines the director as ‚auteur’. The Fabelmans is thus an interesting case of a personal story seen through the lens of cinema history. The final episode is of great importance as usual. Here the aspiring director gets an advice of the living classic, both master of the genre and the cult figure for the French critic-directors, who actually invented the term ‘la politique des auteurs’
The new film of Steven Spielberg is based on a true story: it shows many details of the Spielberg’s family past, including the relation of parents and the future director growing up in a controversial family. Despite autobiographic authenticity, some motives and events in The Fabelmans definetely remind of classic cinema situations and genre formula: the train (crash) at the beginning follows with the Western scenes of a first school film, the discovery of family secret reminds of Antonioni’s Blow Up, and the last film in college anticipates the popularity of coming-of-age genre. The Fabelmans is thus an interesting case of a personal story seen through the lens of cinema history. The final episode is of great importance as usual. Here the aspiring director gets an advice of the living classic, both master of the genre and the cult figure for the young French critic-directors, who actually invented the term ‘la politique des auteurs’. The new film of Steven Spielberg is based on a true story: it shows many details of the Spielberg’s family past, including the relation of parents and the future director growing up in a controversial family. This means not only the divorce of the parents, but also the opposite interest of father and mother: he a computer genius, she as a talented piano player, who abandoned the carrier for her family. This opposition of rational and creative in the end defines the composition of these qualities for the future director and producer The film shows how the young Steven Speilberg develops his interest for the film, from the first film seen on screen to the amateur films he shot during the vacation with family and with his enemy friends at school. Most of the scenes in this fiction recreate the subjects and films Spielberg actually shot back then, thus confirming the authenticity of reconstructed events. On the other hand, some motives and events in The Fabelmans definetely remind of classic cinema genre formula and situaltions, including Spielberg’s own movies: it starts the the train (crash) follows with the Western scenes of a first school film, the discovery of family secret reminds of Antonioni’s Blow Up, and the last film in college “anticipates” the popularity of coming of age genre. Spielberg himself openly admits that his films refer to his own problems and events in his life, even in sci-fi ET – the Extra-Terrestrial where the family relations prevail or in Duel, where the bulling problem from school time transforms into an action thriller. Now “The Fabelmans” looks back at the “real events”, but the old pathos formula from classic cinema come to live within private memories. Spielberg has long been celebrated or or dismissed as a ‚mainstream’ director, on the other hand, his personal distinct style can not be denied, which usually defines the director as ‚auteur’. The Fabelmans is thus an interesting case of a personal story seen through the lens of cinema history. The final episode is of great importance as usual. Here the aspiring director gets an advice of the living classic, both master of the genre and the cult figure for the French critic-directors, who actually invented the term ‘la politique des auteurs’