რეალური ისტორიის სიურეალისტურ მხატვრულ ფილმად ქცევა ყველაზე ანტისაბჭოთა ფილმში, თენგიზ აბულაძის "მონანიებაში"
| dc.contributor.author | წიფურია, ლელა | |
| dc.date.accessioned | 2022-01-17T07:50:18Z | |
| dc.date.available | 2022-01-17T07:50:18Z | |
| dc.date.issued | 2021 | |
| dc.description | კონფერენცია ეძღვნება ჭაბუა ამირეჯიბის დაბადებიდან 100 წლის იუბილეს/ The Conference is Dedicated to the 100th Anniversary of Chabua Amirejibi | en_US |
| dc.description.abstract | Tengiz Abuladze’s film “Repentance” released in 1984, is still considered the most anti-Soviet fi lm of the twenty-first century. It was the third part of the trilogy – this is how Tengiz Abuladze referred to a combination of films of completely different genres and styles – “Petition”, “Tree of Nature” – “Repentance”. What did the director mean by the unity of the screen versions of Georgian literary masterpieces and the film created based on the original script? The paper will provide an analysis of this issue. “Repentance” was kept on the “shelf” for three years. The film is based on a real story – the fact that it happened in Megrelia, the deceased was exhumed for revenge. The original version of the script was also designed for narration in a completely realistic cinematic language. In the fi rst version, the avenger, the protagonist of the film, was a man, a house painter. Tengiz Abuladze initially planned to choose, for the role of avenger, between Tengiz Archvadze and Gia Peradze. In the final version, the story became the brainchild of the memory and imagination of a woman who baked cakes, which was filled with seemingly completely incompatible characters, details, circumstances. What caused such changes? The paper will analyze their cause-and-effect relationships in detail. The author of the paper was an assistant on this film and tells us about the filming, the process of creating metaphors and the formation of the film’s stylistics from the position of an eyewitness and a participant of the process. The story of making this film is directly related to the policy of the then First Secretary of the Central Committee of Georgia, Eduard Shevardnadze. Shevardnadze started the game of democracy and “Repentance” was created under his direct patronage. In this political game, Shevardnadze successfully played the role of a progressive- minded democrat, but this did not prevent him from shooting the main actor of the main role of “Repentance”, Tornike Aravidze, Gega Kobakhidze. This paper will analyze the sociopolitical situation in Georgia and the Soviet Union in the eighties and the status of Tengiz Abuladze’s film in this situation. The paper will also analyze the circumstances that prevented the release of the film for 3 years and the subsequent situation when the triumph of “Repentance” took place worldwide. The main virtue of “Repentance” is the creation of generalized artistic faces along with the position of the director. However, the characters in the movie also have specific prototypes. One of the topics of this research is a comparative analysis of the actions of intellectuals, real people and heroes of “repentance” in the 1930s . The research aims to analyze the symbolic-metaphorical cinema language of “Repentance” and the influence of stylistics on the artistic quality of the film. In one of his interviews, Tengiz Abuladze stated “ One of our biggest mistakes, and not only ours, of all times, and also, a fatal crime is that a very large part of society considers the difference between good and evil only relatively, but in fact, this difference is absolute”. Repentance” was the first cinematic victory in the fight against the evil empire, and it remained so in the twenty-first century. In addition, the paper will analyze the quotes from scientific literature and the opinions of prominent contemporary artists – Revaz Chkheidze, Giga Lortkipanidze, Robert Sturua, Akaki Bakradze, Avto Makharadze- about “Repentance” as well as their memories of the work process. | en_US |
| dc.identifier.citation | საერთაშორისო სამეცნიერო კონფერენცია: 1921 წლის ისტორიულ-კულტურული მოვლენები: ხედვა საუკუნის შემდეგ, თეზისები, 2021, გვ. 169-172/ International Scientific Conference: HISTORICAL AND CULTURAL EVENTS OF 1921: THE VISION A CENTURY LATER, Theses, 2021, pp.: 169-172 | en_US |
| dc.identifier.uri | https://dspace.tsu.ge/handle/123456789/1055 | |
| dc.language.iso | ge | en_US |
| dc.subject | საბჭოთა კავშირი | en_US |
| dc.subject | ხელოვნება | en_US |
| dc.subject | კინო | en_US |
| dc.subject | Soviet Union | en_US |
| dc.subject | art | en_US |
| dc.subject | cinema | en_US |
| dc.title | რეალური ისტორიის სიურეალისტურ მხატვრულ ფილმად ქცევა ყველაზე ანტისაბჭოთა ფილმში, თენგიზ აბულაძის "მონანიებაში" | en_US |
| dc.title.alternative | TRANSFORMING A REAL STORY INTO THE SURREALIST FEATURE FILM IN THE MOST ANTI-SOVIET FILM TENGIZ ABULADZE’S “REPENTANCE” | en_US |
| dc.type | Thesis | en_US |