ЗАКАТ ЭСТЕТИКИ БУДУАРА. СОВЕТСКИЙ СУБЪЕКТ В ЛАБИРИНТЕ ДЕКОРАТИВНОЙ ИСТОРИИ И КУЛЬТУРНАЯ РЕВОЛЮЦИЯ 1990-Х ГОДОВ В РОССИИ

Abstract

Thearticle examines the Russian television series “Queen Margot” and “Comtesse De Montsoreau” in the context of socio-cultural changes that took place in Russia in the 1980s –1990s. The artistic style of these TV projects is studied in comparison with the French and Soviet traditions of film adaptations of works by A. Dumas. French cinema and television in the second half of the twentieth century was characterized by a movement from light semi-comedy productions to deep reconstruction, immersing the viewer in the historical context of the era. In the Soviet Union, there was a special artistic style of film adaptations, to the detriment of historicity, emphasizing the elements of theatrical decorativeness inherent in the writer’s work. These techniques, like the “Aesopian language” of Soviet literature, successfully helped film and television figures to circumvent the taboos and prohibitions that existed in Soviet culture. In the 1990s, there was a revolution-like change in the functional tasks of domestic television. Despite the preservation of inertial motion in the same stylistic direction for some time, as evidenced by the above-mentioned television series, there is a gradual disintegration of the foundations of the Soviet visualization model. Russian television has increasingly become a part of the cultural industry, while losing its former distinctive features.