Abstract
The subject about interaction of literature and cinematography in the 1920-ies is touched in the article. Modern-day opinion about dismissive attitude of the vanguard cinematography to Russian classics needs detailing and review. One of the proofs of two kinds of Art interacting is Tynyanovs participating in cinematization of The Overcoat by Gogol as a script writer. The peculiarity of Tynyanovs approach was about assembling plenty plots of Russian classical prose. Movie-essay of Gogols style was a pathbreaking extempore themed on numerous works of Gogol, Tolstoy, Pushkin and Dostoyevskiy. Thus, literature text was completely changed with keeping different origin motives and artistic image. In the article we can see examination and conclusion of how cinematography and poetry reunited in the screenplay of Yuriy Tynyanov. Also, the role of intertextuality in the film artistic integrity is considered.
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