"Narrative transformations" in the film text
The article considers various methods of disclosing the structure of the film text. Typologically close tendencies in the use of “narrative transformations” in literature and cinema are given, but their embodiment in various sign systems is different. Anarrativeness is defined as the absence of event-based experience in being. Search stems from the crisis of self-consciousness, for which the destruction of personal event-based experience means losing self-identity. Narrative transformations in the film text include open plot composition (violation of the order of parts, skipping parts, open final), fragmentation; plot polysemy (multivariance); polysubjectivity; lacunae (parts of uncertainty). Narrative transformations are illustrated with the following films: “Irreversibility” (directed by G. Noe), “Descended from Heaven” (directed by V. Kunin), “Maps, money, two trunks” (directed by G. Ritchie), “Rasemon” ( directed by A. Kurosawa), “Trans-European Express” (directed by A. Rob-Grieh), “Reconstruction” (directed by Ch. Boy), “Groundhog Day” (directed by H. Remis), “Fight Club” (directed by D. Fincher), “Run, Lola, Run” (directed by T. Tykwer), “Empty House” (directed by Kim Ki Duk), “No trains, no airplanes” (directed J. Stelling), “The Cassandra cat” (dir. B. Jasna), “Amelie” (dir. J.-P. Jeunet), etc.