recordings of a folktale by the Grimm brothers, shows an affinity for both a literary
fairy tale and romance traditions, including a post-modern novel with a hero’s
free choice of identity as the basis of the plot movement. To analyze the film, we
relied on the methodology of psychoanalytic cinema science by Slavoj Žižek,
supplementing it with the achievements of fundamental plotology from Freidenberg
and Propp to the present day. At the same time, the nature of the film as a screen
medium showed how the need for a more flexible plot development scheme,
including compliance with changes in the character of the hero or his specific
phenomenon on the screen, is not just one option for the development of actions, but
a whole fan of the possibilities of such development.</p>
<p class="text-align-justify">It is proved that the screen medium, which requires to monitor not only the
correspondence of the hero’s adventures to expectations, but also the unexpected
phenomena of the hero, demanded to modify the plot, which acquired not only the
features of a psychological and adventurous novel, but also a computer game. At the
same time, Fürneisen’s experience requires adjusting the psychoanalysis of cinema,
supplementing the study of the effect of reality with the opposite effect of thought.
The cinema allows you to demonstrate how not only the hero’s intentions change,
but also the content of thoughts that are relatively autonomous from intentions
that belong to the hero’s existence. At the same time, the existence is realized
unexpectedly, so that the magical item is modified into a McGuffin, and the hero
himself can repeatedly pass the fabulous test, while such a repetition will not be
a way to correlate imagination and reality, as in a book narrative, but a way to once
again appreciate the wonderful character of the hero.</p>
<p class="text-align-justify">In the course of the study, it was possible to establish that the literary (Hans Christian
Andersen), stage (Richard Wagner) and cinematic (Fürneisen) variations of the fairy
tale plot do not simply subordinate it to some rules of the novel, in accordance with
the prevailing tastes in society. Most of the changes are secondary to the change in
the general concept of the hero, when the scenarios of existential choice are put
in place of the test scenario and their uniqueness is defended. The structure of the on-screen memory and on-screen attention accelerates this design of the hero, although it
does not completely determine it. Then the function of all the fabulous elements
changes, moreover, the plot itself turns out to contain variability. In place of the usual
separation between the world of sleep and the world of reality comes the existential
test of both worlds. Thus, such processing of fairy tales is productive for the
development of virtuality in art and for dialogue not only between different arts, but
also art and various social practices related to information technology, from computer
games to blogging.</p>
The film Yorinda and Yoringel by Bodo Fürneisen, created on the basis of the
recordings of a folktale by the Grimm brothers, shows an affinity for both a literary
fairy tale and romance traditions, including a post-modern novel with a hero’s
free choice of identity as the basis of the plot movement. To analyze the film, we
relied on the methodology of psychoanalytic cinema science by Slavoj Žižek,
supplementing it with the achievements of fundamental plotology from Freidenberg
and Propp to the present day. At the same time, the nature of the film as a screen
medium showed how the need for a more flexible plot development scheme,
including compliance with changes in the character of the hero or his specific
phenomenon on the screen, is not just one option for the development of actions, but
a whole fan of the possibilities of such development.
It is proved that the screen medium, which requires to monitor not only the
correspondence of the hero’s adventures to expectations, but also the unexpected
phenomena of the hero, demanded to modify the plot, which acquired not only the
features of a psychological and adventurous novel, but also a computer game. At the
same time, Fürneisen’s experience requires adjusting the psychoanalysis of cinema,
supplementing the study of the effect of reality with the opposite effect of thought.
The cinema allows you to demonstrate how not only the hero’s intentions change,
but also the content of thoughts that are relatively autonomous from intentions
that belong to the hero’s existence. At the same time, the existence is realized
unexpectedly, so that the magical item is modified into a McGuffin, and the hero
himself can repeatedly pass the fabulous test, while such a repetition will not be
a way to correlate imagination and reality, as in a book narrative, but a way to once
again appreciate the wonderful character of the hero.
In the course of the study, it was possible to establish that the literary (Hans Christian
Andersen), stage (Richard Wagner) and cinematic (Fürneisen) variations of the fairy
tale plot do not simply subordinate it to some rules of the novel, in accordance with
the prevailing tastes in society. Most of the changes are secondary to the change in
the general concept of the hero, when the scenarios of existential choice are put
in place of the test scenario and their uniqueness is defended. The structure of the on-screen memory and on-screen attention accelerates this design of the hero, although it
does not completely determine it. Then the function of all the fabulous elements
changes, moreover, the plot itself turns out to contain variability. In place of the usual
separation between the world of sleep and the world of reality comes the existential
test of both worlds. Thus, such processing of fairy tales is productive for the
development of virtuality in art and for dialogue not only between different arts, but
also art and various social practices related to information technology, from computer
games to blogging.
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<i>Yorinda and Yoringel</i> by Bodo Fürneisen:
Type of the Hero and Trial in Screen-Presented Fairy Tale С. 439–458. DOI 10.25205/2307-1737-2021-1-439-458