Эволюция военно-исторического романа в российской фантастике 2010-гг. и генезис локального жанра „попаданцы на ВОВ”

Abstract

War cinema occupies a special place in the structure of cinematography. Its specificity lies in the subject matter itself, which is the basis of the plot, idea, expression, namely war. Modern cinema with its advanced technical means with the ability to create special effects, additional means of expression tries to convince the viewer that the concept of war is transformed, changed. In this article we will try to show that, first of all, the concept of war itself remains unchanged. Thanks to J. Deleuze's „time triad”, we will try to unravel the specifics of war film by integrating each film concepts: event, memory, time. And so, let's try to come to the conclusion that war is always an event that happends in time and which the viewer actualizes by watching, and the film maker - shooting a movie about war. Accordingly, each of them triggers the memory of a historical or individual, but one that shapes the duration of the event. War cinema is an actualization of some specific event in the memory matrix. An event that does not disappear in the past but unfolds into a permanent future through reminiscences and images of it. Thus, war cinema is a circulation of images of individual war events, as well as the unfolding and proclamation of all the diversity and multiplicity of variations of the war itself.

Keywords

• war movie
• event
• memory
• time
• actuality
• actualization
• virtual