Субституція жанру і стилю в українській екранізації
Substitution of genre and style in the Ukrainian film adaptation

Summary/Abstract: The purpose of the article is to identify the range of artistic tools that were used by Ukrainian filmmakers to create adaptations; determination of the degree of correspondence of the author’s views between the literary and on-screen work, as well as finding substitution measures, genre and stylistic correspondence of the book and film within the historical context, based on the film adaptation of the period of the 70s of the XX century. The methodology of the study is a comparative analysis between literary sources - the short stories by A. Gaidar and the film adaptation of the directors N. Rasheev and A. Naroditsky - the film "Bumbarash", conducted to determine the characteristics of the transformation of a literary work into a different kind of art and to determine the amplitude of the measure of style dependence and the genre of the film from the work of the writer. Scientific novelty. Despite the powerful layer of scientific research on the screen embodiment of literary works, the history of Ukrainian film adaptation remains poorly studied, especially the theoretical questions about the correspondence of style and genre in films created on the basis of literary primary sources. This scientific article for the first time on domestic material explores the mechanism of substitution of the genre and style on the example of one of the Ukrainian adaptations, which expands scientific research in the history of domestic cinema. Conclusions.The author’s vision of each artist reveals his personal view of a particular work, especially if he creates it on the basis of an existing artistic source. This is clearly seen in the example of the film adaptation genre. Through hermeneutic interpretations, the authors of the film adaptation talentedly confirmed a successful example of the genre-stylistic substitution in the film “Bumbarash”. In this film adaptation, a balance was found harmoniously between Gaidar’s dramatic pathos and lyrical romanticism, which is organically sublime by directors in its film adaptation; between the poetics of heroism in A. Gaidar and tragedy genre, through the use of eccentric filmmaking techniques by the authors; between the light humor of literary Gaidar short stories and the grotesque tragedy of screen work. Also, the use of a peculiar musical and dramatic solution to the film led to significant changes in the genre spectrum of the literary source, nevertheless, this allowed the authors to preserve the unique “creative face” of the writer.

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