Dance as a part of the adolescent world in Soviet war films

Abstract

The article examines the use of dance in Soviet war films, in the center of which is the image of a teenager. Even in the silent period, dance was included in the system of expressive means of cinema. Subsequently, the range of possibilities of this art in screen interpretation expanded. Dance is part of the character's objective, material, and subjective world. It becomes an integral part of the film's on-screen artistic space, and therefore structural analysis reveals its diegetic or metadiegetic nature. Since the content of the dance in the context of the film corresponds to the director’s intention, semantic analysis allows us to identify its semantic meaning. Cinema engages not only the visual and spectacular aspects of physical and dynamic creativity, but also its cultural and social implications. Therefore, even when off-screen, the theme of dance is an important element of the characters' motives and thoughts. The author comes to the conclusion that stage, social, and folkloric forms of dance each in their own way form an audiovisual image of a childhood destroyed by war, declaring themselves as a unique means of expression.