Vestnik of Samara University. History, pedagogics, philologyVestnik of Samara University. History, pedagogics, philology2542-04452712-8946Samara National Research University626010.18287/2542-0445-2018-24-2-113-118UnknownFILM MEDIALITY IN V. NABOKOV’S PROSEGerchenovaD. V.morenov.sv@ssau.ruhttps://orcid.org/0000-0002-7045-4310Samara National Research University1708201824211311815082018Copyright © 2018, Gerchenova D.V.2018<p>In this article, the problem of influence of cinematic visuality on the literary texts of V. Nabokov isposed. The very concept of film-mediality and its significance for Nabokovs aesthetics are specified. A studyof some features of the narrative in the Nabokov prose of the late 1920-ies and early 1930-ies, conditionedby the influence of film aesthetics, is being conducted. Those possibilities that open up to the writer and thereader the use of a kind of camera lens, a kind of cinematic eye are analyzed. On the material of thenovels The Luzhin Defense, Laughter in the Dark, The Eye, the possibilities of using techniques,motifs and conceptual models of the films in a literary work are considered with the aim of expanding thenarrative boundaries turning the plot of the narrative into a plot of observation. In view of the lack ofcoverage by the researchers of the issue under consideration, an attempt is made to resolve the terminologicaluncertainty and distinguish between the concepts of film materiality and cinematography, and also toestablish the meaning of the term film-mediality as applied to the literary (in our case modern) text.The work is of an analytical nature and is a comprehensive study. We take into account mainly formalreceptions borrowed from the cinema, transferred to the soil of literary texts and adapted to the language of<br />verbal art. The study of techniques helps to establish the semantic interference of cinema and literature. Theinfluence of film-medialism on Nabokovs narration is traced; the relationship between the observer and theobserved, the object of observation and the viewer, the change of points of view and vision are explored.Theoretical reflection and practical analysis of Nabokovs novels allow us to conclude that cinematographic<br />techniques and optical effects transferred to the space of the literary text help the writer to convey thefragmentation of heroes and events, and also to present the narrative as a pattern of successive movingpictures.</p>Набоков, художественная форма, наблюдение, фокализация, киномедиальность.Nabokov, artistic form, observation, focalization, film-mediality[Grishakova M.F. O vizual’noi poetike Nabokova [On][the visual poetics of Nabokov]. Available at: http://][www.ruthenia.ru/document/404860.html (accessed][25.09.2017) [in Russian].][Genette G. Figury. T. 1–2. Per. pod red. S. Zenkina][[Figures, Vol. 1–2. Translation under the editorship of][S. Zenkin]. 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