The article studies an issue of the film adaptation of a literary work. The issue posed is considered on the example of N.V. Gogol work. In particular, on the example of his drama. These are such works as “The Inspector General”, “The Marriage”, “The Players”. In their time those works were translated by the authors from literary into cinematic language: the screen version of “The Inspector General” by V.M. Petrov (1952), “Incognito from Petersburg” by L.I. Gaidai (1977), “The Marriage” by V.V. Melnikov (1977), “The Inspector General” by S.I. Gazarov (1996), “The Case of the ‘Dead Souls’ ” by P.S. Lungin (2005), “The Russian Game” by P.G. Chukhrai (2007). As a result it was found that when translated into the cinema language, Gogol’s interpretations reveal new meanings that are expressed at the level of genre (the elements of a western in “The Russian Game” or a detective genre in Lungin’s film), plot (referring to the plots of several works at once), images (character replacement), details (garlands on the windows in Petrov’s “The Inspector General”), as well as stylistics, symbols, metaphors (apples and red in “Marriage”, for example). The above is emphasized by the authors through the use of specific film-language techniques. These are eccentrics, shooting at an angle, subjectivity, panoramas, etc. Postmodern techniques, used by interpreters to recreate the space of grotesque, intertextuality, and absurdity, also become interesting.
The Native and the Universal in the “Dead Souls” by N. V. Gogol: A Parafrastic Context of Understanding
