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Эмансипация инструментально-духовой сферы и эволюция идеи «забытых сражений»
The Soviet cinema of the 1960s and 1970s not only presents a new view of the events of the October revolution and the Civil war, but also revolutionizes the formation of the cinema image by sound means. Some of these tools do not go beyond the global film trends — sound and music now does not enhance the visual-narrative, but acts as an independent unit, the voice of the director or the viewer, who must find inside himself, in the depths of his soul, an interpretive instance, and even he is ready to become such an instance. But in the themes of the "feat of the fathers" and "forgotten battles of the Civil war" Soviet film composers see a new unexplored opportunity to bring the voice of horn, trumpet, French horn, trombone into the fresh reinterpretations of revolutionary past. In these voices, the late Soviet man begins to hear the call of fathers and grandfathers, at the same time correlating them with the voice of his own conscience, which, paradoxically, not only does not call to repeat the previous feat, but simply "falls asleep" — the spiritual in this case merges with the "wind": dolorous sound of a trumpet and a horn only confirms the existential awareness of the impossibility of any repetition.
Since the postwar period, a hidden struggle for assigning values to the timbres of wind instruments and the right to operate with various modalities of these values begins. The article touches upon the issues of correlation of political conjuncture and aesthetic strategies, neutralizing it. We are talking about the non-obvious tools of building film narrative, using the voices of wind instruments, emancipated as a result of jazz, pop and symphonic experiments. In these processes we can distinguish two vectors: "militaristic", creating a frame of imagined space of the reconquered, and "humanistic", transforming this space into the space of dreams, the unfulfilled, the spiritual-secular. On the example of specific audiovisual solutions, the article shows the regularities of the formation of the timbre Canon of wind instruments. The emphasis is placed on the transformations of specific instruments — oboe, flute, trumpet, horn, French horn — in order to show how the potential of the influence of the instrument is distributed and the field of continuity in the film music is created.