The grotesque and the poetic structure in the films Тhe tethered balloon and Тhe last summer, based on Yordan Radichkov’s work

Authors:

Pages: 15-32
DOI: https://doi.org/10.54664/UBKR6295

Abstract:

The article is dedicated to two emblematic film adaptations based on the works of Yordan Radichkov – The Tethered Balloon (1967), directed by Binka Zhelyazkova, and The Last Summer (1973), directed by Hristo Hristov. The two films differ in their stylistic and artistic approaches, yet both achieve remarkable creative dialogues between cinema and literature. The first part of the article examines the possibilities of the grotesque mode of representation chosen by B. Zhelyazkova and its fusion with the parabolic-allegorical symbolism characteristic of Radichkov’s narrative style. It also clarifies the totalitarian social context surrounding the creation of the film and analyzes the critical reception both at the time of its release and today. The second part of the article focuses on the poetic cinematographic style employed in the adaptation of metalepses (narrative shifts across different diegetic levels – such as dreams, memories, visions) into visionary sequences that structure the film‘s narrative. The adaptation successfully captures Radichkov’s prose world – a fusion of folkloric-mystical spirit, vivid imagery, painterly quality, dramatic psychological depth, and strong suggestiveness enhanced by the musical score.

Keywords:

grotesque, parable, vision, poetic structure, montage, symbols.

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