Svitlana Кryvoruchko
Skovoroda Kharkiv National Pedagogical University
[serka7@ukr.net]; ORCID: 0000-0002-1123-9258
Reflections on the Archetype of Home in the Feature Film “Homeward”
Abstract: The grief and the pain of the Crimean Tatar people is reflected in art (cinema). It is necessary to find out how the tragic fate of the Crimean Tatars was conveyed by poetic means and creative techniques. The recipient (viewer) should perceive the message of the movie’s artists (director Nariman Aliyev) “Homeward” (2019) as a tragedy of a discriminated people. It is useful to determine the fact of discrimination of the Crimean Tatars in the course of history. The creative “codes” of the movie “Homeward” reflect post-colonial problems: historical injustice, to end the “silence” of the disadvantaged — to give them a “voice”. In the landscape of the beach, the sea, the morning, the horizon as a symbolic “beginning” of life, the movie’s authors reveal the test of fate for a person: Alim drags the body of his dead brother on the ground, it is difficult for him. The “heaviness” of life is revealed in this scene. Alim understands that after the death of Nazim’s brother and Mustafa’s father, he was completely alone and lost his relatives. He is “the only one” who now continues the aspirations and traditions of his ancestors, carries the historical memory of the Crimean Tatars, and is the owner of individual experience in the discourse of ethnic trials. It is appropriate to interpret the ethnic identity of the movie’s heroes “Homeward” through the imagological concepts of “own” / “someone else’s”. Crimean Tatar mentality and archetypes Home, Land, Road are revealed in the communication of father and son with carriers of the Ukrainian cultural subconscious: separate situational characters (ordinary people and representatives of state systems). In this communication, the movie’s authors depict the spirituality, civilizational dominants, worldview, social determinism of both Crimean Tatars and Ukrainians. The “own” father and son in the movie come into conflict with the “someone else’s” of the surrounding characters. “Own” for father and son manifests itself not only at the levels of national identity, but also at the levels of “common” views on a certain object, so it is relative. The problem of “own” for the Crimean Tatars also appears in the fact that politically they are officially “included” in the state of Ukraine, which is a European state. Europe is identified as Western Christian versus “Eastern” Muslim. And this opposition east / west: Crimean Tatar / Ukrainian on a subconscious level as an ambiguity is interpreted by the movie’s authors in common everyday situations. Ukrainians have always (since 1991) supported the aspirations of the Crimean Tatars for ethnic identity, preservation of national culture, traditions, and languages.
Keywords: “Homeward” (2019); Crimean Tatar; imagology; “own”; “someone else’s”; archetypes; Home; conflict; historical memory; traditions.
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