Musical and Stylistic Model of the Film Musical "Hutsulka Ksenia": Transformation of Operetta Tradition in Audiovisual Genre

Abstract

The purpose of the article is to define the musical and stylistic model of the film musical ‘Hutsulka Ksenia’ (dir. O. Demianenko, 2019) and to substantiate the genre specificity of its audiovisual structure through an analysis of the transformation of the original operetta basis, intonational and textural material, and principles of musical dramaturgy. Methodology. The study applies genre and stylistic analysis methods, interdisciplinary approaches from musicology and film studies, as well as conceptual frameworks of postmodernism and intertextuality theory. Scientific novelty. For the first time, the musical and stylistic model of the film musical ‘Hutsulka Ksenia’ is comprehensively analysed as an example of genre hybridisation. The transformation of the traditional operetta model into a postmodern audiovisual text is interpreted. The poly-stylistic structure of the film’s music and the principles of its dramaturgical functioning are revealed. The performative layer is interpreted through the concept of intertextuality and the film’s double genre identity is substantiated at the intersection of national musical tradition and contemporary cinematic language. Conclusions. The conducted study allows us to consider ‘Hutsulka Ksenia’ as a significant case of operetta tradition transformation within the framework of postmodern aesthetics. In the film, music performs not merely a supportive, but a constructive function, determining the tempo-rhythm and structure of the visual sequence. The poly-stylistic organisation of the soundtrack is based on the interaction of operetta foundations, reinterpretation of tango style, genre rethinking of folklore, and the integration of performativity, which grants the film genre-stylistic flexibility and intertextual multidimensionality. The article outlines prospects for further research in the field of genre transformation in audiovisual art.