Novels of «new objectivism» within the context of cinematographic writing

The article considers the specificity of cinematographic writing in the novel of «new objectivism». Development of this movement in German literature takes place in 1920s, which is the period of cinematog­raphy's heyday. Cinematographic techniques of writing can be found in works of all significant authors of that period, due to their wish to create contemporary art based on reliable evidence. The ethical requirement for an artist to «be truthful» is connected with the principle of objectivity of representation, which is close to the technical reproduction made with a video camera. According to the requirement of antipsychologism, specific to «new objectivism» and formulated in the «Berlin Programme» by A. Doblin, psychological moti­vation of characters' behaviour should be replaced with «cinematographic style» of depicting people and the world. In the novel of «new objectivism» the emphasis on visuality is combined with a drastic reduction of psychologism, conversion of a character into the instance fixing the outer world. The main character in most novels of «new objectivism» is an observer. The novel «Berlin Alexanderplatz» is an example of a cine­matographic montage novel, where eyesight gets a symbolical interpretation. In the novel «Fabian» by E. Kastner the replacement of introspection with external impressions is a way to show the crisis of the char­acter against the backdrop of the crisis of society. The novel by I. Keun «The Artificial Silk Girl», where the narrator turns her life into a cinematographic diary, is analysed within the context of cinematographic writ­ing.