By Helena Goscilo, Yana Hashamova
ISBN-10: 0253354587
ISBN-13: 9780253354587
This wide-ranging assortment investigates the father/son dynamic in post-Stalinist Soviet cinema and its Russian successor. individuals learn advanced styles of identity, disavowal, and displacement in motion pictures via such diversified administrators as Khutsiev, Motyl', Tarkovsky, Balabanov, Sokurov, Todorovskii, Mashkov, and Bekmambetov. numerous chapters concentrate on the problems of pleasurable the paternal functionality, whereas others exhibit how vertical and horizontal male bonds are time and again strained through the strain of redefining an embattled masculinity in a transferring political panorama.
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Extra info for Cinepaternity: fathers and sons in Soviet and post-Soviet film
Sample text
For a comprehensive list of Soviet and post-Soviet war films, see Youngblood, 241–53; for a more selective overview, see Antropov, Shkliaruk, and Medvedev 2005. 37. Putin reportedly declared the Russian film industry “reborn” after seeing this Russian/Ukrainian/Finnish collaboration subsidized by the ministry of culture (Holson and Myers). 24 · C i n e pat e r n i t y 38. ” The record seven vice premiers recently proposed by Putin as prime minister are “avowed Putin loyalists” and members of his old team at the Kremlin, suggesting that Putin desires to prolong the profile of his administration under the new president, according to Dmitry Babich.
24. An ironic summary of the filicidal strain in Russian culture and its consequences appears in a poem by Dmitrii Prigov: Petor Pervyi zlodei Svoego synochechka Posredi Rossii Vsei Muchil chto est’ mochi sam Tot Terpel, terpel, terpel I v kraiu berezevom Cherez dvesti strashnykh let Pavlikom Morozovym Otmstil. 25. For various models of rule and kinship as related to the father-son relationship, see Borneman 1–31. 26. V. Stalin (1948) and The Great Oath (1949), and Viktor Koret skii’s The Great Stalin Is the Banner of the Friendship of Soviet Peoples (1950) suffices to corroborate the metaphysical nature of this iconography, later parodied by Komar and Melamid in Lenin Proclaims the Victory of the Revolution (1981–82) and similar works.
Imitating “direct cinema” stylistics, the director and his camerawoman succeeded in creating the effect of a non-staged event. The action unfolds in front of the camera and looks unpredictable, spontaneous, following its own natural flow. Khutsiev reinforces the documentary effect of the scene by mixing his characters with bona fide celebrity figures who “play” themselves: Bella Akhmadulina, Evgenii Evtushenko, Bulat Okudzhava, Robert Rozhdestvenskii, Boris Slutskii, and Mikhail Svetlov, whose role in the diegesis is that of contemporaries of the two main characters, Sergei and Ania.
Cinepaternity: fathers and sons in Soviet and post-Soviet film by Helena Goscilo, Yana Hashamova
by Joseph
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