The Cinema of Alexander Sokurov: Figures of Paradox (Directors' Cuts)
One of the final representatives of a model of great, high-art cinema, Alexander Sokurov has produced a big oeuvre exploring concerns comparable to background, energy, reminiscence, kinship, dying, the human soul, and the accountability of the artist. via contextualization and shut readings of every of his characteristic fiction movies (broaching a lot of his documentaries within the process), this quantity finds a imaginative and prescient of Sokurov's movies as both mournful and passionate, highbrow, and sensual, and likewise identifies in them a strong, if discursively repressed, queer sensitivity, along a trend of tensions and paradoxes. This ebook therefore deals new keys to appreciate the lasting and ever-renewed allure of the Russian director's Janus-like and strangely dynamic cinema – a deeply unique and intricate physique of labor in discussion with the earlier, the current and the future.
Eclipse. 15 Leonid Heller underlines the ‘problematic, incomplete, contradictory nature of all artwork’ (2009: forty nine; translation mine). additionally, paradoxes, double-structures, and tensions of every kind have regularly been on the middle of significant literature and paintings, from the doubling of the narrative pointed out via Claude Lévi-Strauss within the New testomony, throughout the couple of Eros and Thanatos as defined by way of Denis de Rougemont in L’Amour et l’Occident, and carrying on with to Shakespeare, Dostoevsky, and.
Dramaturgy. JS: are you able to percentage what painterly version you could have in brain for this venture? AS: No, I won’t say (laughs). i'll preserve it a mystery in the meanwhile. JS: all of us want our secrets and techniques. do you want an inventive version earlier than you embark on any movie? AS: completely. I can’t do with no that. On mom and Son, it was once very transparent: Caspar David Friedrich. I went to Germany, I went to a museum and that i observed a Friedrich portray. and that i simply sat there, at the ground. i used to be awestruck. I couldn’t do.
back can be coated within the down from a ripped pillow, dealing with upward, able to be reunited with the nice past. The movie by no means veers from this undertaking of entrapment in the circles of destiny. Emma attempts desperately to inject a few desire into her lifestyles or to redeem herself, yet all makes an attempt fail miserably, whatever that's introduced not just visually, but additionally within the soundtrack: the sinister humming of flies, over a regularly anti-naturalistic soundscape, reminds one regularly of loss of life and.
Separation of physique and soul, a few redemption within the afterlife. From the very starting, the movie openly (but in whatever yet a Marxist critique) denounces the useless accumulation of fabric gadgets of its protagonist, whereas making transparent that it really is by no means easy self-importance that leads Emma to her doom: she turns out continuously conflicted approximately buying new goods from Lheureux, but can't aid doing so, as if within the grips of compulsion – a lot as her sexual force may be interpreted when it comes to.
personality, which distinguishes it from the homologous relation of ordinary conception. […] may still there be a reversion to routine conception, the elegant second subsides or collapses into whatever else. For it's exactly the semiotic personality of the elegant second which preserves the sublimation essential to the chic. (Weiskel 1976: 25) within the movie, having bidden farewell to his father’s property, the son throws them right into a dumpster ahead of atmosphere them on fireplace – a bonfire that.