S La V Ic Ev

Total Page:16

File Type:pdf, Size:1020Kb

S La V Ic Ev S lavic Slavic WINTER 2018 R eview Review Interdisciplinary Quarterly of Russian, Eurasian, and East European Studies 77 Volume Number 4 Winter 2018 000376779_77-4.indd0376779_77-4.indd 11-3-3 331/01/191/01/19 44:43:43 PPMM EDITOR Harriet L. Murav Managing Editor, Dmitry Tartakovsky All issues of Slavic Review are available online through Cambridge Core for institutional sub- Editorial Assistants scribers and ASEEES members. For more information, please visit https://www.cambridge. org/core/journals/slavic-review/subscribe or contact: [email protected] if you are in the Marina Filipovic Anca Maria Mandru Nadia G. Hoppe Americas or [email protected] for the rest of the world. EDITORIAL BOARD Institutional subscriptions can be purchased direct from Cambridge University Press or History through any major subscription agent. Print-only, online-only and bundled print and online John Connelly, University of California, Berkeley • Melissa Feinberg, Rutgers University prices are all available, and subscription prices are tiered according to institution type and • Yaroslav Hrytsak, L’viv National University and Central European University, Budapest size. Please contact Cambridge University Press for further details. For customers in North • Agnès Kefeli, Arizona State University • Adeeb Khalid, Carleton College • Julia Obertreis, America, email: [email protected]; or phone: (800) 872-7423, option 4. Friedrich-Alexander University Erlangen-Nürnberg • Brian Porter-Szűcs, University of For customers outside of North America, email: [email protected]; phone: +44 (0)1223- Michigan • William Rosenberg, University of Michigan • Maria Todorova, University of 32-6070; or fax: +44 (0)1223-32-5150. Illinois, Urbana-Champaign • Stefan Troebst, University of Leipzig • Mark von Hagen, Postal Information: Periodicals postage rate paid at New York, NY, and at additional mail- Arizona State University • Sergei Zhuravlev, Institute of Russian History of the Russian ing offi ces. POSTMASTER: Send address changes in the USA, Canada, and Mexico to: Slavic Academy of Sciences, Moscow • Lynne Viola, University of Toronto Review, Cambridge University Press, Journals Fulfi llment Department, One Liberty Plaza, 20th Literature, Film, and the Arts Floor, New York, NY 10006. Send address changes elsewhere to the Slavic Review, Cambridge Clare Cavanagh, Northwestern University • Catriona Kelly, Oxford University • Christina University Press, Journals Fulfi llment Department, UPH, Shaft esbury Road, Cambridge CB2 Kiaer, Northwestern University • Judith Kornblatt, University of Wisconsin–Madison 8BS, England. • Michał Paweł Markowski, University of Illinois, Chicago and Jagellonian University, Copyright © 2018 Slavic Review ISSN 0037–6779 by the Association for Slavic, East European, Kraków • Stephanie Sandler, Harvard University • Andrei Zorin, Oxford University and Eurasian Studies, Inc. Permission to reprint must generally be obtained from Cambridge • Stephen Blackwell, University of Tennessee • Eliot Borenstein, New York University University Press. Copying is permitted in accordance with the fair use guidelines of the U.S. Social Sciences Copyright Act of 1976. The association permits the following additional educational uses with- Judit Bodnár, Central European University, Budapest • M. Steven Fish, University of out permission or payment of fees: academic libraries may place materials from Slavic Review California, Berkeley • Susan Gal, University of Chicago • Elena Gapova, European on reserve (in multiple photocopied or electronically retrievable form) for students enrolled in Humanities University and Western Michigan University • Grigorii Golosov, European specifi c courses; teachers may reproduce or have reproduced multiple copies (in photocopied University at St. Petersburg • Bruce Grant, New York University • Anna Grzymala-Busse, or electronic form) for students in their courses. Those wishing to reproduce material from University of Michigan • Robert M. Hayden, University of Pittsburgh • Jan Kubik, Rutgers Slavic Review for any other purpose (general distribution, advertising or promotion, creating University • Pauline Jones Luong, University of Michigan • Blair Ruble, Wilson Center new collective works, resale, etc.) must obtain permission from Cambridge University Press. Permissions and reproduction policies, request forms, and contacts are available at: http:// Cover image: Scene from the fi lm Leviathan by Andrey Zvyagintsev (2014). Image courtesy www.cambridge.org/uk/information/rights/permission.htm. of Andrey Zvyagintsev and Non-Stop Production. Slavic Review is indexed in ABSEES (American Bibliography of Slavic and East European Cover design: B. Williams & Associates, Durham, North Carolina. Studies). Articles appearing in this journal are abstracted or indexed in Historical Abstracts, America: History and Life, ABC Pol Sci: A Bibliography of Contents, Academic Index, Arts and The editors assume no responsibility for statements of fact or opinion made by contributors. Humanities Citation Index, Linguistic Bibliography, Book Review Index, Historical Abstracts, Slavic Review (formerly The American Slavic and East European Review) is published quarterly Humanities Index, MLA, PAIS, RILM, Social Science Index, Social Science Citation Index, by Cambridge University Press (One Liberty Plaza, 20th Floor, New York, NY 10006) on behalf Current Contents/Social and Behavioral Sciences, International Bibliography of the Social of the Association for Slavic, East European, and Eurasian Studies, Inc. (ASEEES, formerly the Sciences, and CrossRef. American Association for the Advancement of Slavic Studies, AAASS) and is sent to all associa- The Editorial Offi ce of the Slavic Review is located at the University of Illinois, Urbana- tion members. Members also receive NewsNet, the ASEEES newsletter. Membership is open to Champaign, and is supported by the College of Liberal Arts and Sciences, the Russian, East individuals interested in Slavic studies and the study of the non-Slavic peoples of central and European, and Eurasian Center, the Department of Slavic Languages and Literatures, and the eastern Europe and Eurasia. Humanities Council. Membership Dues: students—$35.00; those with salaries under $30,000—$55.00; $30,000– Articles, books for review, and correspondence concerning editorial matters should be sent to $39,999—$70.00; $40,000–$49,999—$85.00; $50,000–$59,999—$115.00; $60,000–$74,999— Slavic Review, University of Illinois, 1207 W. Oregon St., Urbana, IL 61801-3716. Telephone: (217) $135.00; $75,000–$99,999—$155.00; $100,000–$124,999—$180.00; $125,000 and over—$200.00. 333–3621; e-mail: [email protected]; website: www.slavicreview.illinois.edu. To advertise Joint members with one subscription to Slavic Review, add $40.00 to dues of higher paid member. in the journal please email [email protected] or telephone +1(212) 337-5053 in the For members living outside of the United States please add $15.00 for shipping. Subscriptions USA, Canada, or Mexico; email [email protected] or telephone +44 (1223) 325083 in the without membership are: for Electronic-Only, $263/£170; for Electronic+Print, $315/£204; for rest of the world. Print only, $284/£184. Single current and back issues to subscribers are $60.00; for ASEEES members, $25.00 each, plus shipping. Correspondence regarding Slavic Review subscriptions Before submitting manuscripts to Slavic Review, please consult the Information tab on our should be sent to Cambridge University Press at: [email protected] for in- website for details on criteria, acceptable length, and preparation of the manuscript, available formation; all others should contact [email protected]. Correspondence regarding mem- at http://www.slavicreview.illinois.edu/info/manuscripts.html. bership, news items for NewsNet, or changes of address should be sent to ASEEES, 203C Bellefi eld Slavic Review does not ordinarily accept unsolicited book reviews. Please consult us if you Hall, 315 S. Bellefi eld Ave., Pittsburgh, PA 15260-6424. Telephone: (412) 648-9911; fax: (412) 648- would like to propose a book for review or a review essay. Slavic Review publishes signed let- 9815; e-mail: [email protected]; website: www.aseees.org. The editors assume no responsibility ters to the editor by individuals with educational or research merit. For more detailed policy for statements of fact or opinion made by contributors. statements on manuscript submissions, book reviews, and letters to the editor, see our website. (continued on inside back cover) 000376779_77-4.indd0376779_77-4.indd 44-6-6 331/01/191/01/19 44:43:43 PPMM INTERDISCIPLINARY QUARTERLY OF RUSSIAN, EURASIAN, AND EAST EUROPEAN STUDIES Volume 77 Number 4 • WiNter 2018 CONTRIBUTORS vii ABSTRACTS x CRITICAL DISCUSSION FORUM: 1968 Making a Long Story Longer: Eastern Europe and 1968 as a Global Moment, Fifty Years Later Judit bodNár 873 Let’s Turn Hegel from His Head onto His Feet: Hopes, Myths, and Memories of the 1960s in Tamás Cseh’s Musical Album “A Letter to My Sister” Anna Szemere 881 Utopias and “Normality”: 1968 Revisited Fifty Years On JAcqueS rupNik 890 Postmodernity’s Unexpected Arrival: 1968 as Breakdown in Geoculture GeorGi m. derluGuian 897 Occupy College Street: Student Radicalism in Kolkata in the Sixties Ranabir SAmAddAr 904 MANAGING REGIONAL DIVERSITY Andrey Makarychev and Alexandra Yatsyk, Cluster Guest Editors Russian “Federalism”: Illiberal? Imperial? Exceptionalist? ANdrey MakArycheV ANd AlexANdrA
Recommended publications
  • Kira Kovalenko
    Non-Stop Production presents UNCLENCHING THE FISTS a film by KIRA KOVALENKO 97 min - Russia – 2021 – Color - 2,35 - 5.1 INTL PR: INTL SALES: DDA Antoine Guilhem [email protected] [email protected] Photos and press kit can be downloaded from https://www.wildbunch.biz/movie/unclenching-the-fists/ SYNOPSIS In a former mining town in North Ossetia, a young woman struggles to escape the stifling hold of the family she loves as much as she rejects. THE FILM The small mining town of Mizur lies high in the mountains of North Ossetia between steep cliffs. Zaur has settled his family here. He keeps his sons and daughter on a short leash, blind to the line that separates fatherly concern from overprotectiveness. His eldest, Akim, has already run off to the nearest city, Rostov, to find work. Meanwhile, his youngest, Dakko, isn’t entirely sure yet what he wants out of life, while middle child, Ada, is actively planning her own escape. Although she’s already a young woman, her father still insists on treating her like a defenseless little girl. Freeing herself from his strong paternal embrace to finally embark on an independent adult life of her own is proving tougher than she anticipated. But just what is this father trying to protect his daughter from? Kira Kovalenko: The initial inspiration for the story came from a line in Faulkner’s Intruder in the Dust about how, while some people can endure slavery, nobody can stand freedom. The idea of freedom as a burden was the single most important theme for me while I was working on the film.
    [Show full text]
  • Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)
    Journal of Religion & Film Volume 24 Issue 2 October 2020 Article 1 October 2020 Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Maria Hristova Lewis and Clark College, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Part of the Christianity Commons, European Languages and Societies Commons, and the Other Film and Media Studies Commons Recommended Citation Hristova, Maria (2020) "Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)," Journal of Religion & Film: Vol. 24 : Iss. 2 , Article 1. DOI: 10.32873/uno.dc.jrf.24.2.001 Available at: https://digitalcommons.unomaha.edu/jrf/vol24/iss2/1 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Abstract This article engages in close analysis of how Andrey Zvyagintsev depicts corruption and its various manifestations: moral, familial, societal, and institutional, in Leviathan (Leviafan, 2014). While other post- Soviet films address the problem of prevalent corruption in Russia, Zvyagintsev’s work is the first ot provoke strong public reactions, not only from government and Russian Orthodox Church officials, but also from Orthodox and political activist groups. The film demonstrates that the instances of legal and moral failings in one aspect of existence are a sign of a much deeper and wider-ranging problem that affects all other spheres of human experience.
    [Show full text]
  • Contemporary World Cinema Brian Owens, Artistic Diretor – Nashville Film Festival
    Contemporary World Cinema Brian Owens, Artistic Diretor – Nashville Film Festival OLLI Winter 2015 Term Tuesday, January 13 Viewing Guide – The Cinema of Europe These suggested films are some that will or may come up for discussion during the first course. If you go to Netflix, you can use hyperlinks to find further suggestions. The year listed is the year of theatrical release in the US. Some films (Ida for instance) may have had festival premieres in the year prior. VOD is “Video On Demand.” Note: It is not necessary to see any or all of the films, by any means. These simply serve as a guide for the discussion. You can also use IMDB.com (Internet Movie Database) to search for other works by these filmmakers. You can also keep this list for future viewing after the session, if that is what you prefer. Most of the films are Rated R – largely for language and brief nudity or sexual content. I’ve noted in bold the films that contain scenes that could be too extreme for some viewers. In the “Additional works” lines, those titles are noted by an asterisk. Force Majeure Director: Ruben Östlund. 2014. Sweden. 118 minutes. Rated R. A family on a ski holiday in the French Alps find themselves staring down an avalanche during lunch. In the aftermath, their dynamic has been shaken to its core. Currently playing at the Belcourt. Also Available on VOD through most services and on Amazon Instant. Ida Director: Pawel Pawlikowski. 2014. Poland. 82 minutes. Rated PG-13. A young novitiate nun in 1960s Poland, is on the verge of taking her vows when she discovers a dark family secret dating back to the years of the Nazi occupation.
    [Show full text]
  • Katalog Des 25Filmkunstfestes
    1 Inhaltsverzeichnis Wettbewerbe A-Z Grußworte . 5 Spielfilmwettbewerb . 21. Moderatoren . 106. eröffnungsfilm . 7 Dokumentarfilmwettbewerb . 27. team . 109. ehrenpreis und Hommage . 9. Kurzfilmwettbewerb . 33. Verleih und Produktion . 113. Preise und Jurys . 15. Kinder- und Jugendfilmwettbewerb . 45. Filme . 117. Regie . 119. Reihen Freundeskreis . 121. Gastland Frankreich . 49. Lageplan . 123. Französisches Jugendfilmfestival cinéFête . 59. Kartenpreise . 124. Focus Baltic Sea . 65. impressum . 127. nDR special . 75. gedreht in M-V . 79 Sky-light . 85. Forum der Künste . 89. Sonderveranstaltungen . 99. 2 Danksagung 3 Europäischer Fonds für regionale Entwicklung TRAUM tri t JOB. HIER IM LAND ZUM LEBEN. Willkommen in Mecklenburg-Vorpommern, Land zum Leben. Wo sich Familie Schilling mit naturnaher Landwirtschaft auf ihrer Insel Öhe einen ganz besonderen Traum erfüllt. Denn hier, zwischen Meer und Bodden, bekommt das Fleisch ihrer Rinder ein besonderes Aroma. Feinschmecker lieben es. Erfahren Sie mehr über regionale Qualität und nachhaltige Genusskultur: www.mv-tut-gut.de Entdecken Sie uns auf facebook.com/mvtutgut Bild: Angela Liebich_Leipzig Bild: Angela 150324_MV_AZ_Traumjob_270x210_Filmkustfest_RZ.indd 1 24.03.15 16:19 Grußworte Erwin Sellering Ministerpräsident des Landes Mecklenburg-Vorpommern, Schirmherr des 25. filmkunstfests MV Liebe Freunde des filmkunstfestes, 1991 haben eine Hand voll Enthusiasten und Unerschrockene dieses wun- Viele zehntausende Zuschauerinnen und Zuschauer schenken dem Fest Jahr derbare Filmfest aus der Taufe gehoben. Was so klein begann, gilt nun für Jahr Aufmerksamkeit und Applaus und halten ihm die Treue. Ich bin über- schon seit Jahren als das wichtigste ostdeutsche Filmfestival. Die Organisato- zeugt: Das bleibt auch so. Das filmkunstfest ist aus der Landeshauptstadt ren und vielen ehrenamtlichen Helferinnen und Helfer können stolz auf das und dem gesamten Land nicht mehr wegzudenken.
    [Show full text]
  • Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
    Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] ​ www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, ​ 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE
    [Show full text]
  • And Post-Soviet Literature and Culture
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture Pavel Khazanov University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Eastern European Studies Commons, English Language and Literature Commons, European History Commons, and the European Languages and Societies Commons Recommended Citation Khazanov, Pavel, "Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture" (2017). Publicly Accessible Penn Dissertations. 2894. https://repository.upenn.edu/edissertations/2894 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2894 For more information, please contact [email protected]. Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture Abstract The return of Tsarist buildings, narratives and symbols has been a prominent facet of social life in post- Soviet Russia. My dissertation aims to explain this phenomenon and its meaning by tracking contemporary Russia’s cultural memory of the Imperial era. By close-reading both popular and influential cultural texts, as well as analyzing their conditions of production and reception, I show how three generations of Russian cultural elites from the 1950s until today have used Russia’s past to fight present- day political battles, and outline how the cultural memory of the Imperial epoch continues to inform post- Soviet Russian leaders and their mainstream detractors. Chapters One and Two situate the origin of Russian culture’s current engagement with the pre-Revolutionary era in the social dynamic following Stalin’s death in 1953.
    [Show full text]
  • Festival Film
    summer film festival 15 27 JULY - 1 AUGUST THE ELECTRIC THEATRE www.electrictheatre.co.uk No adverts, no popcorn, just fantastic cinema... We love cinema at The Electric Theatre and hope you will enjoy this selection of engaging independent and world films. With films from four different countries, this July’s programme offers you an audio visual feast for your senses, emotions and mind: films that will inspire, challenge, enlighten and entertain. If you have an already existing passion for film, or want to discover something new at the cinema, then why not come and visit us during the Festival? We look forward to welcoming you soon. The Electric Theatre team Follow us on Twitter @ElectricTheatre or like our Facebook page /ElectricTheatre and get sneaky peeks into what’s coming up at the Theatre, production and film images, videos and recent news. Join our mailing list and be the first to know about our upcoming events. Scan the QR code, join online at electrictheatre.co.uk or give us a call on 01483 444789. www.electrictheatre.co.uk Monday 27 July, 8pm WINTER SLEEP (15) Dir. Nuri Bilge Ceylan - 2014 - Turkey - 3hr 16min Starring: Haluk Bilginer, Melisa Sözen, Demet Akbag In Turkish with English subtitles Aydin, a former actor, runs a small hotel in central Anatolia with his young wife Nihal, with whom he has a stormy relationship, and his sister Necla who is suffering after her recent divorce. In winter as the snow begins to fall, the hotel turns into a shelter but also an inescapable place that fuels their animosities.
    [Show full text]
  • Festivalteilnahmen Deutscher Filme Auf Internationalen Filmfestivals 2018
    FESTIVALTEILNAHMEN DEUTSCHER FILME AUF INTERNATIONALEN FILMFESTIVALS 2018 KOPRODUKTIONSLÄNDER DATUM BEGINN FESTIVAL DATUM ENDE FESTIVALS SEKTION FILMTITEL REGIE (bei rein deutschen Produktionen FESTIVAL kein Eintrag) Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Special Presentation AUS DEM NICHTS Fatih Akin DE/FR New Voices/New Visions Competition for Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 DREI ZINNEN Jan Zabeil DE/IT Directorial Debut Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film A FANTASTIC WOMAN Sebastián Lelio CL/US/DE/ES Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film FÉLICITÉ Alain Gomis FR/SN/BE/DE/LB Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film FOXTROT Samuel Maoz DE/IL/FR/CH Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film LOVELESS Andrey Zvyagintsev RU/BE/DE/FR Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film MEN DON'T CRY Alen Drljevic BH/SL/HR/DE Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film THE WOUND John Trengove ZA/DE Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film TOM OF FINLAND Dome Karukoski FI/SE/DK/DE Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film UNDER THE TREE Hafsteinn Gunnar Sigurdsson IS/PL/DK/DE Palm Springs International Film Festival 2.
    [Show full text]
  • Die Bibel in Der Kunst / Bible in the Arts Leviathan at the Movies
    Die Bibel in der Kunst / Bible in the Arts Online-Zeitschrift 2, 2018 Leviathan at the Movies: Andrey Zvyagintsev’s Film in Biblical Perspective Bob Becking Leviathan at the Movies: Andrey Zvyagintsev’s Film ∗ in Biblical Perspective Bob Becking Utrecht University Abstract Der Leviatan des Alten Testaments ist eines jener auch im Alten Orient und im antiken Ägypten belegten mythischen Wesen, die als Monster die Gefährdung der Ordnung repräsentieren. Als solcher ist er breit rezipiert worden, z.B. in Literatur, Bild, Film, Videospielen und Comics. In dem Film „Leviathan” (2014) des russischen Regisseurs Andrey Zvyagintsev ist Leviatan nicht als Verkörperung eines korrupten Staatssystems zu sehen, dessen Krakenarme bis in den letzten Winkel reichen. Vielmehr steht er – wie in der katholischen Tradition – für die Todsünde invidia , also für Neid, Eifersucht, Missgunst und Gier, denn sie sind das den Film beherrschen- de Thema. 1. A Russian Première On 23 May 2014, the Russian film Levia- than (Левиафан) was presented for the first time at the Cannes Film Festival. This epic narrative directed by Andrey Zvyagintsev (*1964, Novosibirsk) formed the Russian con- tribution to this annual festival. The movie im- mediately received great praise and appraisal. It became an international sensation: Zvyan- gintsev won the ‘Best Screenplay’ award at the ‘Cannes International Film Festival’ 2014, the ‘Golden Globe’ for the ‘Best Foreign Lan- guage Film’ and was nominated for an Aca- demy Award for ‘Best Foreign Language Film’ in 2015. Fig. 1: Leviathan Poster. * I would like to thank Lester L. Grabbe, Hull, for his suggestions to improve the English of this contribution.
    [Show full text]
  • S Loveless (Nelyubov, 2017) VOL
    ESSAY Scenes from a Divorce Andrey Zvyagintsev’s Loveless (Nelyubov, 2017) VOL. 77 (SEPTEMBER 2017) BY MORITZ PFEIFER Ever since Leviathan, Andrey Zvyagintsev’s portentous epic about an everyman’s disastrous quest against the almighty state of Russia, the filmmaker has established himself as one of the most significant directors working today. Indeed it could be said of Leviathan that it is not only indebted to historical greats such as Bresson, Antonioni and Tarkovsky, but that it is a film that lies in their succession. Whether this can be said of his other works, and especially about his new pic – the terrifying and ominous Loveless – is debatable though. In Loveless a boy called Alyosha disappears in the midst of a dramatic break-up between his parents. His mother Zhenya (Maryana Spivak) and father Boris (Aleksey Rozin) are too busy forming new romantic relationships to care for the unassertive demands of the twelve-year-old. When the couple occasionally meets in their once-shared apartment, it is to let in potential buyers or lock horns, but certainly not to take care of Alyosha. On one such occasion, while the parents engage in a heated argument over who should bear the burden of custody rights, the boy inaudibly screams in the bathroom and is so symbolically rendered invisible. The next day, he really vanishes. The disappearance forces Zhenya and Boris to put themselves aside for a while and concentrate on the runaway. Surprisingly, the police won’t offer much help – though the corrupt officer is honest enough to tell troubled Zhenya that she shouldn’t expect any, giving her the advice to seek aid from civil society.
    [Show full text]
  • 0001 10:00:26:22 10:00:29:17 42 When Tolstoy Was Working 0002 10
    0001 10:00:26:22 10:00:29:17 42 When Tolstoy was working 0002 10:00:29:23 10:00:33:04 49 on one of his books, The Kreutzer Sonata, 0003 10:00:33:10 10:00:37:18 65 or perhaps Anna Karenina, 0004 10:00:38:02 10:00:39:04 16 whatever, 0005 10:00:39:10 10:00:41:22 37 he said this: 0006 10:00:42:04 10:00:45:17 53 "All novels end with a wedding. 0007 10:00:47:09 10:00:50:13 47 "It would be good if someone were to write one 0008 10:00:50:17 10:00:53:00 35 "on life after the wedding." 0009 10:01:08:00 10:01:09:14 23 Get out! 0010 10:01:09:18 10:01:12:24 49 - It's over, d'you get it? - I have the right to be here! 0011 10:01:13:03 10:01:15:24 43 Yeah, you're the owner. You'll get your share. 0012 10:01:26:01 10:01:27:00 14 Shit. 0013 10:01:28:19 10:01:29:24 18 Fuck it. 0014 10:01:30:24 10:01:32:11 22 The bastard. 0015 10:01:32:23 10:01:35:21 44 They've been together 12, 13 years. 0016 10:01:36:00 10:01:39:06 49 He was her first lover. 0017 10:01:39:13 10:01:42:02 38 He's her whole life. 0018 10:01:42:16 10:01:43:24 20 All of a sudden, 0019 10:01:44:03 10:01:47:24 58 she finds out he's leading a double life.
    [Show full text]
  • The Emerging Identity As Expressed Through Russian Art House Cinema
    The Emerging Identity as Expressed through Russian Art House Cinema KIM DILLON Carleton University Since the collapse of the Soviet Union filmmakers from Russia have been forced to reconcile their problematic history with the ambiguity of the future. Andrey Zvyagintsev's The Return (2003) and Alexei Popogrebski's How I Ended This Summer (2010) are Russian films that focus on the cultural dialectic between the Soviet past and the emerging post-communist identity in contemporary Russian culture. My analysis will reveal the current Russian zeitgeist’s interaction with its past by focusing on the symbolic importance of ‘the father’ in a patriarchal society and state paternalism. Keywords: Russia, art cinema, Zvyagintsev, Popogrebski, paternalism At an outing at the Russian Embassy this past October, a Russian diplomat asked me what aspect of his country I was studying. I replied by saying “Russian identity.” He then asked me a poignant question, for which I was ill prepared. The diplomat looked me square in the eye and with a slight grin he said, “Tell me who I am.” Here, the ambiguity of identity and the broad nature of cultural identity studies pose problems. In the case of the diplomat, it would be impossible to answer his question without touching on a personal and individual perspective. Never should we presume to tell a Russian who he or she is within their cultural context - whether they are a diplomat, a director, a scholar, or an ordinary person. We must be wary and vigilant, for the trappings of creating an obdurate and dogmatic closed box demarcated as THE RUSSIAN IDENTITY.
    [Show full text]