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Aesthetics Without Law: Cinematic Bandits in Post-Soviet Space

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Aesthetics Without Law: Cinematic Bandits in Post-Soviet Space AESTHETICS WITHOUT LAW: CINEMATIC BANDITS IN POST-SOVIET SPACE SergueiAlex. Oushakine,Princeton University ...thebandits belong to rememberedhistory, as distinctfrom the official history books. They are a partof thehistory which isnot somuch a record of eventsand thosewho shaped them,as of the symbolsof thetheoretically controllable but actu ally uncontrolledfactors which determinethe world of thepoor... -Eric Hobsbawm (145) We do not condemnit because it is a crime,but it is a crimebecause we condemn it. -Emile Durkheim (1972, 124) In theearly 1920s, Isaac Babel publisheda stringof shortstories about the lifeof gangstersin pre-revolutionary Odessa. In his Tales of Odessa, grue somepictures of extortionand murders were oftenpresented with an unusual sensitivityto thestylistic dimensions of thecriminal world. The interplayof social order and its criminaldisruption that normally structures narratives about crimel was presented here as a series of stylistic clashes. Tales of Odessa turnedthe criminal organization into a criminallife-style, that is, into a systemof aestheticpredispositions and choicesof Odessa bandits.Against thebackdrop of flamboyantcriminal "aristocrats [...] tightlypacked in rasp berryvests, shoulders covered with russetjackets, the azure leather[of boots] about toburst on theirchubby feet" (163), Babel's anecdotesabout robberies, killingsand clan feudsseem irrelevantif not altogetherredundant.2 I would like to thank Kim Lane Scheppele, Dmitry Bychkov, Helena Goscilo, Mark Lipovet sky,Andrei Shcherbenok, and Vlad Strukov for their comments and suggestions on earlier ver sions of this essay. 1. See Mandel; Oushakine 2003. For a discussion of current Russian popular literature on crime and detection see Goscilo; Levina; Nepomnyashchy; Olcott; Slavnikova; Trofimova. 2. This style of aesthetic clashes is by no means limited to semi-fictitious stories about Odessa's famous subculture. In his study of social banditry, Eric Hobsbawm cites a police report from 1938 that lists the "equipment" of a prominent Brazilian bandit. To quote one part of a long list: "Hat: leather, of the blackwoods type, decorated with six stars of Solomon. Leather chinstrap, 46 cm long, decorated with 50 gold trinkets of miscellaneous origin, to wit: collar and sleeve studs, rectangles engraved with thewords Memory, Friendship, Homesickness, etc. rings set with various precious stones; a wedding ring with the name Santinha engraved inside. Attached to the SEEJ, Vol. 51, No. 2 (2007): p. 357-p. 390 357 This content downloaded from 128.112.66.66 on Wed, 23 Jul 2014 16:43:14 PM All use subject to JSTOR Terms and Conditions 358 Slavic and East European Journal It is temptingto readBabel's portrayalof thecriminal world throughthe lensof a long-standingtradition of Rduberromantik,"bandit romanticism" (Hobsbawm142; see alsoKooistra). And Sovietmass culturehas enoughev idencefor such an approach:from a collectiveversion of Robin Hood, fight ing in the 1920s forthe power of theSoviets inElusive avengers(Neulovimye mstiteli,1966; dir.Ed. Keosayan) to thecharming petty thieves in thepost Stalin comediesof Leonid Gaidai (see Prokhorov126-33), to thefigures of Odessa's quick and resoluteunderworld in songsof Alexander Rozenbaum (Odesskii tsikl,1981). Conceivedwithin (or as an oppositionto) Soviet offi cial culture,these attempts to utilize thepower of transgressionwere mostly aimed at discoveringplaces and discoursesthat could bringback a feelingof adventure.After all, as Hobsbawm suggests,it is a longingfor "freedom, heroism,and thedream of justice" thathas kept thebandit myth alive for many years (143). While agreeingwith theBritish historian, Iwant topursue here a different direction. If the existence of law-right or wrong-is a necessary starting point forthe bandit myth toproduce itscaptivating effect, what are thefunc tionsof thismyth in a situationwhere theprinciples of justice suddenlyget blurred?If themass appeal of thebandit to a largeextent stems from his/her abilityto use illegalmeans to restorethe true nature/order of things,then how could thisjuxtaposition of thenorm and deviationbe playedout ina situation where differentiationbetween the legal and theillegal has notyet been settled? To put itbriefly, when thesocial polarization of the"civil world" and the"un derworld"is stillin progress, what could functionas a narrativedevice able to conveythis state of disarraywith somenavigating and structuringprinciples? FollowingBabel's suggestion,I construethe aestheticization of banditryas an approach that reveals the ambiguous status of law in contemporary Rus sia. When a lack of criteria renders such usual questions as "What has been done?" and "Who is to blame?" unanswerable, it is only the question "How was itdone?" thatproduces thenecessary differentiating effect. I am not in terestedin reading the obsessive fascinationwith thestylistic re-packaging of thecriminal world, stimulatedby themarket-driven efforts of Russia's cul turalindustry, as a signof theoverall criminalizationof thepost-Soviet soci ety. Rather, I argue that the aesthetic clashes of the bandit style can be seen as a historicallyspecific attempt to organize symbolicallythe stateof out lawry:When theopposition of the legal vs. the illegal loses itsnormative meaning, it is thestylistic excess of thecriminal order of thingsthat is called upon to reflectthe condition of social disorientation. front of the hat, a strip of leather 4 by 22 cm with the following ornaments: 2 gold medallions in scribed 'The Lord Be Thy Guide'; 2 gold sovereigns; 1 old Brazilian gold piece with the effigy of the Emperor Pedro II; 2 others, even older, dates respectively 1776 and 1802. At the back of the hat, a strip of leather of equal size, also decorated as follows: 2 gold medallions, 1 small di amond cut in the classic fashion; 4 others of fancy cut" (Hobsbawm 92). This content downloaded from 128.112.66.66 on Wed, 23 Jul 2014 16:43:14 PM All use subject to JSTOR Terms and Conditions Aestheticswithout Law: CinematicBandits in Post-Soviet Space 359 Commentingon Babel's earlywork, Victor Shklovsky suggested that it was precisely thispersistent exposure of contradictionsbetween the everyday orderof things(byt) and criminallife-style that functioned as a formof em plotmentin Babel's prose (203). By constantlyjuxtaposing the criminal orga nizationof people and a highlystylized arrangement of things,Babel could produce a powerfulnarrative effect. Yet thisnarrative homogenization of pogromsand raspberryshoes came with a price.As Shklovskysomewhat causticallypointed out, "the essence of Babel's [narrative]device consistsin using thesame voice fortalking about starsand aboutgonorrhea" (201). Sty listicsensitivity to thehorizontality of co-existingforms and practices (crime as-byt),in other words, is accomplishedhere by neutralizing"any kind of af fectiveor ethicalinterest in theobject of representation"(Bourdieu 1984, 44). In currentfilm studies of thegangster genre, a similarprominence of aes theticshas become an importantobject of scholars'attention. Focusing on QuentinTarantino's films, many criticssuggest that the new gangstermovie of the 1990s replaced"ethics with exhibitionand personalitywith spectacle" (Creeber129).3 In thisessay Iwill explorea similarshift in theaesthetic orga nizationof criminalreality in thepost-Soviet gangster genre by using theTV seriesBrigada (dir.A. Sidorov,Avatar Film Company, 2002) asmy main ex ample.Following a long-establishedtradition in anthropology,Iwill demon stratethat the configurations and connectionsused toarrange space, thingsand people inBrigada, these"aesthetic frills," as E. R. Leach, a Britishanthropol ogist,called them(12), are neitherarbitrary nor value-free.On thecontrary, theysuggest a certainvision of emergingsocial space and theprinciples of its functioning.The post-Sovietcriminality in Brigada isoften presented through successiveoperations of thecriminal's literal and metaphorical dis-localiza tion.The moral or politicalcritique of the social practices,which produced thesecriminal figures in thefirst place, is replacedhere by a visual topology of spaces of emplacement(Foucault and Miskowiec 22), thatis to say,by a hierarchyof locationswhich make criminals'acts sociallypossible and cultur allymeaningful. I will explore towhat extentthese mutated, confused and crisscrossedterritories saturated with "informal"practices can be construedas a reflectionof broaderchanges thatmake thevery divide between thepublic sphereand theprivate sphere if not redundantthen at leastunhelpful for inter pretingpost-socialist developments. TheBrigands of Brigada On Thursday,October 17, 2002, Rossia, a state-ownedRussian TV chan nel, finished itsweekly broadcastingof the new fifteen-episodeseries Brigada (TheBrigade). Impressedby thehigh ratingsand incrediblepopular 3. For a discussion see also Simpson; Andrew. For a discussion of Tarantino's aesthetics in the Russian context see Vdovin. This content downloaded from 128.112.66.66 on Wed, 23 Jul 2014 16:43:14 PM All use subject to JSTOR Terms and Conditions 360 Slavic and East European Journal ityof thefilm, the channel made an unusualmove. On Saturday,October 19, 2002,Rossia startedshowing Brigada again, so thatevery weekend all those who hadmissed thepremier could have a chance to familiarizethemselves with thelives and travailsof post-Sovietbandits. The unprecedenteddecision to re-broadcasta melodramaticsaga about the 1990s, inwhich Aleksandr Belov and his threefriends turned themselves into a brigada-a powerful mafia-likeorganization
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